Bartolomé Esteban Murillo (1617-1682) is perhaps one of the greatest representatives of the Spanish Baroque style. He was born in Seville, where he spent most of his life. He was baptized in the Parish Church of La Magdalena.
Murillo started learning the art of painting in Juan del Castillo’s studio, where stayed for five years.
In 1645 Murillo was commissioned his first work of importance, the series of thirteen paintings for the Convent of San Francisco in Seville. In this work Murillo showed some influences from Van Dyck, Tiziano and Rubens, what indicates Murillo probably went to Madrid, to the Royal Court, although there is no documentary proof about this trip.
1645 was a very important year for Murillo, due to he got married on February 26th. His wife was called Beatriz Cabrera y Villalobos, a twenty-two-old Sevillian young woman who lived in the parish of la Magdalena; at that church they got married. The marriage lasted for eighteen years and they had nine children.
Murillo was very successful with these paintings – as he contributed a newer style than the one of the old hands Herrera el Viejo or Zurbarán- and he was commissioned a great number of works. In 1646 a young apprentice called Manuel Campos started to work with Murillo and he had to look for a larger house to set his new studio. He moved to Corral del Rey Street where he suffered the terrible plague epidemic that caused a high number of deceased in Andalucia – especially in Seville- in 1649. Half the city population died and among them, Murillo’s four youngest children. The economic crisis the city was undergoing did not alter the fact that he received much more commissions, being one of the most important the huge painting of the Immaculate for the Franciscan church, called “The Colossal” due to its size.
In 1658 he moved to Madrid where he probably met Velázquez, who introduced him to the royal collections, as well as the Flemish and Italian painting.
At the end of 1658 Murillo came back to Seville and settled in the area of Santa Cruz, where he stayed until 1663. Later on he moved to the area of San Bartolomé. The high number of works he was commissioned allowed him to enjoy an excellent economy.
On January 11th 1660 Murillo founded the Seville Painting Academy, in collaboration with Francisco de Herrera El Mozo. Both artists shared the academy presidency during the first year; in this school apprentices and artists got together to study and paint from life. Murillo gave up the presidency in 1663, and was substituted by Juan de Valdés Leal.
That year Murillo got widowed as his wife died in her last childbirth. Only four of his nine children survived.
The most prolific period started in 1665 with the commission of the paintings for the Church of Santa María la Blanca; thanks to them Murillo became even more famous and was commissioned even more works: the paintings for the main altar and the side chapels of the Capuchin Church in Seville and the paintings for the Chapter House of the Sevillian Cathedral.
In 1665 Murillo became a member of the Santa Caridad Brotherhood, what allowed him to make one of his most interesting works: the inner decoration of the Church of this hospice. Miguel de Mañara, who was one of Murillo’s close friends, commissioned him this work. Murillo’s fame spread all over the country. The king Charles II invited Murillo to settle in Madrid, but the painter refused this offer due to his old age. In 1681 Murillo moved to the area of Santa Cruz. There he was commissioned his last work: the paintings for the Capuchin Convent in Cádiz. When he was working on the upper side of the main painting, he fell down. Due to that, some months later, he died on April 3rd 1682. In his will he asked to be buried in the Parish Church of Santa Cruz. But this temple was destroyed by the French troops in 1811. A commemorative plaque located at Santa Cruz Square in 1858 shows us the approximate place where the great Sevillian painter’s remains rest.
2. Phases in his style
The two most important elements in Murillo’s works are light and colour. In his early paintings he used a smooth light, hardly using contrasts. This style changed from 1640, when he worked for the Convent of San Francisco; his style became more obscure, showing some influences from Zurbarán and Ribera. From 1655 Murillo’s style resembled to Herrera el Mozo’s, using transparencies and views against the light, showing some influences from Van Dyck, Rubens and the Italian painting school. Other features of this new style were the use of slight light gradations, transparent colour scheme and shining light effects; thanks to them he got an excellent perspective. The main feature of this period was the use of a smooth, light brushstroke. Murillo paintings became very famous; during the Romantic period his works were quite copied and sold as original “Murillos” to the foreigner who visited Spain.
3. Places where we can see its paintings
Fine Arts Museum
This museum was founded as “Museum of Paintings” in 1835, with the works coming from the convents and monasteries disentailed in that date, occupying the old Convento de la Merced, founded after the conquest of Seville in 1248.
The building, articulated around three patios and a great stairway, owes its current configuration to the transformations developed at the beginning of the 17th century according to the designs of Juan de Oviedo, becoming a beautiful sample of the Andalusian Mannerism.
