{"data":{"id":80084,"api_model":"artworks","api_link":"https:\/\/api.artic.edu\/api\/v1\/artworks\/80084","is_boosted":true,"title":"The Crucifixion","alt_titles":null,"thumbnail":{"lqip":"data:image\/gif;base64,R0lGODlhAwAFAPMAABIODxQREBURERUSERYSERgTEhkVExwXFR4ZFRwYFh4ZFiQfGiokHjQsIzs1LAAAACH5BAAAAAAALAAAAAADAAUAAAQL8DBUGgIOjTWGGREAOw==","width":9583,"height":16906,"alt_text":"A work made of oil on canvas."},"main_reference_number":"1954.15","has_not_been_viewed_much":false,"boost_rank":null,"date_start":1627,"date_end":1627,"date_display":"1627","date_qualifier_title":"","date_qualifier_id":null,"artist_display":"Francisco de Zurbar\u00e1n (Spanish, 1598\u20131664)","place_of_origin":"Spain","description":"<p>In 1626 the Dominican monastery of San Pablo el Real in Seville, Spain, commissioned the young Francisco de Zurbar\u00e1n to execute a cycle of paintings including <em>The Crucifixion<\/em>. This work was installed in a dimly lit space in the monastery and was visible to visitors through a grill. Early commentators remarked on its powerful illusion of three-dimensionality, as though it was a sculpture rather than a painting. The dramatically illuminated figure of Christ, set against a dark, empty background, appears outside of time and place, both idealized in its quiet beauty and humanized by the individualized face and insistent realism.<\/p>\n","short_description":null,"dimensions":"290.3 \u00d7 165.5 cm (114 5\/16 \u00d7 65 3\/16 in.); Framed: 339.1 \u00d7 212.1 \u00d7 14 cm (133 3\/8 \u00d7 83 1\/2 \u00d7 5 1\/2 in.)","dimensions_detail":[{"depth":null,"width":165,"height":290,"diameter":null,"clarification":null},{"depth":14,"width":212,"height":339,"diameter":null,"clarification":"Framed"}],"medium_display":"Oil on canvas","inscriptions":"Signed and dated bottom center: Franco Dezur \/ Fa 1627 (on a scrap of paper at the foot of the cross)","credit_line":"Robert A. Waller Memorial Fund","catalogue_display":null,"publication_history":"Antonio Palomino de Castro y Velasco, El Museo pict\u00f3rico y escala \u00f3ptica, vol. 3, El Parnaso Espa\u00f1ol pintoresco laureado (Madrid, 1724), p. 355; translated by Nina Ayala Mallory as Lives of the Eminent Spanish Painters and Sculptors (Cambridge, 1987), pp.184, 185 n. 8.\n\nAntonio Ponz, Viaje de Espa\u00f1a, vol. 9 (Madrid, 1786), pp. 89-90; reprinted Madrid, 1947, p. 785.\n\nD. Juan Agust\u00edn Ce\u00e1n Berm\u00fadez, Diccionario Historico de los m\u00e1s Ilustres Profesores de las Bellas Artes en Espa\u00f1a (Madrid, 1800), p. 50.\n\nWilliam Stirling[-Maxwell], Annals of the Artists of Spain, vol. 2 (London, 1848), p. 772; 2nd ed., London, 1891, p. 923.\n\nJos\u00e9 Gestoso P\u00e9rez, Ensayo de un diccionario de los art\u00edfices que florecieron en Sevilla desde el siglo XIII al XVIII inclusive, vol. 2 (Seville, 1900), pp. 124-125.\n\nM. G\u00f3mez Imaz, Inventario de los cuadros sustra\u00eddos por el Gobierno insturso en Sevilla (a\u00f1o 1810), 2nd ed. (Seville, 1917), p. 141, no. 224.\n\nJos\u00e9 Cascales y Mu\u00f1oz, Francisco de Zurbar\u00e1n: su \u00e9poca, su vida y sus obras (Madrid, 1911), p. 36; translated by Nellie Seelye Evans, New York, 1918, p. 17.