Ecce homo; Sillería de coro

Convento de Santa Clar

Zurbarán attribution hypothesis supported by pigment analysis and multiband images observation of four paintings by his workshop

Francisco de Zurbarán was one of the greatest painters of the Spanish Golden Age, with artworks scattered all over the world. Unfortunately, there are hardly any exhaustive studies on the pigments that he used. In this work, four canvas paintings attributed to the Zurbarán Workshop were studied. Each of them presents the figure of a different saint in a particular isolation scene: Saint Bruno, Saint Francis of Assisi, Saint Dominic of Guzman, and Saint Peter Martyr. Nevertheless, the painting of Saint Peter Martyr shows superior quality in both technique and colours, so it is not clear whether this canvas was also made by the Workshop or by Zurbarán himself, as some art historians claim. Coinciding with conservation and restoration works, the paintings were initially analysed with non‑invasive techniques such as ultraviolet photography (UV), infrared reflectography (IRR) and X‑ray fluorescence (XRF) to determine the characterization of the pigments. Those studies were complemented by stratigraphic analysis of some extracted samples with optical microscopy (OM) and scanning electron microscopy with energy dispersive X‑ray spectroscopy (SEM–EDX). Among a number of results obtained, we found significant differences between the pigment palette used in Saint Peter Martyr and the other paintings, supporting the hypothesis that this painting was done by Zurbarán himself instead of his workshop. These results could also help to distinguish other authentic paintings by the master’s hand from very similar paintings by his workshop or by other artist

San Francisco de Asís

Convento de Santa Clar

Portaviático

Iglesia Nuestra Señora de la Asunció

Marco del Santo Rostro; Retablo mayor

Iglesia Catedral de la Asunción de la Virge

Reportaje de la fachada principal del Santuario de Nuestra Señora del Rocío (Fotografías). Fondo Hermandad Matriz de Nuestra Señora del Rocío de Almonte

Casa Hermandad Matri

Reportaje de la fachada principal del Santuario de Nuestra Señora del Rocío (Fotografías). Fondo Hermandad Matriz de Nuestra Señora del Rocío de Almonte

Casa Hermandad Matri

Reportaje del Rosario por las calles de Almonte con el Simpecado de la Hermandad Matriz iluminado con las luces de las bengalas en la Romería de 1985 (Fotografías). Fondo Hermandad Matriz de Nuestra Señora del Rocío de Almonte

Casa Hermandad Matri

Reportaje de un grupo de niños tamborileros en una de las calles de la aldea del Rocío en la Romería de 1984 (Fotografías). Fondo Hermandad Matriz de Nuestra Señora del Rocío de Almonte

Casa Hermandad Matri