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Murillo, the total artist of the Baroque

The celebration of its fourth centenary starts today in Seville with the aim of banishing the cliché of the painter of virgins and broadening the gaze to its profane creation

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Murillo, the total artist of the Baroque

Within paintings of Murillo summarizes Baroque metaphor: shadows and lights, artifice and simplicity, devotion and a certain noise of world. The fourth centenary of his birth starts today with a concert by Jordi Savall in Teatro de la Maestranza where violagambista will recreate sound landscapes of city-Museum in which painter was born. Seville has overturned with celebration of fourth centenary of Bartolomé Esteban Murillo (1617-1682) to vindicate an artist who, from this celebration, aspires to come out of cliché in which he has lived locked up for a long time.

The ultimate intention of this commemoration, beyond fast and obvious homages, is to disseminate arguments in which researchers have been insisting for years in specialized publications and international congresses. Murillo is not only artist who evokes religious world and who manages to give a kind air to spirit of counter. It is also painter who bets on a type of profane scenes, tables of customs that were not well considered in that Spain. The pictorial treatises of time, such as those published by Pacheco or Carducho, despised representation of popular characters, contrary to what happened in norrn Europe, where this type of painting that praises everyday and will be one of Great revolutions in history of art.

However, who in Spain has been reduced almost exclusively to painter of religious dared to create many scenes of naughty children, of miserable people of street. A seemingly trivial world that impassioned Flemish and Dutch merchants who n resided in Seville for business with Indies and who commissioned that type of painting to Murillo. The painter was also a friend of many of m, like Nicolas Omazur or Josua van Belle, who makes wonderful portraits. This friendship translates into Murillo's sensibility to paint natural, to get down to mud of time and also to portray people on foot.

This Murillo of popular that becomes almost a documentary of his time is least known in Spain, perhaps because se paintings of customs left soon of Seville. Nothing more die master in 1682 when he fell from scaffold in which he painted mystical nuptials of Saint Carine, those canvases of naughty children leave in baggage of merchants of North who leave a Seville that enters decay and loses commercial monopoly With America. They are canvases that now hang in Spanish painting halls of foreign museums.

Professor Benito Navarrete, who on December 6 inaugurates exhibition Murillo and his wake in Seville in Santa Clara center of Andalusian capital, has surprised with his essay Murillo and metaphors of image, in which he reveals unknown aspects of creator , as his virtues to relate to powerful and as "skillful manipulator" of sensations. "Murillo is an artist to discover in Visualidadde his images." His art is decidedly illusory, because he knows how to use resources provided by atre to fabricate an eloquent representation. He was a rebel because he broke previous tradition in search of his own language, says specialist.

Anor circumstance that has marked its destiny is large amount of stripping work that came out of Spain, in large part because of looting suffered by Seville in war of independence at hands of Marshal Soult. "There are foreign colleagues who have told me that this fact has been fortunate, because it has allowed Murillo's work to be known outside Spain," says Professor Enrique Valdivieso, author of Murillo. reasoned catalogue of paintings and biography Murillo: Shadows of Earth, lights of sky.

"It is painful to contemplate today pictorial series like one he made in his youth for small cloister of convent of San Francisco, distributed by different museums of world and deprived of its old architectural framework, already destroyed forever", adds Valdivieso, also responsible for itineraries on his life and work that will leave Casa Murillo, in neighborhood of Santa Cruz.

This dispersed artist centers exhibition Murillo and Capuchins of Seville. Reconstruction, which can be seen from today at Museum of Fine Arts of city. For exhibition The paintings of altarpiece of Church of Capuchins that ended in Pinacotecas of various places of world have been rescued.

The Murillo total artist who hopes to spread in this fourth centenary will have in celebration of International Congress Murillo to its centennial anor key moment. Seville will bring toger main specialists to update painter. From that laboratory of reflection, great Baroque artist emerges beyond his topical and distorted image of a beatus painter.

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