The Fine Arts Museum is Spain’s second art gallery. There are fourteen halls containing works from the Middle Ages to the 20th century.
In the room V, which was the church of the convent, we can see the works Murillo realized for the Convento de Capuchinos and the “Colossal Immaculate” coming from the disappeared Convento de San Francisco.
Inmaculada Concepción (La Colosal)
To have a whole idea of Murillo works we recommend you to visit the room VII where you can see the paintings he made for the Convento de San Agustín and some more paintings.
Fine Arts Museum
Plaza del Museo, 9
Tel: 954 78 65 00
Booking for groups: 954786491
Fax: 954 78 64 90
www.juntadeandalucia.es/cultura/museos/MBASE
museobellasartessevilla.ccul@juntadeandalucia.es
Opening hours
Monday closed. From Tuesday to Saturday: 9-20.30 h. Sunday and holiday: 9-14.30 h.
Price: 1,5 €. Free entrance for EU members showing passport and students with international card
Cathedral and Giralda
The Cathedral is located upon the former principal Mosque which had been erected in the 12th century, keeping its minaret, today known as the Giralda because of the weather vane made in the 16th century that crowns it, so as the ablutions courtyard and what was the main entrance to the mosque, the Puerta del Perdón (gate of the mercy). The mosque became a cathedral after the reconquest of the city by King St. Ferdinand III of Castille in 1248, without changing its architectural structure.
In 1401, the cathedral chapter decides to build a new temple. The Sevillian Cathedral is the biggest gothic temple in the world and the third in Christendom after St. Peter’s in Rome and St. Paul’s in London. Besides it is declared National Monument and World Heritage.
In the cathedral we can admire the following Murillo’s works:
- The Main Sacristy: In this sacristy the portraits of Saint Leander of Seville and San Isidoro, saint patrons of the city, can be visited. ‘Leandor of Seville’ was realized in 1655 and the tradition shows that his face is the portrait of the graduate Alonso de Herrera, prompter of the choir of the Cathedral.
‘San Isidoro’ was realized in 1655, we standout the solemnity of the figure of the Saint which seems to be concentrated on the reflection of one of his literature works.
- Chapter House: In the vault a magnificent series of Murillo’s which were commissioned by the Chapter to the painter in 1667. The ‘Immaculate’ presides the whole, which can be considered one of the most beautiful ones the artist made within this topic. Around the vault there are paintings of a group of eight Sevillians Saints: Saint Hermenegild, Saint Ferdinand, Saint Leander of Seville, Saint Isidoro, Saint Laureano, Santa Justa, Santa Rufina and Saint Pius.
- Chapel of San Anthony: The huge altarpiece, work of Bernardo Simón of Pineda in 1668, frames the magnificent painting ‘La Visión de San Antonio’ (The Vision of Saint Anthony) which is one of the fundamental creations of Murillo’s production. In the upper part there can be found a painting representing the Infant Jesus, which is also a work of Murillo.
- Altarpiece of the Guardian Angel: a work which was originally painted for the monastery of the Capuchin Order of Seville in 1665 and was later given as a present to the Cathedral in 1814.
Cathedral and Giralda
Puerta de San Cristóbal. Tel: 954214971. Fax: 954500813
http://catedraldesevilla.es info@catedraldesevilla.es
Opening hours
From September 1st to June 30th:
From Monday to Saturday: 11-17 h. Sunday: 14,30-18 h.
From July 1st to August 31st:
From Monday to Saturday: 9.30-16 h. Sunday: 14.30-18 h.
Price
Adults: 8 €
Reduced price: 2 € (students under 26, retired).
Free for unemployed, handicapped and companion, children under 16 and groups
Church of the Santa Caridad
The Brotherhood of the Santa Caridad (Holy Charity) that exists in Seville from the mid-16th century, had among their missions to bury those executed, and to those drowned in the river or abandoned whose corpses nobody claimed. Starting from 1644, for ruin of the old chapel, they decided the construction of a new Church according to plans by Pedro Sánchez Falconete. Due to lack of means, the works were carried out very slowly. The election of Miguel de Mañara as Chief Brother did not only speed up the works of the temple, but also strengthened the life of a Fraternity that increases is good works. The façade was concluded by Leonardo de Figueroa, while the inner decoration of the Church it was carried out by artist so noted as Bernardo Simón de Pineda, Pedro Roldán, Valdés Leal and Murillo that captured in their paintings, sculptures and altarpieces Miguel de Mañara’s inspiration.
