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 homas of Villanueva dividing his clothes among beggar boys oil painting


homas of Villanueva dividing his clothes among beggar boys
Technique Oil on canvas Dimensions 219.7 x 149.2 cm
Painting ID::  67714 		Bartolome Esteban Murillo
homas of Villanueva dividing his clothes among beggar boys
Technique Oil on canvas Dimensions 219.7 x 149.2 cm
   
   
     
Bartolome Esteban Murillo El milagro de la Piscina oil painting


El milagro de la Piscina
Technique Oil on canvas Dimensions 237 x 261 cm
Painting ID::  68316 		Bartolome Esteban Murillo
El milagro de la Piscina
Technique Oil on canvas Dimensions 237 x 261 cm
   
   
     
Bartolome Esteban Murillo Christ healing the Paralytic at the Pool of Bethesda oil painting


Christ healing the Paralytic at the Pool of Bethesda
1667-1670 oil on canvas 237 x 261 cm
Painting ID::  68991 		Bartolome Esteban Murillo
Christ healing the Paralytic at the Pool of Bethesda
1667-1670 oil on canvas 237 x 261 cm
   
   
     
Bartolome Esteban Murillo Vendedores de fruta oil painting


Vendedores de fruta
Medium English: oil on canvas Polski: olej na potnie Dimensions Deutsch: 149 x 113 cm
Painting ID::  69947 		Bartolome Esteban Murillo
Vendedores de fruta
Medium English: oil on canvas Polski: olej na potnie Dimensions Deutsch: 149 x 113 cm
   
   
     
Bartolome Esteban Murillo San Antonio de Padua con el Nino oil painting


San Antonio de Padua con el Nino
oil on canvas, 190 ?? 120 cm
Painting ID::  70469 		Bartolome Esteban Murillo
San Antonio de Padua con el Nino
oil on canvas, 190 ?? 120 cm
   
   
     
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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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