Bartolomé esteban murillo the immaculate conception of the virgin

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Bartolomé esteban murillo the immaculate conception of the virgin

Virtual exhibition of murillo – st. john the baptist as a child

It is striking in this Immaculate Conception, as in others by the painter, the disappearance of the traditional symbols of the Litanies of Laurel, a Marian prayer that is very often associated with the iconography of the Immaculate Conception; although in this case, the symbols omitted in the painting were represented in its frame. In the canvas, instead of them, Murillo devised around Mary a great glory of angels, painted in the most varied attitudes with a very undone brushstroke, which manages to merge the figures with the celestial atmosphere. The faces of the Immaculate Conception and the angels seem very realistic, as they differ from the classical beauty of the ancient statues and are close to the physical types of the time, but are rendered with a calculated idealization.

Murillo gained renown thanks to his mastery of chiaroscuro in the Sevillian tradition as well as the delicacy of his faces, which earned him many commissions of a devotional nature.

Immaculate conception of el escorial, by murillo

Of the numerous versions that Murillo made of the Immaculate Conception, this is one of the most popular. Until 1945 it appeared in the Prado catalog as the Immaculate Conception of La Granja or San Ildefonso, because it was believed that it came from this palace. Then the name was changed to the current one, since it remained in the Escorial during the 18th century. Although its origin is unknown, it is thought that it may have been bought in Seville by King Charles III, who would have included it in the royal collections of the Escorial.

Seville (murillo) the joy of the baroque – documentaries

During his life, he was an artist who knew early glory and enjoyed the admiration of his contemporaries, working tirelessly throughout his existence to complete an enormous work that is estimated at more than 400 paintings, most of them destined to decorate churches, convents and monasteries of his native Seville.

In the 19th century, the lithographic reproductions of Murillo’s most famous religious images spread throughout Europe and Latin America. This is how the myth of Murillo was created until it took on a life of its own, independent of the painter.

Murillo will be severely judged and compared with Velázquez, El Greco or Zurbarán. Unfortunately, and despite the revaluation of his figure in more recent times by taking into account his profane pictorial production, Murillo remains for certain sectors of the critics an effective «painter of virgins».

Unlike Zurbarán, very much in the orbit of Mannerism, Murillo flees from the great themes and symbolized characters to focus on religious scenes closer to everyday life and that can invite pity or tenderness but not to the exaltation of the tragic or heroic.

Virgin conception of mary is replaced by the image of the virgin mary.

Murillo did not create but modified the existing iconography of Mary Immaculate, iconography that Francisco Pacheco, Velazquez’s father-in-law had spread in his works, and from which drank the works of Velazquez, Herrera the Elder, Zurbarán.

Murillo broke the previous statism and endowed his Immaculate with a vigorous dynamism and ascensional sense, the movement of the cape is intuitive, and he may have taken the idea of the Immaculate that Ribera painted for the Discalced Augustinian Sisters of Salamanca.

The second Immaculate also has to do with the Franciscans, it is the canvas that is conserved in the Archbishop’s Palace of Seville «The Immaculate and Fray Juan de Quirós», commissioned by the Brotherhood of the Vera Cruz with headquarters in the convent of San Francisco.

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