© Jeannette D’Souza 2026

The National Gallery exhibition of Zurbarán is the first major monographic show dedicated to the artist in Britain. It begins with some of his earliest paintings, revealing the startling originality that defined Zurbarán’s art.

My sincere thanks to The National Gallery of London for letting me explore the exquisite collection of Zurbarán and for enabling me to study and express the spiritual side of art through faith.
Images have been resized or focussed on certain aspects in keeping with the mood of the blog. I dedicate this blog to the feast of the Assumption of our Lady – 15th August 2026(celebrated on 16th this year). Zurbarán who loved painting Marian devotional images is lauded in this blog, as is the relevance of his many works befitting to the feast of our Lady.

Francisco de Zurbarán (1598–1664) was one of the greatest painters of Spain’s Golden Age. His life was relatively quiet compared with some of his famous contemporaries, but his art had a profound spiritual depth.
There is something rather poignant about Zurbarán’s life. He spent much of his life painting scenes of quiet faith and humility, and in a sense his own life reflected those qualities. Unlike some artists who sought renown, it seemed that Zurbarán worked steadily in quiet faithfulness, often for monasteries and convents, creating paintings intended to encourage prayer rather than to impress. There were family losses in the artist’s life which may have deepened the quiet solemnity seen in many of his works.
His later years were difficult and his profession could not sustain his simple livelihood, although his career had flourished in Seville. Later in life patrons became rare, leave aside commissions, it was due to the devastating plague which compounded to Seville’s economic downfall. He suffered financially towards the end and travelled to Madrid in the hope of finding patrons, he spent the last few years of his life there and died in Madrid in 1664.
It wasn’t until the 19th century that art historians and collectors rediscovered him and recognised him as one of the greatest painters of the Spanish Baroque era. Today, that quiet, contemplative spiritual quality is one of the reasons his works continue to touch so many people.

Many art historians regard Zurbarán as one of the greatest painters of fabric who ever lived. Zurbarán’s father was a textile merchant, so Zurbarán might have certainly arranged garments and fabrics of varied textures in his studio and studied how they draped over a figure or a mannequin. He painted slowly and patiently, observing every fold. His work has a quiet precision that suggests he was content to spend many hours perfecting a single fold of fabric.

Many people today find Zurbarán’s paintings moving because they communicate a serene stillness with an emotional impact and a deep profound reverence toward faith. Even without dramatic action, they invite the viewer to pause, reflect, and pray.

Veronica wiped Christ’s face with her veil as he carried the cross on which he would be crucified on Calvary. Miraculously, it is believed, his image was imprinted on the cloth. Rather than painting Christ’s face with conventional realism, as was common, Zurbarán imagines it as it might have been – a subtle impression, deeply emotive with the eyes haunting voids. The painting is signed on a piece of paper replicating real life, it appears to be stuck to the canvas demonstrating Zurbarán’s capacity to imprint reality.

Rather than painting grand royal portraits, Zurbarán became famous for religious paintings. He received many commissions from monasteries, convents, and churches. His paintings were intended to help people pray and meditate.
His style is known for strong contrasts of light and shadow, extraordinary realism in faces and fabrics, calm and still compositions amidst a deep spiritual atmosphere.

This painting might have been made for private veneration, possibly made for a noble patron in Madrid. The intention was devotional, to bring about the atmosphere of reflection, prayer and family devotion.
The Virgin feeds her infant, this was a rare subject in 17th-century Spain. Zurbarán signed it discreetly on the wooden post of the manger. It is an exceptional example of his style adopted in his final year – peaceful and intimate in feeling, with a reserved palette and softened outlines.

From still lifes small enough to hold in the hands to altarpieces that towered 15 metres in the air, Zurbarán’s art production was prodigious and characteristically varied.

