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the defense of caadiz against the english
new22/Francisco de Zurbaran-823976.jpg
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the_defense_of_caadiz_against_the_english
1634
oil on canvas302x323cm
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hercules fighting the hydra of lerna
new22/Francisco de Zurbaran-846985.jpg
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hercules_fighting_the_hydra_of_lerna
1634,
oil on canvas, 133x167cm
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still life
new22/Francisco de Zurbaran-952629.jpg
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still_life
1633
oil on canvas, 60x107cm
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hercules and the cretan bull
new22/Francisco de Zurbaran-452589.jpg
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hercules_and_the_cretan_bull
1634
oil on canvas, 133x152cm
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lorenzo
new22/Francisco de Zurbaran-656966.jpg
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lorenzo
1636
oil on canvas, 292x226cm
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Francisco_de_Zurbaran
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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