31
Spanish school of the late 18th and early 19th century. After BARTOLOMÉ ESTEBAN MURILLO (Seville,
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Description
Spanish school of the late 18th and early 19th century. After BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682).
"Virgin of the Napkin.
Oil on panel.
Measurements: 76 x 63 cm; 86 x 73 cm.
The pictorial representation is based on the original model of the work that Bartolomé Esteban Murillo produced in 1666, entitled "Virgen de la servilleta", which is now on display in the Museum of Fine Arts in Seville. In this original we can see the influence of various artists that Murillo admired; on the one hand the reflection of Raphael in the delicacy of the forms and the vivid colours, while the imperceptible atmosphere of the work of Velázquez and Rubens is evident.
In this canvas we find one of the most frequent iconographies of Marian art and one of the most treated in all Christian art: the representation of the Virgin Mary together with the Christ Child. The copyist has taken into account both the subject and the original composition, paying particular attention to the faces of the two figures, as well as the flesh tones and details of the physiognomies. In addition, the gestures and disposition of the figures have been captured with great verisimilitude. The tones of the Virgin's garments have been respected, as the patterns were stipulated and renewed by Murillo himself in his treatment of religious iconography, especially in his depictions of the Immaculate Conception, to whom the master dedicated more than twenty paintings.
The name by which the Virgin is known comes from a legend that was first recorded in 1833 in O'Neill's A Dictionary of Spanish Painting. There are two versions of this legend. According to the first, the Capuchin friars noticed that a napkin had disappeared from their household linen, but a few days later it was returned to them by Murillo himself with a drawing of the Virgin. In the second version, it was a friar in the convent who asked Murillo for a representation of the Virgin and Child so that he could pray privately in his cell. Murillo agreed, but asked for a canvas for the painting. The friar, however, lacked financial resources and gave him a napkin on which Murillo painted the work.
"Virgin of the Napkin.
Oil on panel.
Measurements: 76 x 63 cm; 86 x 73 cm.
The pictorial representation is based on the original model of the work that Bartolomé Esteban Murillo produced in 1666, entitled "Virgen de la servilleta", which is now on display in the Museum of Fine Arts in Seville. In this original we can see the influence of various artists that Murillo admired; on the one hand the reflection of Raphael in the delicacy of the forms and the vivid colours, while the imperceptible atmosphere of the work of Velázquez and Rubens is evident.
In this canvas we find one of the most frequent iconographies of Marian art and one of the most treated in all Christian art: the representation of the Virgin Mary together with the Christ Child. The copyist has taken into account both the subject and the original composition, paying particular attention to the faces of the two figures, as well as the flesh tones and details of the physiognomies. In addition, the gestures and disposition of the figures have been captured with great verisimilitude. The tones of the Virgin's garments have been respected, as the patterns were stipulated and renewed by Murillo himself in his treatment of religious iconography, especially in his depictions of the Immaculate Conception, to whom the master dedicated more than twenty paintings.
The name by which the Virgin is known comes from a legend that was first recorded in 1833 in O'Neill's A Dictionary of Spanish Painting. There are two versions of this legend. According to the first, the Capuchin friars noticed that a napkin had disappeared from their household linen, but a few days later it was returned to them by Murillo himself with a drawing of the Virgin. In the second version, it was a friar in the convent who asked Murillo for a representation of the Virgin and Child so that he could pray privately in his cell. Murillo agreed, but asked for a canvas for the painting. The friar, however, lacked financial resources and gave him a napkin on which Murillo painted the work.
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Spanish school of the late 18th and early 19th century. After BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682).
"Virgin of the Napkin.
Oil on panel.
Measurements: 76 x 63 cm; 86 x 73 cm.
The pictorial representation is based on the original model of the work that Bartolomé Esteban Murillo produced in 1666, entitled "Virgen de la servilleta", which is now on display in the Museum of Fine Arts in Seville. In this original we can see the influence of various artists that Murillo admired; on the one hand the reflection of Raphael in the delicacy of the forms and the vivid colours, while the imperceptible atmosphere of the work of Velázquez and Rubens is evident.
In this canvas we find one of the most frequent iconographies of Marian art and one of the most treated in all Christian art: the representation of the Virgin Mary together with the Christ Child. The copyist has taken into account both the subject and the original composition, paying particular attention to the faces of the two figures, as well as the flesh tones and details of the physiognomies. In addition, the gestures and disposition of the figures have been captured with great verisimilitude. The tones of the Virgin's garments have been respected, as the patterns were stipulated and renewed by Murillo himself in his treatment of religious iconography, especially in his depictions of the Immaculate Conception, to whom the master dedicated more than twenty paintings.
The name by which the Virgin is known comes from a legend that was first recorded in 1833 in O'Neill's A Dictionary of Spanish Painting. There are two versions of this legend. According to the first, the Capuchin friars noticed that a napkin had disappeared from their household linen, but a few days later it was returned to them by Murillo himself with a drawing of the Virgin. In the second version, it was a friar in the convent who asked Murillo for a representation of the Virgin and Child so that he could pray privately in his cell. Murillo agreed, but asked for a canvas for the painting. The friar, however, lacked financial resources and gave him a napkin on which Murillo painted the work.
"Virgin of the Napkin.
Oil on panel.
Measurements: 76 x 63 cm; 86 x 73 cm.
The pictorial representation is based on the original model of the work that Bartolomé Esteban Murillo produced in 1666, entitled "Virgen de la servilleta", which is now on display in the Museum of Fine Arts in Seville. In this original we can see the influence of various artists that Murillo admired; on the one hand the reflection of Raphael in the delicacy of the forms and the vivid colours, while the imperceptible atmosphere of the work of Velázquez and Rubens is evident.
In this canvas we find one of the most frequent iconographies of Marian art and one of the most treated in all Christian art: the representation of the Virgin Mary together with the Christ Child. The copyist has taken into account both the subject and the original composition, paying particular attention to the faces of the two figures, as well as the flesh tones and details of the physiognomies. In addition, the gestures and disposition of the figures have been captured with great verisimilitude. The tones of the Virgin's garments have been respected, as the patterns were stipulated and renewed by Murillo himself in his treatment of religious iconography, especially in his depictions of the Immaculate Conception, to whom the master dedicated more than twenty paintings.
The name by which the Virgin is known comes from a legend that was first recorded in 1833 in O'Neill's A Dictionary of Spanish Painting. There are two versions of this legend. According to the first, the Capuchin friars noticed that a napkin had disappeared from their household linen, but a few days later it was returned to them by Murillo himself with a drawing of the Virgin. In the second version, it was a friar in the convent who asked Murillo for a representation of the Virgin and Child so that he could pray privately in his cell. Murillo agreed, but asked for a canvas for the painting. The friar, however, lacked financial resources and gave him a napkin on which Murillo painted the work.
22nd November - Old Masters
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Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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