School of Seville

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School of Seville
1575-1625
Moving
towards naturalism and tenebrism

Most prosperous Spanish town Before 1600
Francisco Pacheco
The Academy of Pacheco, library, collections,

Arte de la Pintura and Libro de description de

verdaderos retratos de
ilustres e
memorables varones
Art as a vehicle for
defending faith
Iconography
number of nails on the cross
1618 -
overseer of sacred images for the Inquisition
Velasquez, Francisco Pacheco? o/c, 1618-1620 40 x
36 cm
After 1600 Juan de Roelas
Diego Velasquez
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Giotto
Francisco Pacheco (1564-1644) Lo Judici Final
("The Last Judgment"), oil on canvas, 3,40x2,36
m.
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Libro de description de verdaderos retratos
de ilustres e memorables varones


Francisco Pacheco
Don Diego González de Mendoza, 23 x 18
cm, Private collection, Seville
Dominico
Francisco Pacheco Pedro de Campaña (Pieter
Kempeneer)1600-1620Engraving
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Francisco Pacheco
Immaculada 1621-1635.
Immaculada 1620
Christ on the Cross 1614 Lienzo. 58 x 37 cm
Oleo sobre lienzo. Palacio Arzobispal. Sevilla.
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Juan de Uceda
La Inmaculada con San José, San Benito y san
Francisco. 1625 Oleo sobre lienzo. Church of San
Vicente. Sevilla.
La Trinidad en la tierra. 1623. Oleo sobre
lienzo. Church of San Vicente. Sevilla.
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Juan de Roelas (1560-1625) Adoration of the
Name of Jesus c. 1604-05Oil on canvas 574 x 335
cm University Chapel, Seville Central painting
for main altarpiece Catholic Europe formula
(earthly v. heavenly zone) new fluidity Ease
and graceful movement Rounded forms Varied
expressions Light and shadow dramatic
effect Impastos and highlights
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Juan de Roelas The Martyrdom of St Andrew c.
1612Oil on canvasMuseo de Bellas Artes, Seville
interest in naturalism, rejection of formalistic
representation revealed in the vitality of the
details
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Juan de Roelas
Vision of St Bernard1611Oil on canvas, 252 x
166 cmHospital de San Bernardo, Seville
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Diego Velasquez (1599-1660) 1610 Apprenticed to
Pacheco 1617 admitted to painters guild 1618
marries daughter of Pacheco Radical break with
local artistic tradition
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Diego Velasquez Old Woman Frying Eggs 1618Oil
on canvas, 101 x 120 cmNational Gallery of
Scotland, Edinburgh
genre scenes for which there are no known
precedents in Seville
Peasants at the Table (El Almuerzo)c. 1620Oil
on canvas, 96 x 112 cmMuseum of Fine Arts,
Budapest
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D. Velasquez Christ in the House of Mary and
Martha c. 1620Oil on canvas, 60 x 103,5
cmNational Gallery, London
Use of light Northern influences of genre
painting Inversion (mundane v. religious) The
Biblical scene in the background, bathed in a
mild light and exuding an atmosphere peace and
calm, are contrasted with the foreground image
of loud and busy work.
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Velazquez Water Carrier of Seville,
1619 oil on canvas

42 x 31 7/8
Caravaggesque (tenebrism, naturalism, close up,
limited palette, subtle color harmonies)
Dignity of ordinary people Light (optical
properties)
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Diego Velasquez
Abbess Jerónima de la Fuente 1620Oil on canvas,
162 x 107,5 cmMuseo del Prado,
Madrid Psychological depth space
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Diego Velázquez The Buffoon Pablo de
Valladolid1636-37oil on canvas 213x125cmThe
Prado
space
The Tragic Actor (Rouvière as Hamlet),
186566Édouard Manet Oil on canvas 73 3/4 x
42 1/2 in
Jose de RIBERA The Clubfoot1642Oil on canvas
http//www.mystudios.com/velazquez/pablo/velazquez
-pablo.html
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School of Seville 1625-1640
Art of immediacy
Velasquez leaves Seville in 1623 Roelas
dies Duke of Alacalá imports the works of Jose
Ribera- revitalization of religious
art Francisco de Herrera, the Elder
(1590-1656) Francisco de Zurbarán (1598-1664 )
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Francisco de Herrera the elder St Bonaventure
Enters the Franciscan Order 1628Oil on canvas,
231 x 215 cmMuseo del Prado, Madrid
Francisco de ZURBARÁN
St Bonaventure at the Council of
Lyon 1629-30 o/c, 250 x 225 cm Louvre
Commission for the Franciscan Colegio de San
Buenaventura
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Francisco de ZURBARÁN
Christ on the Cross, 1627 291 x 165 cm Chicago,
Art Institute
Saint Luke as a Painter before Christ on the
Cross c. 1660Oil on canvas, 105 x 84 cmMuseo
del Prado, Madrid
Pull to the left to counteract Pachecos 4 nails
effect
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ZURBARÁN
Crucifixion, 1650s. Oil on canvas
Christ on the Cross (Why have you abandoned me)
1630-35 Óleo sobre Lienzo255 x 193 cm.
Son pinturas muy tenebristas en las que sobre un
fondo oscuro se destacan con enorme fuerza
plástica, casi escultórica, las figuras de Cristo
crucificado con cuatro clavos, tal como
preconizaba Pacheco que debía ser representado.
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Francisco de ZURBARÁN
St Peter of Nolascos Vision of the Crucified St.
Peter 1629, Oil on canvas, 179 x 223 cmMuseo del
Prado, Madrid
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Hercules, 1623
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Francisco de ZURBARÁN Adoration of the
Shepherds 1638 267 x 185 cm
Unconventional perspective Unconventional types
Domenichino, 1607-08
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Francisco de ZURBARÁN
Adoration of the Magi1639-40Oil on canvas, 264
x 176 cmMusée des Beaux-Arts, Grenoble
Velasquez
The Adoration of the Magi. 1619
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Francisco de ZURBARÁN
Vision of brother Andrés Salmerón (for the
Guadalupe Hieronymites) 1639-40 290 x 222
cm Guadalupe Monastery
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Immaculate Conception-Oil on canvasMuseo
Cerralbo, Madrid
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St. Apollonia.c. 1620-1664 o/c
Francisco de ZURBARÁN
Ad 248 alexandria
Santa Casilda, c. 1630-1635Oil on canvas171 x
107 cm
Saint Isabel of Portugal.1630-1635Oil on Canvas
Saint Margaret of Antioch 1630-34, o/c
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St Catherine 1640s Canvas 32 1/2 x 24 1/2 in
Alonso Cano (1601 1667)
Italianate style
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Alonso Cano

• Saint John the Evangelist's Vision of Jerusalem
• c. 1635 - c. 1638
• Oil on canvas
• 83 x 45 cm

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Alonso Cano
St John the Evangelist1636Oil on canvas, 53 x
35 cmMusée du Louvre, Paris