The Crucifixion

Submitted By LeoItaly1992
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Francisco De Zurbarán “The Crucifixion”, 1627 Art since history has had its basis on actual events in history. Historical events, societies and ideologies act as influential factors to art. For instance, historical societies and leaders influenced most globally renowned paintings. In addition, sculptures followed social ideologies and influential figures in society during these periods. These arts act as social mirrors because they portray occurrences and believe in society during their time of making. Paintings and sculptures can give us an insight of what life and or a moment was like just by viewing it. Many times art can be a way to express a feeling or belief. For instance, a piece can be political or religious piece of art. An exceptionally good piece of art can captivate and strike a chord inside an individual. One truly extraordinary piece of artwork from the early 1600s is The Crucifixion 1627, by Francisco De Zurbaran. Though there were numerous pictures and collections from other global artists, none captured my imagination and interest than The Crucifixion. The Crucifixion is an enormous picture of a crucified Jesus, made on canvas using oil based paints. This picture is a symbol of Christianity, which reflected the Christian background of the artists. To begin, it is crucial to understand the artist behind the piece. “Francisco de Zurbarán was born in Fuente de Cantos, Spain on November 7, 1598. He apprenticed in 1916 with a partner, in Seville. Zurbaran was a painter of the baroque style of painting. He lived there until he moved to Madrid in 1659. He spent most of his life making Christian influenced paintings. His work combined religious sensibility with naturalism. He died on August 17, 1664 in Madrid.” During his 11 years in Llerena, Spanish Quietism, a religious movement that trained inner withdrawal on the discovery of God in humble and submissive silence, and the application of penitential exercises in subduing the senses and calming the intellect, influenced Zurbaran’s piety. Although this pressure had an intense effect on his art, it did not limit his artistic activities (Harris 57). During this period, artistic contracts were numerous, and Zurbaran did not have limitations with his contacts. He had many contacts that he would assign as his assistants. He commuted to Seville in order to make paintings for the Trinitarians, Dominicans, and Franciscan and Mercedarian monasteries. The Crucifixion is an intensely religious piece that truly almost seems three-dimensional. It makes one feel as if they are standing in front of the cross watching Jesus drape down. Each muscle has a careful definition in the painting, and Jesus’ body appears real life. This could be because of the size of the painting. The actual painting itself is Oil on canvas and 114 5/16 x 65 3/16 inches (290.3 x 165.5 cm). The canvas at the museum appears as it originally hung, with its upper part arched. This considerably reinforces the impact and influence of the crucified body on the painting. It once was intended to stand in front of an altar at a Catholic church. This painting single handedly made his career. His qualities and capabilities were in demand throughout his career. In 1626, he gained the commission to paint 21 pictures for the community of San Pablo el Real in Seville, with eight months for completing the paintings. Zurbaran used a baroque style technique. Which was similar to other baroque styles of art used in Bernini’ and Caravaggio’s artwork. Much like Caravaggio’s work The Crucifixion is an excellent example of a form of chiaroscuro. This technique emphasizes the use of light and intense dark contrast, in an effort to distinguish mood. This aspect depended on the demands from the Counter-Reformation in the 16th century. Painters were no longer encouraged to depict the Crucifixion as a multitude scene, and sometimes as a mob scene. Christ appeared alone, on the cross,
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