Appearance of St. Peter to St. Peter Nolasco, 1629 Francisco de Zurbaran (1598-1664)

Location: Prado Museum Madrid Spain
Original Size: 179 x 223 cm
Appearance of St. Peter to St. Peter Nolasco, 1629 | Zurbaran | Painting Reproduction

Oil Painting Reproduction

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$1363.97 USD
Condition:Unframed
SKU:ZUR-7795
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Entirely Hand-Painted
Painted by Academy Graduated European Artists
Museum-Quality
+ 4cm (1.6") Borders for Stretching
Creation time: 8-9 weeks
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We create our paintings with museum quality and covering the highest academic standards. Once we get your order, it will be entirely hand-painted with oil on canvas. All the materials we use are the highest level, being totally artist graded painting materials and linen canvas.

We will add 1.6" (4 cm) additional blank canvas all over the painting for stretching.

High quality and detailing in every inch are time consuming. The reproduction of Francisco de Zurbaran also needs time to dry in order to be completely ready for shipping, as this is crucial to not be damaged during transportation.
Based on the size, level of detail and complexity we need 8-9 weeks to complete the process.

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We not stretch and frame our oil paintings due to several reasons:
Painting reproduction is a high quality expensive product, which we cannot risk to damage by sending it being stretched.
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Additionally, due to the dimensions of the stretched canvas, the shipment price may exceed the price of the product itself.

You can stretch and frame your painting in your local frame-shop.

Once the painting Appearance of St. Peter to St. Peter Nolasco is ready and dry, it will be shipped to your delivery address. The canvas will be rolled-up in a secure postal tube.

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GygyVerified Reviewer
20th December 2015 12:40pm
Zurbaran - The Apostle Peter Appearing to St. Peter Nolasco

This work from Zurbaran's maturity is perhaps the most intensely lyrical of those composing his religious cycles. The bare simplicity of the composition reflects the criteria and solutions indicated in such works as Still-life, already discussed. Here are only two figures against an immense, closed background, and two summary diagonals, one from right to left, towards the crucified Apostle; the other from left to right, formed by his open arms, which provide a rapid penetrating movement. Corresponding to this last movement are the arms of St. Peter Nolasco open in adoration.

The situation is like an unexpected explosion, and it is concentrated in a vision caught at its most forceful moment in an indescribable and marvellous instant. Continuing the Caravaggesque mode, simplified forms in pure volumes are revealed by a miraculous beam of light.

Leaving aside any traditional models, and interpreting the narrative in a highly individual way, the artist creates the immediate and compelling image of the two figures. He arrests the sharp feeling not so much of an exceptional event as of the impossibility or incredibility of a miracle. This he does in a suspended tension that is established in the descent of the Apostle Peter, with his aura of light, and in the sudden gesture of St. Peter Nolasco, who appears to have just fallen to his knees after having witnessed the incredible descent. The manner of painting almost annuls his presence, at least as a physical or apparent presence in the eyes of the observer; it suggests a precipitous sublimation, a point of transport, of a transfiguring, lyrical, mystical exaltation that is beyond any situation and any time.

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