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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
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.
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
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 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.
Ecce Homo and The Virgin Dolorosa (P977) are comparable with regard to size, provenance and their partial dependence on models by Titian. Above all, they are linked by their subject matter and are most effective and expressive if seen as a pair, when it becomes evident that the Virgin’s grief arises from her contemplation of her son’s suffering.
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
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
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 Museo del Prado has five Immaculate Conceptions by Murillo, who depicted this subject in response to its remarkable popularity in Spain. This devotion became a sign of national identity. This version, formerly in Aranjuez, is among Murillo’s most mature and elegant and in which he most effectively conveys the sense of the figure rising upwards.Over the course of a century and a half, a particu
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 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
La Virgen, pintada de busto y levemente girada hacia la izquierda, surge desde el fondo neutro gracias a la iluminación dirigida al rostro, que entra por el lateral, hacia el que se inclina la figura. Lleva, debajo del velo que le cubre la cabeza, una toca blanca que rodea la cara y el cuello y cuyo borde despegado origina zonas de sombras. De nuevo en esta imagen, Murillo demuestra ser el pintor
