James T. Wilentz

James Thomas Wilentz (/) recently (/notesandupdates) selected work (/) web archive (/webarchive) about (/about) / F i g . 1 : F r a n c i s c o d e Z u r b a r á n , S a i n t Fr a n c i s i n M e d i t a t i o n , c a . 1 6 3 5 , o i l o n c a n v a s , 9 4 x 6 8 . 5 c m . , P r i v a t e C o l l e c t i o n , N e w J e r s e y. A N E W LY UNEARTHED Z U R B A R Á N “ S T. FRANCIS” A n ew p a i n t i n g o f S a i n t Fra n c i s a t t r i b u t e d t o Fr a n c i s c o d e Z u r b a r á n [ 1 ] (f i g . 1 ) h a s e m e r ge d f ro m a p r i v a t e e s t a t e i n New J e r s ey. T h e o r i g i n a l ve r s i o n , w h i ch w a s k n ow n t h ro u g h a c o py i n t h e c o l l e c t i o n o f t h e S a n t a B a r b a r a M u s e u m o f A r t , p rov i d e s a n o p p o r t u n i t y fo r a p ro p e r c o mp a r i s o n t o s i m i l a r p a i n t i n g s o f S t . Fr a n c i s by Z u r b a r á n d u r i n g t h e 1 6 3 0 s . C o mp l e t e d ove r t h e s p a n o f t h e d e c a d e , t h i s s e r i e s o f t h e d r a m a t i c a l l y l i t Fr a n c i s , i n v a r y i n g s t a t e s o f r el i g i o u s d evo t i o n , h a s b e e n o n e o f t h e m o s t / r e c o g n i z a b l e c o r p u s e s w i t h i n t h e a r t i s t’ s o e u v r e . A cl o s e r l o o k a t t h e s e r i e s s h ow s h ow Z u r b a r á n evo l ve d t h e m o d el o f t h i s c o mp o s i t i o n ove r t i m e . T h e c u r r e n t wo rk m o s t l i kel y d a t e s t o a ro u n d 1 6 3 5 , w h i ch can be based of f its st ylistic similar it y to other renditions o f t h e s u bj e c t by Z u r b a r á n f ro m a ro u n d t h e s a m e p e r i o d . Two f u l l - l e n g t h ve r s i o n s - t h e s m a l l - s c a l e St . Fra n c i s C o n t e m p l a t i ng a S ku l l i n t h e collection of the Saint Louis A r t M u s e u m ( 3 5 x 1 2 i n . ) (f i g 3 ) , a n d a n o t h e r m u ch l a r ge r ve r s i o n , S a i n t Fra n c i s o f A s s i s i i n H i s To m b a t t h e M i l w a u ke e Fi g . 3 : Fr a n c i s c o d e Z u r b a r á n , S a i n t Fr a n c i s i n C o n t e m p l a t i o n with a Skull, ca -, oil Ar t Museum (80 5/8 x 44 5/8 i n . ) (f i g 4 ) h ave r e s p e c t i vel y o n ca nva s , 9 1 x 3 2 c m . , Sa i n t Louis Ar t Museum. / been dated to ca .1633-35 and 1 6 3 5 , i n t h e a r t i s t’ s m o s t recent cat alog raisonné. [2] Both of these paintings , as wel l a s t h e r e s t o f t h e wo rk s discussed herein all date to the 1 6 3 0 s . T h ey ex h i b i t a s i m i l a r i c o n o g r a p h i c m o d el fo u n d i n t h e p r e s e n t p i c t u r e . S t . Fr a n c i s Fi g . 4 : Fr a n c i s c o d e Z u r b a r á n , S a i n t Fr a n c i s , c a . 