Murillo and the Capuchins of Seville.ppsx

In 1665 the Franciscans hired Murillo to execute the paintings of the church of the Capuchin Convent of Seville ...

Murillo and the Capuchins of Seville

The altarpiece of the high altar
In the last months of 1665 and for much of the following year, Murillo paints and positions the altarpiece of the high altar.
It was presided over by The Jubilee of the Porziuncola, surrounded by six works of devotional themes,
in addition to a St. Michael and an Guardian Angel.
The Virgin of the napkin and Holy Face, would be incorporated into the altarpiece in the 18th century.
The Annunciation and The Piety were located in the side altars of the presbytery.

Saint Anthony of Padua
Saint Felix of Cantalice

The canvas of Saint Anthony of Padua with the Child formed a pair
with that of Saint Felix Cantalicius in the altarpiece of the Porziuncula.
The Child is standing on a book embracing the saint.
In larger format, the Child sits on a book surrounded by the saint’s arm.
…
Saint Anthony of Padua and Saint Felix of Cantalice are the only saints
that we find repeated in the cycle of Capuchins,
It is possible that, once the altarpiece was finished, it was decided to dedicate
a greater role to both saints.
Bartolomé Esteban Murillo
San Antonio de Padua y el Niño
Saint Antoine de Padoue et l’Enfant
Saint Anthony of Padua with the Child
1665-1666
Museo de Bellas Artes de Sevilla, Sevilla

The little one caresses the white beards of Saint Felix of Cantalice,
patron of the Capuchin Order, who holds him in his arms.
On a rock appears a white bag with breads, as an emblem of poverty.
In larger format, the Virgin appears to him and gives him the Child.
San Félix de Cantalicio con el Niño
Saint Félix de Cantalice et l’Enfant
Saint Felix of Cantalice with the Child
1665-1666

Saint Justa and Saint Rufina
Saint Leander and Saint Bonaventure

This painting is one of Murillo’s most popular.
It depicts the saints holding the Giralda which according to tradition
prevented it from collapsing during the earthquake of 1503.
To the left Santa Justa, to the right Santa Rufina.
Both sisters were martyred in 287 during the Roman domination.
They were selling their pottery when a retinue appeared with the image
of the Babylonian goddess Salambo, demanding a donation.
Both refused, the followers smash their ceramic objects
and the saints break the statue.
As a consequence, they are imprisoned and tortured by the prefect Diogeniano.
According to tradition, the relics were deposited in the church
on which the Capuchin Convent was built.
Santas Justa y Rufina
Sainte Juste et Sainte Rufine
Saint Justa and Saint Rufina
1665-1666

Two great saints belonging to two different orders: Capuchins and Franciscans …
Saint Buenaventura (13th century) is one of the main Franciscan saints
and Saint Leandro (archbishop of Seville in the 6th century) was the founder
of the temple that was built on the site where the saints Justa and Rufina were martyred.
Saint Bonaventure appears with the model of a church in his hands,
which has been given to him by Saint Leander
and that can symbolize the construction of the Capuchin convent.
Saint. Bonaventure is depicted with tonsure on his head.
He wears the habit of his order and the red mozzetta that identifies him as a cardinal.
At the feet of Saint Leander, an angel holds the mitre.
San Leandro y San Buenaventura
Saint Léandre et Saint Bonaventure
St Leander and St Bonaventure
1665-1668

Saint Joseph and the Child
Saint John the Baptist

Murillo's chiaroscuro …
Saint Joseph, majestic in a paternal, pensive attitude, seems to foreshadow
the tragic future of the Child;
the Christ Child on a ruined pedestal with lilies.
San José y el Niño
Saint Joseph et l’Enfant
St Joseph and the Child
1665-1666

Against a landscape background, the figure of Saint John the Baptist appears
as an anchorite in the desert.
Standing and looking up to heaven as if asking God to carry out his mission
of announcing the Messiah.
He is dressed in a short camel-hair tunic and a red cloak,
symbol of his martyrdom.
In his hands he holds a cross with a phylactery bearing the inscription:
Ecce Agnus Dei (Behold the Lamb of God).
A lamb can be seen at the bottom, which is both a symbol of Saint John and of Christ.
San Juan Bautista en el desierto
Saint Jean Baptiste
St John the Baptist
1665-1666