\n\nHugo Kehrer, Francisco de Zurbar\u00e1n (Munich, 1918), pp. 18, 36-37.\n\nJuan de M. Corriazo, \"Correspondencia de don Antonio Ponz con el Conde del Aguila,\" Archivo Espa\u00f1ol de Arte y Arqueologia 5 (1929), p. 176.\n\nMartin S. Soria, \"Francisco de Zurbar\u00e1n: A Study of His Style,\" Gazette des Beaux-Arts 6 ser., 25 (1944), p. 40.\n\nPaul Guinard, \"Los Conjuntos dispersos o desaparecidos de Zurbar\u00e1n: Anotaciones a Ce\u00e1n Berm\u00fadez (II)\" Archivo espanol de arte 20 (1947), pp. 193-94, 198-99.\n\nJos\u00e9 Milicua, \"El Crucifijo de San Pablo, de Zurbar\u00e1n,\" Archivo Espanol de Arte 26 (1953), pp. 177-186, pls. 1-4.\n\n\"Found and Lost,\" Time Magazine (4 April 1955), p. 83, ill.\n\nMartin S. Soria, \"Zurbar\u00e1n's Crucifixion,\" The Art Institute of Chicago Quarterly 49, 3 (1955), pp. 48-49, ill.\n\nMartin S. Soria, The Paintings of Zurbar\u00e1n, 2nd rev. ed. (London, 1955), pp. 21, 30, 189, no. 225, pls. 20, 21.\n\n\"How Chicago Got Painting Lost to World for Century,\" Chicago Tribune (23 March 1955), p. 1, 3, ill.\n\n\"Chicago: Una Crocifissione di Zurbar\u00e1n all'Art Institute,\" Emporium 122 (1955), pp. 88, ill. p. 89.\n\nGeorge Kubler and Martin Soria, Art and Architecture in Spain and Portugal and their American Dominions 1500-1800 (Harmondsworth, 1959), p. 244.\n\nPaul Guinard, Zurbar\u00e1n et les peintres espagnols de la vie monastique (Paris, 1960), pp. 141-42, 186-87, 219, no. 90, pl. 8.\n\nArt Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), p. 489, ill. p. 104.\n\nRam\u00f3n Torres Mart\u00edn. Zurbar\u00e1n: El Pintor g\u00f3tico del siglo XVII (Seville, 1963), pp. 88-90, 202, no. 28, fig. 24.\n\nKaspar H. Spinner, \"Helldunkel und Zeitlichkeit: Caravaggio, Ribera, Zurbar\u00e1n, G. de La Tour, Rembrandt,\" Zeitschrift f\u00fcr Kunstgeschichte 34 (1971), p. 175, fig. 3.\n\nMina Gregori and Tiziana Frati, L'opera completa di Zurbar\u00e1n (Milan, 1973), p. 86, no. 23, pl. 1, fig. 23.\n\nJonathan Brown, Francisco de Zurbar\u00e1n (New York, 1974), pp. 24, 66, pl. 4.\n\nJuli\u00e1n G\u00e1llego and Jos\u00e9 Guidol, Zurbar\u00e1n 1598-1664 (New York, 1977), pp. 16-17, 48, 68, 73-74, no. 8, fig. 12.\n\nJames N. Wood and Katharine C. Lee, Master Paintings in the Art Institute of Chicago (Chicago, 1988), p. 27, ill.\n\nJeannine Baticle, \"D\u00e9couvrir Zurbaran,\" La Revue du Louvre et des Mus\u00e9es de France 37 (1987), p. 429.\n\nNina Ayala Mallory, \"Notas criticas sobre la pintura de Zurbar\u00e1n,\" Goya no. 201 (1987), p. 157, fig. 2.\n\nJonathan Brown, \u201cPatronage and Piety:  Religious Imagery in the Art of Francisco de Zurbar\u00e1n\u201d in Zurbar\u00e1n, exhib. cat., Metropolitan Museum of Art, New York, 1987, pp. 3-4.\n\nYves Bottineau, \u201cOn the Critical Fortunes of Francisco de Zurbar\u00e1n:  Reflections and Inquiries\u201d in Zurbar\u00e1n, exhib. cat., Metropolitan Museum of Art, New York, 1987, pp. 25-26.\n\nJeannine Baticle, \u201cFrancisco de Zurbar\u00e1n: A Chronological Review\u201d in Zurbar\u00e1n, exhib. cat., Metropolitan Museum of Art, New York, 1987, pp. 55.