1 6 3 5 , o i l o n c a n v a s , 2 0 4 x 1 1 2 c m . , M i lwa u ke e A r t M u s e u m . i s s e t a g a i n s t a d a rk b a ck g ro u n d . S a i n t Fr a n c i s ’ f i g u r e d i v i d e s t h e b a ck g ro u n d i n t o t wo s e p a r a t e c o l o r s ; t h e l ef t h a l f i s f l a t b l a ck , t h e o t h e r, a t o n e o f m o s s y b row n . T h e i r d i ve r ge n c e h el p s t o accent uate the dramatically lit Fr a n c i s , w h o we f i n d d e e p l y ensconced in medit ation. / T h e s i mp l i f i e d p a l e t t e , a n d solidit y of the f igure are par t o f t h e s t a rk r e a l i s m t h a t ch a r a ch t e r i z e s Z u r b a r á n’ s S a i n t Fr a n c i s e s f ro m t h i s decade. T he painter was adher ing to the decor um of C o u n t e r- R efo r m a t i ve a r t i n S ev i l l e a t t h a t t i m e , w h i ch w a s i n f l u e n c e d by t h e w r i t i n g s o f S t . I g n a t i u s o f L oyo l a . S t . Ingnatius’ seminal publication o f E x e rc i s i a S p i r i t u a l i a e n c o u r a ge d a m o r e c o n t e mp l a t i ve a n d i n d i v i d u a l u n d e r s t a n d i n g o f t h e go s p el s . T h e u n h i n d e r e d cl a r i t y o f Z u r b a r á n’ s S a i n t Fr a n c i s e s , i n t h e i r s i mp l e a n d a r r e s t i n g fa s h i o n , w a s d e s i g n e d t o fa c i l i t a t e s u ch a m ov i n g ex p e r i e n c e . / I I . Fo r m a l a n a l y s i s a n d co m p a r i s o n Un l i ke t h e r e s t o f t h e wo rk s discussed herein, the r e n d e r i n g o f S t . Fr a n c i s i n t h i s pict ure is in a half-leng th p ro f i l e . T h e a u r a o f S t . Fr a n c i s i s t h e r e by i n c r e a s e d , p u t t i n g h i m m u ch cl o s e r t o t h e p i c t u r e p l a n e a n d t o t h e v i ewe r ’ s ow n s e n s e o f sp a c e . T h e f i g u r e s e t s a n a l m o s t i n s t r u c t i ve ex a mp l e o f p i e t y fo r t h e v i ewe r, w h o l l y immersed in medit ation. Z u r b a r á n’ s a u s t e r e p a l e t t e , w h i ch i s m a i n l y c o mp r i s e d o f b l a ck a n d b row n , a l s o a d d s t o t h e p i c t u r e ’ s s o l e m n i t y, ye t t h e s u b t l e r a n ge o f t o n e s u s e d therein is quite var ied. / T his pict ure, while c o n s i d e r e d l o s t fo r ye a r s , w a s n eve r t h el e s s k n ow n t h ro u g h a c o py i n t h e collection of the Santa Barbara Museum of Ar t ( F i g . 2 ) , o f w h i ch i s d e s c r i b e d i n D el e n d a’ s cat alog raisonné. W hile a f i n e wo rk i n i t s ow n r ig ht , it was suspected to b e a p ro d u c t o f Fi g . 2 : Fr a n c i s c o d e Z u r b a r á n a n d St u d i o , S a i n t Fr a n c i s i n M e d i t a t i o n , c a . 1 6 3 5 , o i l Z u r b a r á n’ s s t u d i o , b a s e d o n ca nva s , 9 5 x 7 0 c m . , Sa n t a B a rb a r a o n i t s l a ck o f p e n t i m e n t i Museum of Ar t. and insipid handling of tones and hig hlig hts in Fr a n c i s ’ fa c e a n d h a b i t . A cl o s e c o mp a r i s o n o f t h e t wo p i c t u r e s r eve a l s that this is indeed the case, as the tones and / d e t a i l i n g o f Fr a n c i s ’ g a r b in the Santa Barbara p i c t u r e h ave a w a t e r y, w a s h e d - o u t fe el ( F i g 2 a . ) T h e c o l o r s o f t h e c u r r e n t p i c t u r e a r e o f a m u ch r i ch e r s p e c t r u m , w h i ch i s e sp e c i a l l y s e e n i n t h e s u b t l e t o n a l ch a n ge s u s e d t o ex p r e s s t h e c o a r s e n e s s o f Fr a n c i s ’ h a b i t . B l o t ch e s o f d a rke r b row n i n t h e u p p e