Ribera
Taste
1615
- from a seires of Five Senses painted for an unknown Spanich collector
- compare to Caravaggio’s The Lute Player
- half-length view of the corpulent figure seated before a table with a stil life of food stuffs
Ribera
St. Jerome and the Angel of Judgement
1626
- the saint’s partial nudity emphasizes the fragility of his mortal self
Cotan
Still Life with Cardoon and Parsnips
after 1603
- it is reminiscent of the dark, cool pantry of Spanish domestic interiors, where comestibles were kept out of the heat and sun
- but since the painter did not represent a back wall, the niche resembles a window
Ribalta
St. Francis Embracing the Crucified Christ
1620
- represents the mystical union of the saint’s body and soul with that of Christ
Ribera
The Clubfooted boy
1642
- exemplifies the artist’s move toward a lighter palette and looser brushwork
- the card he’s holding readings “give me alms for the love of God”
- boy is not an abstract sumbol but a real-life object of charity
Zurbarán
Virgin of the Immaculate Conception
1640-50
- the parting clouds reveal didactic symbols
- Marian references continue in the landscape below
Zurbarán
Christ on the Cross (Crucifixtion)
1627
- a torn piece of paper seeminly attached at the bottom of the vertical beam bears the artist’s signature and date
Zurbarán
Still Life with Lemons, Oranges, and a Cup of Water
1633
- the keenly observed objects appearing before a black ground suggests that the painter was familiar with Cotan’s work
Zurbarán
St. Francis in Meditation
1635-40
- by concealing part of the saint’s face in the shadow of the hood, the artist raises the picture’s impact above its specific Catholic meaning to the leve lof a timelss and universal image of devotion
Montañés
Christ Carrying the Cross (Christo de la Pasión)
1619
Confradia del Christo de la Pasión, Collegiate Church of El Salvador, Seville
- dressed in real clothes garments and have movable limbs that can assume different positions
- the covered torso is left unfinished
Montañés
Christ of Clemency (Christo de la Clemencia)
1603-04
Sacristy of the chalices, Seville Cathedral
- sculpted from cedar wood
- shows Christ still alive prior to receiving the lance wound, eyes open and lips parted
Fernández
Dead Christ
1625
Museo Nacional del Prado, Madrid
- made of wood
- gives the impression of witnessing firsthand Jesus after Cruxifiction
Roldán
St. Ginés da la Jara
1692
- as he was dying, he was still preaching
- core was made of two hollow wooden sections
Roldán
Our Lady of Hope of Macerena
1680-1700
Basilica de la Macarena, Seville
- eyes are made of glass
- life size
Roldán
The Magdalen in Ecstasy
1692-99
- not life sized ( table piece)
- terracotta
- first woman to be documented as a sculptor in Spain
Velázquez
Water Carrier of Seville
1620
- the limited palette employs earthen colors that complement the down-to-earth character of the subject
Velázquez
The Feast of Bacchus (Los Borrochos)
1629
Museo Nacional del Prado, Madrid
- close scrutiny reveals evidence of random streaks of paint over the heads of the peasants-the result of the painter’s habit of cleaning his brushes and testing colors directly on the canvas in an area that would later be overpainted
Veláquez
Philip IV
1624, reworked 1627-28
Museo Nacional del Prado, Madrid
- after being rewored, the artist attained a more refined image by altering the pose, cape, hat, table, and facial features
Velázquez
Surrender of Breda
1634-35
Museo Nacional del Prado, Madrid
- borrwed from Titan the techniques of working with long handled brushes and resolving many of the pictorial problems not in drawings executed beforehand but through trial and error o nthe canvas
Velázquez
Las Meninas
1656
Museo Nacional del Prado, Madrid
- the brushstrokes range from simple washes of color and thinly dragged pgiments to think impasto highlights
