Christ and the Virgin in the House at Nazareth, previewed as a 20 by 16 inch giclée reproduction.

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Francisco de Zurbarán

Spanish, 1598–1664

Christ and the Virgin in the House at Nazarethc. 1640

oil on canvas

Framed: 201 x 256 x 10 cm (79 1/8 x 100 13/16 x 3 15/16 in.); Unframed: 165 x 218.2 cm (64 15/16 x 85 7/8 in.)

Courtesy of the Cleveland Museum of Art · 1960.117

Stories of Christ’s childhood and adolescence became increasingly popular during the Counter-Reformation because they were easily understood by a broad public. More about this work

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Format

Archival pigment inks on Hahnemühle Photo Rag, a 308 gsm cotton paper, with a white border.

Size

At this size the museum's file prints at 191 ppi: sharp at arm's length, a little softer than the smaller sizes up close.

Size
20 × 16 in · image 17¾ × 13¼
Paper
Hahnemühle Photo Rag, 308 gsm
Price
$56

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About this work

Stories of Christ’s childhood and adolescence became increasingly popular during the Counter-Reformation because they were easily understood by a broad public. Rather than taking a story from the Bible, Zurbarán appears to have invented this subject, in which Jesus pricks himself on a crown of thorns he is weaving, foretelling his later torment at the Crucifixion. Despite the grand scale and monumental figures, the work has remarkable intimacy and quietness, emphasizing such details as the Virgin’s tears.

Text from the Cleveland Museum of Art.

How it was made

Oil paint
Pigment ground in a drying oil, usually linseed. It dries slowly, so painters could blend on the canvas, build up thin translucent glazes, and rework a picture over weeks. Canvas replaced wooden panels in the 1500s because it is lighter and can be rolled.

Francisco de Zurbarán

Spanish, 1598–1664 · Born in Fuente de Cantos; died in Madrid.

Zurbarán worked chiefly in Seville, where religious orders commissioned him to paint cycles for their monasteries. His saints and monks, set against dark grounds and modelled with strong, sculptural light, combine austerity with close attention to the textures of cloth and wood. He also painted a handful of austere still lifes. As taste in Seville shifted towards Murillo’s softer style, he moved to Madrid in 1658, where he died.

Written by Ochre Editions.

See all 4 works by Francisco de Zurbarán

Rights and the museum’s record

Public domain. The Cleveland Museum of Art has dedicated this image to the public domain under CC0, so anyone may copy, adapt and use it, for any purpose, without asking. Our prints and files are reproductions made from the museum’s image; the museum doesn’t endorse them.

Object number
1960.117
Credit
Courtesy of the Cleveland Museum of Art
Type
Painting
Department
European Painting and Sculpture
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