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Francisco de Zurbaran
mystical betrothal of st,catalina de siena
1641-1658
oil on canvas, 109x100cm
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Francisco de Zurbaran
st, dorotea.
1641-1658
oil on canvas, 172x102cm
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Francisco de Zurbaran
david
1641-1658
oiln on canvas
private collection, madrid
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Francisco de Zurbaran
almanzor
1641-1658
oil on canvas, 200x104cm
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Francisco de Zurbaran
virgin of the rosary
1641-1658
oil on canvas 181x102cm
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Francisco de Zurbaran
virgin and child with st,
john. 1658
oil on canvas, 137x104cm
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Francisco de Zurbaran
la porciuncula
1661
oil on canvas, 198x155cm
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Francisco de Zurbaran
christ recovers his tunic after being whipped
1661
oil on canvas. 167x107cm
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Francisco de Zurbaran
st. jacobo de la marca
1658-1664
oil on canvas, 291x165cm
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Francisco de Zurbaran
virgin and child with st.
john.1662
oil on canvas, 165x127cm
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Francisco de Zurbaran
st. toma,s de villanueva helping a cripple
1658-1664
oil on canvas, 140x82cm
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Francisco de Zurbaran
st. francis meditating
1658-1664
oil on canvas, 64x53cm
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Francisco de Zurbaran
doctor in law from the university of salamanca
1658-1664
oil on canvas, 194x103cm
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Francisco de Zurbaran
virgin and child with st
1658-1664
oil on canvas, 130x100cm
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Francisco de Zurbaran
around
1635-1640
oil on canvas, 46x84cm
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Francisco de Zurbaran
flower vase
oil on canvas 44x34cm
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Francisco de Zurbaran
around
1635-1640
oil on canvas, 46x84cm
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Francisco de Zurbaran
veronica
oil on canvas, 70x51.5cm
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Francisco de Zurbaran
La defensa de Cadiz
Oil on canvas
302 ?? 323 cm
1634
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Francisco de Zurbaran
Anthony Abbot by Zurbaran
527 ?? 796 pixels
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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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