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 St Anne and the small Virgin Mary oil painting


St Anne and the small Virgin Mary
mk284 Oil on canvas 1655 219 x 165 cm Madrid, Museo del Prado
Painting ID::  62615 		Bartolome Esteban Murillo
St Anne and the small Virgin Mary
mk284 Oil on canvas 1655 219 x 165 cm Madrid, Museo del Prado
   
   
     
Bartolome Esteban Murillo San Bernardo and the Virgin Mary oil painting


San Bernardo and the Virgin Mary
mk284 Oil on canvas 1650 - 1655 311 x 249 cm Madrid, Museo del Prado
Painting ID::  62616 		Bartolome Esteban Murillo
San Bernardo and the Virgin Mary
mk284 Oil on canvas 1650 - 1655 311 x 249 cm Madrid, Museo del Prado
   
   
     
Bartolome Esteban Murillo Napkin Virgin and Child oil painting


Napkin Virgin and Child
mk284 Oil on canvas 68 x 72 cm Fine Arts Museum Seville
Painting ID::  62617 		Bartolome Esteban Murillo
Napkin Virgin and Child
mk284 Oil on canvas 68 x 72 cm Fine Arts Museum Seville
   
   
     
Bartolome Esteban Murillo St. Francis Project oil painting


St. Francis Project
mk284 27.8 x 21.9 cm National Library of Madrid
Painting ID::  62618 		Bartolome Esteban Murillo
St. Francis Project
mk284 27.8 x 21.9 cm National Library of Madrid
   
   
     
Bartolome Esteban Murillo Angel messenger oil painting


Angel messenger
mk284 Oil on canvas 125 x 103 cm Madrid, Museo del Prado
Painting ID::  62619 		Bartolome Esteban Murillo
Angel messenger
mk284 Oil on canvas 125 x 103 cm Madrid, Museo del Prado
   
   
     
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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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