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Judge Orders Prado to Hold Disputed Velázquez Painting in Divorce Case

A Spanish judge has ordered the Museo del Prado in Madrid to take custody of a painting attributed to Diego Velázquez, which is at the center of a divorce dispute between steel magnate José María Aristrain and his ex-wife Gema Navarro. The work, a portrait of Philip IV linked to Velázquez’s early years in Madrid, was removed from Aristrain’s residence on March 17 and transferred to the Prado’s storage after Navarro filed a complaint alleging it had been wrongly withheld from her. The Ministry of Culture, acting with court and prosecutorial support, designated the museum as custodian until ownership is resolved. The painting had previously surfaced at auction, failing to sell in 2007 amid attribution doubts, before being acquired by Navarro in 2015 for €878,000.

Simply divine: the extraordinary supernatural visions of Francisco de Zurbarán

Francisco de Zurbarán, one of the three great Spanish 17th-century painters alongside Velázquez and Murillo, is finally receiving his first solo exhibition in the UK at the National Gallery in London. The show highlights his distinctive style of religious painting, characterized by stark chiaroscuro, sculptural realism, and a meditative stillness that makes the immaterial seem tangible. Works such as his crucified Christ and The Apparition of Saint Peter to Saint Peter Nolasco exemplify his ability to depict visions and inner spirituality, often commissioned by powerful religious foundations in Seville during the Counter-Reformation.

Zurbarán at the National Gallery - an unmissable show of baroque genius

The National Gallery in London presents a landmark exhibition of Francisco de Zurbarán (1598-1664), the first major retrospective of the Spanish Baroque master in Britain. In collaboration with the Louvre and the Art Institute of Chicago, the gallery has assembled over 40 works from institutions worldwide, including Seville and San Diego. The show features Zurbarán's electrifying religious paintings and radiant still lifes, displayed in darkened galleries that echo the chiaroscuro of his compositions. Highlights include the shattering *The Crucifixion* (1627) and *Saint Peter Nolasco's Vision of Saint Peter the Apostle* (1629), which demonstrate his hyper-real, sculptural approach to sacred subjects.

Zurbarán at the National Gallery is more agony than ecstasy

The article reviews the exhibition 'Zurbarán' at the National Gallery in London, arguing that the show fails to capture the spiritual intensity and emotional power of the Spanish Baroque painter's work. It criticizes the curatorial choices, suggesting the display feels flat and lacks the ecstatic religious fervor that defines Zurbarán's best paintings, leaving viewers with a sense of agony rather than transcendence.