Museum of Fine Arts of Seville

The Museum of Fine Arts of Seville is a place of great importance and emblematic for the work of Murillo. It was a building that occupied the convent of the mercy, founded by Pedro Nolasco in the thirteenth century, after the conquest of San Fernando. Its current building corresponds to a work of the architect Juan de Oviedo, in the seventeenth century. Later the building was disentailed and the monks cloistered so that in the nineteenth century the first germ of the current museum was created.

During this time of disentailment, many of Murillo’s paintings became part of the museum’s collection: paintings from the Convent of the Capuchins, the Convent of San Agustín and the Convent of San Francisco. Later, other paintings, such as La Virgen con el Niño (1838-1840), San Francisco (1650), La Dolorosa (1669), San Jerónimo Penitente (1665-1670) or the Immaculate Conception ( 1670). Works from all periods of the painter

Most of Murillo’s works are exhibited in this institution.

San Rafael and the Bishop Fray Francisco Domonte (reproduction of the original)

Here Murillo shows Friar Francisco Domonte. Domonte was a member of a rich aristocratic family and exercised an important ecclesiastical career. This portrait was located in this same building when it was a convent of La Merced. The forms of the painting show the conservative nature of the client requesting the order. The figure of the archangel San Rafael, occupies the leading role of the painting; He turns his gaze to the bishop, who appears dressed as a friar and without the episcopal clothes, which are at the feet of the archangel.

Immaculate The Colossal

This Immaculate was painted to preside over the Franciscan convent. Its name comes because of its large size due to the reason for presiding over the altarpiece. The Virgin  monumental size, supported by the moon and surrounded by a mist. Here is represented a dynamism and spirit of the movement typical of the Baroque era.

Convent of the Capuchins. In the first half of the seventeenth century, the convent of the Capuchins was founded and the friars commissioned Murillo to make the works of the dependencies .. Murillo executed up to twenty-one paintings, which were part of the dependencies and the main altarpiece of the convent . During the French Invasion, the capuchins delivered the works to the cathedral chapter and after the confiscation of Mendizábal, they passed to the state and to the museum institution.

The Jubilee of the Porziuncola.

This painting presides over the main altarpiece of the capuchins, and shows the Aparicio de Jesús and the virgin to San Francisco, a recurring theme in the work of Murillo. As we have indicated previously, all the works of the convent left for Cádiz, due to the French invasion, all except this one that happened at the hands of the French and finished in the Alcázar. Subsequently, it was sold, which is why it is in Germany, specifically in the city of Cologne.

Santas Justa and Rufina.

To the left of the Jubilee of the Portiuncula, on the left side of the first body of the Main Altarpiece, is this painting that shows one of the most important themes in the artistic life of Murillo, that of the patron saint patrons of Seville, the Santas Justa and Rufina, where she shows young saint potters with an earthly look and the city’s protective saints. The fact that the relics of the sisters were transferred, according to tradition, to the church where the Convent of the Capuchins was later built, made them appoint the patron potters of the same, and must thus be in the most privileged place of the temple.

San Leandro and San Buenaventura.

Other work of the main altarpiece was San Leandro and San Buenaventura The first was the founder of the temple where Santa Justa and Rufina were martyred and the second was one of the visible heads of the Franciscan order. It shows an allegorical vision of the cession of the temple of San Leandro to San Buenaventura.

Saint Joseph with the Child.

On the left side of the second body of the Main Altarpiece, this painting was arranged, one of the best versions of the theme by Murillo and one of the best representations of this iconography made during the Baroque period in Seville. The ability of the painter to transmit emotions and attitudes is present in this work through the solemn concentration of Saint Joseph, accompanied by the confidence and serenity of the Child, who rests on a high pedestal, rests his head on the shoulder of his father, the pair that establishes a direct visual contact with the spectator. The restoration to which she has been subjected in recent years has exposed the formal and pictorial virtuosity of Murillo.

Saint John Baptist.

