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 San Antonio oil painting


San Antonio
mk284 Oil on canvas made in 1656 Seville Cathedral
Painting ID::  62630
Bartolome Esteban Murillo
San Antonio
mk284 Oil on canvas made in 1656 Seville Cathedral
   
   
     

Bartolome Esteban Murillo San Antonio oil painting


San Antonio
mk284 Oil on canvas 283 x 188 cm Church of Seville fat
Painting ID::  62631
Bartolome Esteban Murillo
San Antonio
mk284 Oil on canvas 283 x 188 cm Church of Seville fat
   
   
     

Bartolome Esteban Murillo Jacob sheep were Qiaoji oil painting


Jacob sheep were Qiaoji
mk284 Oil on canvas 1660 213 x 358 cm Dallas Museum of Modern Art
Painting ID::  62632
Bartolome Esteban Murillo
Jacob sheep were Qiaoji
mk284 Oil on canvas 1660 213 x 358 cm Dallas Museum of Modern Art
   
   
     

Bartolome Esteban Murillo San Alejandro de l'eau oil painting


San Alejandro de l'eau
mk284 Oil on canvas 1667 193 x 165 cm Cathedral of Seville
Painting ID::  62633
Bartolome Esteban Murillo
San Alejandro de l'eau
mk284 Oil on canvas 1667 193 x 165 cm Cathedral of Seville
   
   
     

Bartolome Esteban Murillo According to the World tolo St. oil painting


According to the World tolo St.
mk284 Oil on canvas 1667 193 x 165 cm Cathedral of Seville
Painting ID::  62634
Bartolome Esteban Murillo
According to the World tolo St.
mk284 Oil on canvas 1667 193 x 165 cm Cathedral of Seville
   
   
     

         26  27  28  29  30  31  32  33  34  35   
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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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