Bartolome Esteban Murillo Paintings: A Complete Guide to Murillo’s Art

Murillo paintings are some of the most beloved works of the Spanish Baroque. His soft light, tender expressions and warm colours made his religious scenes and genre pictures hugely popular in seventeenth-century Seville and across Europe. On this page you’ll find an overview of Bartolome Esteban Murillo’s life, the main themes of his art, and a curated selection of his most important paintings with links to in-depth analyses.

Who Was Bartolome Esteban Murillo?

Bartolome Esteban Murillo (baptised on 1 January 1618, probably born in late December 1617) was a leading painter of the Spanish Baroque and the dominant artistic figure in seventeenth-century Seville. He grew up in a bustling port city that was both a commercial gateway to the Americas and a deeply religious centre filled with churches, confraternities and monasteries eager for devotional images. Orphaned at a young age, he was taken in by his older sister and her husband, and it was in this environment that he began his training as a painter.

Murillo’s first artistic formation took place in Seville in the workshop of Juan del Castillo, a relative and established painter. Through Castillo and the wider Sevillian milieu, he absorbed the naturalism and strong contrasts of light and shadow associated with Francisco de Zurbaran, Jusepe de Ribera and other early Baroque masters. At some point in the 1640s he probably travelled to Madrid, where he would have seen the royal collections and the work of Diego Velazquez; this encounter helped soften his palette and broaden his sense of composition. Whether or not he ever visited Italy has been debated, but his paintings show that he was well aware of both Flemish and Italian models, which arrived in Seville through trade.

His breakthrough came in the mid-1640s, when he received a major commission to paint a cycle of canvases on Franciscan themes for the convent of San Francisco in Seville. These works already display the mixture of realism and gentle spirituality that would define his mature style. Over the following decades Murillo became the most sought-after painter in the city, producing altarpieces, Immaculate Conception images, scenes from the lives of saints, and numerous variations on the Virgin and Child. At the same time, he developed a parallel line of genre scenes showing beggar boys, flower sellers and street urchins—paintings that reveal both the poverty of Seville after plague and economic decline, and the artist’s empathy for ordinary people. Many of these works were collected by foreign merchants and made their way into European collections.

In 1660 Murillo helped to found the Academy of Art in Seville (the Real Academia de Bellas Artes de Santa Isabel de Hungría) and served as one of its first leaders, shaping the training of younger artists and consolidating his status as head of the Sevillian school. By this time his style had evolved from sharper tenebrism to a softer, luminous approach in which figures seem to emerge from a vaporous, glowing atmosphere. This combination of clear storytelling, emotional warmth and refined technique made him one of the most admired painters in Spain and, later, across Europe. Murillo died in 1682 after falling from scaffolding while working on a commission in Cadiz, but his reputation as the great religious painter of his age endured for centuries, and his works remain central to any discussion of Spanish Baroque art today.

What Makes Murillo’s Paintings Unique?

Murillo’s paintings are easy to recognise because of their gentle, glowing light and softly modeled forms. Instead of using violent contrasts between darkness and brightness, he prefers a pearly atmosphere where figures seem to emerge gradually from the surrounding space. This kind of light wraps saints, children and ordinary people in the same tender radiance and gives even simple scenes a quiet sense of dignity. His religious images do not feel distant or frightening. They feel calm and approachable, as if the divine has moved closer to the viewer and taken on a human warmth.

Emotion is another key to understanding why Murillo’s paintings stand out. He does not rely on dramatic gestures or theatrical poses. Instead, he uses small, precise details in faces and hands to tell the story. A slight tilt of the head, a gentle smile, fingers pressed to the chest in devotion, or a child’s absorbed expression while playing or eating can carry the emotional weight of the whole scene. These subtle choices allow Murillo to show feelings such as tenderness, humility, playful mischief or quiet sorrow in a way that is immediately readable. Viewers may not know the full religious narrative behind a picture, but they can still understand the human emotion at its center.