Many people compare Zurbarán’s use of light and shadow with that of Caravaggio, however Zurbarán developed his own distinctive style.
One of his most famous works is The Agnus Dei, which depicts a bound lamb representing Christ. Though simple in composition, it powerfully conveys innocence, sacrifice, and peace.
“Agnus Dei” is Latin for “Lamb of God”, Zurbarán transforms those very words that denote Christ into a soul-stirring image. He removes all sense of time and place, nothing distracts us, and as we are drawn into the quiet surrender of Christ, the Lamb reflects the deepest truths…

Zurbarán believed that holiness was beautiful because it is truthful!

Francisco de Zurbarán (1598-1664) was one of 17th-century Spain’s greatest painters.
Zurbarán was born in the sparsely populated town of Fuente de Cantos in the region of Extremadura in western Spain. His father was a merchant and so Francisco received a good upbringing, and at the age of 15 he was sent to Seville to train as a painter. Zurbarán travelled to Seville, in this rich vibrant port city with strong links to Spain’s colonies in the Americas, he learned painting, carving and gilding. There, over a career that began in the mid-1620s and spanned over four decades, he developed a singular vision for what painting could be. However Zurbarán never lost the simplicity that seemed to echo the spirit of his hometown.
Seville was the city most associated with Zurbarán’s career where he had a busy workshop. He employed a sizeable studio and even trained his son Juan (1620-1649) in the art of still life.
Zurbarán was invited from Seville to contribute to the newly built Buen Retiro palace. There he painted a series of 10 monumental canvases of the Labour of Hercules. This theme was chosen because the Spanish Habsburg kings regarded Hercules as a symbolic ancestor and a model of strength and virtue. And so, Zurbarán received commissions for a time that were connected with the Spanish royal court of King Philip IV of Spain.

Zurbarán was a devout Catholic living during the Counter-Reformation. His paintings reflect a desire not merely to illustrate biblical stories but to inspire prayer and encourage contemplation. Saints are often portrayed in silence and peacefulness evoking the triumph of their martyrdom, with an almost tangible sense of God’s presence.
The Catholic Church promoted religious art as a means to encourage devotion. Paintings from the life of Christ and Saints served as a means to develop spiritual connection between God and the faithful, a connection between heaven and earth. Zurbarán understood this deep spirituality and underlying credo that helped establish his own unique style. In combining highly sculptural figures, dramatic lighting and an intense naturalism especially in expressions, he created his own niche thus transforming his paintings into an almost ethereal experience with the Divine!

Although the Bible does not describe Mary’s childhood nor education, Christian artists often portray her studying God’s Word because she became the one who most perfectly received it. The Young Virgin Mary possibly around 10 years is engrossed in a prayerful moment with her eyes devotionally gazing upwards. Her tender hands rest over her needle work cushion, they suggest her willingness in surrendering to the will of God. The halo is not dazzling or dramatic, Zurbarán often painted holiness quietly rather than spectacularly. Her blue garment symbolises her connection to heaven, the pinkish coral gown suggest her simplicity and humanness, together they express an important Christian truth that Mary is fully human, yet filled with divine grace!
Mary is surrounded by objects that identify her virtues and the soft golden halo tells us that Mary has been chosen by God from her childhood.
White lilies; symbolise Mary’s purity, innocence and later became closely associated with the Annunciation.
The embroidery over the cushion; This is a lovely detail because, according to ancient Christian tradition, young girls learned domestic skills such as spinning, weaving and embroidery. The embroidery therefore symbolises diligence, humility, patience and a preparation for future vocation.
The roses; pink roses represent love and charity and also foreshadow both joy and sorrow, Mary’s life would include immense happiness and intense sorrow.
The basket with linen; Zurbarán reminds us that holiness is found not only in prayer but also in ordinary daily work, however Mary prioritises prayer.
Scattered flowers; The tiny blue flowers on the floor traditionally represent Mary’s colour, representing her connection to heaven, her fidelity and virtue portrayed quietly.
Sewing shears; symbolise a lifetime of discipline
The earthenware mug; represents Mary’s simplicity of life.
Rather than placing luxurious objects around Mary, Zurbarán surrounds her with regular household items. This reflects his belief that God is present in simple, everyday life.
In this painting there is no drama nor excitement, yet Zurbarán narrates the theme of holiness softly through prayer, study, work, purity of heart and faithful attention to God.
This painting reflects the spirituality of the 17th-century Spanish Church, which emphasised that every ordinary task could become an act of love for God. The scale and subject suggest this painting was made for private devotion, the composition was frequently copied, indicating that Zurbarán’s ability to unite the ordinary with the divine was appreciated by collectors.

