What Is Francis of Assisi in Art History Quizlet
» Francisco de Zurbaràn (Spanish, 1598–1644)
St. Francis of Assisi
Artist / Origin: Francisco de Zurbaràn (Spanish, 1598–1644)
Region: Europe
Date: ca. 1640
Catamenia: 1400 CE – 1800 CE
Material: Oil on sheet
Medium: Painting
Dimensions: H: 81 ½ in. (207 cm.), W: 42 in. (106 cm.)
Location: Museu de Arte de Catalunya, Barcelona, Spain
Credit: Courtesy of Bridgeman Art Library
Francisco de Zurbaràn'due south prototype of Saint Francis of Assisi combines austere naturalism with mystical intensity.
Painted as if from life, the work is both compositionally unproblematic and emotionally direct. The stark, solitary figure of the saint tilts dorsum his head slightly, raising his optics toward sky. His body seems to sally from the surrounding black, i side illuminated, the other still deep in shadow. The cast lite reveals to the attentive viewer a small tear in the fabric of the saint's robe near his heart. The rip is, in fact, a wound.
According to Catholic tradition, the stigmata—the wounds inflicted on Christ'south body during the Crucifixion and the accompanying pain—can be experienced but through intense prayer and unremarkably by a person in a state of ecstasy. It is believed that in 1224, Francis went to the mountain of La Verna in Italian republic. There, later many days of fasting and deep contemplation, he was blest with a vision of the crucified Christ carried aloft by angels. When the vision disappeared, Francis found that he had been marked with the stigmata. The laceration nosotros see in Zurbaràn'due south piece of work corresponds to the place where Christ is said to have been pierced by the lance of a Roman soldier. Zurbaràn draws the connection between fervent prayer and mystical feel inSt. Francis. However, rather than placing the saint on the mountain and showing us his vision, as endless other artists do, Zurbaràn attempts to convey the miracle equally an internal event.
Zurbaràn'due south paintings of saints are exemplary of seventeenth-century Castilian religious fine art, which shows the long-lasting influence of before Counter-Reformation initiatives, in item, the 1545 Council of Trent. A body of religious authorities and theologians charged with the task of reviewing controversial doctrine, the Council issued a annunciation in 1563 that, amid other things, laid out an explicit policy toward religious art. The decree instructed that pictures should avert disorderly or confusing compositions, as well every bit field of study matter that might be accounted lascivious, profane, or otherwise unfit for the house of God. Information technology also outlined the benefits of devotional imagery. The paradigm of a saint, according to the Quango of Trent, offered a model of piety that might inspire the viewer to imitate the behavior of the holy figure. Solemn, straightforward, and intensely spiritual, Zurbaràn'sSt. Francis is, according to these criteria, a paragon.
Expert Perspective: Edward J. Sullivan, Professor of Fine Arts, New York University
"The Spanish seventeenth century, of class, is a catamenia when religious fervor was very stiff, and many of these artists who are working for religious institutions are often charged to—or of their own volition, of their own involvement—create images of saints in ecstasy. And one of the more sober formats was developed by the painter Francisco de Zurbaràn, who did many, many saints in ecstasy, and I call back that his favorite was Saint Francis, wearing his chocolate-brown hooded robe. And very often Zurbaràn portrays Saint Francis continuing lonely on a ground completely isolated and inwardly directed, prayerful, whereas other artists they take their figures and they fly them upwards into the heavens and surround them by angels and create this sense of almost orgiastic ecstasy."
Boosted Resources
Alcolea i Gil, Santiago, and Francisco Zubaran.Zurbaran. Barcelona: Poligrafa, 2008.
Brown, Jonathan.Images and Ideas in Seventeenth-Century Spanish Painting. Princeton: Princeton University Press, 1979.
Harris, Ann S.Art and Compages of the Seventeenth Century Art. Upper Saddle River, NJ: Prentice Hall, 2004.
Stoichita, Victor I.Visionary Feel in the Golden Historic period of Spanish Art.London: Reaktion, 1997.
Source: https://www.learner.org/series/art-through-time-a-global-view/dreams-and-visions/st-francis-of-assisi/
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