| Saint Francis of Assisi according to Pope Nicholas V's Vision | |
|---|---|
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| Artist | Francisco de Zurbarán |
| Year | 1640 |
| Type | Oil on canvas |
| Dimensions | 203 cm × 162 cm (80 in × 64 in) |
| Location | Nationalmuseum, Stockholm |
| Owner | Nationalmuseum, Stockholm |
Saint Francis of Assisi according to Pope Nicholas V's Vision is a painting made by Francisco de Zurbarán, (1598–1664), Spanish painter of Barock religious images, who was working mainly in Seville, Spain in and South-America.
Painting edit
The painting is depicting Francis of Assisi standing upright in his grave, after circa hundred years of his death. Zurbarán, contrary to many Barock painters of his time, was using mostly restrained colors. The compositions of his works are generally austere and simple.[1][2] The Barock style was an exhuberant artistic style using means to involve, impress and move the viewer's senses. The painter, while more resticted in his manner, still make use of the Barock ers's stylistic tools, creating impact that the meant to impress the wiever: the light on the face of the saint who is depicted with shocking realism, is falling from the side, creating dramatic shadows.
this austerity, combined with precise detail and strong, theatrical lighting, gives his sacred figures an intense, almost mystical presence. This image may, in fact, represent a vision reportedly seen by Pope Nicholas V two hundred years after Saint Francis's death in 1226: the undecayed body of the saint standing in his burial crypt as though living.
http://www.mfa.org/collections/object/saint-francis-32662 rigorously
its message St. Francis of Assisi by Pope Nicholas V's vision is a picture of Francisco de Zurbarán painted around 1640 now part of the permanent collection of the National Art Museum of Catalonia ; was acquired by the museum in 1905. [1] Description [ amended | edit code ]
The static effigy of St. Francis rises in the central position in front of the canvas just when emerging from the darkest abyss of death. A powerful light bulb shapes from the left and fold volumes of coarse cloth hiding his body, while his face, his mouth ajar and eyes raised to heaven, it appears, between light and darkness, immersed in cavity of the hood. On the right side, on the surface of the habit, there appears the stigma with which flattered Christ. Analysis [ amended | amending code ] This image is inspired by the amazing discovery of the saint's incorrupt body by Pope Nicholas V in 1449 the crypt of the basilica of Assisi. The Jesuit Pedro Ribadeneyra recounted the episode in his Flos sanctorum of 1599: "[...] Right foot was [...] Abiertos ADVISED los ojos como person alive and alçados hazia Heaven [...] Cubiertas con las manos las In front of the manga habit pecho como las menores Frayles acostumbran traer them [...]. " In the early seventeenth century, Thomas de Leu recorded scene gradually and cheerful medieval poet became an ascetic after-Trent, as they wanted presented to the Franciscans: a patron saint the discretion to invite counter- rigorous penance. Zurbarán stage without finding the mummy of St. Francis, limited view, abstractly and without stories, the body intact. Three known versions of this invention outputs the master of the brush frontier: this wonderful painting, the Musée des Beaux-Arts de Lyon and the Museum of Fine Arts Boston. [2]
http://www.mfa.org/collections/object/saint-francis-32662
- ^ . www.khanacademy.org https://www.khanacademy.org/humanities/monarchy-enlightenment/baroque-art1/beginners-guide-baroque1/a/baroque-art-in-europe-an-introduction. Retrieved 2015.
{{cite web}}: Check date values in:|accessdate=(help); Missing or empty|title=(help) - ^ [In the context of the painting, for example, the stark realism of Zurbaran’s altarpieces, the quiet intimacy of Vermeer’s domestic interiors, and restrained classicism of Poussin’s landscapes are all “Baroque” ... regardless of the absence of the stylistic traits originally associated with the term]