This painting is one of Zurbarán’s most tender and intimate family scenes. It is sometimes called “The Childhood of the Virgin”.
After years of praying and waiting for a child Joachim and Anne are blessed with a daughter, Mary. In fulfilment to their promise, the elderly Joachim and Anne vow to dedicate their daughter’s life to God. This emotion is brought forefront in a domestic setting with intense naturalism.
In this tender painting, Saint Joachim (Mary’s father) sits in the shadows contemplating, resting his head on his hand.
The young Mary sits in the centre, learning to sew. Zurbarán suggests Mary’s early awareness of her special calling, as she appears contemplative beyond her years while yet a child. Mary takes a moment’s pause to reflect, her little hands rest across her cushion that suggests her learning needlework over a white strip.
Saint Anne (Mary’s mother) leans lovingly towards her daughter wrapping her arm around her shoulder, offering a plate of fruit. This is where an ordinary family scene becomes adorable, a serene mood envelops the scene with a caring mother and devoted father…
And everyday objects like the sewing basket, the water jug and the plate of fruits are finely finished with meticulous details as they are symbolical. Zurbarán rarely placed objects casually, and the plate of fruits has deeper spiritual meaning. Fruits generally represent God’s gifts and spiritual nourishment- Peaches often symbolize salvation or virtue and Red fruits may possibly foreshadow sorrow and Christ’s future Passion.

This endearing scene is adorable, notice the Virgin holding her infant tenderly with soft expressions while St John the Baptist offers him a tiny bird (goldfinch).
Goldfinches appear in many Renaissance and Baroque paintings, they feed among the thistles and Christians associated thistles to the crown of thorns in the Christ’s passion. The expressions of infant Jesus are hesitant, as the bird hints at his future sacrifice the infant shows concern, this was very characteristic of sacred art. Even so, this playful childhood moment quietly foreshadows Christ’s Passion.
The apples on the side speak of Christ who is often referred to as the second Adam, the Saviour who pays the price to redeem humanity. St John the Baptist is portrayed in his saintly attire of camel hair, with a red flannel that symbolises his martyrdom.
Zurbarán had a remarkable gift for planting a seed of Christ’s Passion in scenes of joy, through little details he conveyed deep theology. He reminds us that the Child in Mary’s arms is also the Saviour who will freely give His life. Yet he does so with such gentleness that the painting never loses its sense of peace.

A very graceful composition that evokes an emotional response, rich in symbolism and poignant to its core. The scene is drawn to a young Christ who is pricked by the crown of thorns on his lap, it foreshadows Christ’s passion and death. Mary watches her son’s finger bleed, she ponders on this moment which is painful to bear while she contemplates on her son’s future suffering and death.
Zurbarán places significant objects that relate to Christ’s passion; the cup of water next to Christ -symbolises the cup of salvation, the turtle doves; symbolise purity and an offering for the expiation of sins and it represents Christ’s future sacrifice, the white linen denotes the priestly line- Jesus who is the high priest of the highest order. There are angels hidden in the light that remain watching over Christ, in silence they seek God’s will.
Zurbarán softly brings to light the passion of Christ, at a first glance the painting looks like a simple domestic scene. However Zurbarán understood that silence is often where grace begins, he invites us into a moment of silence.
He takes an ordinary childhood mishap – a pricked finger, and transforms it into a meditation on Christ’s entire life. There is no drama, only stillness, and somehow that makes the symbolism even more powerful.
In the gospel, Luke tells us that Mary kept all these things, pondering them in her heart. The focus lies in her quiet expressions, they connect us with the symbolic details of Christ’s passion.
Mary’s life finds its deepest meaning in her relationship with Christ.