r h a l f o f t h e h a b i t s u g ge s t a d u s t y, we a t h e r e d q u a l i t y t o i t s s u r fa c e . I t s p a t ch wo rk q u a l i t y i s b e a u t i f u l l y c o nveye d by a m i n o r d a rke n i n g o f b row n f ro m t h e u p p e r a n d m i d d l e h a l ve s o f t h e ro b e , w h i ch i s m a d e d i s t i n c t i ve by a d el i c a t e l i n e o f s t i t ch i n g a c ro s s Fr a n c i s ’ t o r s o. T he gar ment of the c u r r e n t p i c t u r e i s s u l l i e d b u t b e a u t i f u l - r i ch i n t o n e , a n d a l m o s t s t a t u e s q u e i n Z u r b a r á n’ s c o m b i n a t i o n o f d r a p e r y a n d d e e p s h a d ow. We c a n b e t t e r s e e h ow Z u r b a r á n e n d owe d S t . Fr a n c i s w i t h a s e n s e o f n o b i l i t y i n t h e m i d s t o f h i s p e n u r y. Zurbarán u s e s a s i m i l a r ef fe c t i n h i s r e n d e r i n g o f S t . Fr a n c i s ’ h a n d s , w h i ch a r e b o t h g r i my ( a s s e e n i n Fr a n c i s ’ d i r t y f i n ge r n a i l s ) ye t el e g a n t l y p a i n t e d . / F i g . 2 a : F r a n c i s c o d e Z u r b a r á n a n d S t u d i o , S a i n t Fr a n c i s i n M e d i t a t i o n , d e t a i l o f d r a p e r y. A l i t t l e b i t a b ove Fr a n c i s ’ h a n d s , t h e fa i n t i mp r e s s i o n o f t h e S a i n t’ s ro p e b el t a n d i t s t h r e e k n o t s o f v i r t u e r e p r e s e n t i n g p ove r t y, ch a s t i t y, a n d o b e d i e n c e c a n b e m a d e o u t . I t i s s h ro u d e d i n s h a d ow, ye t r i fe i n s y m b o l i s m . I t s i n t e r s e c t i o n w i t h t h e m e m e n t o m o r i o f t h e sk u l l i n S a i n t Fr a n c i s ’ h a n d s fo r m s a c o mp o u n d e d a l l u s i o n t o t h e d evo u t a s c e t i c i s m o f w h i ch S a i n t Fr a n c i s h a d c o m e t o b e a s s o c i a t e d w i t h , d u r i n g h i s r e i nve n t i o n i n C o u n t e r- R efo r m a t i ve i m a ge r y. / Fi g . 6 : Fr a n c i s c o d e Z u r b a r á n , S a i n t Fr a n c i s , c a . 1 6 3 2 , o i l o n c a n v a s , 1 1 4 x 7 8 c m . , C o l l e c t i o n o f D r. A l e j a n d r o S h aw, B u e n o s A i r e s . O t h e r j u s t i f i c a t i o n s fo r t h e p i c t u r e ’ s a t t r i b u t i o n we r e m a d e o n t h e b a s i s o f p e n t i m e n t i a l o n g t h e c o n t o u r s o f Fr a n c i s , w h i ch c a n b e p a r t i c u l a rl y s e e n i n p e r s o n a l o n g t h e l owe r r i g h t h a n d a r e a o f t h e f i g u r e ’ s t o r s o. H e r e we s e e a c o n f i d e n t s t r e a k o f l i g h t b row n , sp l aye d o u t s i d e t h e c o n t o u r s o f t h e h a b i t , t h a t h a s b e e n l ef t u n t o u ch e d . A c o mp a r i s o n o f b o t h p i c t u r e s u n d e r i n f r a - r e d r ef l e c t o g r a p hy c o u l d p rov i d e a n i n s i g h t f u l l o o k i n t o t h e o r i g i n s o f t h i s m a rk , a n d a f u r t h e r l o o k a t Z u r b a r á n’ s ch a n ge s t h ro u g h o u t t h e c o mp o s i t i o n , h oweve r t h a t h a s ye t t o h ave b e e n c o mp l e t e d a s o f p r e s e n t . / Neve r t h el e s s , t h e e n h a n c e d s e n s e o f d e t a i l a n d t o n a l i t y o f t h e c u r r e n t p i c t u r e d o e s s e r ve u s i n l i e u i n c o mp a r i s o n t o t h e c o r p u s o f S t . Fr a n c i s e s d i s c u s s e d h e r e . Na m el y, i t i s a n s t y l i s t i c t r a n s i t i o n f ro m m o r e s i mp l i f i e d c o m b i n a t i o n s o f l i g h t a n d s h a d ow i n t h e a fo r e m e n t i o n e d f u l l l e n g t h f i g u r e s i n S t . L o u i s a n d M i l w a u ke e , a n d r i ch e r a n d m o r e s u b t l e d i s p l ay s , a s s e e n i n t h e B u e n o s A i r e s S a i n t Fra n c i s o f 1 6 3 2 ( F i g . 6 ) a n d t h e c el e b r a t e d ve r s i o n h o u s e d a t t h e Na t i o n a l G a l l e r y i n L o n d o n - w h i ch i s s e e n by m a ny t o b e a c u l m i n a t i o n o f Z u r b a r á n’ s r el i g i o u s a rd o r. ( F i g . 7) T h e d a t i n g o f t h e B u e n o s A i r e s ve r s i o n ( a s c r i b e d by t h e a r t i s t w i t h h i s s i g n a t u r e ) p r e c e d e s t h e m o r e b a s i c f u l l - l e n g t h ve r s i o n s i n S t . L o u i s a n d M i l w a u ke e , a n d i s t h e r e by i n c o nve n i e n t t o t h e n o t i o n t h a t Z u r b a r á n d evel o p e d t h i s s e r i e s o f S t . Fr a n c i s e s i n t o a n i n c r e a s i n g l y d e t a i l e d m o d el . Neve r t h el e s s , t h e ove r a l l c o r p u s a t t e s t s t o Z u r b a r á n’ s t a c t fo r s e r i a l p ro d u c t i o n i n r el i g i o u s i m a ge r y, w h i ch a s d i s c u s s e d l a t e r, w a s a h a l l m a rk t h ro u g h o u t t h e c o u r s e o f h i s c a r e e r. I t d e m o n s t r a t e s t h e c r e a t i ve i n ge n u i t y o f t h e a r t i s t , w h o w a s d evel o p i n g a c o mp o s i t i o n a l t e mp l a t e fo r d i f fe r e n t p u r p o s e s . T h e s h a r p c o n t r a s t o f l i g h t a n d s h a d ow, a n d t h e s i mp l i f i e d i c o n i c p ro f i l e o f t h e l a r ge - s c a l e M i l w a u ke e / p a i n t i n g w a s p e rh a p s s u i t e d fo r p u b l i c wo r s h i p . I n d e e d , i t s ve r t i c a l fo r m a t s u g ge s t s t h a t i t w a s i n t e n d e d fo r s h owc a s e i n a ch u rch o r a l t a r p i e c e . [ 3 ] M o r e s u mp t u o u s d e s i g n s , c o u l d c o nve r s el y h ave b e e n p r e p a r e d fo r i n d i v i d u a l d evo t i o n . Fi g . 5 : Fr a n c i s c o d e Z u r b a r á n , S a i n t Fr a n c i s K n e e l i n g , c a . 1 6 3 5 , o i l o n ca nva s , 1 1 2 x 8 9 . 5 c m . , P r ivate Collection, Milan. / Another motif in this ser ies that bears consideration is Z u r b a r á n’ s r e n d e r i n g o f S a i n t Fr a n c i s ’ fa c e . E a rl i e r ve r s i o n s s u ch a s f i g u r e s # 1 , 2 , a n d 6 d i s p l ay S a i n t Fr a n c i s i n a m o r e s t o i c fa s h i o n . H i s eye s a r e cl o s e d i n c o n c e n t r a t i o n , a l a ck o f e m o t i o n i s fel t i n h i s s t e a d y, p a r a l l el eye b row s . M o r e i mp o r t a n t l y, h i s fa c e i s n e a rl y o r e n t i r el y s h ro u d e d i n s h a d ow. T h e c u r r e n t p i c t u r e , h oweve r, i s t h e d i r e c t o p p o s i t e - l i g h t h a s n ow b e e n c a s t u p o n t h e fa c e o f S t . Fr a n c i s , a l o n g w i t h t h e fa c i a l l y s i m i l a r S a i n t Fra n c i s K n e el i ng ( F i g . 