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Francisco de Zurbaran
romaan and st. barulo
1638
oil on canvas, 246x185cm
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Francisco de Zurbaran
annunciation
1637-1639
oil on canvas, 261x175cm
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Francisco de Zurbaran
the shepherds, worship
1638
oil on canvas, 261x175cm
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Francisco de Zurbaran
circumcision
1639
oil on canvas, 161x175cm
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Francisco de Zurbaran
angel with incense-burner, looking to the left
1637-1639
oil on bord, 122x66cm
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Francisco de Zurbaran
angel with incense- burner, looking to the left
1637-1639
oil on bord, 122x66cm
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Francisco de Zurbaran
blessed john houghton
1637-1639
oil on bord, 122x66cm
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Francisco de Zurbaran
bruno in ecstasy
1637-1639
oil on canvas, 341x195cm
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Francisco de Zurbaran
anselmo
1637-1639
oil on bord, 120x64cm
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Francisco de Zurbaran
artoldo
1637-1639
oil on bord, 120x64cm
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Francisco de Zurbaran
gonzalo de illescas, bishop of cordova
1639
oil on canvas, 290x222cm
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Francisco de Zurbaran
martyred hieronymite nun
1638-1640
oil on bord, 34x16cm
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Francisco de Zurbaran
christ blessing
1636-1641
oil on bord, 51x26cm
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Francisco de Zurbaran
jesus appears before fr .andres de salmeron
1639
oil on canvas, 290x222cm
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Francisco de Zurbaran
francis kneeling
1639
oil on canvas 162x137cm
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Francisco de Zurbaran
mercedarian friar
1631-1640
oil on canvas, 204x122cm
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Francisco de Zurbaran
margarita
1631-1640
oil on canvas, 163x105cm
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Francisco de Zurbaran
the virgin as a girl, praying
1631-1640
oil on canvas, 117x94cm
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Francisco de Zurbaran
portrait of dr
1631-640
oil on canvas, 193x107cm
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Francisco de Zurbaran
st, pedao tomas
1631-1640
oil on canvas,91x32cm
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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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