\n\nNina Ayala Mallory, \"Museum News: Zurbar\u00e1n,\" Art Journal 47 (1988), p. 233.\n\nEnriqueta Harris, Review of New York\/Paris 1987\/88 in Burlington Magazine 130 (1988), pp. 252-253.\n\nPhilippe Piquet, \u201cFrancisco de Zurbar\u00e1n, une oeuvre paradoxale,\u201d L\u2019Oeil, no. 390-391 (1988), p. 36.\n\nEnrique Valdivieso, \"Nouvelles perspectives sur Zurbar\u00e1n: Les d\u00e9couvertes de l'exposition,\" La Revue du Louvre et des Mus\u00e9es de France 39 (1989), p. 19, fig. 2.\n\nDictionnaire de la peinture espagnole et portugaise du Moyen \u00c2ge \u00e0 nos jours, ed. Jean-Philippe Breuille (Paris, 1989), p. 307.\n\nRichard M\u00fchlberger, The Bible in Art: The New Testament (New York, 1990), p. 126, ill. \n\nAlfonso E. P\u00e9rez S\u00e1nchez, Pintura barroca en Espa\u00f1a (1600-1750) (Madrid, 1992), p. 189 (ill.).\n\nOdile Delenda, Vel\u00e1zquez: peintre religieux (Paris, 1993), p. 108, fig. 36.\n\nMar\u00eda Luisa Caturla, Francisco de Zurbar\u00e1n, translated and revised by Odile Delenda (Paris, 1994), pp. 48, ill., 49, 278.\n\nAlfonso E. P\u00e9rez S\u00e1nchez, La Pittura spagnola, vol. 2 (Milan, 1995), pp. 327, 331, fig. 389.\n\nVictor I. Stoichita, Visionary Experience in the Golden Age of Spanish Art (London, 1995), pp. 70-74, 119, 204, fig. 14.\n\nClaudie Ressort, \u201cFrancisco de Zurbar\u00e1n\u201d in The Dictionary of Art, vol. 33 (London, 1996), p. 729, fig. 1.\n\nSotheby\u2019s, Madrid, Pintura Antigua y de los siglos XIX y XX, 23 April, 1996, under no. 7.\n\nLiudmila Kagan\u00e9, Diego Vel\u00e1zquez (St. Petersburg, 16), pp. 68, 70, ill.\n\nJanis Tomlinson, From El Greco to Goya: Painting in Spain 1561-1828 (New York, 1997), pp. 69-70, fig. 42.\n\nOdile Delenda and Luis Garra\u00edn Villa, \"Zurbar\u00e1n Sculpteur: aspects in\u00e9dits de sa carri\u00e8re et de sa biographie,\" Gazette des Beaux-Arts 6th ser., 131 (1998), pp. 125, 134, fig. 1, cover ill.\n\nJonathan Brown, Painting in Spain 1500-1700 (New Haven and London, 1998), p. 133, fig. 174.\n\nYves Bottineau, V\u00e9lasquez (Paris, 1998), pp. 120, 123, fig. 102.\n\nOdile Delenda, \u201cPrecisiones sobre la vida y obra de Francisco de Zurbar\u00e1n\u201d in Zurbar\u00e1n IV Centenario, exhib. cat., Museo de Bellas Artes de Sevilla, 1998, p. 16, fig. 10.\n\nJos\u00e9 Fern\u00e1ndez L\u00f3pez, \u201cPintura y contrarreforma en la Sevilla de Zurbar\u00e1n\u201d in Zurbar\u00e1n IV Centenario, exhib. cat., Museo de Bellas Artes de Sevilla, 1998, pp. 38-39, fig. 34.\n\nOdile Delenda, Jos\u00e9 Milicua et al., Zurbar\u00e1n al Museu Nacional d\u2019art de Catalunya, exhib. cat. Museu Nacional d\u2019art de Catalunya, Barcelona, 1998, pp. 31, 88-92, ill., under no. 5.\n\nArsenio Moreno, Zurbar\u00e1n (Madrid, 1998), pp. 10-11, 50-51, ill.\n\nAlfonso E. P\u00e9rez S\u00e1nchez, \"Zurbar\u00e1n et Vel\u00e1zquez. Vies Parall\u00e8les et Divergentes,\" Gazette des Beaux-Arts 6th ser., 132 (1998), p.168, fig. 4.\n\nJo\u00ebl Cornette and Alain M\u00e9rot, Le XVIIe si\u00e8cle. Histoire artistique de l\u2019Europe, vol. 4, (Paris, 1999), pp. 195-96, ill.