5 ) . I n t h e s e t wo p i c t u r e s , Fr a n c i s ’ ex p r e s s i o n i s n ow t r a n sf i xe d , a n d c r e a t e s a h e i g h t e n e d s e n s e o f d evo t i o n . H e r e i s f i r s t ev i d e n c e o f Z u r b a r á n’ s ex p e r i m e n t a t i o n w i t h Fr a n c i s ’ c o u n t e n a n c e , w h i ch h a d u n t a p p e d e m o t i o n a l r e s o n a n c e w i t h i n t h e d e s e n s i t i z e d ch a m b e r t h a t Z u r b a r á n h a d c r e a t e d a ro u n d h i m . T h e m o t i f o f t h e l i t fa c e , h e r e i n , a l s o fo r m s a l i n k t o Z u r b a r á n’ s fa m o u s ve r s i o n o f S t . Fr a n c i s i n L o n d o n ( F i g . 7 ) . I n t h e L o n d o n p i c t u r e , t h e h e a d o f S t . Fr a n c i s i s n ow a s y n t h e s i s o f l i g h t a n d d a rk . D r aw i n g f ro m t h e e a rl i e r u n l i t m o d el s , a n d t h e l i t m o d el o f t h e c u r r e n t p i c t u r e , we a r e n ow p r e s e n t e d w i t h a Fr a n c i s w h o i s h a l f w ay s h ro u d e d i n l i g h t . T h e r e s u l t o f t h i s i s s y m b o l i c a l l y / ex p l o s i ve - Fr a n c i s i s n o t o n l y d el i c a t el y s i t u a t e d b e t we e n l i g h t a n d d a rk , b u t p e rh a p s b e t we e n l i fe a n d d e a t h , a s h e m e d i t a t e s o n h i s f r a g i l e m o r t a l i t y. Fi g . 7 : Fr a n c i s c o d e Z u r b a r á n , S a i n t Fr a n c i s i n E c s t a c y , c a . 1 6 4 0 - 4 5 , o i l o n ca nva s , 1 5 2 x 9 9 c m . , Nat i o n a l G a l l e r y, L o n d o n . I I I . Z u rb a rá n’s Wo rk i ng M eth o d s / A s m e n t i o n e d p r ev i o u s l y, t h e s i m i l a r c o n s t r u c t i o n s o f Z u r b a r á n’ s S a i n t Fr a n c i s p i c t u r e s s h ow h i s s t y l i s t i c t e n d e n c y fo r s e r i a l i t y - c r e a t i n g s i m i l a rl y f i g u r e d s u bj e c t s w h o s e p o s e s c o u l d b e r ewo rke d a n d i n t e r ch a n ge d . I n d e e d , t h i s w a s by n e c e s s i t y, a s Z u r b a r á n f i r s t e s t a b l i s h e d h i m s el f by p a i n t i n g m u l t i - wo rk c o m m i s s i o n s o f S a i n t s a n d r el i g i o u s s c e n e s fo r m o n a s t e r i e s . H i s i n i t i a l s u c c e s s h a d h i n ge d o n h i s a g i l e a b i l i t y t o p a i n t ef fe c t i ve i c o n o g r a p hy i n a m a n n e r t h a t w a s a c c u r a t e , ef f i c i e n t , a n d m o s t i mp o r t a n t l y e c o n o m i c a l . A s J o n a t h a n B row n n o t e s i n h i s e s s ay, “ Pa t ro n a ge a n d P i et y : Rel i g i o u s I m a ge r y i n th e A r t o f Fra n c i s co d e Z u rb a rá n ,” Z u r b a r á n’ s b r e a k t h ro u g h c o m m i s s i o n fo r t h e D o m i n i c a n s o f S a n Pa b l o i n 1 6 2 6 w a s p a r t i a l l y d u e t o h i s w i l l i n g n e s s t o t a ke o n t h e p roj e c t fo r a p r i c e “ t h a