All Bartolome Esteban Murillo Oil Paintings

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 Boys foot of the slope oil on canvas


Boys foot of the slope
Boys foot of the slope
Painting ID::  62600
  mk284 Oil on canvas 1635 164 x 93 cm Louvre, Paris Tibet
  mk284 Oil on canvas 1635 164 x 93 cm Louvre, Paris Tibet

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Bartolome Esteban Murillo Shengduomasi Busch oil on canvas


Shengduomasi Busch
Shengduomasi Busch
Painting ID::  62601
  mk284 Oil on canvas 1668 283 x 188 cm Museum of Seville
  mk284 Oil on canvas 1668 283 x 188 cm Museum of Seville

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Bartolome Esteban Murillo Shengduomasi and paralysis were oil on canvas


Shengduomasi and paralysis were
Shengduomasi and paralysis were
Painting ID::  62602
  mk284 Oil on canvas 220.8 x 148.7 cm Munich ALTE PINAKOTHEK Tibet
  mk284 Oil on canvas 220.8 x 148.7 cm Munich ALTE PINAKOTHEK Tibet

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Bartolome Esteban Murillo Jesus, those who treat paralysis oil on canvas


Jesus, those who treat paralysis
Jesus, those who treat paralysis
Painting ID::  62603
  mk284 Oil on canvas 237 x 261 cm year 1667-1670 the National Gallery of London
  mk284 Oil on canvas 237 x 261 cm year 1667-1670 the National Gallery of London

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Bartolome Esteban Murillo Rebekah and Eric homes oil on canvas


Rebekah and Eric homes
Rebekah and Eric homes
Painting ID::  62604
  mk284 Oil on canvas 1655 107 x 171 cm Madrid, Museo del Prado
  mk284 Oil on canvas 1655 107 x 171 cm Madrid, Museo del Prado

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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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