All Bartolome Esteban Murillo Oil Paintings

Spanish 1618-1682 Bartolome Esteban Murillo Galleries
 
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Bartolome Esteban Murillo The Young Beggar oil painting


The Young Beggar
Gemälde IDENTIFIZIERUNG::  59999 		The Young Beggar
The Young Beggar
The Young Beggar
   
   
     
Bartolome Esteban Murillo Self-Portrait oil painting


Self-Portrait
Gemälde IDENTIFIZIERUNG::  62315 		Self-Portrait
122 x 127 cm National Gallery, London The tablet beneath the fictive frame of this self portrait is inscribed in Latin: 'Bart [olo] m?Murillo portraying himself to fulfil the wishes and prayers of his children.' By 1670, when this portrait was probably painted, only four of Murillo's nine children were still living. His only daughter had entered a Dominican convent, and his youngest son was deciding on a career in the church; he was later to become a canon of Seville Cathedral. After the artist's death, the painting was engraved in Antwerp at the request of Murillo's friend Nicolas de Omazur, a Flemish poet and silk merchant established in Seville. The portrait itself borrows a device from Netherlandish engravings, much used in the frontispiece of books. A gilded oval frame, set against a wall on a shelf or console table, encloses Murillo's half-length likeness. But in a feat of legerdemain only possible in art, it is the painter himself, not his image, who paradoxically extends his hand beyond the frame. Dressed in sober black, with a soft lace collar at his throat, he looks at the viewer with a dignified and slightly melancholy air. Nothing within this portrait betrays that he is anything other than a gentleman. Around the frame, however, are disposed the tools of his profession: a palette laid out with paint, brushes, a drawing in red chalk, the chalk itself, a pair of dividers and a ruler. The white on the palette is a real, three-dimensional swirl of white lead paint, not the image of one. The dividers and ruler tell us that he is a learned artist, creating pictures according to the rules and proportions of mathematical laws and not merely imitating appearances. A drawing - the academic basis of all the visual arts - recalls that in 1660 Murillo co-founded the Academy of Seville of which he was the first president. As in all his portraits, in contrast to his other pictures, Murillo emphasises truthfulness above charm. Strong light, casting dark shadows, is used to model the forms, and his famous 'soft' brushwork is apparent only in the hair and lace. The sombre colour scheme of black, white and ochre is relieved only by red - as indicated on the palette, where its undiluted presence helps to clarify the spatial construction of the painting and enlivens its solemn play on the art of reality and the reality of art.
122 x 127 cm National Gallery, London The tablet beneath the fictive frame of this self portrait is inscribed in Latin: 'Bart [olo] m?Murillo portraying himself to fulfil the wishes and prayers of his children.' By 1670, when this portrait was probably painted, only four of Murillo's nine children were still living. His only daughter had entered a Dominican convent, and his youngest son was deciding on a career in the church; he was later to become a canon of Seville Cathedral. After the artist's death, the painting was engraved in Antwerp at the request of Murillo's friend Nicolas de Omazur, a Flemish poet and silk merchant established in Seville. The portrait itself borrows a device from Netherlandish engravings, much used in the frontispiece of books. A gilded oval frame, set against a wall on a shelf or console table, encloses Murillo's half-length likeness. But in a feat of legerdemain only possible in art, it is the painter himself, not his image, who paradoxically extends his hand beyond the frame. Dressed in sober black, with a soft lace collar at his throat, he looks at the viewer with a dignified and slightly melancholy air. Nothing within this portrait betrays that he is anything other than a gentleman. Around the frame, however, are disposed the tools of his profession: a palette laid out with paint, brushes, a drawing in red chalk, the chalk itself, a pair of dividers and a ruler. The white on the palette is a real, three-dimensional swirl of white lead paint, not the image of one. The dividers and ruler tell us that he is a learned artist, creating pictures according to the rules and proportions of mathematical laws and not merely imitating appearances. A drawing - the academic basis of all the visual arts - recalls that in 1660 Murillo co-founded the Academy of Seville of which he was the first president. As in all his portraits, in contrast to his other pictures, Murillo emphasises truthfulness above charm. Strong light, casting dark shadows, is used to model the forms, and his famous 'soft' brushwork is apparent only in the hair and lace. The sombre colour scheme of black, white and ochre is relieved only by red - as indicated on the palette, where its undiluted presence helps to clarify the spatial construction of the painting and enlivens its solemn play on the art of reality and the reality of art.
   