Colour also plays an important role in the uniqueness of Murillo’s style. He often chooses warm, harmonious combinations of deep blues, rich reds, soft creams and golden browns. These colours help to soften the impact of harsh realities, especially in his paintings of poor children and beggars. Even when the subject is poverty, torn clothing or bare interiors, the overall mood is gentle rather than brutal. The colour harmonies and the soft transitions of light turn everyday hardship into something contemplative and almost poetic. In religious works, the same palette supports an atmosphere of serenity and comfort, making the sacred scenes feel welcoming rather than intimidating.

Murillo is distinctive as well in the way he brings together religious art and scenes of daily life. Many artists of his time focused mainly on altarpieces or mainly on genre scenes. Murillo became famous for both. His images of the Virgin and Child, the Immaculate Conception and various saints are filled with clouds, angels and flowing draperies, yet the faces and gestures feel close to real human experience. His pictures of street children, on the other hand, are grounded in sharp observation of Seville’s poorer quarters, but they are painted with the same luminous grace he uses for holy figures. As a result, the spiritual and the ordinary reflect each other. Holy figures look more human and approachable, and ordinary children receive a level of care and tenderness that gives them a quiet, almost sacred presence.

Finally, Murillo’s compositions contribute to this sense of harmony and emotional clarity. He often arranges his figures in gentle diagonals or curved groupings that guide the eye smoothly from one part of the canvas to another. Draperies, clouds, architectural frames and patches of open sky are placed so that they support the main figures without distracting from them. Empty spaces of light or shadow act like pauses in a musical phrase, giving viewers time to absorb what they see. When all these elements come together, the result is a body of work that feels balanced, humane and deeply inviting, which explains why Murillo’s paintings continue to attract and move audiences centuries after they were first created.

Famous Murillo Paintings

The Virgin Mary in white and blue stands on a crescent moon amid golden clouds, surrounded by numerous cherubs and angels in Bartolomé Esteban Murillo’s painting “The Aranjuez Immaculate Conception.”

The Aranjuez Immaculate Conception

“The Aranjuez Immaculate Conception” is widely admired as one of Murillo’s most iconic visions of the Virgin conceived without sin, a central theme in Spanish Counter-Reformation art. The painting shows Mary rising above a crescent moon and a swirling cloud of cherubs, all bathed in Murillo’s characteristic soft, golden light. Her gentle expression, flowing drapery and the harmonious balance of blue and white helped shape how generations of believers imagined the Immaculate Conception. As a result, this work became a key reference for church decoration, devotional imagery and later painters interested in Spanish Baroque spirituality. Read the full analysis here.

Painting by Bartolomé Esteban Murillo showing a barefoot boy in tattered clothes sitting on the floor near a window, picking at his shirt, with a jug, straw mat and scraps of food beside him against a dark background.

The Young Beggar

“The Young Beggar” is often seen as a landmark work in Murillo’s career because it shows his early mastery of realistic genre painting. The canvas presents a poor boy quietly delousing his shirt in a shaft of light, a simple action that becomes poignant through the artist’s careful attention to pose, expression and detail. Strong contrasts between the bright foreground and dark background highlight the child’s vulnerable body and torn clothing, turning a common street scene into a powerful image of poverty and dignity. This combination of sharp observation, emotional tenderness and dramatic Baroque lighting helped make the painting one of the best known depictions of street life in seventeenth century Seville. Read the full analysis here.

Baroque painting by Bartolomé Esteban Murillo showing a smiling young woman leaning on a window ledge while an older veiled duenna stands behind her partly hidden by the shutter, both emerging from a dark interior.A Girl and her Duenna

“A Girl and her Duenna” stands out as one of Murillo’s most engaging genre scenes, showing everyday life rather than a strictly religious subject. The painting captures a playful young woman leaning on a windowsill while her older chaperone peers out from behind, creating a lively contrast between youth and watchful propriety. Murillo’s subtle handling of expression and body language hints at flirtation and social ritual, inviting viewers to imagine the unseen street below. This blend of narrative suggestion, warm colour and intimate framing has made the work a key example of his interest in human character and social nuance. Read the full analysis here.