t w a s wel l b el ow t h e c u s t o m a r y fe e p a i d t o e s t a b l i s h e d p a i n t e r s .” [ 4 ] Z u r b a r á n’ s e m b r a c e o f c o mp o s i t i o n a l m o d el s , h oweve r, wo u l d m o s t e g r e g i o u s l y t a ke fo r m i n h i s m a n u fa c t u r i n g o f p o r t r a i t s o f S a i n t s a n d A n gel s fo r t h e d evel o p i n g m a rke t fo r r el i g i o u s p o r t r a i t u r e i n t h e New Wo rl d , t h e b e g i n n i n g s o f w h i ch a l s o o c c u r r e d i n t h e 1 6 3 0 s . Z u r b a r á n’ s p ro d u c t i o n a p p ro a ch t ow a rd s t h i s sp e c u l a t i ve m a rke t w a s t o favo r q u a n t i t y ove r q u a l i t y. / G e n e r i c m o d el s o f v a r i o u s S a i n t s a n d A n gel s we r e d e s i g n e d t o b e ch u r n e d o u t by Z u r b a r á n’ s s t u d i o , s o a s t o a p p e a l t o a s w i d e a n audience as possible. T h i s r a n ge o f S t . Fr a n c i s e s , h oweve r, a r e c o n s i d e r e d t o b e p r i m a r i l y by t h e m a s t e r ’ s h a n d , c r e a t e d ove r t h e c o u r s e o f a d e c a d e , a n d o f a m u ch b e t t e r q u a l i t y. Neve r t h el e s s , t h ey s h ow h i s a c u m e n fo r c r e a t i n g b o t h a n ef fe c t i ve a n d c o m m e r c i a l l y v i a b l e i m a ge t h a t c o u l d b e r e c r e a t e d . T h e s e S t . Fr a n c i s e s we r e m o s t l i kel y c o m m i s s i o n s fo r t h e p ro s p e ro u s m o n a s t a r i e s , t h a t a l m o s t excl u s i vel y fo r m e d Z u r b a r á n’ s p a t ro n a ge d u r i n g t h i s p e r i o d . S ch o l a r s h i p o f t h e s e p i c t u r e s h a s l i n ke d t h e m t o t h e C a p u t i a n o rd e r, w h i ch i s r efe r e n c e d i n t h e p o i n t e d h o o d o f t h e h a b i t , w h i ch t h ey ch a mp i o n e d a s a c c u r a t e t o t h e g a r b o f t h e o r i g i n a l Fr a n c i s c a n s . T h e p a t ch wo rk n a t u r e o f S t . Fr a n c i s ’ h a b i t i s a l s o a r efe r e n c e t o “el p ov e r i l l o ” i d e n t i t y ( “ l i t t l e p o o r m a n ” ) , w h i ch w a s c e n t r a l t o t h e C a p u t i a n s ’ a s c e t i c b el i efs . I n t h e p r e c e d i n g a ge , S t . Fr a n c i s w a s p o r t r aye d i n a m o r e b e n evo l e n t m a n n e r- t h e ch a r i t a b l e m a n , a n d l ove r o f animals. G i ov a n n i B el l i n i ’ s S a i n t Fra n c i s i n th e D e s e r t w a s p e rh a p s t h e d ef i n i t i ve i m a ge o f Fr a n c i s a n d h i s m i r a c u l o u s / s t i g m a t i z a t i o n . I n C o u n t e r- R efo r m a t i ve S p a i n , h oweve r, p r e s c r i p t i o n s fo r h i s i c o n o g r a p hy wo u l d u n d e r go a r a d i c a l r e c o n f i g u r a t i o n , w h i ch e mp h a s i z e d t h e m o r e s a c r i f i c i a l a s p e c t s o f Fr a n c i s ’ fa i t h - t h e p ove r t y a n d s e cl u s i o n t h a t h e ch o s e i n s e r v i c e o f go d . I t i s n o t c o i n c i d e n t a l t h e n , t h a t Z u r b a r á n’ s s t r i p p e d d ow n a p p ro a ch wo u l d b e s t s u i t s u ch a n a s c e t i c f i g u r e . I n Fr a n c i s , Z u r b a r á n fo u n d a n o p t i m a l s u bj e c t w h o w a s n o t o n l y a c el e b r a t e d s u bj e c t i n C h r i s t i a n a r t a t t h e t i m e , b u t o n e w h o w a s t y p i c a l l y depicted in isolation. A s seen in the pict ures presented here, Z u r b a r á n’ s Te n e b r i s t m o d el c o u l d t h e r e u p o n p l ay u p o n t h e n u a n c e s o f h i s p i e t y, c r e a t i n g d i r e c t a n d a u s t e r e i m a ge s t h a t e n h a n c e d t h e s t o r y o f S t . Fr a n c i s ’ d evo t i o n a l solitude. Z u r b a r á n t h e r e i n , fo u n d a s we e t s p o t i n t h i s s e r i e s o f S t . Fr a n c i s e s , b e t we e n h i s u n i q u e c r e a t i v i t y a n d t h e d e m a n d s o f t h e m a rke t . T h ey a r e a l l v a r i a t i o n s o n a p o p u l a r s u bj e c t t h a t we r e d i f fe r e n t c o mp o s i t i o n a l l y b u t a l l s h a r e d a s i m i l a r i n t e n s i t y o f t h e m a s t e r ’ s t o u ch . T h ey we r e t r a d e m a rk i m a ge s - b o t h s a t i sf y i n g / m a rke t d e m a n d a n d a c t i n g a s c a l l i n g c a rd s , a n d a p ro d u c t i o n m o d el t h a t h e wo u l d l a t e r r ewo rk i n h i s r e n d i t i o n s o f S t . Fr a n c i s amidst landscapes dur ing the 1640s and 50s. V. Po s t - s c r i p t T h e c u r r e n t p a i n t i n g ’ s ow n e r s h i p h i s t o r y d a t e s b a ck t o t h e e a rl y 2 0 t h c e n t u r y, w h e r e i t w a s f i r s t l i s t e d w i t h t h e D av i d Ko e t s e r galler y in L ondon. It was thereupon sold at Chr istie’s in L ondon o n A p r i l 1 , 1 9 3 8 a s l o t 3 8 , t i t l e d Z u rb a rá n : A Fra n c i s c a n M o n k h o l d i ng a S ku l l . T h e p a i n t i n g w a s t h e n a c q u i r e d by t h e New Yo rk c o l l e c t o r R i ch a rd G o e t z . I n 1 9 5 2 , i t e n t e r e d t h e e s t a t e o f i t s c u r r e n t ow n e r, by d e s c e n t ; w h e r e i t h a s r e m a i n e d i n o b s c u r i t y. / Fig. 8: Photo of Richard Goetz and his ar t collection ( S a i n t Fr a n c i s d e p i c t e d t o t h e l e f t ) , c o u r t e s y L i f e M agaz i n e d i g i t a l a rch i ve s . T h e p a i n t i n g ’ s 1 9 5 0 p u r ch a s e by G o e t z , a New Yo rk b a s e d a r t c o l l e c t o r ( F i g . 8 ) i s a n o t h e r t e s t a m e n t t o t h e r e s u r ge n c e o f Z u r b a r á n i n A m e r i c a t ow a rd s t h e s e c o n d h a l f o f t h e 2 0 t h c e n t u r y. Z u r b a r á n h a d s i n c e l a g ge d b eh i n d Vel a z q u ez , G oy a a n d Mur illo dur ing the g reat per iod of Amer ican collecting of S p a n i s h a r t d u r i n g t h e G i l d e d A ge . Ye t r i s i n g i n t e r e s t i n t h e a r t i s t , sp u r r e d by a 1 9 1 6 t r a n s l a t i o n o f J o s é C a s c a l e s y M u ñ oz ’ s m o n o g r a p h wo u l d l e a d t o a p ro l i f i c s t r e a k o f c o l l e c t i n g o f h i s wo rk s f ro m a b o u t 1 9 2 0 - 1 9 7 0 . M aj o r p u r ch a s e s i n cl u d e d t h e M e t ro p o l i t a n M u s e u m ’ s B a t t l e b et w e e n C h r i s t i a n s a n d M o o r s a t E l S o t i