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Bartolome Esteban Murillo (Seville, 1617 – 1682)
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Description
Bartolome Esteban Murillo (Seville, 1617 – 1682)
"Saint Thomas Giving Alms to the Poor"
Pen and wash in brown ink on red laid paper. Murillo’s signature is partially preserved in the lower left corner.
29 x 20 cm.
This drawing was part of the exhibition:
EUROPEAN DRAWINGS, The Creaitive Interpretation an Techniques.
Held at the Queensborough Community College Art Gallery
The City University of New York.
October 12, 2023 to January 12, 2024.
Is reproduced on page 34 of the exhibition catalogue.
It is accompanied by a certificate from Professor Enrique Valdivieso, dated June 23, 2023, in Seville.
As indicated in his certificate, Valdivieso identifies the subject of the drawing as Saint Thomas of Villanova Distributing Alms to the Poor. The technical characteristics of the drawing clearly suggest that Murillo created it as a preparatory study for the painting he executed for the altarpiece dedicated to Saint Thomas in the Capuchin church in Seville, circa 1660.
This preparatory study presents the central idea envisioned by the great Seville master, although some changes were made in the final painting. Saint Thomas of Villanova, the central figure in the composition, distributed his wealth amongst the poor upon being appointed Bishop of Valencia. The depiction of the saint in both the drawing and the painting is very similar, except that in the drawing, his mitre and crozier rest on a table.
Virtually identical in both the drawing and the final work is the image of the beggar kneeling before the saint to receive alms. Next to him is a mother with her child, who have already been helped and are now out of danger.
On the right side of the drawing, the artist included an old man, a figure repeated in the final painting, though with a different gesture and with a child beggar added in front of him.
The drawing also shares with the painting a detail in the background of a column rising on a high pedestal at the left, from which a curtain hangs. The strokes applied by Murillo in this drawing are unmistakably his—executed with fluency and confidence, showcasing a technique consistent with other drawings by the master from around 1660, a period during which he reached his creative peak.
Provenance: Private Spanish collection.
Pablo Hereza. "Corpus Murillo.Pinturas, dibujos, encargos" Ayuntamiento de Sevilla, 2019, nº E -60-d.
"European Drawings. The creative interpretation and tecniques". Exhibition which took place at Queensborough Community College Art gallery, the City University of New York. October 2023 - January 2024.
Curated by Frédéric Jimeno. Editor: Edye Weissler (2023). Reproduced on page 34.
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Bartolome Esteban Murillo (Seville, 1617 – 1682)
"Saint Thomas Giving Alms to the Poor"
Pen and wash in brown ink on red laid paper. Murillo’s signature is partially preserved in the lower left corner.
29 x 20 cm.
This drawing was part of the exhibition:
EUROPEAN DRAWINGS, The Creaitive Interpretation an Techniques.
Held at the Queensborough Community College Art Gallery
The City University of New York.
October 12, 2023 to January 12, 2024.
Is reproduced on page 34 of the exhibition catalogue.
It is accompanied by a certificate from Professor Enrique Valdivieso, dated June 23, 2023, in Seville.
As indicated in his certificate, Valdivieso identifies the subject of the drawing as Saint Thomas of Villanova Distributing Alms to the Poor. The technical characteristics of the drawing clearly suggest that Murillo created it as a preparatory study for the painting he executed for the altarpiece dedicated to Saint Thomas in the Capuchin church in Seville, circa 1660.
This preparatory study presents the central idea envisioned by the great Seville master, although some changes were made in the final painting. Saint Thomas of Villanova, the central figure in the composition, distributed his wealth amongst the poor upon being appointed Bishop of Valencia. The depiction of the saint in both the drawing and the painting is very similar, except that in the drawing, his mitre and crozier rest on a table.
Virtually identical in both the drawing and the final work is the image of the beggar kneeling before the saint to receive alms. Next to him is a mother with her child, who have already been helped and are now out of danger.
On the right side of the drawing, the artist included an old man, a figure repeated in the final painting, though with a different gesture and with a child beggar added in front of him.
The drawing also shares with the painting a detail in the background of a column rising on a high pedestal at the left, from which a curtain hangs. The strokes applied by Murillo in this drawing are unmistakably his—executed with fluency and confidence, showcasing a technique consistent with other drawings by the master from around 1660, a period during which he reached his creative peak.
Provenance: Private Spanish collection.
Pablo Hereza. "Corpus Murillo.Pinturas, dibujos, encargos" Ayuntamiento de Sevilla, 2019, nº E -60-d.
"European Drawings. The creative interpretation and tecniques". Exhibition which took place at Queensborough Community College Art gallery, the City University of New York. October 2023 - January 2024.
Curated by Frédéric Jimeno. Editor: Edye Weissler (2023). Reproduced on page 34.
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