Francisco de Zurbarán, ‘Santo Domingo en Soriano (The Apparition of the Virgin to a Monk of Soriano)’, ca. 1626-1627, Museo Thyssen-Bornemisza
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Santo Domingo en Soriano (The Apparition of the Virgin to a Monk of Soriano), ca. 1626-1627

Oil on canvas
74 4/5 × 90 3/5 in
190 × 230 cm
About the work
Exhibition history
Provenance
Francisco de Zurbarán
Spanish, 1598–1664
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Aside from producing a number of history paintings, portraits, and still lifes, Spanish Baroque painter Francisco de Zurbarán devoted his career almost entirely to religious works. Zurbarán was a student of naturalism who favored the darkness of tenebrism and chiaroscuro; his style was most often compared to that of Caravaggio. The artist’s favorite subjects were religious figures—apostles, saints, monks, and madonnas—posed against neutral backgrounds. Zurbarán also paid particular attention to the natural effect of lighting and the details of dress. He was most applauded for his ability to combine realism with mysticism, bring a degree of accessibility to spiritual otherworldliness. His late works, which demonstrated a shift towards idealized and ethereal forms in the manner of his contemporary Bartolomé Esteban Murillo, were not well received by his large following.

Francisco de Zurbarán, ‘Santo Domingo en Soriano (The Apparition of the Virgin to a Monk of Soriano)’, ca. 1626-1627, Museo Thyssen-Bornemisza
Save
Save
View
View in room
Share
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About the work
Exhibition history
Provenance
Francisco de Zurbarán
Spanish, 1598–1664
Follow

Aside from producing a number of history paintings, portraits, and still lifes, Spanish Baroque painter Francisco de Zurbarán devoted his career almost entirely to religious works. Zurbarán was a student of naturalism who favored the darkness of tenebrism and chiaroscuro; his style was most often compared to that of Caravaggio. The artist’s favorite subjects were religious figures—apostles, saints, monks, and madonnas—posed against neutral backgrounds. Zurbarán also paid particular attention to the natural effect of lighting and the details of dress. He was most applauded for his ability to combine realism with mysticism, bring a degree of accessibility to spiritual otherworldliness. His late works, which demonstrated a shift towards idealized and ethereal forms in the manner of his contemporary Bartolomé Esteban Murillo, were not well received by his large following.

Santo Domingo en Soriano (The Apparition of the Virgin to a Monk of Soriano), ca. 1626-1627

Oil on canvas
74 4/5 × 90 3/5 in
190 × 230 cm
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