Painting of the Holy Family by Murillo showing Joseph seated with the toddler Jesus on his lap playing with a small bird, Mary spinning thread beside a basket of linen, and a white dog standing on its hind legs watching the game inside a simple workshop interior.The Holy Family with the Little Bird

“The Holy Family with the Little Bird” is admired for the way Murillo turns a sacred subject into an intimate domestic scene. The Christ Child plays with a small bird on Joseph’s lap while Mary spins thread nearby, so the Holy Family appears as a loving, everyday household. The bird subtly alludes to the future Passion of Christ, adding quiet theological depth to the tender moment. Murillo’s warm light, natural poses and gentle expressions helped shape later depictions of the Holy Family as affectionate and approachable. Read the full analysis here.

Vertical Baroque painting by Bartolomé Esteban Murillo showing the Virgin Mary in a white dress and blue mantle floating on golden clouds, hands clasped in prayer, surrounded below by cherub angels holding lilies and roses.Immaculate Conception of the Escorial

“Immaculate Conception of the Escorial” presents the Virgin Mary rising in a golden haze of light, surrounded by clouds and cherubs, as she stands on a crescent moon. Murillo’s soft brushwork and delicate colour transitions give the scene a dreamy, weightless quality that became closely associated with his style. The painting helped establish the standard visual formula for the doctrine of the Immaculate Conception in Spain, with its youthful Virgin, flowing blue mantle and symbolic moon and stars. Because of its beauty and clarity of devotion, it became one of the most influential Marian images of the Spanish Baroque. Read the full analysis here.

Baroque painting of two barefoot boys in torn clothing sitting on the floor eating fruit, one leaning back to drop grapes into his mouth and the other holding a sliced melon, with a basket of grapes and scattered rinds at their feet against a dark background.Two Boys Eating a Melon and Grapes

“Two Boys Eating a Melon and Grapes” shows Murillo’s gift for turning an ordinary moment of street life into a vivid, engaging scene. The two ragged boys enjoy their fruit with unselfconscious pleasure, one tipping grapes into his mouth while the other clutches a melon, which makes the picture feel both humorous and tender. Strong light falls on their bare feet, torn clothes and expressive faces, highlighting the contrast between poverty and abundance. This combination of sharp realism, warm colour and affectionate observation has made the painting one of his most memorable images of Sevillian street children. Read the full analysis here.

Baroque painting of the Christ Child as a young shepherd sitting barefoot on a rock with a staff, one arm resting on a lamb beside him, set against a soft landscape with distant sheep and classical ruins.Christ the Good Shepherd

“Christ the Good Shepherd” presents the Christ Child seated beside a lamb, turning a theological title into a tender, almost childlike image of care and protection. Murillo emphasizes the quiet bond between boy and animal through the gentle touch of Christ’s hand and the calm, trusting pose of the lamb. Soft light, pastel colours and a tranquil landscape create a peaceful mood that invites personal devotion rather than awe or fear. The painting became an enduring model for later depictions of the Good Shepherd because it combines clear religious symbolism with the emotional warmth of a childhood portrait. Read the full analysis here.

Baroque painting by Murillo showing St. Anthony of Padua kneeling in a dim cell with arms outstretched while above him the Christ Child and numerous angels appear in a burst of light and clouds, transforming the room into a radiant heavenly vision.Vision of St. Anthony of Padua

“Vision of St. Anthony of Padua” shows the saint kneeling in prayer as the Christ Child appears above him in a burst of light, surrounded by a host of angels. Murillo uses a strong contrast between the dark chapel interior and the radiant upper half of the canvas to emphasize the miracle. The sweeping movement of the clouds and the reaching gestures of both saint and child create a powerful sense of spiritual longing and response. This blend of dramatic Baroque lighting with tender, human emotion makes the painting one of Murillo’s most evocative depictions of a mystical vision. Read the full analysis here.

Painting by Bartolomé Esteban Murillo showing Mary and Joseph in a dim stable presenting the glowing newborn Christ Child in a manger to kneeling shepherds, with an ox at the left, a lamb at the right, and an older woman bearing a basket, all bathed in warm light against a dark background.The Adoration of the Shepherds

“The Adoration of the Shepherds” shows Murillo’s ability to turn a traditional Nativity into an intimate encounter between ordinary people and the divine. The shepherds kneel close to the Christ Child, their rough clothing and weathered faces lit by the same soft glow that surrounds Mary and the baby. This balance between humble realism and gentle radiance makes the scene feel both domestic and sacred at once. The painting became a key model for later depictions of the Nativity because it combines clear storytelling with deep warmth and human tenderness. Read the full analysis here.