Miguel de Mañara wanted to communicate a message: Only through practicing charity activities the Christian can achieve eternal salvation. Murillo painted a series of paintings which contained allegories of works of mercy; to practice them led to salvation of soul. Four of these paintings where stolen from the church by the marshal Soult in 1810; at present they can be found at various foreign museums. The original paintings of Murillo are:
- “Moisés haciendo brotar el agua de la roca” (Moses letting water coming out of the rock) which represents the work of mercy ‘give water to the thirsty’.
- “La multiplicación de los panes y los peces”, (the multiplication of breads and fish) which represents the work of mercy ‘give food to the starving’.
The rest of the works of mercy are copies.
Other works of Murillo are:
- ‘Saint John of God carrying an invalid’
- ‘Saint Isabel of Hungary healing the scabby’
- “The announcement”
Church of the Santa Caridad
c/ Temprado, 3
Tel: 954223232. Fax: 954212951
Opening hours
From October 1st to March 31st:
From Monday to Saturday: 9-13,30 / 15,30-19,30 h. Sunday and holiday: 9-13 h.
From April 1st to September 30th:
From Monday to Saturday: 9-13,30 / 16-20 h. Sunday and holiday: 9-13 h.
Price
Individuals: 5 €
Groups 4 €
City Hall
This is one of the most remarkable examples of plateresque architecture. Diego de Riaño started the works in the 16th century. In the 19th century this building was reformed by Demetrio de los Ríos and Balbino Marrón who designed a new principle neoclassical façade. It contains works of great artistical and historical value.
In the hall ‘San Fernando’ the former ‘Antecabildo Alto’ and at present used as the hall of visits of the mayoralty, a sketch of Murillo can be contemplated within other paintings decorating it.
City Hall
Plaza Nueva, 1. Tel: 954 590101
Booking for groups: 954590107/ 08
Opening hours
Tuesday, Wednesday and Thursday. 1st visit at 17.30; 2nd visit at 18. Closed on holiday.
Free entrance
Archbishop’s Palace
Residence of Seville’s Prelate. Behind its late baroque frontispiece lie two mannerist patios. Towards the back of the second one, we gain access to the rooms of the Archbishopric’s General Archive, where ecclesiastic documents concerning the entire Archdiocese of Seville are kept. One of the palace’s most striking features is its staircase, consisting of a single flight and three sections, similar to the one built at the Spanish Embassy in Rome, designed by Fray Manuel Ramos in the latter half of the seventeenth century.
In this palace the work ‘Inmaculada con Fray Juan de Quirós’ (1653) is situated, which has been temporary assigned to be part of the exhibition ‘El Joven Murillo’ (The young Murillo) in the Museum of Fine Arts.
Archbishop’s Palace
Plaza Virgen de los Reyes s/n
Tel: 954505505
Parish Church of Santa María la Blanca
Built on the site of a former Jewish synagogue. The temple’s present layout is as it was after reconstruction in 1662. It consists of three naves, divided by red marble columns. Its vaults are covered in ostentatious, multi-coloured plasterwork attributed to the Borja brothers. Among the many treasures guarded in this interior, of particular note are the “Sagrada Cena” by Murillo and the “Piedad” by Luis de Vargas.
La ‘Sagrada Cena’ (the Last Supper) is a special work within the productions of Murillo due to its obscure character. This painting has been temporary assigned to be part of the exhibition ‘El Joven Murillo’ (The young Murillo) in the Museum of Fine Arts.
In 1665 Justino de Neve and Yébenes, canon of the Cathedral of Seville, commissioned Murillo the decoration of the church of Santa María la Blanca. This series was formed by four scenes in which the Marian devotion was expressed. During the Independence War the marshal Soult undertook a real artistic exploitation in Seville whereby Murillo had been his main objective. That is the reason why not one of the pieces can be found at its original place anymore. Fortunately, in 1816 the Spanish government could manage to get back the two paintings which can be visited in the ‘Museo del Prado’ nowadays. However, all the other ones are still out of Spain.
Parish Church of Santa María la Blanca
c/ Santa Mª la Blanca, 5 Tel: 954410593
Opening hours
Open for services
Services in Winter: Working days: 11 h.; 19.30 h. Eve: 19.30 h.
Holiday: 10 h.; 11.30 h.; 13 h.; 19.30 h.
4. Places connected with his life
Parish Church of la Magdalena. Murillo was baptized on 1st January 1618 in the baptismal chapel of this church.
