|
|
|
|
|
|
Bartolome Esteban Murillo
Jesus on the Cross
mk284 Oil on canvas 1668 282 x 188 cm Fine Arts Museum Seville
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
San Francisco and the Virgin and Child
mk284 sketch drawing paper 24.6 x 17.8 cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Santa Anan De Angelis
mk284 Oil on canvas 1676 187 x 223 cm Madrid, Museo del Prado
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Paul sanctification
mk284 Oil on canvas 1675 187 x 223 cm Madrid, Museo del Prado
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Aristocrat Don Juan Dream
mk284 Oil on canvas 1662 - 1665 232 x 522cm Prado Museum in Madrid
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Meet the aristocratic Don Juan Pope Lane Bei Liou
mk284 Oil on canvas 1662 - 1665 232 x 522 cm Madrid, Museo del Prado
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Lima, Santa Rosa
mk284 Oil on canvas 145 x 95 cm Madrid, Lazaro
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Wedding Ghana
mk284 Oil on canvas 179 x 235 cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Birth of the Virgin Maliyade
mk284 Oil on canvas 1655 - 1658 179 x 349 cm Paris, Louvre
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
John the Baptist to identify the Messiah
mk284 Oil on canvas Art Institute of Chicago in 1655
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Childhood of Christ and John the Baptist
mk284 Oil on canvas 1650 124 x 115 cm Art Museum of St. Petersburg Aimi Ji
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Baptism of Jesus
mk284 Oil on canvas 250 x 180 cm Cathedral of Seville
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
St. John's and the child Jesus
mk284 Oil on canvas 1670 - 1675 St. Petersburg Hermitage Museum
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
The Virgin and Child
mk284 Oil on canvas 116 x 115 cm Museum Dresden, Germany
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Passion
mk284 Oil on canvas 71 x 54 cm Madrid, Museo del Prado
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Our Lady of grief
mk284 Oil on canvas 52 x 41 cm Madrid, Museo del Prado
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Our Lady of grief
mk284 Oil on canvas 166 x 107 cm Madrid, Museo del Prado
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Jesus bearing a cross
mk284 Oil on canvas 1660 - 1670 125 x 146 cm
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Resurrection
mk284 Oil on canvas 243 x 164 cm Madrid, San Fernando Museum of Art
|
| |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
Bartolome Esteban Murillo
Gentleman Portrait
mk284 Oil on canvas 1670 198 x 127 cm Madrid, Museo del Prado
|
| |
|
|
|
|
|
|
|
|
|
|
|
| |
|
|
|
|
| Bartolome Esteban Murillo
|
Spanish
1618-1682
Bartolome Esteban Murillo Galleries
Murillo began his art studies under Juan del Castillo in Seville. Murillo became familiar with Flemish painting; the great commercial importance of Seville at the time ensured that he was also subject to influences from other regions. His first works were influenced by Zurbaran, Jusepe de Ribera and Alonso Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works.
In 1642, at the age of 26 he moved to Madrid, where he most likely became familiar with the work of Velazquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. He returned to Seville in 1645. In that year, he painted thirteen canvases for the monastery of St. Francisco el Grande in Seville which gave his reputation a well-deserved boost. Following the completion of a pair of pictures for the Seville Cathedral, he began to specialise in the themes that brought him his greatest successes, the Virgin and Child, and the Immaculate Conception.
After another period in Madrid, from 1658 to 1660, he returned to Seville. Here he was one of the founders of the Academia de Bellas Artes (Academy of Art), sharing its direction, in 1660, with the architect, Francisco Herrera the Younger. This was his period of greatest activity, and he received numerous important commissions, among them the altarpieces for the Augustinian monastery, the paintings for Santa Mar??a la Blanca (completed in 1665), and others.
|
