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Murillo - S. L. (Samuel Levy) Bensusan
`
The Project Gutenberg EBook of Murillo, by S. L. Bensusan
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net
Title: Murillo
Author: S. L. Bensusan
Release Date: August 1, 2011 [EBook #36930]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK MURILLO ***
Produced by Al Haines
MASTERPIECES
IN COLOUR
EDITED BY
T. LEMAN HARE
MURILLO
1618-1682
PLATE I.—THE IMMACULATE CONCEPTION. Frontispiece.
(From the Louvre, Paris)
This greatly admired canvas is one of the painter's many studies of a familiar subject. There are more than a dozen pictures of the Immaculate Conception whose authenticity is undisputed, and there are many others on offer in Spain, clever and sometimes old imitations of the master's mannerisms. In this case the figure of the Virgin is rather over-elaborated, but the treatment of the attendant cherubs is delightful and the composition very skilful.
PLATE I.—THE IMMACULATE CONCEPTION
MURILLO
BY S. L. BENSUSAN
ILLUSTRATED WITH EIGHT
REPRODUCTIONS IN COLOUR
LONDON: T. C. & E. C. JACK
NEW YORK: FREDERICK A. STOKES CO.
1910
LIST OF ILLUSTRATIONS
Plate
I. The Immaculate Conception . . . . . . . . . . . Frontispiece
From the Louvre, Paris
II. The Beggar Girl From the Dulwich Gallery
III. The Holy Family From the Louvre, Paris
IV. Madonna of the Rosary From the Dulwich Gallery
V. The Beggar Boy From the Dulwich Gallery
VI. A Boy Drinking From the National Gallery, London
VII. The Nativity From the Louvre, Paris
VIII. The Marriage of the Virgin From the Wallace Collection
I
There have been long years in which the name of Bartolomé Esteban, known to the world as Murillo, was one to conjure with. Velazquez, El Greco, Ribera, Zurburan, Goya, were long uncertain in their appeal, recognised only by the enlightened among their contemporaries and ignored by the great majority of their fellow-countrymen. The pendulum of taste swings slowly from one extreme to the other, and, as the moods and needs of men change so they cast their idols into the dust, where they remain until another generation restores what it can find to the old pedestals. Nowadays Murillo has fallen from his high estate among the elect; they prefer to magnify his shortcomings rather than to acknowledge his many merits, to ignore the splendid service he rendered to Spanish art and the profound effect of his pictures in drawing countless simple souls within the sheltering folds of the Church. The fifty years of his devoted labours count for nothing, the self-searching and criticism that enabled the painter to move from a low plane to a high one are forgotten. This is not as it should be. Bartolomé Esteban Murillo had his limitations, but remains, despite them all, one of the world's teachers, and such glimpses of his life as may be seen through the shadows of some two hundred and fifty years reveal him as a serious artist who added to splendid natural gifts a steadfastness of purpose, a determination to do
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