Baroque painting of the prodigal son in rags kneeling on a street as his elderly father bends to embrace him at the doorway of a house, with family members and servants watching in the background and an archway opening to a distant street.The Return of the Prodigal Son

“The Return of the Prodigal Son” highlights Murillo’s gift for telling a heartfelt biblical story through human emotion. The kneeling son clings to his father in a desperate embrace, while the older man bends over him with a mixture of sorrow, relief and forgiveness. Figures in the background watch the scene with varied reactions, turning the parable into a living drama set in an everyday street. Warm light and soft colours soften the ragged clothing and bare feet of the prodigal, emphasizing mercy and reconciliation rather than punishment. Read the full analysis here.

Murillo Paintings List

Seventeenth century painting by Murillo showing the Virgin Mary seated on a stone bench holding the nude Christ Child across her lap, both softly illuminated against a dark neutral background.
Madonna and Child
Baroque painting of a bare chested young man in a pale turban holding a basket filled with assorted fruit, his body lit against a dark background with a glimpse of cloudy sky at the top.
A Young Man with a Basket of Fruit
Painting by Bartolomé Esteban Murillo showing the crowned Virgin Mary on clouds with cherubs above three friars below, Saint Thomas Aquinas in a star dotted Dominican cloak flanked by two Franciscans, one identified as Fray Lauterio beside a lectern and books, illustrating his mystical vision.
The Vision of Fray Lauterio
Seventeenth century painting by Murillo showing an elderly woman in a white headscarf and brown garment holding a distaff and spindle, turned toward the viewer against a dark background with a serious, thoughtful expression.
Old Woman with Distaff
Baroque painting of St. Diego of Alcalá in a gray Franciscan habit praying beside a large pot of food, surrounded by poor men, women and children waiting for alms, with another man ladling food on the right against a dark background.
St. Diego Giving Alms
Painting by Bartolomé Esteban Murillo showing Saint Didacus of Alcalá in a grey Franciscan habit standing in ecstasy before a wooden cross while a cardinal in red robes and several clerics watch, with convent buildings and a palm tree in the background.
Saint Didacus of Alcalá in Ecstasy before the Cross
Wide Baroque painting by Murillo showing a levitating Franciscan friar guided by three large angels toward a busy kitchen where smaller winged angels cook, wash dishes, and handle pots and bowls amid warm firelight and deep shadows.
The Angels’ Kitchen
Full length painting of the Virgin Mary by Murillo showing her in white tunic and dark blue mantle, hands clasped in prayer, floating on clouds above cherub heads with a glowing halo around her head and a small coastal landscape below.
Immaculate of St. Vincent
Painting by Bartolomé Esteban Murillo showing Pope Gregory IX and two cardinals in red robes seated on a platform facing two Franciscans in gray habits, one identified as the Blessed Giles whose feet lift subtly from the patterned carpet in a calm scene of levitation before the papal throne.
The Blessed Giles Levitating before Pope Gregory IX
Baroque painting by Murillo showing Saint Francis of Assisi in a brown habit seated on the ground, gazing in awe at an angel who stands before him playing a violin, both figures illuminated by a golden glow against a dark background.
Vision to St. Francis
Baroque painting of two barefoot boys in torn clothing sitting on the floor eating fruit, one leaning back to drop grapes into his mouth and the other holding a sliced melon, with a basket of grapes and scattered rinds at their feet against a dark background.
Two Boys Eating a Melon and Grapes
Painting by Bartolomé Esteban Murillo showing Brother Juniper in a long grey robe standing gently before a half naked kneeling beggar who clutches the friar’s cord, with ruined buildings and a rocky landscape under a cloudy sky in the background.
Brother Juniper and the Beggar
Baroque painting by Murillo showing Joseph in a short tunic twisting away in alarm as Potiphar’s wife, seated on a bed with red and white garments, leans forward and grasps his cloak in a dark interior.
Joseph and Potiphar’s Wife
Baroque painting of the Nativity by Murillo showing Mary in a red dress unveiling the glowing infant Jesus in a manger while kneeling shepherds and villagers crowd around in a dark stable, their faces lit by the baby’s radiant light.