Parish Church of la Magdalena. c/ San Pablo s/n. Tel: 954229603.
Open for services. Services in Winter:
Working days: 8 h.; 9 h.; 10.30 h.; 19 h.; 20.15 h. Eve: 19 h.; 20.15 h
Holiday: 8.30 h.; 9 h.; 10.30 h.; 12 h.; 13 h.; 19 h.; 20.15 h.
Corral del Rey Street. His studio was located at this street.
Hospice of the Venerables. For this hospital, Murillo painted the most famous of his ‘Immaculates’ commissioned by Justino de Neve, the canon of the Cathedral and founder of this hospital. However, the marshal Soult took it away together with another painting from this same hospital (Saint Peter) and other works from different churches. “The Immaculate” nowadays can be found in the ‘Museo del Prado’.
Hospice of the Venerables and Diego Velázquez Centre
Plaza de los Venerables, 8. Tel: 954562696
Opening hours
Daily: 10-14 / 16-20 h.
Price
4,75 €; 2,40 € (over 65, students, pensioners, groups over 20 people). Free for children under 12.
The price includes visit to the Hospice, temporary exhibition and Diego Velázquez Centre.
Free on Sunday from 16 to 20 h.
Murillo’ house. In this house Murillo spent the last years of his life. At present, alteration works are being undertaken in order to convert it into a museum of the painter.
Murillo’ house
C/ Santa Teresa, 8 (Santa Cruz Quarter)
Santa Cruz Square. At this place was located the former Santa Cruz Parish Church, in which Murillo was buried. This church was demolished in the 19th century during the short period of French occupation, losing then any remains of what was a synagogue. But the charming square that was to be decorated many years later with the Cruz de la Cerrajería brought from the street with the same name was born. A commemorative plaque placed by the academy of Fine Arts in 1858 reminds us that at that place the remains of the famous painter were buried.
Archive of the Indies. Ancient trade market. The Seville Academy of Fine Arts was founded in this building in the 17th century, being Murillo its first president. In the 18th century the King Carlos III decided to gather together all the documents related to the New World and created the Archive of the Indies. It keeps documents corresponding to the New World from the moment of the Discovery until the 19th century and it constitutes an indispensable centre in the investigation on the History of America. Declared World Heritage in 1987.
Archive of the Indies
Avda. de la Constitución,3. Tel: 954500528
Opening hours
From Monday to Saturday: 9.30-17 h. Sunday and holiday: 10-14 h.
Free entrance
San Bartolomé and Santa Cruz Quarters. Murillo used to live in those two districts. After his return from Madrid at the end of 1658 he settled down in the district of Santa Cruz till 1663, the year in which he moved to the area of San Bartolomé. At this quarter we can see Miguel de Mañara’s house, main member of the Charity Brotherhood and a friend of Murillo’s. In 1681 he changed his residence again, back to Santa Cruz and moved to the street Santa Teresa, the place where he spent the last years of his life.
5. Monuments and places referring to Murillo
Monument to Murillo
Place: Plaza del Museo (next to the ‘Fine Arts Museum’)
Date: in the middle of the 19th century
Author: The statue was made by Sabino Medina and was founded in the workshop of Eck y Durant from Paris. The pedestal made of marble on the top of which it is situated was designed by Demetrio de los Ríos.
Monument to the ‘Immaculate’
Place: Plaza del Triunfo
Date: 1917-1918
Author: The monument was designed by the architect José Espiau Muñoz. The figure of the ‘Immaculate’, a reproduction in round shape of the famous Immaculate Soult de Murillo, is the work of Lorenzo Collaut Valera. At the ground base there are represented four different defenders or diffusers of this Marian mystery: Juan de Pineda, Murillo, Miguel Cid y Martínez Montañés.
San Telmo’s Palace. The northern façade of this palace is crowned by twelve statues of illustrious Sevillians, among them it is Murillo. The other characters are: Martínez Montañés, Ponce de León, Velázquez, Miguel de Mañara, Lope de Rueda, Ortiz de Zúñiga, Fernando de Herrera, Luís Daoiz, Arias Montano, Perafán de Ribera and Bartolomé de las Casas.
Address: Avda. de Roma
Date: 1895
Sculptor: Antonio Susillo
Murillo gardens: In 1911 Alfonso XIII assigned the land of the gardens of the ‘Retiro del Alcázar’ to the city in order to establish a garden which connects the district of Santa Cruz with the avenue of Catalina de Ribera.
Place: Avda. Menéndez Pelayo
Date: 1915
Author: Juan Talavera
