In thisSpanish name, the first or paternal surname is Esteban and the second or maternal family name is Murillo.
You can helpexpand this article with text translated fromthe corresponding article in Spanish. (November 2018)Click [show] for important translation instructions.
Machine translation, likeDeepL orGoogle Translate, is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
Youmust providecopyright attribution in theedit summary accompanying your translation by providing aninterlanguage link to the source of your translation. A model attribution edit summary isContent in this edit is translated from the existing Spanish Wikipedia article at [[:es:Bartolomé Esteban Murillo]]; see its history for attribution.
You may also add the template{{Translated|es|Bartolomé Esteban Murillo}} to thetalk page.
Bartolomé Esteban Murillo (/mjʊəˈrɪloʊ,m(j)ʊˈriːoʊ/mure-IL-oh, m(y)uu-REE-oh,Spanish:[baɾtoloˈmeesˈteβammuˈɾiʎo]; late December 1617, baptised 1 January 1618 – 3 April 1682) was a SpanishBaroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively realistic portraits of flower girls, street urchins, and beggars constitute an extensive record of the everyday life of his times. He also painted two self-portraits, one in theFrick Collection portraying him in his 30s, and one in London'sNational Gallery portraying him about 20 years later. In 2017–18, the two museums held an exhibition of them.[1][2]
Murillo was probably born in December 1617 to Gaspar Esteban, an accomplishedbarber surgeon, and María Pérez Murillo.[3] He may have been born inSeville or inPilas, a smaller Andalusian town.[4] It is clear that he was baptized inSanta Maria Magdalena, a parish in Seville in 1618. After his parents died in 1627 and 1628, he became a ward of his older sister Ana and her husband, Juan Agustín Lagares, who coincidentally also happened to be a barber.[3] Murillo seemed to have remained close to the couple considering he did not leave their house until his marriage in 1645. Eleven years later, he was named the executor of Lagares' will despite his sister having already died.[5] Murillo seldom used his father's surname, and instead took his surname from his maternal grandmother, Elvira Murillo.[3]
There are few documents on the early years of Murillo's life or on his origins as a painter. In 1633, at 15, Murillo received a license for passage to America with his family.[6] He probably began his artistic career, either during those years or slightly beforehand. Murillo began his art studies in Seville in the workshop ofJuan del Castillo, Murillo's uncle and godfather, as well a skilled painter in his own right.[3] Castillo was characterized by the dryness of his sketches and the loving expressions in the subjects he painted, and Murillo took much of this as inspiration in his early work. His first works were also influenced byFrancisco de Zurbarán,Jusepe de Ribera andAlonso Cano, and he shared their strongly realist approach. The great commercial importance of Seville at the time ensured that he was subject to artistic influences from other regions. He became familiar withFlemish painting and the "Treatise on Sacred Images" ofMolanus (Ian van der Meulen or Molano). 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 hisRoman Catholic religious works.
According to fellow painter and art historian Antonio Palomino, Murillo left Castillo's workshop after feeling he had grown sufficiently skilled in his painting. In 1642, at the age of 26, he allegedly traveled toMadrid, where he most likely became familiar with the work ofVelázquez, and saw the work ofFrancisco de Palacios; the rich colors and softly modeled forms of his subsequent work suggest these influences.[7] While it is likely that, like many Sevillian painters, Murillo took inspiration from religious images in an attempt to attract the lucrative American market, there is actually little evidence of Murillo traveling to Madrid. Similar claims, attributed byJoachim von Sandrart, a German historian of the time, argue that Murillo also travelled to Italy during the same period. Palomino denies these assertions, arguing that they stem from a refusal of foreigners to acknowledge that Murillo's success had come from Spain, and Spain alone.[8]
Palomino, instead, argued that Murillo's skill came from hours spent in his room, studying the natural world. He would use these skills when painting for the public, for the Franciscan convents throughout Spain, and for his fellow painters, who until then had little knowledge of his existence or art. In either case, his style could easily have been learned without leaving Seville from its previous generation of artists, such as Francisco de Zurbarán orFrancisco de Herrera the Elder.[8]
In 1645, he returned to Seville and married Beatriz Cabrera y Villalobos, with whom he eventually had ten children.[3] Of these children, only five outlived their mother, and only one, Gabriel (1655–1700) later carried on the work of Bartolome as a painter. The year of his marriage, Murillo received the first major commission of his career. This was to paint eleven canvases for the convent of San Francisco in Seville. He worked on this project from 1645 until 1648. These works depicted various stories of Franciscan saints which were not often told at the time. When selecting subjects, Murillo placed an emphasis on praising lives of contemplation and prayer as represented in paintings likeSaint Francis Comforted by an Angel. His works vary between the Zurbaránesquetenebrism of theEcstasy of St Francis and a softly luminous style (as inDeath of St Clare) that became typical of Murillo's mature work.[3] According to the art historian Manuela B. Mena Marqués, "in ... theLevitation of St Giles (usually known asThe Angels' Kitchen) and theDeath of St Clare (Dresden, Gemäldegal. Alte Meister), the characteristic elements of Murillo's work are already evident: the elegance and beauty of the female figures and the angels, the realism of the still-life details and the fusion of reality with the spiritual world, which is extraordinarily well developed in some of the compositions."[3] Similarly inSaint Diego Giving Alms, Murillo carefully places the subjects on parallel planes over black background, and its center, surrounding a boiling pot, are a group of children seemingly bathed in a heavenly glow. In doing so, Murillo managed to combine both tenebrism and luminosity to showcase the glory of aiding the needy and the innocent.
After another period in Madrid, from 1658 to 1660, he returned to Seville. Here he was one of the founders of theAcademia de Bellas Artes (Academy of Art), sharing its direction, in 1660, with the architectFrancisco 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 María la Blanca[10] (completed in 1665), and others.[3] He died in Seville in 1682, a few months after he fell from a scaffold while working on a fresco at the church of the Capuchines in Cádiz.[3]
Murillo had many pupils and followers. The prolific imitation of his paintings ensured his reputation in Spain and fame throughout Europe, and before the 19th century his work was more widely known than that of any other Spanish artist.[7] Artists influenced by his style includedGainsborough andGreuze.[3] Google marked the 400 years since Murillo's birth with adoodle on 29 November 2018.[11]
^abPalomino de Castro y Velasco, Antonio (1988).El Museo pictórico y escala óptica. Madrid: M. Aguilar.ISBN84-03-88901-1.OCLC802896585.
^The center medallion of the badge of the SpanishOrder of Charles III is clearly modeled on Murillo's unique manner of representing the Immaculate Conception.
Palomino, Antonio (1988).El museo pictórico y escala óptica III. El parnaso español pintoresco laureado. Madrid : Aguilar S.A. de Ediciones.ISBN84-03-88005-7.
Murillo's paintingThe Spanish Page is the subject of an ekphrastic poem byLetitia Elizabeth Landon in Fisher's Drawing Room Scrap Book, 1837. SeeThe Spanish Page.
.jpg)
.jpg)
