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Francisco de Zurbaran cirilo of constantinople 1631-1640
oil on canvas, 91x32cm
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Francisco de Zurbaran archangel st, gabriel. 1631-1640
oil on canvas, 146x60cm
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Francisco de Zurbaran st. agatha. 1631-1640
oil on canvas, 130x61cm
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Francisco de Zurbaran the coronation of st.joseph 1632-1640
oil on canvas, 248x166cm
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Francisco de Zurbaran st, francis 1631-1640
oil on canvas, 197x106cm
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Francisco de Zurbaran st, apolonia 1631-1640
oil on canvas, 113x66cm
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Francisco de Zurbaran the eternal father 1631-1640
oil on canvas, 240x277cm
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Francisco de Zurbaran st, francis 1631-1640
oil on canvas, 181x111cm
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Francisco de Zurbaran st. casilda 1631-1640
oil on canvas, 170x108cm
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Francisco de Zurbaran st, ramon nonato 1631-1640
oil on canvas 118x63cm
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Francisco de Zurbaran st, diego de alcala 1631-1640
oil on canvas, 110x84cm
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Francisco de Zurbaran stigmatization of st francis. 1631-1640
oil on canvas, 250x200cm
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Francisco de Zurbaran st. lucas before christ crucified 1631-1640
oil on canvas, 105x84cm
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Francisco de Zurbaran christ dead on the cross 1631-1640
oil on canvas, 155x105cm
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Francisco de Zurbaran blessed henry suso 1631-1640
oil on canvas, 209x154cm
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Francisco de Zurbaran st, luis beltran 1631-1640
oil on canvas, 209x154cm
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Francisco de Zurbaran st. ildefonso receiving the chasuble 1643-1644
oil on canvas, 290x180cm
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Francisco de Zurbaran the virgin of the caves 1641-1658
oil on canvas, 267x320cm
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Francisco de Zurbaran st. bruno in conversation with pope urban 1641-1658
oil on canvas, 272x326cm
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Francisco de Zurbaran st, hugo in the refectory 1641-1658
oil on canvas, 262x307cm
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Francisco de Zurbaran
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1598-1664
Spanish Francisco de Zurbaran Galleries
Spanish baroque painter, active mainly at Llerena, Madrid, and Seville. He worked mostly for ecclesiastical patrons. His early paintings, including Crucifixion (1627; Art Inst., Chicago), St. Michael (Metropolitan Mus.), and St. Francis (City Art Museum, St. Louis), often suggest the austere simplicity of wooden sculpture. The figures, placed close to the picture surface, are strongly modeled in dramatic light against dark backgrounds, indicating the influence of Caravaggio. They were clearly painted as altarpieces or devotional objects. In the 1630s the realistic style seen in his famous Apotheosis of St. Thomas Aquinas (1631; Seville) yields to a more mystical expression in works such as the Adoration of the Shepherds (1638; Grenoble); in this decade he was influenced by Ribera figural types and rapid brushwork. While in Seville, Zurbur??n was clearly influenced by Velazquez. After c.1640 the simple power of Zurbaran work lessened as Murillo influence on his painting increased (e.g., Virgin and Child with St. John, Fine Arts Gall., San Diego, Calif.). There are works by Zurbar??n in the Hispanic Society of America, New York City; the National Gallery, Washington, D.C.; and the Philadelphia Museum of Art..
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