Along with San José and El Niño, was this painting that shows the ability to represent emotions and psychological expressions and how to play with them. Here John the Baptist looks up to heaven, with his mission to announce the Messiah, accompanied by the lamb, which symbolizes Christ through the Agnus Dei. In this case the painter shows a mastery of the anatomical technique and a chromatic game that gives strength to the background landscape.

Saint John Baptist.

Along with San José and El Niño, was this painting that shows the ability to represent emotions and psychological expressions and how to play with them. Here John the Baptist looks up to heaven, with his mission to announce the Messiah, accompanied by the lamb, which symbolizes Christ through the Agnus Dei. In this case the painter shows a mastery of the anatomical technique and a chromatic game that gives strength to the background landscape.

San Antonio with the Child.

Murillo continues with his idea of showing close and earthly saints to the people. He shows the saint embracing the child in a moment of great spirituality and shows a kind and kind saint visible only through the hand of the artista.

San Felix Cantalicio with the Child.

This work in the same line of San Antonio with Niño and that is constituted as part of the main altarpiece. Contrast the tenderness of the Child with the tired and old vision of the saint to whom he caresses the beard.
Murillo shows his quality in the work thanks to the mastery of the painter in the application of color that shows the expressive and psychological effects of the gestures of the friar.

The Annunciation

Painted and located in a small corner of the presbytery. The painter connects San Gabriel and the Virgin, by an ascending line and in which the Sky and the Earth connect with great skill. Both images, accompanied by the Holy Spirit, contrast with their divine dispositions and the message that shows
The Piety

Also located in a corner similar to the Annunciation and directly facing it.
This painting was mutilated and half of it was lost, leaving only the upper part, which to a certain extent diminished its exceptionality. The work, with a superb composition, had to have some influence of Anton Van Dyck. The expressions of pain of the Virgin and the form of the picture dignify the painting that lost part of its expression with the mutilation suffered.

San Antonio de Padua with the Child.

For one of the small side chapels located on the left wall of the nave of the church of the Capuchins made Murillo this version of San Antonio with the Child, this time, ready to be seen from a greater proximity. The painting, which occupied one of the medium altars arranged in the nave, could be executed between 1668 and 1669, like the rest of the paintings located in this space.
As it is observed in the version of San Antonio with the Child of the Greater Altarpiece, the painter makes an excellent psychological study of the figures, magnificently captured within a deep mysticism and love. The composition in two registers, the earthly and the heavenly, perfectly linked through the light, shows a consecrated painter.

Immaculate with the Eternal Father

This Immaculate presides from the nave of the gospel of the Capuchin church. The painting incorporates in the upper part the Eternal Father, showing himself in a protective way with the Virgin. The figure of Mary is shown frontally and with slight undulations. His face, looks up in gratitude to the creator, while around a series of angels standing stepping on the dragon that is displayed as a symbol of original sin.

Saint Francis embracing Christ on the cross.
One of the essential paintings from the church of the Capuchins is this work, which was housed in the last chapel of the left nave of the temple, next to the entrance of it.
In it, as was frequent in the production of the painter, a kind Christ is observed

Adoration of the shepherds.

Located in the first chapel of the Convent of Capuchinos. It shows an image with great pictorial skill with a group of well-connected characters due to the intersecting diagonals. All the characters, shepherds and Holy Family are seen in a dark clear background highlighting the brightness of the child’s image. This work shows the closeness and sweetness of the Holy Family, a form that already shows in other types of religious paintings

San Felix Cantalicio.

Another work dedicated to this saint was located in the lateral chapel as a contrast to that located in the main altarpiece.
An image of mysticism and spirituality is captured in this painting by the artist, where he shows the saint raising his hands to the child with a sign of gratitude for a pious life and virtue. The miraculous scene is created with details of everyday life of the seventeenth century which gives an aspect of realism.

Saint Thomas of Villanueva giving alms to the poor.

It was considered one of Murillo’s favorite works, made for the last chapel, for his altar on the right aisle. This saint, although he was an Augustinian, shows himself to be a follower of a doctrine of renouncing his earthly goods in order to dedicate his life to the poorest.
The painting shows the saint delivering a poor handicapped alms with an impressive architectural background. The quality and the invoice of it are unquestionable.

