Starting 29 november 2017 Ending 9 december 2018
Coordinator: Enrique Valdivieso
Seville is full of public and private spots and spaces where Murillo left his mark, either because works by the painter are held in them or because his biography is linked to such places.
What was the Seville where the painter lived like? Who did he paint his canvases for? What characters inspired him? Why do certain objects appear in his works? What is the ultimate meaning of his painting? These questions are answered through the Itineraries designed to commemorate Murillo’s 4th centenary, through which visitors will step into a direct and participative experience that will bring the artist closer to them from different points of view, it will allow them to understand his creative personality and to gain a deeper insight into the rich and complex meaning of his painting.
The Murillo Year aims to expand the heritage of the city with these routes intended to remain beyond the anniversary and that will come to enrich the capital city’s touristic and heritage offer.
The Itinerary ‘In the footsteps of Murillo’ takes us through the Seville of the 17th century as we follow the artist’s steps in the emblematic places of his biography, buildings that he frequented or those for which he performed some of his most relevant works. A trip through more than 50 original paintings and 80 reproductions.
This itinerary can be supplemented with the other route of the centenary event, ‘Murillo’s views’ (DOWNLOAD ITINERARY )
The starting point, the kilometre zero of these routes, will be Murillo’s House, located at number 8 on Santa Teresa Street, the master’s last home but one and the place where his workshop was located in the last years of his life. This property is now transformed into a living centre of the dissemination of his legacy. It will have a Visitor Reception Area, a Screening Room, different rooms in which the artist’s biography will be traced and reproductions of emblematic paintings will be exhibited, and a Children’s Space.
Murillo’s House will become a living centre for the dissemination of his legacy. Starting point of the Itineraries, it will have a Visitor Reception Area, a Screening Room, different rooms and a Children’s Space, special attention being paid to the presence of children in the artist’s work. Through the family workshops, courses, concerts and informative activities that will take place in Murillo’s House, the artist’s legacy will reach the whole of society.
The Cathedral is the most emblematic building in Murillo´s Seville, for which the artist made some of his best paintings, most of which are preserved in their original places. The visitor will also be able to view documents about the painter´s personal and professional trajectory.
Visitors will be able to admire Murillo´s painting the ‘The Immaculate with Fray Juan de Quirós’ (1652) and the reproduction of ‘The Virgin and the Child’, which the artist made for the Lower Oratory of the Palace and currently belongs to the Walker Art Gallery of Liverpool.
This emblematic architectural complex is related to Murillo posthumously, when it was converted into the headquarters of the so-called Napoleonic Museum in 1810. On that date 999 works of art plundered from the religious institutions of Seville were deposited in it, amongst them 45 paintings by Murillo. Here we will enter into this piece of history and we will be able to admire the master’s work ‘St Francis Solano and the bull’ (1645-1646), which is preserved in this institution.
The current Archives of the Indies acquire a special relevance in the artist’s personal and professional trajectory, since in 1660 it became the headquarters of the pioneering Painting Academy founded by Murillo and Francisco Herrera the Young. As the spirit of this institution is recovered, we will learn about how important it became in its day and we will contemplate 24 facsimiles of drawings made by Murillo and other masters such as Herrera the Young, Valdés Leal, Schut, Arteaga or Iriarte.
It is an institution to which Murillo was closely linked in a professional and personal way, since he became a member of the brotherhood ‘Hermandad de la Santa Caridad’. In the Church we will enter into the religious spirit of Baroque Seville through the talk put together by Miguel Mañara and the paintings by the artist, of which seven originals are preserved. Amongst them we find ‘Saint Elizabeth of Hungary tending the sick and leprous’ (1672), ‘The Miracle of the Loaves and Fishes’ and ‘Moses and the Water from the Rock of Horeb’ (both dated 1669-1679). In addition, seven copies of the works stolen during the French invasion and which currently belong to different museums are exhibited.
Located in the current Plaza Nueva, the Convent of Saint Francis in Seville was one of the most influential and popular religious institutions in the times of Murillo. For the convent’s Chico Cloister, the artist was commissioned 11 paintings, which were made between 1644 and 1646, it being the first important contract of his career.
In the Church of the Magdalene you will be able to see the font where Murillo was baptized on 1 January 1618. Also, this temple will host an exhibition of original documents on the artist’s personal and family life.
The building in which Murillo came to the world was located next to the Convent of Saint Paul, it is thought it was to the left of the apse of the old convent church, where the Church of the Magdalene is currently located.
