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Abstract
Francisco de Zurbarán (1598–1664), the Spanish Baroque painter, is famous for images created for Seville's monasteries and Philip IV's Hall of Realms. Many of his works were additionally sent to the Americas. This article considers the documentary record of Zurbarán's overseas activities in order to elucidate the mechanics of the transatlantic art trade in the midseventeenth century. In doing so, the article traces the processes associated with speculative and commissioned works from beginning to end, paying particular attention to the cast of characters involved and to the effects of transoceanic voyages on the paintings and our appreciation of them today.
Francisco de Zurbarán (1598–1664), the Spanish Baroque painter, is famous for images created for Seville's monasteries and Philip IV's Hall of Realms. Many of his works were additionally sent to the Americas. This article considers the documentary record of Zurbarán's overseas activities in order to elucidate the mechanics of the transatlantic art trade in the midseventeenth century. In doing so, the article traces the processes associated with speculative and commissioned works from beginning to end, paying particular attention to the cast of characters involved and to the effects of transoceanic voyages on the paintings and our appreciation of them today.
Francisco de Zurbarán (1598–1664), el pintor del barroco español, tiene fama por las imágenes que hizo para los conventos de Sevilla y para el Salón de los Reinos de Felipe IV. Sin embargo, también mandó muchas pinturas a las Américas. El presente artículo examina los documentos de sus actividades transatlánticas para estudiar la logística del comercio de ultramar a mediados del siglo XVII. Así, este estudio traza el proceso de envíos especulativos y patrocinados, desde el primer momento hasta el último, prestando atención especial a los personajes involucrados y a los efectos del viaje transatlántico en las pinturas y en nuestro conocimiento de ellas hoy en día.