The Artist as Visionary in Francisco de Zurbarán's Crucifixion with a Painter

Francisco de Zurbarán’s Crucifixion with a Painter (ca. 1650-55, Museo Nacional del Prado, Madrid) illustrates the devotional aspects of his religious imagery and suggests that artistic production is the result of profound visionary experiences with the artist ultimately acting as a mediator between...

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Bibliographic Details
Published in:The sixteenth century journal
Main Author: Estevez, Lisandra (Author)
Format: Electronic Article
Language:English
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Published: Sixteenth Century Journal Publishers, Inc. [2019]
In: The sixteenth century journal
IxTheo Classification:CD Christianity and Culture
CE Christian art
KAH Church history 1648-1913; modern history
KBH Iberian Peninsula
NBF Christology
Further subjects:B CRUCIFIXION in art
B religious art
B DE Zurbaran, Francisco, 1598-1664
B CLASSICAL Period Spanish literature
B ART & literature
B 17TH century art
B SPANISH painting
Description
Summary:Francisco de Zurbarán’s Crucifixion with a Painter (ca. 1650-55, Museo Nacional del Prado, Madrid) illustrates the devotional aspects of his religious imagery and suggests that artistic production is the result of profound visionary experiences with the artist ultimately acting as a mediator between the divine and the viewer. This article explores the complex intersection of artistic identity and stature and religious devotion and naturalism in evaluating the originality of Zurbarán’s theme. This work’s subject matter also raises essential questions about the relative merits of painting and sculpture that shape one of the core arguments of the paragone in early modern Spain. In addition to the art literature of the Spanish Golden Age, this essay also considers the spiritual texts of the period to establish a theoretical framework for Zurbarán’s art.
ISSN:2326-0726
Contains:Enthalten in: The sixteenth century journal