This painting is one of Zurbarán’s greatest achievements, with almost nothing but a white robe, darkness and silence, he paints one of the deepest mysteries of Christianity, Love is stronger than death…
A little about St Serapion- Saint Serapion lived in the late 12th and early 13th centuries. He is believed to have been born in either England or Ireland—historians are not completely certain. As a young man, he became a soldier and is said to have fought alongside Richard I of England, also known as Richard the Lionheart, during the Crusades. After witnessing the suffering and violence of war, he eventually chose a very different path.
Serapion joined the Order of the Blessed Virgin Mary of Mercy, commonly called the Marcedarians. The Marcedarians dedicated themselves to redeeming Christians who had been captured and enslaved during the conflicts between Christian and Muslim territories around the Mediterranean. They collected money to ransom captives and if there was not enough money, some friars were even willing to offer themselves as hostages until the prisoners could be freed.
Around the year 1240, Serapion travelled to North Africa on one of these rescue missions. He was captured and beaten, tortured horribly; disembowelled and partially decapitated, according to tradition he refused to abandon his Christian faith. He was eventually martyred, he died because of his faith and his commitment to rescuing others.
Why did Zurbarán paint St Serapion so peacefully?
Zurbarán knew that Serapion’s death was horrific, yet he chose not to paint the violence. Instead, he paints the moment after earthly suffering has lost its power. St Serapion’s face is relaxed as if asleep and his body hangs gently, there is swelling painted over his forehead, however his white habit shines against the darkness, a suggestive that Serapion had attained his Sainthood…
“Greater love has no one than this: to lay down one’s life for one’s friends.” John 15:13
St Serapion laid down his life trying to save others. Zurbarán quietly emphasizes the message that the peace of God is experienced even in deep suffering.

At first glance this painting looks like a noblewoman from 17th century Spain, but she is actually an early Christian martyr, St Casilda of Toledo.
A little about St Casilda – Saint Casilda lived in 11th-century Toledo and, according to tradition, was the daughter of a Muslim ruler. Despite her privileged upbringing, she cared deeply for the sufferings of others, secretly she brought food to Christian prisoners who had been imprisoned by her father.
One day, her father stopped her and demanded to know what she was carrying. When he asked her to open her apron hiding the bread basket, the bread she had hidden miraculously transformed into roses. This miracle protected her and revealed God’s blessings on her acts of mercy.
It brings to mind St Mathew 25:35 – “For I was hungry and you gave me something to eat”
After being cured from a serious bleeding disorder, she embraced the Christian faith and devoted her life to God. Unlike many earlier saints, Casilda was not executed for her faith. Instead, she spent the remainder of her life as a hermit choosing charity over palatial comfort, and devoting to a life of prayer and caring for others.
This painting is one of the finest examples of painted fabric in European art, its luxurious style of the 17th century are exemplary and inspiring to designers and artists to this day. Notice how the gold brocade catches the light while every fold alters the pattern. The large white floral motifs swell and flatten depending on how the cloth drapes. Zurbarán understood not only design but how woven silk moves, he achieved a unique mastery at painting fabrics of varied materials, textures and tones.
Zurbarán deliberately dressed many saints in the luxurious fashions familiar to people in seventeenth-century Spain, he let the outward beauty draw us in, but only to unfold the true virtuous essence that lay within.