This art gallery treasures one of the most important collections of works by Murillo, covering his whole creative trajectory and highlighting, for their technical and expressive quality, the works from the Convent of the Capuchins and the Convent of Saint Augustine. Here you can admire great canvases by the master, such as ‘The Virgin with the Child’ (1638-1640) and the ‘Immaculate’ (1670). In addition to the works of the collection, you can admire ‘The jubilee of the Porziuncola’ (1665-1668), loaned by the Wallraf-Richartz Museum in Cologne for the occasion, and a reproduction of ‘Saint Raphael and bishop Domonte’ (1680), belonging to the Pushkin Museum in Moscow, which was placed under the organ of the Church of the Convent of the Merced, in honour of the distinguished Mercedarian Father.
In the Chapel of the Expiration of the Brotherhood of the Museum we will find a reproduction of ‘The Resurrection of Christ’, a painting made by the artist for the Chapel of the Expiration of the Convent of the Merced.
Located on the top floor of the House of the Pinelo, it will exhibit original documents related to Murillo’s trajectory, such as the founding deed of the Academy of Painting.
On the ground floor of the House of the Pinelo we can visit the exhibition ‘The fascination for Murillo’, in which books and documents will highlight the attraction for the artist in the field of culture. In addition, the Academy’s headquarters will show reproductions of important masterpieces belonging to international museums, including ‘Allegory of Spring’ (circa 1670) and ‘Allegory of Summer’ (circa 1675).
The current headquarters of the Focus Foundation will show the evolution of Murillo’s style through two paintings, one from his initial stage – ‘Saint Katherine’ (circa 1645-1650) – and one from his late years – ‘The Penitent Saint Peter’ (circa 1678-1680). In addition, visitors can see reproductions of emblematic works, such as the ‘Immaculate Conception of the Venerable Ones’ (circa 1678), made by Murillo for the Chapel, which preserves the original frame, and the ‘Portrait of Justino de Neve’ (circa 1655), the artist’s great friend.
Here stood the Church of the Holy Cross, in which Murillo was buried. The demolition of the temple in 1811 covered the remains of the artist, a circumstance indicated on a remembrance plaque in this classic enclave in Seville.
It preserves the original painting ‘The Last Supper’ (1650), made by Murillo for the Sacramental Brotherhood of the temple. In addition, visitors can see copies of the four works that the artist made between 1662 and 1665, aimed at extolling the virtues of the Virgin Mary; these oil paintings currently belong to different museums and it has been possible to give back to the church its original meaning thanks to these reproductions executed by artists from Seville.
It will host a sample of one of the main themes addressed by Murillo, i.e., the Immaculate Conception. Different reproductions will show us the evolution of these virgins, from the ones made in the decade of 1655 to the last ones of 1680, since we will look at their meanings in depth. Similarly, we will see ‘Madonna with a Napkin’ and ‘Moses and the Water from the Rock of Horeb’, copies belonging to the Pilatos House.
Murillo made a series on the life of Saint John the Baptist for the Convent of Saint Leander, paintings that today are in different international art galleries. With the aim of returning to the convent its original meaning, reproductions of the three works executed by the artist will be exhibited.
It will host an exhibition on the genre of portraiture in Murillo’s painting, which will highlight the artist’s excellence as portraitist of great personalities of 17th century Seville. The exhibition will feature the original ‘Portrait of Juan Antonio de Miranda y Ramírez de Vergara’ (1680), belonging to the Duke of Alba’s collection and preserved in the Palace of Liria in Madrid, along with reproductions of the portraits ‘Portrait of Nicolas de Omazur’, his wife´s, ‘Isabel de Malcampo’, ‘Portrait of Íñigo Melchor Fernández de Velasco’ and the portrait ‘Andrés de Andrade y la Cal’, among others.
It probably held within its walls two important paintings by Murillo, ‘Apparition of the Virgin to Saint Bernard’ and ‘Imposition of the Chasuble on Saint Ildephonsus’ (c. 1650-1655), works belonging to the Prado Museum, and whose theme is directly linked to the Cistercian Order. Both will be reproduced to give back to the temple the symbolism that the artist expressed through these canvases.
For the Convent of the Carmen (subsequently, Barracks of the Carmen, and now Seville’s Music Conservatory), Murillo made the emblematic ‘Virgin of the Rosary’ (c. 1650) belonging to the Palazzo Pitti in Florence. This work will be reproduced in the cloister of the old convent and will be accompanied by other copies whose main theme is the Virgin and the Child.