Publication: El pintor Francisco Zorrilla y Luna (1679-1747)
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2016-10-14
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Universidad Complutense de Madrid
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Abstract
El presente trabajo de investigación está dedicado a estudiar al pintor Francisco Zorrilla y Luna (1679-1747), natural de la villa riojana de Haro pero que desarrolló prácticamente toda su carrera artística en Madrid, lo que justifica que su estilo entronque con la escuela madrileña de finales del siglo XVII, con la que se formó, recogiendo las influencias de los pintores cortesanos, nacionales y extranjeros, con los que coincidió en las primeras décadas del siglo XVIII. El primer capítulo lo hemos dedicado a trazar su biografía: los primeros años en su villa natal, la llegada a Madrid en fechas tan tempranas como 1698 y, tras los difíciles años de la Guerra de sucesión, su asentamiento en la Corte donde a lo largo de más de dos décadas lo encontramos plenamente integrado en la sociedad madrileña, haciéndose un hueco en su panorama artístico y en la que realizó la mayor parte de sus obras, hasta su regreso a Haro en 1742. Nos ha preocupado especialmente hacerle partícipe de la sociedad de su época, interesándonos sobremanera conocer cuáles fueron las relaciones que mantuvo, al estar convencidos de que en muchos casos las personas de su entorno posibilitaron que fuese a él a quien se le encomendase un determinado trabajo. En cuanto a su actividad, nos ha resultado de sumo interés encontrarlo al frente de una Academia, establecida en su domicilio, así como la defensa que Francisco Zorrilla, entre otros, hicieron de la Pintura como Arte liberal, pues vemos en ello el germen que, años más tarde, fructificó en la creación de la Real Academia de Bellas Artes de San Fernando. Tras un apartado dedicado a su labor como tasador, dedicamos los últimos capítulos a estudiar el catálogo de su obra pictórica, realizado de forma cronológica, donde damos a conocer las pinturas, dibujos para estampas, decorados teatrales y tareas de restauración por él realizados, destinados a una clientela diversa, pues trabajó para particulares, cofradías, ayuntamientos y, especialmente, para diversas órdenes religiosas, destacando las series dedicadas a santos de la orden trinitaria, tanto descalzos como calzados, que adornaban los claustros de los conventos de Madrid y Alcalá de Henares, así como las obras realizadas para el monasterio benedictino de San Martín de Madrid o de personas a él vinculadas, como los obispos de Mondoñedo, Osma y Almería...
The present research is devoted to studying both the life and work of the painter Francisco Zorrilla y Luna (1679-1747), born in the villa of Haro (La Rioja), but who developed almost his entire career in Madrid. This fact justifies his style junction with the Madrid school of the late seventeenth century, in which he was trained, gathering the influences of domestic and foreign court painters, who he met in the early decades of the eighteenth century. The first chapter is aimed to trace his biography: his early years in Haro, his arrival in Madrid so early as in 1698 and, after the difficult years of the War of the Spanish Succession, his settlement in Court, where we find him fully integrated into the society of Madrid for more than two decades, finding himself a place in the artistic scene and carrying out the vast majority of his work, until his return to Haro in 1742. We have taken especially into account his place in the society of his time, being well concerned about his relationships, believing that in many cases those were the reasons why he was commissioned a particular work. With regard to his activity, it has been of utmost interest for us to find he ran an Academy, established in his home, and the defense Francisco Zorrilla, among others, made of Painting as a liberal Art, as we see in it the germ that years later bore fruit in the creation of the Real Academia de Bellas Artes de San Fernando. After a section covering his work as an appraiser, the last chapters are dedicated to studying the catalog of his paintings, shown in chronological order, where we present paintings, drawings for engravings, theatrical sets and restoration work performed by him, for a diverse clientele, because he worked for individuals, guilds, municipalities and especially for various religious orders, highlighting the series dedicated to saints of the Trinitarian order, both Calced and Discalced, which adorned the cloisters of the convents of Madrid and Alcala de Henares as well as works made for the Benedictine monastery of San Martín of Madrid or related persons as the bishops of Mondoñedo, Osma and Almería...
The present research is devoted to studying both the life and work of the painter Francisco Zorrilla y Luna (1679-1747), born in the villa of Haro (La Rioja), but who developed almost his entire career in Madrid. This fact justifies his style junction with the Madrid school of the late seventeenth century, in which he was trained, gathering the influences of domestic and foreign court painters, who he met in the early decades of the eighteenth century. The first chapter is aimed to trace his biography: his early years in Haro, his arrival in Madrid so early as in 1698 and, after the difficult years of the War of the Spanish Succession, his settlement in Court, where we find him fully integrated into the society of Madrid for more than two decades, finding himself a place in the artistic scene and carrying out the vast majority of his work, until his return to Haro in 1742. We have taken especially into account his place in the society of his time, being well concerned about his relationships, believing that in many cases those were the reasons why he was commissioned a particular work. With regard to his activity, it has been of utmost interest for us to find he ran an Academy, established in his home, and the defense Francisco Zorrilla, among others, made of Painting as a liberal Art, as we see in it the germ that years later bore fruit in the creation of the Real Academia de Bellas Artes de San Fernando. After a section covering his work as an appraiser, the last chapters are dedicated to studying the catalog of his paintings, shown in chronological order, where we present paintings, drawings for engravings, theatrical sets and restoration work performed by him, for a diverse clientele, because he worked for individuals, guilds, municipalities and especially for various religious orders, highlighting the series dedicated to saints of the Trinitarian order, both Calced and Discalced, which adorned the cloisters of the convents of Madrid and Alcala de Henares as well as works made for the Benedictine monastery of San Martín of Madrid or related persons as the bishops of Mondoñedo, Osma and Almería...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 12-01-2016