Francisco de Zurbarán, a Spanish painter renowned for his religious subjects, is the focus of a major retrospective at the Louvre, organized in partnership with the National Gallery of London and the Art Institute of Chicago. The exhibition, open from October 7, 2026, to January 25, 2027, seeks to present the full breadth of Zurbarán’s career and the development of his artistic style. It includes both well-known masterpieces and recent discoveries, highlighting his skill as a colorist, a painter of still lifes, and a leading figure of the Seville school, influenced by Italian and Flemish art traditions. Zurbarán was born in Fuente de Cantos, a small town in Extremadura, located between Madrid and Lisbon. At 16, he left his home in 1614 for Seville, where he became an apprentice in the workshop of a lesser-known painter named Pedro Díaz de Villanueva. During this time, he formed a close friendship with Diego Vélasquez, who later became the court painter for King Philip IV. After completing his apprenticeship and earning his "painter of images" diploma, Zurbarán settled in Llerena, where he married Maria Páez Jiménez. They had two daughters and a son, Juan, who worked alongside him in his workshop. After Maria’s death, he married Beatriz de Morales in 1625. Zurbarán’s early works included a retable for the altar of the Virgin in his hometown and a life-sized sculpture of Christ on the cross for a neighboring village. These works have since been lost. His career gained momentum when he signed a contract with the convent of Saint-Paul in Seville in January 1626 to create 21 paintings depicting the life of Saint Dominic and other Church fathers. These works displayed his signature style, marked by intricate compositions, dramatic use of light, naturalism, and detailed rendering of fabrics. The Christ on the Cross, painted in 1627, brought him widespread acclaim. It was noted for its influence from Caravaggio and the use of chiaroscuro, a technique that contrasts light and shadow to create depth and drama. Zurbarán was also influenced by German and Dutch engravings, which he incorporated into his work. As his fame grew, Zurbarán established a large workshop in Seville, producing religious paintings for nobles, merchants, and religious orders. He also engaged in trade with the Americas through his brothers-in-law, producing paintings for the lucrative colonial market. These paintings, often of lower quality, were sold in places like Lima, Peru, which has the largest collection of his works. Despite this commercial activity, Zurbarán continued to innovate stylistically, using illusionism to reinterpret Catholic iconography. One notable example is Borreguillo, an artwork once considered an Agnus Dei, featuring a tethered lamb on a parapet against a black background, reminiscent of Juan Sánchez Cotán's still lifes. Zurbarán’s work on the Holy Face on the Veil of Veronica achieved a visionary effect, with the Christ’s imprint rendered as a faint, almost translucent form. He also painted Saint Francis of Assisi, a favorite of the Catholic Reformation, in various poses and settings. Zurbarán was invited to the court of King Philip IV in 1634 by Vélasquez, where he painted historical scenes for the Buen Retiro palace in Madrid. His works, such as The Defense of Cadiz against the English and The Marquis of Caldereita commanding a fleet, were part of the palace's decoration. After returning to Seville, Zurbarán continued to produce significant works, including those for the Charterhouse of Jerez and the royal monastery of Santa María de Guadalupe. However, the outbreak of the bubonic plague in 1649 devastated Seville, leading to the death of his son Juan. In the later years of his life, Zurbarán's style became more delicate and less contrasted, with smaller formats and intimate religious themes. His works from this period, such as the Immaculate Conception and scenes from the Flight into Egypt, reflect dialogues with other artists like Murillo and Raphael. One of his most notable works, the Crucifixion of Christ with a Painter, is believed to include an autoportrait. The painting features Zurbarán contemplating Christ, with the composition suggesting a shared temporal experience or a meditation on the Crucifixion. This work is considered a testament to his artistic legacy, still resonating with viewers today.