Madonna and Child of the Napkin
The Holy Face

An emblematic work of the Spanish baroque.
Its name comes from the legends of the nineteenth century.
According to these, the painter painted on a napkin while working on the main altarpiece
of the Capuchin monastery.
Or, a monk had asked him to paint a Madonna and Child, and as he had no money
to buy a canvas, he gave him a napkin from the refectory.
We now know that the support of the painting is not the material from which napkins are
usually made, but a linen taffeta.
…
The table is very simple.
The Mother and Son look out a window and look at the viewer, she shows great serenity,
while the child is curious and full of grace.
Virgen con Niño, Virgen de la servilleta
Vierge à l'enfant de la serviette
Madonna and Child of the Napkin
1665-1666

It cannot be said that it was painted for the Capuchins, since no document refers to it,
although there is evidence of its presence in the convent since 1750.
At some point in its history, it was cut and adapted to an oval frame.
With great simplicity, Murillo managed to create a work of great expressiveness.
Santa Faz
Sainte Face
The Holy Face
1665
Colección privada, cortesía de Ashmolean Museum, Oxford

The Virgin, kneeling and holding a book, looks at the archangel Gabriel.
The archangel carries in his hand lilies that symbolize the purity and virginity of Mary.
The white cloth in the small basket of labor is the prefiguration of the shroud.
Anunciación
L’Annonciation
Annunciation
1665-1666

The upper part of this painting was cut off in the mid-19th century.
The Virgin Mary with gestures of pain has open arms.
On his lap, covered with the shroud, the body of the dead Christ;
one of the angels holds Jesus' hand.
Piedad
La Piété
Pietà
1668-1669

Archangel Michael hurls the devil into the abyss
Guardian Angel

Saint Michael the Archangel in a red cloak trampling on Lucifer.
El arcángel san Miguel arroja al demonio al abismo
L'archange Michel lance le diable dans l'abîme.
Archangel Michael hurls the devil into the abyss
1665-1668
Kunsthistorisches Museum, Vienna

Painted by Murillo for the convent of the Capuchins in Seville, around 1665,
and given to Seville Cathedral in 1814 by the monks as thanks for having guarded
their artistic treasure during the Spanish War of Independence.
The Franciscans were very devoted to the Guardian Angel who accompanies every person,
every soul on the road to salvation.
...
Angel takes a child by the arm and directs the light that emerges from above.
The painting symbolizes the protection of the soul (child) that initiates the path of life.
Ángel de la Guarda
L’Ange gardien
Guardian Angel
1665-1666
Catedral de Sevilla, Sevilla

The Jubilee of the Porziuncola
The main canvas presided over the altarpiece of the high altar until it was seized by Joseph Napoleon in 1810.
In 1815 it was returned to the Capuchins.
In 1898 it was sold and is now in the Wallraf-Richartz Museum in Cologne.

The chapel of Saint Mary of the Porziuncola of the Basilica of Saint. Mary of the Angels of Assisi ...
Christ and Our Lady appeared to Saint Francis in 1216 to grant the Jubilee
or indulgence to pilgrims visiting the chapel, emblematic for the Franciscans.
...
In the earthly part, St Francis prostrates himself before Jesus and his mother,
In the heavenly part, a whole host of angels and cherubim surround Jesus Christ,
holding the cross in his hand,
and Mary in a white tunic and blue mantle.
El jubileo de la Porciúncula
Le jubilé de la Portioncule
The Jubilee of the Porziuncola
1665-1668
Wallraf-Richartz Museum, Cologne

The lateral altarpieces
The works were put on hold until 1668, when Murillo began painting the lateral altarpieces of the nave of the church,
completed in 1669.