   
     
Bartolome Esteban Murillo ) Infant Christ Offering a Drink of Water to St John oil painting


) Infant Christ Offering a Drink of Water to St John
Gemälde IDENTIFIZIERUNG::  62316 		) Infant Christ Offering a Drink of Water to St John
1675-80 Oil on canvas, 104 x 124 cm Museo del Prado, Madrid Murillo was one of the great devotional artists of all time, especially in his later years when he produced ingratiating compositions that inspire gentle, pious feelings. This painting is a superb example the sort of imagery that established Murillo's reputation in the seventeenth century and demolished it in the twentieth
1675-80 Oil on canvas, 104 x 124 cm Museo del Prado, Madrid Murillo was one of the great devotional artists of all time, especially in his later years when he produced ingratiating compositions that inspire gentle, pious feelings. This painting is a superb example the sort of imagery that established Murillo's reputation in the seventeenth century and demolished it in the twentieth
   
   
     
Bartolome Esteban Murillo Angels Kitchen oil painting


Angels Kitchen
Gemälde IDENTIFIZIERUNG::  62324 		Angels Kitchen
180 x 450 cm Mus?e du Louvre, Paris In his early pictures Murillo seems to have drawn the figures one by one, without attempting to unify the composition. But in the famous painting known as the Angels' Kitchen there is a greater narrative cohesion. Although the name of the protagonist is still somewhat uncertain, he may be the lay brother Francisco P?rez from the nearby town Alcal?de Guadaira, who spent thirty years as an assistant in the kitchen of the monastery San Francisco el Grande. According to the story he was much given to fervent prayer and one day became so lost in his devotions that he neglected his duties. Upon returning to consciousness, he was surprised to see that his chores had been miraculously accomplished. Murillo has embellished the legend with irresistibly charming details. Fray Francisco, who is bathed in an aura of golden light, floats above the ground in a mystical rapture. Next to him stand exquisitely painted angels, with richly coloured wings, while at the right putti and angels tackle the work of preparing the meal, grinding spices, stirring the hotpot, and setting the table in the midst of a delicious still-life of vegetables and cookware. Painted when the artist was approaching thirty years of age, this painting announces the arrival of a new talent and temper in Sevillian painting
180 x 450 cm Mus?e du Louvre, Paris In his early pictures Murillo seems to have drawn the figures one by one, without attempting to unify the composition. But in the famous painting known as the Angels' Kitchen there is a greater narrative cohesion. Although the name of the protagonist is still somewhat uncertain, he may be the lay brother Francisco P?rez from the nearby town Alcal?de Guadaira, who spent thirty years as an assistant in the kitchen of the monastery San Francisco el Grande. According to the story he was much given to fervent prayer and one day became so lost in his devotions that he neglected his duties. Upon returning to consciousness, he was surprised to see that his chores had been miraculously accomplished. Murillo has embellished the legend with irresistibly charming details. Fray Francisco, who is bathed in an aura of golden light, floats above the ground in a mystical rapture. Next to him stand exquisitely painted angels, with richly coloured wings, while at the right putti and angels tackle the work of preparing the meal, grinding spices, stirring the hotpot, and setting the table in the midst of a delicious still-life of vegetables and cookware. Painted when the artist was approaching thirty years of age, this painting announces the arrival of a new talent and temper in Sevillian painting
   
   
     
Bartolome Esteban Murillo Flight into Egypt oil painting


Flight into Egypt
Gemälde IDENTIFIZIERUNG::  62326 		Flight into Egypt
155,5 x 125 cm Museum of Fine Arts, Budapest Murillo painted several variants of this popular subject, this is not the best among them. There is an autograph variant of this painting in the Pushkin Museum, Moscow
155,5 x 125 cm Museum of Fine Arts, Budapest Murillo painted several variants of this popular subject, this is not the best among them. There is an autograph variant of this painting in the Pushkin Museum, Moscow
   
   
     
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