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{"id":1464,"date":"2026-10-06T15:04:24","date_gmt":"2026-10-06T11:34:24","guid":{"rendered":"https:\/\/honargardi.com\/en\/?p=1464"},"modified":"2026-10-06T15:04:24","modified_gmt":"2026-10-06T11:34:24","slug":"zurbaran-at-the-louvre-the-painter-of-silence-takes-the-hall-napoleon","status":"publish","type":"post","link":"https:\/\/honargardi.com\/en\/zurbaran-at-the-louvre-the-painter-of-silence-takes-the-hall-napoleon\/","title":{"rendered":"Zurbar\u00e1n at the Louvre: The Painter of Silence Takes the Hall Napol\u00e9on"},"content":{"rendered":"

From tomorrow, 7 October 2026, until 25 January 2027, the Louvre presents Zurbar\u00e1n 1598\u20131664<\/em> in the Hall Napol\u00e9on, a retrospective organised jointly with the National Gallery, London, and the Art Institute of Chicago. Francisco de Zurbar\u00e1n ranks with Vel\u00e1zquez and Murillo among the most important Spanish painters of the seventeenth century, yet he remains the least familiar of the three to a broad public.<\/p>\n

The museum’s framing is instructive. Zurbar\u00e1n was long filed away as a follower of Caravaggio steeped in monastic austerity; only in the twentieth century did he come to be valued as a remarkable colourist with an unmistakable personal style, pairing simplified volumes with striking naturalism. The Louvre says it has not aimed for an exhaustive monograph but for an ambitious selection of first-rate paintings, arranged in seven sections that follow his long career while occasionally breaking chronology to group works together.<\/p>\n

The scale is substantial: according to the Louvre’s press materials, the exhibition brings together 65 paintings, 50 of them by Zurbar\u00e1n himself. Although he has been the subject of several exhibitions over the past decade, this is the first large-scale international presentation of his work since the monograph shown at the Metropolitan Museum of Art and the Grand Palais in 1987\u201388.<\/p>\n

\"Francisco
Francisco de Zurbar\u00e1n, Crucifixion<\/em>. CC0, The Art Institute of Chicago. Press image: Mus\u00e9e du Louvre.<\/figcaption><\/figure>\n

Monks, saints and still lifes<\/h2>\n

The emphasis falls on the large canvases from monastic commissions in Andalusia that made his name, but portraits and still lifes are given real space, as is the short-lived output of his son, Juan de Zurbar\u00e1n (1620\u20131649) \u2014 a rare opportunity to see the son’s work beside the father’s. The image the Louvre has chosen to lead with, Saint Casilda<\/em> (c. 1635, Museo Nacional Thyssen-Bornemisza, Madrid), says a great deal: a single figure in sumptuous dress set against darkness, half court portrait, half devotional image.<\/p>\n

\"Francisco
Francisco de Zurbar\u00e1n, The Exposition of the Body of Saint Bonaventure<\/em> (L’Exposition du corps de saint Bonaventure<\/em>). \u00a9 GrandPalaisRmn (mus\u00e9e du Louvre) \/ Franck Raux. Press image: Mus\u00e9e du Louvre.<\/figcaption><\/figure>\n

An epilogue in modernism<\/h2>\n

The most telling decision comes at the end. A small group of works from the late nineteenth and early twentieth centuries \u2014 by \u00c9douard Manet, Pablo Picasso and Juan Gris \u2014 closes the exhibition, pointing to Zurbar\u00e1n’s importance for the French avant-gardes. The pared-down forms and intense light that once read as piety now read, to modern eyes, as formal daring.<\/p>\n

\"Francisco
Francisco de Zurbar\u00e1n, Saint Serapion<\/em>. \u00a9 Allen Phillips \/ Wadsworth Atheneum. Press image: Mus\u00e9e du Louvre.<\/figcaption><\/figure>\n

A Spanish autumn<\/h2>\n

The retrospective shares its space, and a jointly designed scenography, with Sculpter la couleur<\/em>, devoted to masterpieces from the Museo Nacional de Escultura in Valladolid; a single ticket covers both. Around them the Louvre has built a full Spanish season: an opening concert by Ensemble Cantoria under Jorge Losana on 7 October, a cinema carte blanche to Rossy de Palma, lectures, and a “Grand Week-end Espagne” in December. The exhibition is curated by Charlotte Chastel-Rousseau, chief curator in the Louvre’s Department of Paintings, with Francesca Whitlum-Cooper and Daniel Sobrino Ralston of the National Gallery and Rebecca Long of the Art Institute of Chicago.<\/p>\n

That pairing of painted and sculpted devotion is the season’s quiet thesis. In seventeenth-century Spain the two arts competed to make the sacred tangible; placed side by side, Zurbar\u00e1n’s almost sculptural figures may finally be seen for what they were \u2014 images made not only to be looked at, but to be felt.<\/p>\n

Zurbar\u00e1n 1598\u20131664<\/strong> \u2014 Mus\u00e9e du Louvre, Hall Napol\u00e9on, 7 October 2026 \u2013 25 January 2027.
Source: Mus\u00e9e du Louvre, official exhibition page<\/a>
Press materials: Mus\u00e9e du Louvre press room<\/a><\/p>\n

This article was prepared with AI assistance and reviewed by the Honargardi editorial team.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

From 7 October the Louvre, with the National Gallery and the Art Institute of Chicago, stages a retrospective of Francisco de Zurbar\u00e1n \u2014 and ends it, tellingly, with Manet, Picasso and Gris.<\/p>\n","protected":false},"author":581,"featured_media":1472,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-1464","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-visual-arts"],"yoast_head":"\nZurbar\u00e1n at the Louvre: The Painter of Silence Takes the Hall Napol\u00e9on - Honargardi<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/honargardi.com\/en\/zurbaran-at-the-louvre-the-painter-of-silence-takes-the-hall-napoleon\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Zurbar\u00e1n at the Louvre: The Painter of Silence Takes the Hall Napol\u00e9on - 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