Palace of Dueñas

Built between the fifteenth and sixteenth centuries, with the name of the monastery of Las Dueñas, a neighboring building that was demolished in the nineteenth century.
Originally it was the house-palace of the Pineda, one of the aristocratic houses of the city of Seville whose members stood out in historical episodes as War of Granada. Then it passed to Fernando Enríquez de Ribera, II Marquis of Villanueva del Río and father of Antonia Enríquez de Ribera, married in 1612 with Fernando Álvarez de Toledo, future VI Duke of Alba. From then on I went to the house of Alba becoming one of its main residences.
In this palace an original work and several reproductions will be offered.
Portrait of Don Juan Antonio de Miranda and Ramírez de Vergara.
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The technique and skill of Murillo in this work shows a fluid brushwork and great vibration. The color very typical of the Baroque period for its sobriety, with predominance of white and black clothing, and the figure on a background of shadows with a green curtain.
The column as an element and the neutral backgrounds distance Murillo from the more conservative and bourgeois version of the portraits shown previously.
Portrait of Don Antonio Hurtado de Salcedo, 1st Marques de Legarda (reproduction of the original).

This portrait is one of the highlights of Murillo where Don Antonio Hurtado de Salcedo, Secretary of State of Felipe IV, Knight of Santiago in and Marquis of Legarda is shown.
Here the artist not only shows the main character but also the landscape that surrounds him, with a wide sky with diluted clouds, and the rest of the elements that he shapes according to the facet of the artist. Thus the artist creates the painting in which This type of works was similar to the works of the flamenco Anton van Dyck, as King Charles I of England hunting.

Portrait of Don Diego Félix de Esquivel y Aldama (reproduction of the original).

The figure stands out with a permanent light bulb that shows the line of separation with the ground. In his right hand he holds a wide-brimmed hat and places the left one on the back of an armchair. In this work the portrayed is shown in a somber way, with light golden touches.
It is a work that still remains quite attached to the tradition of portrait of Spanish court in its staging.

Portrait of Don Andrés de Andrade y la Cal (reproduction of the original).

The portrayed appears in a portico with balustrade, like the Duke of Frias, although in this case it is accompanied by a large dog. The architectural decoration is more sober than in previous portraits, highlighting the pillar on which the shield of the Andrade family appears and the name of the effigiado. The face is relatively young and shows us a man of no more than thirty-five years of age, who possesses correct features and transmits a deep soul concentration, as is usual in the artist’s portraits.
This painting seems a transition point in Murillo’s portrait production, because it includes “modern” elements, such as placing the character on an exterior, and an old-fashioned theme, such as the dog that is caressed by its owner, more typical of portraits of the reigns of Felipe II and Felipe III.

Portrait of a gentleman (reproduction of the original).

This painting is shattered by four of its parts. The painting is probably a piece of a portrait. This work shows a character with a hat and face slightly inclined. It shows with great concentration but a certain touch of melancholy.

Portrait of Josua van Belle (reproduction of the original).

Possibly it was a portrait that was cut according to the sketch found in this work ..
It is more luminous and colorful than the previous works. The portrayed dresses with the typical Dutch clothes. A large purple curtain closes the composition on the right, while a landscape of great clouds is perceived on the left.

Portrait of a gentleman (reproduction of the original).
Here Murillo shows the greatest influence of flamenco art in his work and where it is best captured.
Here is a character with complexion and features typical of a Germanic character from the Flemish area.
He appears standing with a glove and showing a habitual and repeated memory in the paintings of Murillo, a green curtain. His posing style brings him closer to contemporary Flemish painters.

Portrait of Nicolás de Omazur (reproduction of the original).

Nicolás de Omazur, flamenco of origin, was a patron and compiled a great collection of art. With this portrait the style of Murillo is intermingled with the flamenco style as a typical portrait with allegorical significance. In his hand a skull is shown as the end of life. The figure is surrounded by a series of symbolic signs that indicated his moral message.

Portrait of Isabel de Malcampo (reproduction of the original).

Isabel de Malcampo, wife of the previous one, is shown with a rose as a symbol of delicacy and of life with thorns and as a withered flower. The symbolic richness that surrounds both portraits turns them into a sample of the few vanitas portraits of Spanish Baroque painting, so frequent in Flanders since the early sixteenth century.