Ideal source to a real painting: Zurbaran

I art history, videlicet in critic art, above all European a scansion, very strong, is present between to real representation and ideal imagine, that exclude every contact with human nature and every grant from reality; it is to Michelangelo Buonarroti(1475-1564), the Sistine chapel is consecration of this pictorial address, Raphael(1483-1520), is same; to the sculpture Alessandro Algardi(1595-1654), Donatello(1386-1466), Nicola Pisano(1220-1284), in Middle age; Bernini, in stead, find the perfect mixture between the nature and ideal, to this is sufficient see the Kidnapping of Proserpina(Fig.1), in Galleria Borghese, Rome, where Bernini used the physical classicism to Pluton but he followed also the natural phenomenal(Fig.2), the skin of Proserpina, Annibale Carracci(1560-1609), in the Farnese gallery, has used same the criterion of Bernini, he castes the natural behavior and ideal classicism, above all physical(Figs.3-4); therefore it is normal both sculptors and painters, they must satisfy the costumer, hence every idea is right to attain the sake. Same way that used from Francisco de Zurbaran(1598-1664), that Francisco has took certainly from a engraver or print, then much diffused; model to the Apotheosis of saint Thomas(Fig.5); where he has stirred a classic pattern as Raphael from Dispute about sacrament(Fig.6), that he could not see because in Italy he has never come, thereby the engravings or print, as above hinted; de Zurbaran stirs two pictorial address and he naturalized the classic ideal; thereupon the idea is got down on earth, the figures below are less numerous than Raphael(Fig.7), but the space was less and the costumers weren’t the pope Julius 2th, as to Raphael. To Miracle of Porziuncola(Fig.8), the first church of Franciscan order(Fig.9), de Zurbaran followed the same classical painter, because he has took from Raphael the Ascension of Christ(Fig.10), and to high side he has took the Coronation of Virgin(Fig.11), twice of Raphael. To The death of Hercules(Fig.12), Francisco took the naked on vault of Sistine chapel(Figs.13-14) and to suggest the posture is also inevitable Creation of Adam(Fig.15). Zurbaran picked the natural and, as every painters, he took around other patterns, all is possible when the costumer must be satisfy. To Annunciation(Fig.16), he took the same subject of Guido Reni(figs.17-18); the high composition is pattern to de Zurbaran's iconography.  

Alessandro Lusana   

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