Zurbarán paints St Francis the contemplative in this life size portrait- with his eyes fixed upwards on God in a speechless gaze, harkening to his silent calling in an almost childlike wonder.
A little about Saint Francis of Assisi- St Francis was born in Assisi, Italy, around 1181 or 1182. His father was a wealthy cloth merchant, and Francis grew up surrounded by comfort. As a young man, he loved fine clothes, feasts, music, and dreamed of becoming a famous knight. Everything changed after he experienced illness and the horrors of war. Gradually, he realised that worldly success could not satisfy the deepest longing of his heart. One day, while praying before the ancient crucifix in the little church of San Damiano, he heard Christ speak to him:…”Francis, go and repair my house, which, as you see, is falling into ruin.”
At first, Francis thought that Jesus meant the little stone church in his hometown, so he began rebuilding it with his own hands. Later he understood that Christ was calling him to renew the Church itself—not with power, but through holiness.
From then on Saint Francis of Assisi desired to become more like Christ in every aspect of his life, he founded the Franciscan order in the early 13th century with a small group of followers to live a life of radical poverty. He dedicated his life in preaching the gospel, he gave up wealth, comforts and status to follow Christ. He repaired broken churches and embraced lepers much like the modern Saint Mother Teresa of Calcutta. The order of the Franciscans wear a knotted rope around their waste as a reminder to live a life of poverty, chastity and obedience.
Zurbarán’s Saint Francis captures the silence of a man who has given everything to Christ and found that Christ is enough… He invites us not merely to admire a saint, but to ask ourselves: What does a life centred entirely on God look like? And his answer is wonderfully simple: it looks humble, prayerful, and full of quiet joy!
Zurbarán paints rough texture of wool with the same care that he painted silk in the portrait of St Casilda. Notice in closeup the garment’s fabric texture, it appears softly swollen with worn fibres, and the knotted cord of rugged strength lets light fall onto the outer layers. Nothing escaped Zurbarán’s eye, as every aspect is symbolically represented in meticulous detailing.
There is no fuss but sheer simplicity that draws out the underlying theme on the Saint’s face that bring to mind – “One thing I ask of the Lord, this only do I seek; that I may dwell in the house of the Lord all the days of my life, to gaze upon the beauty of the Lord…” Psalm 27: 4

Zurbarán portrays a graceful reflection of St Apollonia.
A little about St Apollonia – St Apollonia lived in Alexandria, Egypt, during 3rd century AD. Tradition describes Apollonia as a devout Christian endowed in virtues and dedicated to Christ.
Before the full great Roman persecution of Christians, an anti-Christian mob broke out in Alexandria and the mob seized the saint. St Apollonia was brutally beaten, her persecutors struck her face and shattered her teeth. This became the defining symbol of her martyrdom, which is why artists portray her holding pincers and in this case Zurbarán paints a tooth too.
St Apollonia was threatened to be thrown into the flames unless she renounced Christ, so she asked for a brief moment where she prayed and then she freely stepped into the flames herself rather than deny Christ. Her life echoes Jesus’ words – ‘Do not fear those who kill the body but cannot kill the soul’ Matthew 10:28
Zurbarán paints a triumphant Saint Apollonia, holding the palm of victory, and the pincers loose their intimidating sense in this serene scene, rather they become a testimony to God’s grace. Zurbarán shows us how grace can transform suffering into a sense of peace, into a quiet confidence of redemption.

There is something deeply consoling about Zurbarán’s Saints and in this painting too. He does not depict St Margaret at the tragic climax of her life, instead his expressions guide viewers in peace.
A little about the Saint- Saint Margaret lived around the late third or early fourth century in Antioch (modern-day Turkey). According to Christian tradition, she was the daughter of a pagan priest but embraced Christianity after being raised by a Christian nurse. When the Roman governor wished to marry her, she refused to because she had already dedicated herself to Christ. She was imprisoned, tortured, and finally martyred.
One of the most famous episodes from her legend tell us how Satan appeared to her in the form of a dragon. The dragon swallowed her whole, but the cross she carried caused the dragon to burst open, and Margaret emerged unharmed. Whether understood literally or symbolically, Christians have long seen this as the triumph of faith over evil.
Zurbarán depicts Saint Margaret as a young shepherdess in luxurious shepherd’s dress, holding a staff, a slung saddlebag and a Holy book, and the dragon remains subdued behind her. The use of dramatic lighting and meticulous rendering of textures- from rough wool to the patterned fabric of the saddlebag slung over her arm, the straw hat and scaly dragon-hide, all create a powerful imagery of the artist’s genius in his work.
Saint Margaret devoutly follows ‘Jesus the Good Shepherd’ and herself becomes the one who faithfully walks His path.
Margaret’s life echo the words of St Paul – ‘We are afflicted in every way, but not crushed; perplexed, but not driven to despair; persecuted, but not forsaken; struck down, but not destroyed.’ 2 Corinthians 4:8–9

