Zurbaran, Francisco de - Cup of Water and a Rose on a Silver Plate -art postcard

Art Postcard

 

• Work of art title: Cup of Water and a Rose on a Silver Plate
• Artist (if known): Francisco de Zurbaran (1598-1664)
• Media or other details:  oil on canvas
• Publisher / Gallery: National Gallery, London
• Postally used:  no - written but not posted
• Stamp & postmark details (if relevant): na
• Size: modern
• Notes & condition details:

NOTES:

Size: 'Modern' is usually around 6in x 4in / 'Old Standard' is usually around 5 1/2in x 31/2in. Larger sizes mentioned, but if you need to know the exact size please ask.

All postcards are not totally new and are pre-owned. It's inevitable that older cards may show signs of ageing and use, particularly sent through the post. Any faults other than normal ageing are noted.

Stock No.: A220

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Postage & Packing:

UK (incl. IOM, CI & BFPO): 99p

Europe: GBP 1.60

Rest of world (inc. USA etc): GBP 2.75

No additional charges for more than one postcard. You can buy as many postcards from me as you like and you will just pay the fee above once. (If buying postcards with other things such as books, please contact or wait for invoice before paying).

Payment Methods:

UK - PayPal, Cheque (from UK bank) or postal order

Outside UK: PayPal or Google Checkout ONLY please.   NO non-UK currency checks or money orders (sorry).

NOTE: All postcards are sent in brand new stiffened envelopes which I have bought for the task. These are specially made to protect postcards and you may be able to re-use them. In addition there are other costs to sending so the above charge is not just for the stamp!

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Francisco de Zurbar�n (baptized November 7, 1598; died August 27, 1664) was a Spanish painter. He is known primarily for his religious paintings depicting monks, nuns, and martyrs, and for his still-lifes. Zurbar�n gained the nickname Spanish Caravaggio, owing to the forceful, realistic use of chiaroscuro in which he excelled.

Zurbar�n was born in 1598 in Fuente de Cantos, Extremadura; he was baptized on November 7 of that year.^[2][3] His parents were Luis de Zurbar�n, a haberdasher, and his wife, Isabel M�rquez.^[3] In childhood he set about imitating objects with charcoal. In 1614 his father sent him to Seville to apprentice for three years with Pedro D�az de Villanueva, an artist of whom very little is known.^[4]

While in Seville, Zurbar�n married Leonor de Jordera, by whom he had several children. Towards 1630 he was appointed painter to Philip IV, and there is a story that on one occasion the sovereign laid his hand on the artist's shoulder, saying ""Painter to the king, king of painters."" After 1640 his austere, harsh, hard edged style was unfavorably compared to the sentimental religiosity of Murillo and Zurbar�n's reputation declined. It was only in 1658, late in Zurbar�n's life that he moved to Madrid in search of work and renewed his contact with Vel�zquez. Zurbar�n died in poverty and obscurity.

It is unknown whether Zurbar�n had the opportunity to copy the paintings of Caravaggio; at any rate, he adopted Caravaggio's realistic use of chiaroscuro and tenebrism. The painter who may have had the greatest influence on his characteristically severe compositions was Juan S�nchez Cot�n.^[5] Polychrome sculpture�which by the time of Zurbar�n's apprenticeship had reached a level of sophistication in Seville that surpassed that of the local painters�provided another important stylistic model for the young artist; the work of Juan Mart�nez Monta��s is especially close to Zurbar�n's in spirit.^[5]

He painted directly from nature, and he made great use of the lay-figure in the study of draperies, in which he was particularly proficient. He had a special gift for white draperies; as a consequence, the houses of the white-robed Carthusians are abundant in his paintings. To these rigid methods, Zurbar�n is said to have adhered throughout his career, which was prosperous, wholly confined to Spain, and varied by few incidents beyond those of his daily labour. His subjects were mostly severe and ascetic religious vigils, the spirit chastising the flesh into subjection, the compositions often reduced to a single figure. The style is more reserved and chastened than Caravaggio's, the tone of color often quite bluish. Exceptional effects are attained by the precisely finished foregrounds, massed out largely in light and shade.