Murillo: Update of a summit of art
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A XXI century work. "Murillo. Catalogue raisonné of paintings,"
contains more than 400 color photographs
Professor Enrique Valdivieso presented tomorrow at the Museum of Fine Arts, the most comprehensive study on the Seville painter
Patricia Godinez / 0 03.06.2011
No evidence Bartolomé Esteban Murillo (1617-1682) traveling abroad and yet the work of brilliant Seville artist is now divided into collections public and individuals around the world. After acceptance for centuries, became a painter bordered for several decades of the twentieth because the critics and intellectuals considered it overly sweetened and soft, but it was his popular painting reflects his attachment to the ragged and rogues who lived in Seville society seventeenth century when the city of Seville was the mirror of the world and the misery loomed between sumptuous palaces.
Seville Convents frames were chosen by the artist to develop a series of harmonious and informative pictorial religious conception and however, the plundering greed of France during the War of Independence forever deprived this city not only the hoarding of these pictures, in the Fine Arts are held only about 25 paintings, but the joint contemplation that separate images lose much of its symbolic meaning. His work is estimated at some 2,500 paintings which have survived only so listed, about 425, most of the missing will be lost forever but, possibly, many of these wonderful examples of painting of the Golden Age remain hidden in private collections in Europe resulting from the vicissitudes of an inglorious exit from Sevilla. These are some of the lights and shadows running through the Professor of History and Art Murillo Enrique Valdivieso. Catalogue raisonné of paintings, a monumental study recently published in the stamp El Viso in collaboration with the Cultural Foundation Villar Mir and morning shows at the Museum of Fine Arts of Seville where he says, will "one of the highlights books of the century ", to meet production Murillesque .
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