\n\nPeter Cherry, \u201cLa formaci\u00f3n de los pintores en los talleres sevillanos\u201d in Zurbar\u00e1n ante su centenario (1598-1998), ed. Alfonso E. P\u00e9rez S\u00e1nchez (Valladolid, 1999), p. 59, pl. 29. \n\nOdile Delinda, \"Biograf\u00eda ilustrada de Francisco de Zurbar\u00e1n. Nuevos datos,\" in Zurbar\u00e1n ante su centenario (1598-1998), ed. Alfonso E. P\u00e9rez S\u00e1nchez (Valladolid, 1999), pp. 80-81, pl. 1.\n\nAlfonso E. P\u00e9rez S\u00e1nchez, \"Zurbar\u00e1n, Cano y Vel\u00e1zquez,\" in Zurbar\u00e1n ante su centenario (1598-1998), ed. Alfonso E. P\u00e9rez S\u00e1nchez (Valladolid, 1999), p. 105.\n\nPeter Cherry, Arte y Naturaleza: El Bodeg\u00f3n Espa\u00f1ol en el Siglo de Oro (Aranjuez, 1999), pp. 250-51 (English translation, p. 128).\n\nPeter Cherry, \"Seville and elsewhere, Zurbar\u00e1n,\" Burlington Magazine 141 (1999), p. 130.\n\nJos\u00e9 Mar\u00eda Palencia Cerezo, \"La estela de Zurbar\u00e1n en la pintura barroca cordobesa,\" Goya, no. 275  (2000), p. 68.\n\nZurbar\u00e1n.  La obra final: 1650-1664, exhib. cat., Museo de Bellas Artes de Bilbao, Bilbao, 2000, pp. 38-39, 41, 77-78, ill.\n\nEnrique Valdivieso, Pintura Barroca Sevillana (Seville, 2003), p. 254, pl. 232.\n\nAlfonso E. P\u00e9rez S\u00e1nchez and Benito Navarrete Prieto, De Herrera a Vel\u00e1zquez.  El primer naturalismo en Sevilla, exhib. cat., Focus Agengoa, Seville, 2006, pp. 256-8, ill., under no. 57.\n\nJohn B. Ravenal, \u201cNotes on Black,\u201d in Carter Ratcliff,\u00a0Donald Sultan: The Theater of the Object, New York, 2008. p. 25, ill.\n\nOdile Delenda, Francisco de Zurbar\u00e1n 1598-1664, vol. 1, Cat\u00e1logo razonado y cr\u00edtico (Madrid, 2009), pp. 37, 56, 96-98, fig. 1, 144, 298, 333, 370, no. 7, ill.; volume 2, Conjuntos y el obrador (Madrid, 2010), pp. 55-58, pl. 1.\n\nXavier Bray, \u201cThe Sacred Made Real: Spanish Painting and Sculpture 1600-1700\u201d in The Sacred Made Real: Spanish Painting and Sculpture 1600-1700, exhib. cat., National Gallery, London, 2009, pp. 15,18, 32, 34, 40, figs. 1, 19, 22.\n\nAlfonso Rodr\u00edguez G. de Ceballos, \u201cThe Art of Devotion:  Seventeenth-century Spanish Painting and Sculpture in its Religious Context\u201d in The Sacred Made Real: Spanish Painting and Sculpture 1600-1700, exhib. cat., National Gallery, London, 2009, p. 49. \n\nRosemarie Mulcahy, Review of London 2009\/2010 in Burlington Magazine 152 (2010), pp. 50, 51.\n\nBeat Wismer, Odile Delenda and Mar Borobia, Zurbar\u00e1n: A New Perspective, exh. cat. (Madrid: Fundaci\u00f3n Colecci\u00f3n-Thyssen Bornemisza, 2015), 18 fig. 2, 38.\n\nKarin Hellwig, \"Theory and Practice:  The Fine Arts in Seventeenth-Century Spain\" in  El Siglo de Oro: Die \u00c4ra Vel\u00e1zquez, exh. cat., Gem\u00e4ldegalerie, Staatliche Museen zu Berlin (Berlin, 2016), pp. 36-37, fig. 8.\n\nSteven F. Ostrow, \"Zurbar\u00e1n's Cartellini:  Presence and the Paragone,\" Art Bulletin 99 (2017), pp. 77-83, 93, 94, fig. 11.\n\nJames Rondeau, ed., Paintings at the Art Institute of Chicago: Highlights of the collection (New Haven and London: Yale University Press, 2025), 36 (ill.).