The Crucifixion

1. Painted for the sacristy of the Dominican monastery San Pablo el Real, Seville; placed on deposit at Palacio Real, Seville, on the order of Joseph Bonaparte, King of Spain, 1810 [see M. Gómez Imaz, 1917, p. 141, no. 224]; acquired by General Jean Toussaint Arrighi de Casanova, Duc de Padoue (died 1853) shortly thereafter [as recounted by his son to Father Stanislas Du Lac, S.J.; see letter from Father Du Lac to Father Paul Troussard dated 16 February 1901 and preserved at the Bibliothèque Sèvres, Paris, copy in file]; by descent to his son, Ernest Louis Hyacinthe Arrighi de Casanova, 2nd Duc de Padoue, given by him to Father Stanislas Du Lac S.J. (died 1909), rector of the Collège Saint Geneviève, Paris, 1876 [see letter cited above; Father Du Lac explained that he received the painting in thanks for his spiritual assistance to the duke's wife]; probably taken by Father Du Lac to St. Mary's College, Canterbury for the period between 1880 and 1890 and likely remained at Canterbury when St. Mary's College was replaced by a Jesuit school for novitiates; it was apparently moved from Canterbury to Laval along with the Jesuit novices' school in 1897 and was in Laval in 1901 [see letters from Jacqueline Diot and Father Du Lac in curatorial file]; transferred from Laval to the Jesuit seminary of Saint Louis at Jersey [see note with Du Lac letter]; transferred with the seminary to Chantilly in 1951 [see undated typewritten notes in curatorial file]. Dr. H. F. Fankhauser, Basel, 1952 [See Baticle in New York, 1988]; sold to the Art Institute, 1954.

Recorded by Art Institute of Chicago.

• Chicago, Art Institute of Chicago, The Art of the Edge: European Frames 1300 - 1900, October 17- December 17, 1986, no. 30.
• New York, Metropolitan Museum of Art, Zurbarán, 22 September - 13 December 1987, no. 2; Paris, Galeries National du Grand Palais, January 14 - April 11, 1988, no. 1.
• London, National Gallery, The Sacred Made Real: Spanish Painting and Sculpture 1600-1700, October 21, 2009 - January 24, 2010, no. 25; traveled to Washington, D.C., National Gallery of Art, February 28 - May 31, 2010.
• London, National Gallery, Zurbarán, Oct. 1, 2026–Jan. 31, 2027, no cat. no., fig. 1; Paris, Musée du Louvre, Feb. 25–June 17, 2027; Art Institute of Chicago, Zurbarán: Divine Light, Feb. 28–June 17, 2027.

• Antonio Palomino de Castro y Velasco, El Museo pictórico y escala óptica, vol. 3, El Parnaso Español pintoresco laureado (Madrid, 1724), p. 355; translated by Nina Ayala Mallory as Lives of the Eminent Spanish Painters and Sculptors (Cambridge, 1987), pp.184, 185 n. 8.
• Antonio Ponz, Viaje de España, vol. 9 (Madrid, 1786), pp. 89-90; reprinted Madrid, 1947, p. 785.
• D. Juan Agustín Ceán Bermúdez, Diccionario Historico de los más Ilustres Profesores de las Bellas Artes en España (Madrid, 1800), p. 50.
• William Stirling[-Maxwell], Annals of the Artists of Spain, vol. 2 (London, 1848), p. 772; 2nd ed., London, 1891, p. 923.
• José Gestoso Pérez, Ensayo de un diccionario de los artífices que florecieron en Sevilla desde el siglo XIII al XVIII inclusive, vol. 2 (Seville, 1900), pp. 124-125.
• M. Gómez Imaz, Inventario de los cuadros sustraídos por el Gobierno insturso en Sevilla (año 1810), 2nd ed. (Seville, 1917), p. 141, no. 224.
• José Cascales y Muñoz, Francisco de Zurbarán: su época, su vida y sus obras (Madrid, 1911), p. 36; translated by Nellie Seelye Evans, New York, 1918, p. 17.
• Hugo Kehrer, Francisco de Zurbarán (Munich, 1918), pp. 18, 36-37.
• Juan de M. Corriazo, "Correspondencia de don Antonio Ponz con el Conde del Aguila," Archivo Español de Arte y Arqueologia 5 (1929), p. 176.
• Martin S. Soria, "Francisco de Zurbarán: A Study of His Style," Gazette des Beaux-Arts 6 ser., 25 (1944), p. 40.
• Paul Guinard, "Los Conjuntos dispersos o desaparecidos de Zurbarán: Anotaciones a Ceán Bermúdez (II)" Archivo espanol de arte 20 (1947), pp. 193-94, 198-99.
• José Milicua, "El Crucifijo de San Pablo, de Zurbarán," Archivo Espanol de Arte 26 (1953), pp. 177-186, pls. 1-4.

Saint Romanus of Antioch and Saint Barulas

Art Institute of Chicago

Ceremony in Church

Art Institute of Chicago

Flowers and Fruit in a Porcelain Bowl

Art Institute of Chicago

Refugee Camp, Ruins in Background, San Francisco Earthquake and Fire

Art Institute of Chicago

Ruins of Church Looking North-East or East; Yerba Buena Island in far Right Distance) San Francisco Earthquake and Fire

Art Institute of Chicago

Cooking on the street, San Francisco Earthquake and Fire

Art Institute of Chicago

The Burning City, San Francisco Earthquake and Fire

Art Institute of Chicago

Boy on a Ram

Art Institute of Chicago

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