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 The Anunciacion oil painting


The Anunciacion
mk166 1655-1660 Painting al I wave 142x107.5cm
Painting ID::  42024
Bartolome Esteban Murillo
The Anunciacion
mk166 1655-1660 Painting al I wave 142x107.5cm
   
   
     

Bartolome Esteban Murillo The Madonna and the Nino oil painting


The Madonna and the Nino
mk166 c. 1650 I Wave on cloth 155x107cm Galeria Palace Pitti Florence
Painting ID::  42028
Bartolome Esteban Murillo
The Madonna and the Nino
mk166 c. 1650 I Wave on cloth 155x107cm Galeria Palace Pitti Florence
   
   
     

Bartolome Esteban Murillo The adoracion of the Kings oil painting


The adoracion of the Kings
mk166 1660-1665 Painting al I wave 190x146cm Museum of Art of Toledo, Toledo, Ohio
Painting ID::  42036
Bartolome Esteban Murillo
The adoracion of the Kings
mk166 1660-1665 Painting al I wave 190x146cm Museum of Art of Toledo, Toledo, Ohio
   
   
     

Bartolome Esteban Murillo The flight to Egypt oil painting


The flight to Egypt
mk166 1670-1675 Painting al I wave 101x62cm Museum of Fine Arts Pushkin Moscu
Painting ID::  42042
Bartolome Esteban Murillo
The flight to Egypt
mk166 1670-1675 Painting al I wave 101x62cm Museum of Fine Arts Pushkin Moscu
   
   
     

Bartolome Esteban Murillo A Peasant Boy Leaning on a sill oil painting


A Peasant Boy Leaning on a sill
mk170 1670-1680 Oil on canvas 52x38.5cm
Painting ID::  43110
Bartolome Esteban Murillo
A Peasant Boy Leaning on a sill
mk170 1670-1680 Oil on canvas 52x38.5cm
   
   
     

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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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