Bartolomé Esteban Murillo

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Self-portrait, to 1670, oil on canvas, 122 x 107 cm, London, National Gallery.

Bartolomé Esteban Murillo (Seville, baptized on January 1, 1618– April 3, 1682) was a Spanish Baroque painter. Developed in final naturalism, he advanced towards original forms of the full baroque with a perception that sometimes precedes the rococo in some of his most peculiar and imitated pictorial creations, such as the Immaculate Conception or the Good Shepherd in child figure. A central personality of the Sevillian school, with a high number of disciples and followers who carried his influence well into the 18th century, he was also the best known and most appreciated Spanish painter outside of Spain, the only one of which Sandrart included a brief and fabled biography in his Academia picturae eruditae of 1683 with the Self-portrait of the painter engraved by Richard Collin. Conditioned by the clientele, the bulk of his production is made up of works of a religious nature destined for Sevillian churches and convents, but unlike other great Spanish masters of his time, he also cultivated genre painting on a continuous and independent basis. throughout much of his career.

The Virgin with fray Lauterio, saint Francisco of Take and saint Thomas Aquinas, to 1638-1640, oil on canvas, 216 x 170 cm, Cambridge, Fitzwilliam Museum. A cartela in the inferior angle right explains the content of this unusual subject, in which the Virgin advises to the franciscano fray Lauterio, student of theology, the query of the Summa Theologiae of the aquinatense to resolve his doubts of faith.
The Good Pastor, to 1660, oil on canvas, 123 x 101 cm, Madrid, Museum del Prado.
Boys playing to the dice, to 1665-1675, oil on canvas, 140 x 108 cm, Munich, Alte Pinakothek.
Nicolás of Omazur, 1672, oil on canvas, 83 x 73 cm, Madrid, Museum del Prado.
The weddings of Caná, to 1670-1675, oil on canvas, 179 x 235 cm, Birmingham, The Barber Institute. The banquet of weddings allows to Murillo represent a scene of alive colour and diversity of changing room, with touch orientalizantes also in the mantel, in addition to a varied repertoire of objects of still life, with the big cántaro of ceramics like axis of the composition.
The desposorios mystic of saint Catalina, oil on canvas, 449 x 325 cm, Cádiz, Museum of Cádiz. The death surprised to Murillo when it worked in the paintings for the greater altarpiece of the church of the capuchinos of Cádiz to the that belong the Desposorios mystic of saint Catalina, whose execution had to complete Francisco Meneses Osorio.