\n\nFrancesca Whitlum-Cooper, Daniel Sobrino Ralston, Imogen Tedbury and Rebecca Long, eds., Zurbar\u00e1n, exh. cat. (London: National Gallery, 2026), 46 (ill.), 47, 190, fig. 1.","exhibition_history":"Chicago, Art Institute of Chicago, The Art of the Edge: European Frames 1300 - 1900, October 17- December 17, 1986, no. 30.\n\nNew York, Metropolitan Museum of Art, Zurbar\u00e1n, 22 September - 13 December 1987, no. 2; Paris, Galeries National du Grand Palais, January 14 - April 11, 1988, no. 1.\n\nLondon, National Gallery, The Sacred Made Real:  Spanish Painting and Sculpture 1600-1700, October 21, 2009 - January 24, 2010, no. 25; traveled to Washington, D.C., National Gallery of Art, February 28 - May 31, 2010.\n\nLondon, National Gallery, Zurbar\u00e1n, Oct. 1, 2026\u2013Jan. 31, 2027, no cat. no., fig. 1; Paris, Mus\u00e9e du Louvre, Feb. 25\u2013June 17, 2027; Art Institute of Chicago, Zurbar\u00e1n: Divine Light, Feb. 28\u2013June 17, 2027.","provenance_text":"Painted for the sacristy of the Dominican monastery San Pablo el Real, Seville; placed on deposit at Palacio Real, Seville, on the order of Joseph Bonaparte, King of Spain, 1810 [see M. G\u00f3mez Imaz, 1917, p. 141, no. 224]; acquired by General Jean Toussaint Arrighi de Casanova, Duc de Padoue (died 1853) shortly thereafter [as recounted by his son to Father Stanislas Du Lac, S.J.; see letter from Father Du Lac to Father Paul Troussard dated 16 February 1901 and preserved at the Biblioth\u00e8que S\u00e8vres, Paris, copy in file]; by descent to his son, Ernest Louis Hyacinthe Arrighi de Casanova, 2nd Duc de Padoue, given by him to Father Stanislas Du Lac S.J. (died 1909), rector of the Coll\u00e8ge Saint Genevi\u00e8ve, Paris, 1876 [see letter cited above; Father Du Lac explained that he received the painting in thanks for his spiritual assistance to the duke's wife]; probably taken by Father Du Lac to St. Mary's College, Canterbury for the period between 1880 and 1890 and likely remained at Canterbury when St. Mary's College was replaced by a Jesuit school for novitiates; it was apparently moved from Canterbury to Laval along with the Jesuit novices' school in 1897 and was in Laval in 1901 [see letters from Jacqueline Diot and Father Du Lac in curatorial file]; transferred from Laval to the Jesuit seminary of Saint Louis at Jersey [see note with Du Lac letter]; transferred with the seminary to Chantilly in 1951 [see undated typewritten notes in curatorial file].  Dr. H. F. Fankhauser, Basel, 1952 [See Baticle in New York, 1988]; sold to the Art Institute, 1954.","edition":null,"publishing_verification_level":"Web Cataloged","internal_department_id":14,"fiscal_year":1954,"fiscal_year_deaccession":null,"is_public_domain":true,"is_zoomable":true,"max_zoom_window_size":-1,"copyright_notice":null,"has_multimedia_resources":true,"has_educational_resources":false,"has_advanced_imaging":false,"colorfulness":0,"color":{"h":39,"l":51,"s":14,"percentage":1.3579392082466315e-5,"population":22},"latitude":41.879151134598,"longitude":-87.6238937303423,"latlon":"41.879151134598,-87.623893730342","is_on_view":false,"on_loan_display":"<p>On loan<\/p>","gallery_title":null,"gallery_id":null,"nomisma_id":null,"artwork_type_title":"Painting","artwork_type_id":1,"department_title":"Painting and