The simple, deep and austere devotion of the Capuchins to the Child God...
Saint Anthony of Padua, a Franciscan saint born in Lisbon in 1195,
when the Child Jesus appeared to him.
Kneeling on stony ground, he puts his arm around the Child, who is sitting on an open book.
The saint is dressed in the habit of the Franciscan Order, tied with a three knotted cord,
symbolizing the vows of chastity, poverty and obedience,
it carries a lily branch as a symbol of purity.
San Antonio de Padua con el niño
Saint Antoine de Padoue et l’Enfant
Saint Anthony of Padua and the Child
1668-1669

«Qui non renunciat omnibus qui possidet non potes meus esse dicipulus» “
So therefore, any one of you who does not renounce all that he has cannot be my disciple.
Lucas 14:33
Murillo’s painting includes a vision of the saint in which he is transported
to the place where Jesus is crucified.
He rises to embrace his body, but Christ removes his hand from the cross
and places it tenderly on the saint's back.
This vision is related to the young Francis' desire to abandon his earthly possessions.
The globe symbolizes his contempt for the things of this world and for everything material.
San Francisco abrazado a Cristo
Saint François embrassant le Christ
Saint Francis embracing Christ on the Cross
1668-1669

A demonic dragon powerless at the scene of Mary's glory ...
A moving image of Mary's Immaculate Conception as the new Eve,
triumphant and victorious over sin.
Inmaculada del Padre Eterno
L’Immaculée Conception avec le Père Eternel
Immaculate Conception with the Eternal Father
1668-1669

Shepherds adoring the Christ Child ...
you can follow the different stages of life, from infancy to old age:
a child offering the hen, a young girl with her basket of eggs,
a shepherd carrying a lamb and an old man looking at the newborn.
In the center the Virgin Mary, Saint Joseph and the Child,
the ox
and
at the top angels between clouds.
La adoración de los pastores
L’Adoration des pasteurs
Adoration of the Shepherds
1668-1669

Italian saint of the Capuchin order who lived in the 16th century
and who dedicated his life to the collection of alms for the poor.
In reward for this, the Virgin Mary appeared to him by placing the Child Jesus in her arms.
…
The saint kneeling, wears a frayed habit,
at
the bottom a sack of bread for the exercise of charity.
San Felix de Cantalicio con la Virgen y el Niño
Saint Félix de Cantalice et l’Enfant
St Felix of Cantalicio with the Child
1668-1669

One of the last Immaculate Conception paintings by Murillo ...
The adolescent face stands out for its beauty.
Mary, hands folded, stands on a cloud, with the moon at her feet,
dressed in a white tunic and blue mantle.
is surrounded by angels who, in the bottom part, carry Marian symbols.
Inmaculada Concepción del coro, “la Niña”
Immaculée Conception du chœur, "la Niña"
Immaculate Conception of the choir, "the Niña"
1668-1669

Saint Thomas was an Augustinian monk appointed by Charles V. Archbishop of Valencia in 1544.
His life was marked by his ardent charity.
…
The interior of a classicist religious building ...
The saint dressed in black habit, carrying the miter, the staff, and with a cross on his chest.
On a table are open sacred books that Saint Thomas has stopped reading,
to help beggars, sick and mutilated:
a half-naked cripple,
an old man kissing the coin he has just received,
an old woman with a face of distrust,
a child with ringworm,
a mother with her child
Santo Tomás de Villanueva dando limosna a los pobres
Saint Thomas de Villeneuve donnant l’aumône aux pauvres
Saint Thomas of Villanueva giving alms to the poor
1668-1669

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Murillo y los Capuchinos de Sevilla
Murillo et les Capucins de Séville
Murillo and the Capuchins of Seville
images and text credit www.
Music The Piano Guys What Child Is This (Piano & Electric Cello)
created olga_oes
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Like so many others by Murillo, these works respond to the spirit of the Catholic Reformation
and the desire to awaken the fervor of the believer through the contemplation of scenes that are at once divine and human.

Murillo and the Capuchins of Seville.ppsx

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Murillo and the Capuchins of Seville.ppsx