This painting depicts St Elizabeth of Portugal (1271-1336), queen, wife, mother, peacemaker, and eventually a Franciscan tertiary. She was canonised because of her extraordinary charity, humility, and her tireless efforts to reconcile enemies.
Zurbarán offers us a contemplative portrait of the Saint, she is seen gripping a palm and a book while her right hand is raised forward to symbolise acts of charity. St Elizabeth spent enormous time and wealth feeding the poor, building hospitals and caring personally for the sick.
Artists often portrayed saints in their youthful state especially in Spanish religious art. Saint Elizabeth was a queen and hence she was depicted in royal robes. Zurbarán was a genius known for painting fabrics, and this painting is exemplary with its eye catching embroidered gold bodice that is finely edged with pearls topped by a rich green mantle. Yet notice that the artist ensures that her clothing does not overpower her countenance. Although regal by nature the Saint is shown holding a palm which symbolizes Christ’s victory and the book that represents wisdom through scriptures. She is governed not simply with intelligence but with wisdom and prayer.
One is reminded of the psalm 119- ‘Your word is a lamp to my feet and a light to my path’.

During the Middle Ages, Saint Catherine became one of Europe’s most beloved saints. She became patroness of biblical scholars, philosophers, students, teachers, librarians, and anyone seeking wisdom. Many universities placed themselves under her protection because she united learning with holiness.
A little about the Saint – Saint Catherine is one of Christianity’s most beloved virgin martyrs, although the historical details of her life are mixed with ancient tradition. According to that tradition, she lived in Alexandria in Egypt around the beginning of the 4th century during the persecution under Emperor Maxentius. She was said to have been of noble birth, exceptionally well educated and skilled in philosophy and rhetoric.
Saint Cathrine was deeply devoted to Christ, she had already given herself entirely to Christ. She regarded Him as her heavenly Bridegroom.
When the emperor demanded sacrifices to the pagan gods, Catherine refused. Instead of remaining silent, she challenged him publicly.
The emperor summoned fifty of his greatest philosophers to defeat her in debate. Rather than Catherine being persuaded, tradition tells us that her wisdom was so profound that many of the philosophers themselves embraced Christianity. This greatly angered the emperor and he tried persuading her in marriage and a life of wealth, and Catherine refused every offer as she followed Christ.
The instrument prepared for her execution was a wheel fitted with sharp blades. According to tradition, as Catherine approached it, she prayed, and the wheel shattered miraculously before it could harm her. That is why the broken wheel became her most familiar symbol, however it is not depicted in this painting.
Unable to execute her that way, the emperor ordered her to be beheaded instead. She died around AD 305.
Zurbarán seems to invite us not simply to admire Saint Catherine’s courage, but to imitate her quiet confidence and to seek truth wholeheartedly. And once it is found, to remain faithful to it with peace rather than fear. The Saint is shown holding a sword and a delicate palm frond, they symbolise her martyrdom and the triumph in Christ!
The victory of faithful endurance as scripture says: “Be faithful unto death, and I will give you the crown of life”. Revelation 2:10
The painting forms a pair with Saint Elizabeth of Portugal (alongside).

Zurbarán paints this scene as an invitation to silent prayer … at the foot of the Cross.
He projects this altarpiece with an outward sharing of the innermost emotions of the subjects. This is his last known depiction of the Crucifixion.
With most of his other paintings especially of saints, Zurbarán paints peaceful reflective scenes irrespective of their life to represent a venerable image. However this scene of the crucifixion is drenched in heartache that lie at the surface. The painful agony of Christ with blood trickling down from his wounds, the inconsolable sorrow of Mary, the cutting despair of Mary Magdalen and the open-mouthed horror of John the Evangelist evoke a reverent and heartfelt response to the passion of Christ.
Zurbarán painted for monasteries where monks would spend hours in contemplation. His paintings are not merely to be admired, they are to be prayed with. Zurbarán aligns his viewers with the subjects in the scene as he silently reveals – a perfect self-giving love. As Saint Paul writes… He loved me and gave Himself for me.’- Galatians 2:20
Standing beneath this Cross, those words feel almost visible. Zurbarán reminds us that the darkest moment in history became the clearest revelation of God’s love. The arms stretched across the wood proclaim that no suffering, no failure, and no sorrow lies beyond the reach of Christ’s embrace. That is the heart of the painting.
The Cross is not first about pain, it is about love poured out completely!