Sculpture of Europe","department_id":"PC-10","artist_id":42406,"artist_title":"Francisco de Zurbar\u00e1n","alt_artist_ids":[],"artist_ids":[42406],"artist_titles":["Francisco de Zurbar\u00e1n"],"category_ids":["PC-10"],"category_titles":["Painting and Sculpture of Europe"],"term_titles":["oil on canvas","crucifixions","oil painting","oil paint (paint)","Renaissance","man","biblical","Christianity","Christian subjects","religious","religion","oil paintings (visual works)","paint","spanish","paint","painting","painting","painting techniques","17th Century","Jesus","crosses","painting (image making)","canvas","painting","european painting"],"style_id":"TM-5891","style_title":"Renaissance","alt_style_ids":["TM-13770"],"style_ids":["TM-5891","TM-13770"],"style_titles":["Renaissance","17th Century"],"classification_id":"TM-66","classification_title":"oil on canvas","alt_classification_ids":["TM-78","TM-10387","TM-15664","TM-9","TM-54"],"classification_ids":["TM-66","TM-78","TM-10387","TM-15664","TM-9","TM-54"],"classification_titles":["oil on canvas","oil paintings (visual works)","paint","spanish","painting","european painting"],"subject_id":"TM-8870","alt_subject_ids":["TM-14974","TM-12337","TM-12372","TM-8767","TM-14384","TM-11421","TM-12446","TM-11411"],"subject_ids":["TM-8870","TM-14974","TM-12337","TM-12372","TM-8767","TM-14384","TM-11421","TM-12446","TM-11411"],"subject_titles":["crucifixions","man","biblical","Christianity","Christian subjects","religious","religion","Jesus","crosses"],"material_id":"TM-2451","alt_material_ids":["TM-2577","TM-13502","TM-3124"],"material_ids":["TM-2451","TM-2577","TM-13502","TM-3124"],"material_titles":["oil paint (paint)","paint","painting","canvas"],"technique_id":"TM-4273","alt_technique_ids":["TM-14210","TM-3971","TM-3891"],"technique_ids":["TM-4273","TM-14210","TM-3971","TM-3891"],"technique_titles":["oil painting","painting","painting techniques","painting (image making)"],"theme_titles":[],"image_id":"c8ee825f-bc8c-c76b-1f05-5d692d9a6b47","alt_image_ids":["9b742f72-fc14-ba62-6321-334150376219"],"document_ids":["026ed58d-514e-2390-7481-11e12b882e60"],"sound_ids":["026ed58d-514e-2390-7481-11e12b882e60"],"video_ids":[],"text_ids":[],"section_ids":[],"section_titles":[],"site_ids":[],"suggest_autocomplete_boosted":"The Crucifixion","suggest_autocomplete_all":[{"input":["1954.15"],"contexts":{"groupings":["accession"]}},{"input":["The Crucifixion"],"weight":45087,"contexts":{"groupings":["title"]}}],"source_updated_at":"2026-09-01T00:30:01-05:00","updated_at":"2026-09-01T03:31:57-05:00","timestamp":"2026-09-01T19:11:53-05:00"},"info":{"license_text":"The `description` field in this response is licensed under a Creative Commons Attribution 4.0 Generic License (CC-By) and the Terms and Conditions of artic.edu. All other data in this response is licensed under a Creative Commons Zero (CC0) 1.0 designation and the Terms and Conditions of artic.edu.","license_links":["https:\/\/creativecommons.org\/publicdomain\/zero\/1.0\/","https:\/\/www.artic.edu\/terms"],"version":"1.15"},"config":{"iiif_url":"https:\/\/www.artic.edu\/iiif\/2","website_url":"http:\/\/www.artic.edu"}}