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Cimone Trout

Muffet Jones
Baroque Art
April 3, 2015
Paper Proposal
For my paper, I want to discuss the imagery within Francisco de Zurbarn's Immaculate
Conceptions, specifically in his 1630 painting found in the Museo Diocesano de Siguenza in
Guadalajara, Spain. I was inspired and intrigued by our comparison we did of this piece with the
iconography of the 1531 image of the Virgin of Guadalupe. At first, I wanted to do an in depth
comparison of the two pieces in my paper but after some research I have decided to focus on
Zurbarn and what factors or issues affected this particular version of the immaculate
conception. I will discussed the iconography of this painting and factors that affected the imagery
and composition of this piece. Such factors will then include the Virgin of Guadalupe,
transculturation, Catholicism in Spain and the colonies, Seville as a major port of Spain, the role
of the patron, the role of the artist and the political and religious use of the image of Mary in the
post-tridentine Spanish empire will be some historical and cultural aspects I will explore in my
analysis. I plan on bringing up these points as I discuss different visual elements of the painting,
therefore I will discuss and describe the imagery first and then how this imagery reflects the
historical atmosphere surrounding the creation of this painting.

My annotations are not finished but these are some sources I plan on using. Please let me know if
you know of any other sources that might be helpful for my research.
Sources/In progress Annotations
In Braun, H., & In Perez, M. J. (2014). The transatlantic Hispanic Baroque: Complex identities
in the Atlantic world.
Brown, J. (1991). Francisco de Zurbarn. New York: H.N. Abrams, 18-19 and 72-75.

This work by Jonathan Brown, an American art historian known for his work on Spanish
baroque, is a part of a series of books called Masters of Art and is a collection of Francisco de
Zurbarns most prominent works of art. It contains a biographical introduction of Zurbarns
life, black and white images in biography, 40 color plates chronologically listed and Browns
description of each color plate and narrative of Zurbarans life and evolution as an artist. In this
book, Brown includes two of Zurbarans inmaculada paintings, his Immaculate Conception of
1630 found in the Museo Diocesano (18-19) in the biographic section as a black and white image
and his most famous version of this religious theme called The Immacualte Conception with Two
Noblemen from 1632 as a color plate and a detail as a color plate as well (72-75). For both
images he includes the historical background and does a more in depth visual analysis of the
1632 Immaculate Conception with Two Noblemen. In my paper, I plan to reference both of this
images and Browns historical research about these two pieces in order to show Zurbarans
evolution of this image, purpose behind them, and explanation of symbols included in the sky
found in both paintings.
Kasl, R., Rodriguez, G. C. A., & Indianapolis Museum of Art. (2009). Sacred Spain: Art and
belief in the Spanish world. Indianapolis: Indianapolis Museum of Art.
Kata, L. (October 01, 2011). 'With the most diligence possible': Francisco de Zurbarn and the
overseas art trade in the seventeenth century. Hispanic Research Journal, 12, 5, 387-396.
Peterson, J. F. (April 22, 2005). Creating the Virgin of Guadalupe: The Cloth, the Artist, and
Sources in Sixteenth-Century New Spain. Americas, 61, 4, 571-610
Schroth, S., Baer, R., Battles, M., Museum of Fine Arts, Boston., & Nasher Museum of Art at
Duke University. (2008). El Greco to Velzquez: Art during the reign of Philip III.
Boston: MFA Publications.
Stone, R. S. (April 01, 2007). Time will darken them: caravels and galleons in Zurbarn's
Immaculate Conceptions. Journal of Iberian and Latin American Studies, 13, 1, 41-71

Stratton-Pruitt, S. L. (1994). The Immaculate Conception in Spanish Art. Cambridge: Cambridge


University Press.

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