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Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas.

In 9th March - Old Masters

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Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 1 aus 6
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 2 aus 6
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 3 aus 6
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 4 aus 6
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 5 aus 6
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 6 aus 6
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 1 aus 6
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 2 aus 6
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 3 aus 6
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 4 aus 6
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 5 aus 6
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)"Christ Crucified".Oil on canvas. - Bild 6 aus 6
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Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)
"Christ Crucified".
Oil on canvas.
Period frame.
Measurements: 62 x 47 cm; 71 x 54 cm. (frame).
The figure of the dead Christ was very common in the Spanish Baroque iconography. Murillo made several versions in which, as in the important painting that we show here, the imposing image of the Crucified Christ is outlined on a dark background of twilight lights in contrast with the powerful focus of light that models his powerful anatomy. This is a Christ with three nails, in which the master avoids excessive pathos and, on the contrary, prioritises atmospheric capture, the softness of the forms and chromatic nuances, in order to procure a contemplative immersion for the believer. What is important is to emphasise the magical moment in which humanity is redeemed by the suffering of the Saviour. The composition, the bold iridescence of light and the rapid brushstroke In composition and language this work is very close to Murillo's Christ Crucified in the Museo del Prado. Specialists have pointed to the influence of the Christ that Van Dyck painted for the church of Dendermonde. Dated around 1667, it was possibly bought by Philip V's wife, Isabella of Farnese, and was in her collection in 1746, appearing in her collection three years later in the Palace of Aranjuez, from where it was transferred to the Prado in 1818. Here, too, the cross is a vertical part of the composition, and the body acquires sculptural volume thanks to the masterly handling of the light. The landscape of Golgotha is reduced to an atmospheric impression, establishing a chiaroscuro dialogue with the suffering flesh tones. Here too, the skull and some of the instruments of the Passion are depicted at the foot of the cross. The stylistic and formal correspondences between these two paintings and others from Murillo's mature period lead specialists to believe that they share the same authorship.
Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that while at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court. Despite the few documentary references to his mature years, we know that he enjoyed a comfortable life, which enabled him to maintain a high standard of living and have several apprentices. Having become the city's leading painter, even surpassing Zurbarán in fame, he was determined to raise the artistic level of local painting. In 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main driving force. His fame spread so far throughout Spain that Palomino states that around 1670 King Charles II offered him the chance to move to Madrid to work there as a court painter. We do not know whether this reference is true, but the fact is that Murillo remained in Seville until the end of his life. Works by Murillo are now in the most important art galleries in the world, such as the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York and the National Gallery in London.
Circle of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682)
"Christ Crucified".
Oil on canvas.
Period frame.
Measurements: 62 x 47 cm; 71 x 54 cm. (frame).
The figure of the dead Christ was very common in the Spanish Baroque iconography. Murillo made several versions in which, as in the important painting that we show here, the imposing image of the Crucified Christ is outlined on a dark background of twilight lights in contrast with the powerful focus of light that models his powerful anatomy. This is a Christ with three nails, in which the master avoids excessive pathos and, on the contrary, prioritises atmospheric capture, the softness of the forms and chromatic nuances, in order to procure a contemplative immersion for the believer. What is important is to emphasise the magical moment in which humanity is redeemed by the suffering of the Saviour. The composition, the bold iridescence of light and the rapid brushstroke In composition and language this work is very close to Murillo's Christ Crucified in the Museo del Prado. Specialists have pointed to the influence of the Christ that Van Dyck painted for the church of Dendermonde. Dated around 1667, it was possibly bought by Philip V's wife, Isabella of Farnese, and was in her collection in 1746, appearing in her collection three years later in the Palace of Aranjuez, from where it was transferred to the Prado in 1818. Here, too, the cross is a vertical part of the composition, and the body acquires sculptural volume thanks to the masterly handling of the light. The landscape of Golgotha is reduced to an atmospheric impression, establishing a chiaroscuro dialogue with the suffering flesh tones. Here too, the skull and some of the instruments of the Passion are depicted at the foot of the cross. The stylistic and formal correspondences between these two paintings and others from Murillo's mature period lead specialists to believe that they share the same authorship.
Little is known about Murillo's childhood and youth, except that he lost his father in 1627 and his mother in 1628, which is why he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that while at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court. Despite the few documentary references to his mature years, we know that he enjoyed a comfortable life, which enabled him to maintain a high standard of living and have several apprentices. Having become the city's leading painter, even surpassing Zurbarán in fame, he was determined to raise the artistic level of local painting. In 1660 he decided, together with Francisco Herrera el Mozo, to found an academy of painting, of which he was the main driving force. His fame spread so far throughout Spain that Palomino states that around 1670 King Charles II offered him the chance to move to Madrid to work there as a court painter. We do not know whether this reference is true, but the fact is that Murillo remained in Seville until the end of his life. Works by Murillo are now in the most important art galleries in the world, such as the Prado Museum, the Hermitage in Saint Petersburg, the Kunsthistorisches in Vienna, the Louvre in Paris, the Metropolitan in New York and the National Gallery in London.

9th March - Old Masters

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