Francisco de Zurbarán (/ˌzʊərbəˈrɑːn/ZOOR-bə-RAHN,Spanish:[fɾanˈθiskoðeθuɾβaˈɾan]; baptized 7 November 1598 – 27 August 1664[3]) was a Spanishpainter. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, and for hisstill-lifes. Zurbarán gained the nickname "SpanishCaravaggio", owing to the forceful use ofchiaroscuro in which he excelled.
Zurbarán was born in 1598 inFuente de Cantos,Extremadura; he was baptized on 7 November of that year.[5][6][7] His parents were Luis de Zurbarán, a haberdasher, and his wife, Isabel Márquez.[6][7] In childhood he set about imitating objects withcharcoal.[8] In 1614 his father sent him toSeville to apprentice for three years with Pedro Díaz de Villanueva, an artist of whom very little is known.[9]
Zurbarán's first marriage, in 1617, was to María Paet who was nine years older. María died in 1624 after the birth of their third child. In 1625 he married again to wealthy widow Beatriz de Morales. On 17 January 1626, Zurbarán signed a contract with the prior of the Dominican monastery San Pablo el Real in Seville, agreeing to produce 21 paintings within eight months.[10] Fourteen of the paintings depicted the life ofSaint Dominic; the others representedSaint Bonaventura,Saint Thomas Aquinas, and the fourDoctors of the Church.[11] This commission established Zurbarán as a painter. On 29 August 1628, Zurbarán was commissioned by theMercedarians of Seville to produce 22 paintings for the cloister in their monastery.[12] In 1629, the Elders of Seville invited Zurbarán to relocate permanently to the city, as his paintings had gained such high reputation that he would increase the reputation of Seville. He accepted the invitation and moved to Seville with his wife Beatriz de Morales, the three children from his first marriage, a relative called Isabel de Zurbarán and eight servants. In May 1639 his second wife, Beatriz de Morales, died.[13]
Towards 1630 he was appointed painter toPhilip IV, and there is a story that on one occasion the sovereign laid his hand on the artist's shoulder, saying "Painter to the king, king of painters".[14] After 1640 his austere, harsh, hard-edged style was unfavorably compared to the sentimental religiosity ofMurillo and Zurbarán's reputation declined. Beginning by the late 1630s, Zurbarán's workshop produced many paintings for export to South America.[3]Jacob and his twelve sons, a series depicting the patriarchJacob and his 12 sons, seems to have been aimed at the South America market, but the originals were acquired forAuckland Castle inBishop Auckland,Co. Durham, England.[15]
On 7 February 1644, Zurbarán married a third time with another wealthy widow, Leonor de Torder. It was only in 1658, late in Zurbarán's life, that he moved toMadrid in search of work and renewed his contact withVelázquez.[3] Popular myth has Zurbarán dying in poverty, but at his death the value of his estate was about 20,000reales.[16]
It is unknown whether Zurbarán had the opportunity to see the paintings ofCaravaggio, only that his work features a similar use of chiaroscuro andtenebrism (dramatic lighting). The painter thought by some art historians to have had the greatest influence on his characteristically severe compositions wasJuan Sánchez Cotán.[17]Polychrome sculpture—which by the time of Zurbarán's apprenticeship had reached a level of sophistication in Seville that surpassed that of the local painters—provided another important stylistic model for the young artist; the work ofJuan Martínez Montañés is especially close to Zurbarán's in spirit.[17]
He painted his figures directly from nature, and he made great use of the lay-figure in the study of draperies, in which he was particularly proficient. He had a special gift for white draperies; as a consequence, the houses of the white-robedCarthusians are abundant in his paintings. To these rigid methods, Zurbarán is said to have adhered throughout his career, which was prosperous, wholly confined to Spain, and varied by few incidents beyond those of his daily labour. His subjects were mostly severe and ascetic religious vigils, the spirit chastising the flesh into subjection, the compositions often reduced to a single figure. Zurbaran's "incapacity or possibly scorn for narrative" makes the actions depicted in his compositions difficult to interpret without foreknowledge of the subject.[18] The style is more reserved and chastened than Caravaggio's, the tone of color often quite bluish. Exceptional effects are attained by the precisely finished foregrounds, massed out largely in light and shade.[14] Backgrounds are often featureless and dark. Zurbaran had difficulty painting deep space; when interior or exterior settings are represented, the effect is suggestive of theater backdrops on a shallow stage.[19] The art historian Julián Gállego suggests that Zurbarán's early training "may have left him with a taste for Mannerist composition ... with the furniture and accessories placed on the slant" in an ambiguous space devoid of unitary perspective.[20] The resulting contradictions have been compared toCubism for the way each object is represented in isolation.[21] According toJosé Camón Aznar, "Zurbarán succeeded in making a grace of his clumsiness".[22]
Zurbarán's late works, such as theSaint Francis (c. 1658–1664;Alte Pinakothek) show the influence of Murillo andTitian in their looser brushwork and softer contrasts.[23]
Between 1628 and 1634, he painted four scenes from the life ofSt. Peter Nolasco for the Principal Monastery of the Calced Mercedarians in Seville.[27] InSanta Maria de Guadalupe he painted multiple large pictures, eight of which relate to the history ofSt. Jerome;[3] and in the church ofSaint Paul, Seville, a figure of the Crucified Saviour, ingrisaille, creating an illusion ofmarble. In 1639, he completed the paintings of the high altar of theCarthusians inJerez.[28] Also in the 1630s he was commissioned to provide canvases representing theLabours ofHercules, the only group of mythological subjects from the hand of Zurbarán, which were installed in theHall of Realms in Madrid.[29] A fine example of his work is in theNational Gallery, London: a whole-length, life-sized figure of a kneeling Saint Francis holding a skull.[30]
In 1835, paintings by Zurbarán were confiscated from monasteries and displayed in the newMuseum of Cádiz.[citation needed]
![Santo Domingo en Soriano, 1626, Santa María Magdalena, Seville[33]](/mt/?noimg=&dark=on&url=http%3a%2f%2fen.wikipedia.org%2fwiki%2fFile%3aSantoDomingoenSoriano.jpg)
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