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See also:ZURBARAN, FRANCISCO (1598–1662) , See also:Spanish painter, was See also:born at Fuente de Cantos in See also:Estremadura on the 7th of See also:November 1598. His See also:father was Luis Zurbaran, a See also:country labourer, his See also:mother See also:Isabel Marquet. In childhood he set about imitating See also:objects with See also:charcoal; and his father sent him, still See also:young, to the school of Juan de Roelas in See also:Seville. Francisco soon became the best See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil in the studio of Roelas, surpassing the See also:master himself; and before leaving him he had achieved a
solid reputation, full though Seville then was of able painters. He may have had here the opportunity of copying some of the paintings of See also:Michelangelo da See also:Caravaggio; at any See also:rate he gained the name of " the Spanish Caravaggio," owing to the forcible realistic See also:style in which he excelled. He constantly painted See also:direct from nature, following but occasionally improving on his See also:model; and he made See also:great use of the See also:lay-figure in the study of draperies, in which he was peculiarly proficient. He had a See also:special See also:gift for See also:- WHITE
- WHITE, ANDREW DICKSON (1832– )
- WHITE, GILBERT (1720–1793)
- WHITE, HENRY KIRKE (1785-1806)
- WHITE, HUGH LAWSON (1773-1840)
- WHITE, JOSEPH BLANCO (1775-1841)
- WHITE, RICHARD GRANT (1822-1885)
- WHITE, ROBERT (1645-1704)
- WHITE, SIR GEORGE STUART (1835– )
- WHITE, SIR THOMAS (1492-1567)
- WHITE, SIR WILLIAM ARTHUR (1824--1891)
- WHITE, SIR WILLIAM HENRY (1845– )
- WHITE, THOMAS (1628-1698)
- WHITE, THOMAS (c. 1550-1624)
white draperies; and, as a consequence, Carthusian houses are abundant in his paintings. To these rigid methods Zurbaran is said to have adhered throughout his career, which was prosperous, wholly confined to See also:Spain, and varied by few incidents beyond those of his daily labour. His subjects were mostly of a severe and ascetic See also:kind—religious vigils, the flesh chastised into subjection to the spirit—the compositions seldom thronged, and often reduced to a single figure. The style is more reserved and chastened than Caravaggio's, the See also:tone of See also:colour often bluish to excess. Exceptional effects are attained by the precise finish of foregrounds, largely massed out in See also:light and shade. Zurbaran married in Seville Leonor de Jordera, by whom he had several See also:children. Towards 163o he was appointed painter to See also:- PHILIP
- PHILIP (Gr.'FiXtrsro , fond of horses, from dn)^eiv, to love, and limos, horse; Lat. Philip pus, whence e.g. M. H. Ger. Philippes, Dutch Filips, and, with dropping of the final s, It. Filippo, Fr. Philippe, Ger. Philipp, Sp. Felipe)
- PHILIP, JOHN (1775-1851)
- PHILIP, KING (c. 1639-1676)
- PHILIP, LANOGRAVE OF HESSE (1504-1567)
Philip IV.; and there is a See also:story that on one occasion the See also:sovereign laid his See also:hand on the artist's See also:shoulder, saying, " Painter to the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king, king of painters." It was only See also:late in See also:life that Zurbaran made a prolonged stay in See also:Madrid, Seville being the See also:chief See also:scene of his operations. He died, probably in 1662, in Madrid.
In 1627 he painted the great altarpiece of St See also:- THOMAS
- THOMAS (c. 1654-1720)
- THOMAS (d. 110o)
- THOMAS, ARTHUR GORING (1850-1892)
- THOMAS, CHARLES LOUIS AMBROISE (1811-1896)
- THOMAS, GEORGE (c. 1756-1802)
- THOMAS, GEORGE HENRY (1816-187o)
- THOMAS, ISAIAH (1749-1831)
- THOMAS, PIERRE (1634-1698)
- THOMAS, SIDNEY GILCHRIST (1850-1885)
- THOMAS, ST
- THOMAS, THEODORE (1835-1905)
- THOMAS, WILLIAM (d. 1554)
Thomas See also:Aquinas, now in the Seville museum; it was executed for the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of the See also:college of that See also:saint there. This is Zurbaran's largest See also:composition, containing figures of See also:Christ and the Madonna, various sdints, See also:Charles V. with knights, and See also:Archbishop Deza (founder of the college) with monks and servitors, all the See also:principal personages being beyond the See also:size of life. It had been preceded by the numerous pictures of the See also:screen of St See also:- PETER
- PETER (Lat. Petrus from Gr. irfpos, a rock, Ital. Pietro, Piero, Pier, Fr. Pierre, Span. Pedro, Ger. Peter, Russ. Petr)
- PETER (PEDRO)
- PETER, EPISTLES OF
- PETER, ST
Peter Nolasco in the See also:cathedral. In the church of Guadalupe he painted various large pictures, eight of which relate to the See also:history of St See also:Jerome, and in the church of St See also:Paul, Seville, a famous figure of the Crucified Saviour, in See also:grisaille, presenting an illusive effect of See also:marble. In 1633 he finished the paintings of the high See also:altar of the See also:Carthusians in Jerez. In the See also:palace of Buenretiro, Madrid, are four large canvases representing the Labours of See also:Hercules, an unusual instance of non-See also:Christian subjects from the hand of Zurbaran. A See also:fine specimen is in the See also:National See also:Gallery, See also:London, a whole-length, life-sized figure of a kneeling Franciscan holding a See also:skull. It seems probable that another picture in the same gallery, the " Dead See also:Roland," which used to be ascribed to Velasquez, is really by Zurbaran. His principal scholars, whose style has as much See also:affinity to that of See also:Ribera as to Caravaggio's, were Bernabe de See also:Ayala and the See also:brothers Polanco.
(W. M.
End of Article: ZURBARAN, FRANCISCO (1598–1662)
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