As this blog is dedicated to the Feast of the Assumption of our Lady, keeping as closest to the theme I thought of adding the painting of ‘The Immaculate Conception’ towards the culmination of the blog.
At the height of religious paintings of 17th century, there were many venerable images created for Marian devotions especially of the Immaculate Conception of Mary. Zurburán painted about 15 canvases of the Immaculate Conception of the Blessed Virgin Mary, each presented with different venerating subjects, besides he also factored in variations in countenance and devotional tones.
Zurbarán portrays the young Virgin chosen by God (she is seen floating over Cherubim and the heavens open), her soft pink robe suggests purity and her blue mantle depict her closeness to heaven. She is radiant floating between heaven and earth in this symbolic narration.
The elderly parents- St Joachim and St Anne are amazed to see this transition, they are in awe and in veneration of their daughter through whom salvation will enter history. They simply gaze upward with trust, as their daughter becomes God’s greatest gift to them.
In that sense, the painting invites us to do the same. We may not understand all that God is doing in our lives, but we can stand with open hands like Joachim and an open heart like Anne, allowing ourselves to be drawn into the quiet radiance of God’s presence. Creation is constantly praising God.
Mary stands in the middle of that heavenly liturgy, and it reminds us of Isaiah’s vision: “Holy, holy, holy is the Lord…”
The painting was purely devotional and might have occupied a prominent place in a chapel.

Zurbarán did paint secular themes too and still life, however the one below relates to Our Lady and hence I thought of including this painting.

Zurbarán here paints what appears to be a regular still life and yet with him, nothing is ever merely ordinary.
Zurbarán had a deep faith in the Virgin Mary and he painted versions of the young Mary with specific objects that represent her virtues and in theme.
This delicate painting evokes a soft contemplative response and every one of the 3 groups arranged brings in a symbolical connotation to the Virgin Mary:
Four lemons on a pewter plate; the freshness representing gifts of purity of the natural world created by God.
A wicker basket filled with oranges still attached to leafy branches with delicate white blossoms; notice- that the fruit is shown together with flowers, normally flowers and ripe fruit do not appear at exactly the same time, so Zurbarán has intentionally combined them. Orange blossoms traditionally symbolise virginity, purity and divine grace.
A white cup resting on a saucer, beside a single rose; the rose has long been one of Virgin Mary’s symbols, a pale rose especially suggests purity, while a pink rose can suggest love and charity. The simple white cup represents purity and spiritual refreshment in the everyday domestic life of Mary.
This painting is Zurbarán’s only signed and dated still life and has become an icon of 17th-century Spanish art. When the picture was rediscovered a century ago, viewers saw a kinship between it and the modern, abstracted canvases of Cezanne and Picasso. Sophisticated in handling but simple in composition, the painting’s appeal relies on the sensitive and symbolical, balanced and thoughtful arrangement of objects across a polished wooden surface.
Fruit, flowers, water – these are gifts of creation.
During the Mass, we offer to God “fruit of the earth and work of human hands.”
This painting quietly honours both, the abundance of nature and the humble craftsmanship of the basket maker and potter. Human work and God’s gifts meet upon a simple table symbolical of the altar.

Zurbarán’s paintings invite reflection rather than attract attention —they do not present a loud message, only a quiet whisper!

Thank you so much for taking the time in reading the blog, hope you found it inviting in its humble sense 🙏🏼
Wishing you many blessings and great joy especially on the feast of the Assumption of our Lady into Heaven! 🌟💫✨💫⭐️

1 August 2026

© Jeannette D’Souza