| | BOOK FORMAT
Hardback, 8.75 x 11.5 in. / 128 pgs / 114 color. PUBLISHING STATUS
Pub Date 11/1/2008
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Catalog: SPRING 2008 p. 86 PRODUCT DETAILS
ISBN 9788434311725 TRADE
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Out of stock | | BROWSE THE 2019 SPRING CATALOG  Check out our Spring 2019 catalog, featuring more than 500 new books on art & culture. We welcome new publishers Arquine, Atelier Éditions, August Editions, The Design Museum, London, Eakins Press, Editions Patrick Frey, Fulgur Press, Kasmin, Lisson Gallery, Marciano Art Foundation, Marsilio Editori, Onomatopee and Ridinghouse to our list in 2019! |
| | | ZurbaránText by Santiago Alcolea i Gil.
Starker than Velázquez and more ascetic than El Greco, Francisco Zurbarán (1598-1664) is easily among the finest of seventeenth-century Spanish painters. Apprenticed in Seville, he quickly gravitated toward the use of chiaroscuro, possibly having seen paintings by Caravaggio there: he was later to become known as “the Spanish Caravaggio.” But Zurbarán’s temperament, as it is realized in his painting, appears more melancholy, and therefore less foreboding, than Caravaggio’s, and his religious subjects are almost exclusively Christian. He developed a characteristic image repertoire around monasticism and martyrs and made a speciality of the Carthusians, whose white robes he took evident pleasure in depicting. His best-known work may be his 1631 “Apotheosis of Saint Thomas Aquinas,” now housed in the Seville Museum. It was around this time that Zurbarán’s star reached its peak, as he was appointed court painter to Philip IV. Later, toward the end of his life, Zurbarán’s harsh chiaroscuro style fell from favor, but his reputation was restored in the twentieth century, in part through the concerns of Cubism and its attraction to precedents for an emphatic plasticity. In this monograph, illustrated with 114 color plates, Santiago Alcolea, a scholar of seventeenth-century Spanish art and the author of previous books on Velázquez and El Greco, provides us with an overview of Zurbarán’s artistic career, dividing it into four stylistic phases and reproposing his relevance for our times.
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|  | STATUS: Out of stock Temporarily out of stock pending additional inventory. | |
| | | |  | Text by Javier Portús.EDICIONES POLíGRAFAISBN: 9788434312708
USD $35.00 | CAN $47.5Pub Date: 6/30/2011
Active | Out of stock
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|  | Text by Santiago Alcolea.EDICIONES POLíGRAFAISBN: 9788434309661
USD $34.00 | CAN $45Pub Date: 7/1/2007
Active | In stock
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|  | Text by José Gudiol.EDICIONES POLíGRAFAISBN: 9788434311749
USD $34.00 | CAN $45Pub Date: 11/1/2008
Active | Out of stock
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|  | Text by Santiago Alcolea.EDICIONES POLíGRAFAISBN: 9788434311367
USD $34.00 | CAN $40Pub Date: 7/1/2007
Out of print | Not available
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|  | Text by Santiago Alcolea i Gil.EDICIONES POLíGRAFAISBN: 9788434311725
USD $34.00 | CAN $45Pub Date: 11/1/2008
Active | Out of stock
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| |  | Text by Odile Delenda, Mar Borobia, Almudena Ros, José Fernández, Enrique Valdivieso, Benito Navarrete.FUNDACIóN COLECCIóN THYSSEN-BORNEMISZAISBN: 9788415113676
USD $75.00 | CAN $99 UK £ 65Pub Date: 10/27/2015
Active | In stock
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FORMAT: Hardback, 8.75 x 11.5 in. / 128 pgs / 114 color.
LIST PRICE: U.S. $34.00
LIST PRICE: CANADA $45
ISBN: 9788434311725
PUBLISHER: Ediciones Polígrafa
AVAILABLE: 11/1/2008
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| Zurbarán Published by Ediciones Polígrafa.
Text by Santiago Alcolea i Gil. | Starker than Velázquez and more ascetic than El Greco, Francisco Zurbarán (1598-1664) is easily among the finest of seventeenth-century Spanish painters. Apprenticed in Seville, he quickly gravitated toward the use of chiaroscuro, possibly having seen paintings by Caravaggio there: he was later to become known as “the Spanish Caravaggio.” But Zurbarán’s temperament, as it is realized in his painting, appears more melancholy, and therefore less foreboding, than Caravaggio’s, and his religious subjects are almost exclusively Christian. He developed a characteristic image repertoire around monasticism and martyrs and made a speciality of the Carthusians, whose white robes he took evident pleasure in depicting. His best-known work may be his 1631 “Apotheosis of Saint Thomas Aquinas,” now housed in the Seville Museum. It was around this time that Zurbarán’s star reached its peak, as he was appointed court painter to Philip IV. Later, toward the end of his life, Zurbarán’s harsh chiaroscuro style fell from favor, but his reputation was restored in the twentieth century, in part through the concerns of Cubism and its attraction to precedents for an emphatic plasticity. In this monograph, illustrated with 114 color plates, Santiago Alcolea, a scholar of seventeenth-century Spanish art and the author of previous books on Velázquez and El Greco, provides us with an overview of Zurbarán’s artistic career, dividing it into four stylistic phases and reproposing his relevance for our times.
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