Zurbaran

This title features dedicated mailing and e-mail campaign to targeted art related media & organisations. It is not known whether Zurbaran (1598-1664) had the opportunity to study Caravaggio, but he certainly adopted his realistic use of chiaroscuro in his work. Zurbaran painted directly from nature [...]
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This title features dedicated mailing and e-mail campaign to targeted art related media & organisations. It is not known whether Zurbaran (1598-1664) had the opportunity to study Caravaggio, but he certainly adopted his realistic use of chiaroscuro in his work. Zurbaran painted directly from nature and made great use of the lay-figure in the study of draperies, in which he was particularly proficient. His subjects were mostly severe and ascetic religious vigils, the spirit chastising the flesh into subjection, the compositions often reduced to a single figure. The style is more reserved than Caravaggio's but exceptional effects are attained by the precisely finished foregrounds, massed out largely in light and shade. Around 1630, he was appointed painter to Philip IV of Spain, 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'. After 1640, his austere style fell from favour and his reputation declined. He died in poverty and obscurity.Fully illustrated throughout, this volume provides readers with an unrivalled overview of Zurbaran's entire artistic career, divided into four periods characterised by the main shifts in his style.