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.

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Bartolome Esteban Murillo 3 boys oil painting


3 boys
mk284 Oil on canvas 168 x 110 cm more than Dulwich Gallery in London
Painting ID::  62605
Bartolome Esteban Murillo
3 boys
mk284 Oil on canvas 168 x 110 cm more than Dulwich Gallery in London
   
   
     

Bartolome Esteban Murillo Is pursuing a flea boy oil painting


Is pursuing a flea boy
mk284 Oil on canvas 1648 137 x 115 cm Paris, Louvre Tibet
Painting ID::  62606
Bartolome Esteban Murillo
Is pursuing a flea boy
mk284 Oil on canvas 1648 137 x 115 cm Paris, Louvre Tibet
   
   
     

Bartolome Esteban Murillo Boys laugh at woman oil painting


Boys laugh at woman
mk284 Oil on canvas 1660 - 1665 Oil on canvas 147 x 107 cm Gloucestershire National Trust Center for possession of
Painting ID::  62607
Bartolome Esteban Murillo
Boys laugh at woman
mk284 Oil on canvas 1660 - 1665 Oil on canvas 147 x 107 cm Gloucestershire National Trust Center for possession of
   
   
     

Bartolome Esteban Murillo Children to eat dessert oil painting


Children to eat dessert
mk284 Oil on canvas 1675 - 1680 Oil on canvas 123 x 102 cm National Museum in Munich
Painting ID::  62608
Bartolome Esteban Murillo
Children to eat dessert
mk284 Oil on canvas 1675 - 1680 Oil on canvas 123 x 102 cm National Museum in Munich
   
   
     

Bartolome Esteban Murillo Prodigal Son oil painting


Prodigal Son
mk284 Oil on canvas 1668 236 x 262 cm National Gallery Washington
Painting ID::  62609
Bartolome Esteban Murillo
Prodigal Son
mk284 Oil on canvas 1668 236 x 262 cm National Gallery Washington
   
   
     

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     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.

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