Colnaghi Collections_Vol 01 - Catalog - Page 96
FRANCISCO DE ZURBARÁN
Fuente de Cantos, 1598 – Madrid, 1664
Magnificat Anima Mea
Oil on canvas
120 x 99 cm
Signed: F. Z.
Inscribed: MAGNIFICAT: ANIMAMEA DOMINVM·
Alongside Diego Velázquez and Bartolomé Esteban Murillo,
José Colón Collection, Sanlúcar de Barrameda, Cádiz
Francisco de Zurbarán (1598-1664) was one of the greatest
(as Velázquez) and by descent; Félix Millet Collection,
painters of Spanish Golden Age. Born in Fuente de Cantos, near
Barcelona, ca. 1946; Raimond Maragale, Barcelona;
Badajos, Zurbarán became the official painter of Seville in 1629.
José Gudiol, Barcelona and by descent.
His clientele, mainly formed by the monastic orders in southern
Spain, provided steady commissions for powerful religious
works that responded to the doctrinal and spiritual needs of the
Martin S. Soria, The Paintings of Zurbarán (London
and New York: Phaidon Press, 1955), p. 144, no. 52,
pl. 37. Paul Guinard, Zurbarán et les peintres espagnols de
The canvas representing the praying Virgin, a subject referred
la vie monastique (Paris: Editions du Temps, 1960), p.
to as Magnificat Anima Mea, as indicated on the inscription in
223, no. 126. Mina Gregori and Tiziana Frati, L’opera
the cartouche, was rediscovered by Manuel Gómez-Moreno at
completa di Zurbarán (Milan: Rizzoli, 1973), p. 90, no. 60.
Sanlúcar de Barrameda (near Cádiz) and attributed to Zurbáran
Arsenio Moreno, Zurbarán (Milan: Electa, 1999), p. 134,
by Martin S. Soria in 1955 after it was exhibited as Velázquez.
no. 15. Odile Delenda, ed., Francisco de Zurbarán 15981664, Catálogo razonado y crítico (Madrid: Wildenstein
That the work was intended for private devotion is suggested by the
Institute and Fundación de Apoyo a la Historia del Arte
inscription: “My soul doth magnify the Lord”, a passage from the
Hispánico, 2009), pp. 105-106, no. 9.
Gospels (Luke I: 46), which invites personal spiritual meditation.
Precedents for both the inscribed cartouche and the Virgin’s pose
appear in an engraving after Marten de Vos, published by Philip
Barcelona, Sala Parés, Siete Obras Maestras, 1949-1950,
Galle in Gerard de Jode’s Thesaurus sacrarum historiarum of 1579-
1585. The trompe l’oeil cartouche, simulating grey stone, emerges
from soft clouds, highlighted with touches of yellow and pink,
while the Virgin, whose physical presence is at once statuesque
and metaphysical, is projected against a shimmering yellow sky.