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Bartolomé Esteban Murillo (1617 - 1682)

Lot 96: ATRIBUIDO A BARTOLOMÉ ESTEBAN MURILLO 1617 Sevilla - 1682 Virgen con Niño

Isbilya Subastas

May 8, 2018
Sevilla, Spain

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Description

ATTRIBUTED TO BARTOLOMÉ ESTEBAN MURILLO 1617 Sevilla - 1682
Virgen con Niño
Enrique Valdivieso González, Professor of Art History at the University of Seville, reports on a painting made on canvas (107 x 84 cm.) Representing the Virgin with Child, work that can be considered as belonging to the pictorial work of Bartolomé Esteban Murillo, being made around 1660.
In principle it should be noted that there is an original of this same theme in a private collection in San Francisco (USA) who, for many years, was at the Norton Simon Foundation in Los Angeles, where it was sold in 1980.Both versions are practically identical and there are only minor differences between them, which consist in the fact that the mouth ripple of the figure of the Virgin of the painting that is now in San Francisco presents the lips slightly streamed and also because this work presents the candles better preserved that in the version we present.
The existence of almost identical pictorial specimens in the production of Murillo is clearly justified by the great acceptance that his works had among the Sevillian clientele, which, once the first model was known, prompted other buyers to go to the artist entrusting him with a replica or repetition of the work. Proof of this is that Don Diego Angulo, in his magnificent monograph of Murillo of 1981 (vol.II, p.156) cites several versions of this Madonna and Child, especially one that appears in the private collection of Barcelona, ​​which qualifies as good quality. "
For the execution of the physical model of the Virgin and Child that Murillo used in the In this work, it should be noted, as Don Diego Angulo indicated initially, the influence of the brilliant representation of the so-called Virgin of the chair of Raphael, today in the Palazzo Pitti in Florence, which the artist would know through an engraving. Angulo also pointed out, Murillo must have used a print of an original Ribera that is kept in the Philadelphia Museum, of which there is a copy in the church of Charity of Seville, which was undoubtedly seen by the painter as he was brother of this institution.
Murillo was a great teacher when it came to representing affectivity in family and domestic life, especially at the moment of translating the figure of the Virgin and Child. The perfect description of the feelings that link the mother to the child undoubtedly derives from the fact that he was the last of eleven siblings and later had eight children, this allowed him better than anyone in baroque painting to describe maternal love -filial in a shy and deep way.
In representations like this one, in which the Child appears refugee in the mother's lap, a climate of benignity is created between the protagonists of the painting and the spectator, reinforced by the effect that both look at those who contemplate the scene. The skill of the artist culminates in creating two deeply beautiful models and, above all,through the psychological detail emanating the figure of the Child, which, intimacy by the viewer's gaze, seeks refuge in the breast of his mother.
The attention that the two saints occupy increases when they are surrounded by an intense penumbra that eliminates all kinds of environmental detail in order to increase the effect of their contemplation. This dark atmosphere, in the original state of the painting, must have been greenish gray, a little clearer than now since time has transformed it into a more opaque tonality.
The pinkish color of the tunic that covers the figure of the Virgin stands out in this painting and contrasts with the darker tones of the veil that curves from the head to the waist of the Virgin.The blue tone of Maria's mantle covering the lower part of the body is also modified by time.
Seville, December 3, 2012.
Enrique Valdivieso "
* Document available for consultation in the room.
The original report of Prof. Enrique Valdivieso, made in 2012, report by prof. Ismael Gutierrez Pastor, signed in 2005, as well as Chemical analysis of the painting made by Larco Química y Arte SL in 2006.
Oil on canvas
107 x 84 cm.
Ancient painting and S. XIXreport of prof. Ismael Gutierrez Pastor, signed in 2005, as well as Chemical analysis of the paint made by Larco Química y Arte SL in 2006.
Oil on canvas
107 x 84 cm.
Ancient painting and S. XIXreport of prof. Ismael Gutierrez Pastor, signed in 2005, as well as Chemical analysis of the paint made by Larco Química y Arte SL in 2006.
Oil on canvas
107 x 84 cm.
Antique painting and 19th C.

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