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The Immaculate Conception of El Escorial
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban
The Immaculate Conception of El Escorial
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban

In this personification of the Virgin Mary as the Immaculate Conception, the protagonist, although still very youthful, is not as childlike as those of Zurbarán and Velázquez and lacks the descriptive and symbolic elements commonly found in earlier, undoubtedly archaic versions. Allusions to the litanies are omitted and artist reduces the image to the bare essentials: the young and s

The Prodigal Son squandering his Inheritance
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban
The Prodigal Son squandering his Inheritance
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban

Small canvas which represents an episode from the parable of the Prodigal Son. The six paintings that depict the parable, now in the National Gallery in Dublin, constituting one of the artist’s few narrative series intended for private use and the only one to have survived intact together to the present day. They are partly based on prints by Jacques Callot (1592-1635). Murillo makes full use of h

The Good Shepherd
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban
The Good Shepherd
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban

In a landscape with classical ruins that allude to the defeat of paganism, the Christ Child tends a lamb. Murillo based this image on a print by Stefano della Bella (1610-1664), while making use of his outstanding ability to depict children to create one of the most effective depictions of the parable of the Good Shepherd.

The Prodigal Son taking leave of his Home
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban
The Prodigal Son taking leave of his Home
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban

Small canvas which represents an episode from the parable of the Prodigal Son. The six paintings that depict the parable, now in the National Gallery in Dublin, constituting one of the artist’s few narrative series intended for private use and the only one to have survived intact together to the present day. They are partly based on prints by Jacques Callot (1592-1635). Murillo makes full use of h

The Prodigal Son receiving his Inheritance
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban
The Prodigal Son receiving his Inheritance
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban

Small canvas which represents an episode from the parable of the Prodigal Son. The six paintings that depict the parable, now in the National Gallery in Dublin, constituting one of the artist’s few narrative series intended for private use and the only one to have survived intact together to the present day. They are partly based on prints by Jacques Callot (1592-1635). Murillo makes full use of

The Adoration of the Shepherds
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban
The Adoration of the Shepherds
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban

The shepherds gather around the Christ Child to adore him and offer him their gifts: a lamb, some hens and a basket of eggs, in a scene that is conceived as a humble counterpart to the Adoration of the Magi. The composition, chiaroscuro technique and figure types suggest a knowledge of the work of Ribera.

The Holy Family with a Little Bird
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban
The Holy Family with a Little Bird
Oil on canvas. Ca. 1650
Murillo, Bartolomé Esteban

A domestic scene filled with tenderness showing the Virgin Mary winding a skein of thread and watching the Christ Child, who leans on Saint Joseph while he plays with a little bird and a dog. The almost leading role of the saint corresponds to the increased worship of his figure during the Counterreformation. The apparently insignificant composition of this painting exalts home life, the family an

The Annunciation
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban
The Annunciation
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban

A New Testament scene (Luke 1, 26-38) that depicts the Archangel Gabriel´s Annunciation to the Virgin Mary and her acceptance of the fact that she will become the Mother of God through the intercession of the Holy Ghost. The Virgin is accompanied by three of her traditional attributes: a sewing basket and book, which symbolize her hard work and devotion; and a spray of lilies, which symbolize her

Rebecca and Eliezer
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban
Rebecca and Eliezer
Oil on canvas. Ca. 1660
Murillo, Bartolomé Esteban

In his search for a wife for his master, Isaac, Eliezer encountered Rebecca, who offered him water from her pitcher by the well. The biblical account offered Murillo the perfect pretext for depicting an everyday scene typical of any Andalusian town square, with four women about to fill their pitchers.

The Infant Saint John the Baptist
Oil on canvas. Ca. 1670
Murillo, Bartolomé Esteban
The Infant Saint John the Baptist
Oil on canvas. Ca. 1670
Murillo, Bartolomé Esteban

Alone in the countryside, a boy raises his hand to his breast while looking up to the heavens, his face illuminated by a beam of light. The lamb and the cross with the inscription “Ecce Agnus Dei” (Behold the Lamb of God) identify this figure as Saint John the Baptist, of whom the Gospels said: “the child grew and was strengthened in spirit and was in the deserts.”

The Prodigal Son among the Pigs
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban
The Prodigal Son among the Pigs
Oil on canvas. 1660 - 1665
Murillo, Bartolomé Esteban

Small canvas which represents an episode from the parable of the Prodigal Son. The six paintings that depict the parable, now in the National Gallery in Dublin, constituting one of the artist’s few narrative series intended for private use and the only one to have survived intact together to the present day. They are partly based on prints by Jacques Callot (1592-1635). Murillo makes full use of

The Infant Christ and Saint John the Baptist with a Shell
Oil on canvas. Ca. 1670
Murillo, Bartolomé Esteban
The Infant Christ and Saint John the Baptist with a Shell
Oil on canvas. Ca. 1670
Murillo, Bartolomé Esteban

The combination of tangible reality with a visionary and spiritual atmosphere was one of the features that explain the fascination exerted by Murillo’s works, many of them extremely popular, which is why the Catholic Church used his images for the following three centuries. A fair number of his themes are not specifically described in the Bible and some, such as the scenes from the childhood of Ch

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