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 San Salvador de Horta et l Inquisiteur d Aragon oil on canvas


San Salvador de Horta et l Inquisiteur d Aragon
San Salvador de Horta et l Inquisiteur d Aragon
Painting ID::  80922
  Date ca. 1645(1645) Medium Oil on canvas Dimensions 178 x 190 cm (70.1 x 74.8 in) cjr
  Date ca. 1645(1645) Medium Oil on canvas Dimensions 178 x 190 cm (70.1 x 74.8 in) cjr

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Bartolome Esteban Murillo St. Justa and St. Rufina oil on canvas


St. Justa and St. Rufina
St. Justa and St. Rufina
Painting ID::  81016
  Date ca. 1665-66 Medium Oil on canvas Dimensions 32 x 24 cm (12.6 x 9.4 in) cjr
  Date ca. 1665-66 Medium Oil on canvas Dimensions 32 x 24 cm (12.6 x 9.4 in) cjr

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Bartolome Esteban Murillo Obispo de Sevilla oil on canvas


Obispo de Sevilla
Obispo de Sevilla
Painting ID::  81421
  Hacia 1655 Medium Oil on canvas cyf
  Hacia 1655 Medium Oil on canvas cyf

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Bartolome Esteban Murillo Madonna oil on canvas


Madonna
Madonna
Painting ID::  84396
  Date ca. between 1655(1655) and 1660(1660) Medium Oil on canvas Dimensions 157 x 107 cm (61.8 x 42.1 in) cjr
  Date ca. between 1655(1655) and 1660(1660) Medium Oil on canvas Dimensions 157 x 107 cm (61.8 x 42.1 in) cjr

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Bartolome Esteban Murillo The Baptism of Christ oil on canvas


The Baptism of Christ
The Baptism of Christ
Painting ID::  87743
  Date 1655(1655) Medium Oil on canvas Dimensions Height: 233.2 cm (91.8 in). Width: 160.1 cm (63 in). cjr
  Date 1655(1655) Medium Oil on canvas Dimensions Height: 233.2 cm (91.8 in). Width: 160.1 cm (63 in). cjr

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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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