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Christ and the Virgin in the House at Nazareth, c. 1640 (oil on canvas)
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Christ and the Virgin in the House at Nazareth, c. 1640 (oil on canvas)
499516 Christ and the Virgin in the House at Nazareth, c.1640 (oil on canvas)
by Zurbaran, Francisco de (1598-1664); 201x256 (framed) 165x218.2 (unframed) cm; Cleveland Museum of Art, OH, USA; (add.info.: Stories of Christs 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, ZurbarAan 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 Virgins tears.
); Leonard C. Hanna, Jr. Fund; Spanish, out of copyright
Media ID 22918380
© Leonard C. Hanna, Jr. Fund / Bridgeman Images
Blood Domestic Interior Doves Holy Family Lilies Pears Premonition Thorns Wistful Injuries Wound Wounded
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EDITORS COMMENTS
The painting "Christ and the Virgin in the House at Nazareth" by Francisco de Zurbaran captures a poignant moment between Jesus and his mother Mary. Created around 1640, during the Counter-Reformation period, this artwork resonated with a wide audience due to its relatable subject matter. Unlike traditional biblical stories, Zurbaran appears to have invented this scene, where Jesus weaves a crown of thorns that pricks his finger, foreshadowing his future suffering on the cross. Despite its grand scale and monumental figures, what stands out about this painting is its remarkable intimacy and quietness. The artist pays careful attention to detail, emphasizing the tears streaming down Mary's face as she witnesses her son's pain. The composition features elements such as birds perched on a window sill, blood-stained fruit on a table, clouds in the background symbolizing impending doom, and lilies representing purity. Zurbaran's portrayal of Christ's injury also highlights themes of medicine and botany. This adds an intriguing layer to the artwork as it incorporates elements of natural history and science into religious imagery. Displayed at the Cleveland Museum of Art in Ohio, USA, this 17th-century masterpiece continues to captivate viewers with its emotional depth and premonition of Christ's sacrifice. It serves as a reminder not only of Jesus' divine nature but also his humanity – experiencing pain just like any other person would.
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