Francisco de Zurbarán

Born in 1598 in Extremadura, Spain, Zurbarán showed early talent by imitating objects with charcoal. In 1614, he was sent to Seville for a three-year apprenticeship, laying the foundation for his career.¹

JanHe married for the first time in 1617, and his first wife, María Paet, died in 1624 after the birth of their third child.²

In 1625, he married again to the wealthy widow Beatriz de Morales.²

In 1626, he signed a contract with a Seville monastery to produce 21 paintings in eight months. Successfully completing this major commission established his reputation as a leading religious painter.¹

JanOn January 17, 1626, Zurbarán signed a contract with the Dominican monastery in Seville to produce 21 paintings, establishing his reputation as a painter.²

In 1629, he was invited by the Elders of Seville to relocate permanently to the city and moved there with his family and servants.²

In 1629, the Elders of Seville invited him to relocate permanently to increase the city's reputation. He moved with his family and eight servants, entering his prime as Seville's representative painter.¹

Appointed painter to Philip IV around 1630, legend says the King placed a hand on his shoulder, calling him 'Painter to the king, king of painters,' reflecting his high standing at court.¹

In 1634, he visited Madrid and painted mythologies for the Buen Retiro palace.³

From the late 1630s, his workshop produced many paintings for export to South America. Series like 'Jacob and his twelve sons' met New World demand, spreading his art across the ocean.¹

MayIn May 1639, his second wife, Beatriz de Morales, died.²

After 1640, as Murillo's sentimental and soft style gained popularity, Zurbarán's harsh, austere style was seen as outdated, leading to a decline in his reputation due to changing tastes.¹

FebOn February 7, 1644, Francisco married a third time with another wealthy widow, Leonor de Torder.²

In 1658, he moved to Madrid seeking work and reunited with Velázquez. Attempting to regain his former glory, he evolved his style with softer brushwork influenced by Murillo and Titian.¹

Though myth says he died in poverty in 1664, his estate was worth 20,000 reales. His austere and ascetic painting style likely cemented the posthumous image of him as a 'pauper artist.'¹