Immaculate Conception of the Choir.

Originally located in the Capuchin Convent Choir where she returns to show a vision of a Marian image of the Immaculate Conception of the time with a white and blue dress. The Virgin is shown on a silver crescent floating in a kind of vaporous mantle. The Virgin is also shown with her hands crossed looking at the sky and surrounded by a court of angels as Murillo usually does in the representation of the Dogma of the Immaculate Conception.
Virgin of the napkin.

One of the best known works and with a legend about the realization of it as a gift to the friars made a napkin, although later studies have shown that this version is not correct.
In 1750, the work was moved to the space of the tabernacle of the main altar of the church, without losing, however, its nickname of the refectolera to be displayed in the refectory and reside the meals of the friars.
The work was reproduced several times due to the sweetness of its image and face.

Se ha producido un error de traducciónVirgin and Child
Coming from the Convent of the Discalced of San José, we probably find the earliest work of Murillo. The work happened to the museum after having been in the convent of the Capuchins.
The painting represents one of his classic images of the Virgin with the child with an image of more kindness. Although some tenebrism is shown, influence of course of his teacher Juan del Castillo. For years the work was reason for doubts about its origin and authenticity.

San Francisco.
The painting shows one of the mystical experiences of Saint Francis with his stigmatized hands
The picture is shown to San Francisco accompanied by Leon with a background of a huge landscape, Leon appears in the background.
The work, is of chromatic austerity, showing as preferred the brown colors very typical of the first time of Murillo.

Saint Augustine with the Virgin and the Child.

It is one of the two representations of the Saint that were created for the convent of the same name, showing an episode recorded in Confessions. Here the child with the Virgin is shown offering Saint Augustine a heart pierced with an arrow as a symbol of divine love.
Murillo uses two usual prototypes of the Virgin and Child that show both physical and spiritual serenity.
Saint Augustine and the Trinity.

This is the other mystic representation of the saint and in which he shows us the Trinity. He himself said that this mystical episode influenced to create his work on the Trinity, the theological argumentation on God One and Triune.
Here the painter shows us the contrast between the gloom and dark color of the cell and the luminosity coming from the trinitarian Glory. His eyes are fixed permanently on the vision of the Trinity in this mystical momento.


Saint Thomas of Villanueva praying before the crucifix.
This painting shows St. Thomas of Villanueva praying before the Crucifix, in a mystical moment of his life. Murillo showed the saint praying and receiving a message from the cross, here he indicates that the day of his death will be the Virgin’s Christmas day and he receives it with calmness, humility and resignation.

Virgin and Child

It is thought that it also comes from the Convent of Capuchinos. It shows again as a classic, the theme of the Virgin and Child, and it is believed that it was not really the work of Murillo himself but his collaborators and assistants. Everything would be due to the high volume of work accumulated in Murillo that forced him to delegate this work to his faithful collaborators.
His look and melancholy, seems a prelude to the future Passion and Death of his son.
The hurt.

Quite possibly the couple of Ecce Homo belonging to a private collection.
The Counter-Reformation fostered the image of the Dolorosa and Ecce Homo being the driving artist and showing different versions of this theme, usually in two canvases that make up a couple, sometimes full-length and, on other occasions, half-length.
This painting shows the Virgin in a situation of sadness and about to break and looking for strength to take this suffering to see her son tortured.
Saint Jerome penitent.

This representation was very popular during the seventeenth century as the Counter-Reformation Church shows it as an expiatory model of their sins. Here the saint is shown in a contemplative moment in front of a crucifix; with his right hand he holds a stone with which to beat his chest, as a sign of repentance for his sins
The light contrast shows the perfection of the anatomical details of the saint
Immaculate conception.

It is one of the paintings on the theme of the Immaculate Conception in the final part of his productive life.
The Virgin rises on the heads of angels who wear the traditional symbols of palm, roses, lily and mirror. Wears white tunic with blue mantle, classic in the painter, with luminosity. His youthful beauty, with his gaze to the sky, is illuminated by the twelve stars that surround his head.