Displaying 1 - 6 of 6
Painting
A series of vessels, of metal and pottery, are lined up on a shelf or ledge. The other protagonist is the light, thanks to which the objects stand out against the blackness of the background, modelling the volumes and contrasting the colours. This pictorial composition that radiates serenity and silence, in which time stands still, invites a conceptual reading that takes us into realms very close to those proposed by avant-garde art, and a superb example of the still-life genre in the painting of the Spanish Golden Age and of the taste for what is essential in Zurbarán's art.
Painting
Four natural-sized quinces stand out from a black background, while a focus of light models, from the left, the fruit, that reflects its golden colour in the metal edge of the plate where they are placed. Below on the right, in the foreground, there is a white canvas. The original canvas has been recovered and the radiographic studies suggest that at one time it was cut out from another to turn it into an independent painting. Maybe it was a detail from a religious setting of a domestic interior with the plate of fruit the allusion to the Redemption, something frequent in the production of Zurbarán. There are discrepancies regarding the chronology. The pictorial execution and composition situate the canvas around the year thirty of the 17th century, even though it could also be related to the works from the last period of the artist.
![image for: Francisco de Zurbarán - Immaculada Concepció - 1632 [1]](https://www.museunacional.cat/sites/default/files/styles/resize_500x500/public/images/art_piece/first_gallery/34313/065578-000_18394.JPG "Francisco de Zurbarán - Immaculada Concepció - 1632 [1]")
![image for: Francisco de Zurbarán - Immaculada Concepció - 1632 [2]](https://www.museunacional.cat/sites/default/files/styles/resize_500x500/public/images/art_piece/first_gallery/34313/065578-000_18399.JPG "Francisco de Zurbarán - Immaculada Concepció - 1632 [2]")
![image for: Francisco de Zurbarán - Immaculada Concepció - 1632 [3]](https://www.museunacional.cat/sites/default/files/styles/resize_500x500/public/images/art_piece/first_gallery/34313/065578-000_18401.JPG "Francisco de Zurbarán - Immaculada Concepció - 1632 [3]")
![image for: Francisco de Zurbarán - Immaculada Concepció - 1632 [4]](https://www.museunacional.cat/sites/default/files/styles/resize_500x500/public/images/art_piece/first_gallery/34313/065578-000_18422.JPG "Francisco de Zurbarán - Immaculada Concepció - 1632 [4]")
![image for: Francisco de Zurbarán - Immaculada Concepció - 1632 [5]](https://www.museunacional.cat/sites/default/files/styles/resize_500x500/public/images/art_piece/first_gallery/34313/065578-000_18425.JPG "Francisco de Zurbarán - Immaculada Concepció - 1632 [5]")
Painting
The Immaculate Conception represents Mary as the only mortal being free of original sin. This is a long-established Catholic doctrinal argument, frequently depicted in the painting of the Spanish Golden Age. Mary appears standing on five cherubim occupying a half moon. She is wearing a necklace with the anagram A(ve) M(aria), while a host of stars and angels emerge from the clouds in the halo around her head. On either side are angels with lilies, roses (attributes of purity) and tablets with inscriptions from the 'Song of Songs'. At the sides are two collegiates and symbols alluding to Mary: the Unblemished Mirror, Jacob's Ladder, Gates of Heaven and Morning Star. Zurbarán painted several versions of this theme, but this one is unquestionably the best.
Painting
Aquesta obra forma part de l'exposició "Diàlegs intrusos". Visita'n l'itinerari virtual a l'app Second Canvas.
