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"The Little Fruit Seller" Oil on Canvas After Bartolomé Esteban Murillo
About the Item
A 19th century Italian oil on canvas replica of "The little fruit seller" after Bartolomé Esteban Murillo (1617-1682) in an original 19th century Baroque style giltwood frame.
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- Similar to:Bartolomé Esteban Murillo (Artist)
- Dimensions:Height: 42 in (106.68 cm)Width: 35 in (88.9 cm)Depth: 2 in (5.08 cm)
- Style:Baroque Revival (Of the Period)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1890
- Condition:Wear consistent with age and use. Minor losses. The frame seems to have been repainted at some areas but presents very well. It also has some missing gilding at some areas.
- Seller Location:New York, NY
- Reference Number:1stDibs: LU881917769102
About the Seller
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- ShippingRetrieving quote...Ships From: New York, NY
- Return PolicyA return for this item may be initiated within 3 days of delivery.
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Bartolomé Esteban Murillo (born late December 1617, baptized January 1, 1618 – April 3, 1682) was a Spanish Baroque painter. Although he is best known for his religious works, Murillo also produced a considerable number of paintings of contemporary women and children. These lively, realist portraits of flower girls, street urchins, and beggars constitute an extensive and appealing record of the everyday life of his times.
Murillo was born to Gaspar Esteban and María Pérez Murillo. He may have been born in Seville or in Pilas, a smaller Andalusian town. It is clear that he was baptized in Seville in 1618, the youngest son in a family of fourteen. His father was a barber and surgeon. His parents died when Murillo was still very young, and the artist was largely brought up by his aunt and uncle.
Murillo began his art studies under Juan del Castillo in Seville. There he became familiar with Flemish painting and the "Treatise on Sacred Images" of Molanus (Ian van der Meulen or Molano). The great commercial importance of Seville at the time ensured that he was subject to influences from other regions. His first works were influenced by Zurbarán, Jusepe de Ribera and Alonzo Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works.
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In that year, he painted eleven canvases for the convent of St. Francisco el Grande in Seville. These works depicting the miracles of Franciscan saints vary between the Zurbaránesque tenebrism of the Ecstasy of St Francis and a softly luminous style (as in Death of St Clare...
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