l l o ( 1 9 2 0 ) , t h e m o n u m e n t a l C r u c i f i x i o n by t h e A r t I n s t i t u t e o f C h i c a go ( 1 9 4 7 ) , t h e S a i n t S e ra p h i o n o f t h e Wa d s wo r t h A t h e n e u m ( 1 9 5 1 ) , a n d No r t o n Si m o n’ s m a g n i f i c e n t St i l l L i fe w i th L e m o n s i n 1 9 7 2 ; fo r w h i ch Si m o n p a i d t h e t h e n a s t o u n d i n g p r i c e o f $ 3 m i l l i o n US D . [ 5 ] / T h e s t o r y o f t h i s r ev i v a l i s t h e s u bj e c t o f Z u rb a rá n a n d A m e r i c a , a c u r r e n t ex h i b i t i o n o n v i ew a t t h e Pa l a z z o d e i D i a m a n t i i n Fe r r a r a , w h i ch i s c o m m e m o r a t i n g t h e 3 5 0 t h a n n i ve r s a r y o f t h e a r t i s t’ s d e a t h t h ro u g h 2 0 1 4 . A s t h e a r t h i s t o r i a n J o h n M a r c i a r i n o t e d , Z u r b a r á n h a s : “ t r a n s c e n d e d ‘o l d m a s t e r ’ s t a t u s a n d h i s wo rk s g row i n c r e a s i n g l y p o p u l a r w i t h A m e r i c a n m u s e u m go e r s fo r w h o m g a l l e r i e s o f B a ro q u e p a i n t i n g s wo u l d o t h e r w i s e fa i l t o b e a n a t t r a c t i o n . T h e r e c a n b e few a r t i s t s w h o s e r e p u t a t i o n s i n A m e r i c a h ave s e e n a g r e a t e r ch a n ge ove r t h e p r ev i o u s c e n t u r y.” [ 6 ] [ 1 ] A t t r i b u t i o n t o t h e a r t i s t h a s b e e n m a d e by O d i l e D el e n d a , a u t h o r o f t h e Z u r b a r á n c a t a l o g r a i s o n n é , a n d W i l l i a m B . J o rd a n , a n o t e d s ch o l a r o n t h e a r t i s t . D r. X av i e r B r ay h a s s u g ge s t e d a n at tr ibution to “Zurbarán and St udio” [ 2 ] S e e D el e n d a , O d i l e . Fra n c i s co D e Z u rb a rá n : P i n t o r 1 5 9 8 - 1 6 6 4 . Pa r i s : W i l d e n s t e i n I n s t i t u t e , 2 0 1 0 . Vo l . I I , p p . 2 7 0 , 3 6 0 . [ 3 ] A m o r e d e t a i l e d ve r t i c a l m o d el o f S t . Fr a n c i s , St . Fra n c i s Fo l l ow i ng th e Vi s i o n o f Fa th e r N i ch o l a s V w a s p ro d u c e d i n m u l t i p l e ve r s i o n s by Z u r b a r á n a ro u n d t h i s p e r i o d . I n t h e i n t e r e s t o f / b r ev i t y, i t h a s b e e n o m i t t e d h e r e . [ 4 ] B row n , J o n a t h a n . “ Pa t ro n a ge a n d P i e t y : R el i g i o u s I m a ge r y i n t h e A r t o f Fr a n c i s c o d e Z u r b a r á n ,” i n Z u rb a rá n , e d . B a t i cl e , J e a n n i n e . New Yo rk : M e t ro p o l i t a n M u s e u m o f A r t . 1 9 8 7 , p . 2 . [ 5 ] M a rc i a r i , J o h n . " Z u r b a r á n a n d A m e r i c a . " A R S M a gaz i n e 2 0 (2013): 144. [6] Ibid. All (/) R e s e a rc h i n g P a l m a G i o v a n e ( / re s e a rc h i n g palma-giovane) Tr a n s l a t i o n o f " A l t re S t a n z e : A N N I ‘ 5 0 - 6 0 " ( / t r a n s l a t i o n a l t re s t a n z e ) L o re n z o L o t t o ' s e n i g m a t i c " Ve n u s a n d C u p i d " ( / l o re n z o l o t t o c e n u s a n d c u p i d ) A Zurbarán discovery (/a-zurbarn-discovery) Goy a's "Sleep of Reason" and the daze of o u r d a y s ( / go y a l o s c a p r i c h o s ) /