Inmaculada de Soult, Murillo

Inmaculada de Soult, Murillo
Inmaculada de Soult, Murillo
Anonim

On many occasions throughout the history of painting an artist has been especially known for his canvases that de alt with a specific theme, in this way the aforementioned artist specialized, almost unintentionally, a theme in particular, however, there are few cases as concrete as that of Murillo and his Immaculate Conception. During the Spanish Golden Age,Madrid became the capital of European art, artists of the stature of Velázquez occupied the center of the artistic panorama of the moment, eclipsing the other artists; however, the Sevillian school knew how to shine with its own light, focusing its art on a more devotional and spiritual path, and the works of Murillo are the best example of this.

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Bartolomé Esteban Murillo (1617 – 1682) was one of the best artists of the Spanish Baroque and without a doubt, the best exponent of the Sevillian school. Despite the fact that Murillo was trained in the wake of naturalism, his work soon acquired baroque tints to such an extent that, on many occasions, it verges on the Rococo aesthetic. Although other great artists of his time, such as Zurbarán or even Velázquez himself in Madrid, also made Immaculate Conception, it was Murillo who managed to create a prototype image of the Immaculate Virgin, as he also did with that of the Good Shepherd.

The one known as the Immaculate Conception of Soult or the Immaculate Conception of Los Venerables is an oil on canvas formatvertical measuring over eight feet high and over four hundred and ninety centimeters wide. It is made in oil on canvas and dates from 1678, which is why it is considered a mature work by Murillo. The piece was commissioned by the canon of the Cathedral of Seville, Justino de Neve for the Hospital de los Venerables de Sevilla -hence it is also known as Inmaculada de los Venerables-. The work was seized during the War of Independence by Marshal Soult and it was not returned to Spain until the 20th century.

Murillo poses the image of a standing Virgin that he places in a snowy space and that would therefore allude to both the Immaculate Conception and the Assumption of the Virgin. María appears as a young brunette with a sweet face, the typical image that Murillo poses in his compositions. She appears dressed in a white robe that symbolizes purity and above her a blue mantle in reference to eternity

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