Adoration of the Shepherds
Painting by Bartolomé Esteban Murillo showing a woman seated by a hearth baking flat cakes on a griddle while a girl with a white head covering holds a bowl and plate beside her and a boy stands in the shadowed background inside a dark rustic kitchen.
Baking of Flat Cakes
Seventeenth century painting by Murillo showing a smiling young boy in a brown vest holding a straw basket with clay pots while looking down affectionately at a small dog beside him against a simple background.
Boy with a Dog
Baroque painting of the Immaculate Conception by Murillo showing the Virgin Mary in a white dress and blue mantle floating on clouds above a glowing moon, hands joined in prayer, surrounded by cherubs against a warm golden background.
The Immaculate Conception
Painting by Bartolomé Esteban Murillo showing the Virgin Mary seated against a dark background in a red dress and blue mantle holding the nude Christ Child on her lap, both figures softly illuminated and gazing outward in a calm devotional scene.
Madonna and Child
Baroque painting by Murillo showing the Virgin Mary seated in red and blue garments, holding the nude Christ Child on her lap as he clings to her neck and holds a rosary, both figures facing the viewer against a dark background.
The Virgin of the Rosary
Dark Baroque painting showing St. Francis of Assisi in a brown habit kneeling on a rocky ground with hands clasped and eyes raised toward a shaft of light in the sky, a rope belt hanging down and a skull and wooden cross lying near his knees.
St. Francis of Assisi at Prayer
Painting by Bartolomé Esteban Murillo showing Mary and Joseph in a dim stable presenting the glowing newborn Christ Child in a manger to kneeling shepherds, with an ox at the left, a lamb at the right, and an older woman bearing a basket, all bathed in warm light against a dark background.
The Adoration of the Shepherds
Baroque painting by Murillo showing the Virgin Mary seated on a donkey holding the sleeping Christ Child in her arms, while Joseph in a brown cloak and hat walks beside them with a staff along a country path under a cloudy sky.
The Flight into Egypt
Painting of the Holy Family by Murillo showing Joseph seated with the toddler Jesus on his lap playing with a small bird, Mary spinning thread beside a basket of linen, and a white dog standing on its hind legs watching the game inside a simple workshop interior.
The Holy Family with the Little Bird
Painting by Bartolomé Esteban Murillo showing a barefoot boy in tattered clothes sitting on the floor near a window, picking at his shirt, with a jug, straw mat and scraps of food beside him against a dark background.
The Young Beggar
Baroque painting by Murillo showing a young girl wrapped in a large white hood and shawl, smiling at the viewer with a small coin held between her teeth, her right hand grasping the fabric against a dark background.
The Girl with a Coin
Painting by Murillo of the Virgin Mary seated in darkness, wearing rose and blue garments, holding the nude Christ Child in her arms as their faces rest cheek to cheek, softly illuminated against a deep black background.
Virgin and Child
Painting by Bartolomé Esteban Murillo showing Saint Mary Magdalene kneeling alone in a dark space, wrapped in a deep red robe, hands clasped at her chest and eyes raised toward heaven, with a skull, open book, and small jar resting on the ground beside her.
Saint Mary Magdalene
Circular painting by Murillo showing the Virgin Mary seated beside the sleeping Christ Child, with Saint Joseph standing behind in shadow and the young Saint John the Baptist approaching with a reed cross and banner in a soft outdoor setting.
Holy Family with the Infant Saint John
Baroque painting by Murillo showing Saint Adelelmus in a brown monk’s habit standing barefoot in a cave, one hand on his chest and the other holding a book and rosary, with discarded armor on a red cloth, an altar and bishop figure behind him, and a distant bridge landscape under a luminous sky.
Saint Adelelmus of Burgos
Painting by Bartolomé Esteban Murillo showing Christ standing at left in a violet cloak while Saint John the Baptist, barefoot in a camel skin tunic with a red drapery, stands at right pointing toward Jesus and holding a reed cross banner, set in a quiet landscape under a pale sky with small symbols of an eagle and a lamb above.
Saint John the Baptist Pointing to Christ
Baroque painting by Murillo showing Saint Leander of Seville seated in a wooden chair wearing white and gold bishop’s vestments and mitre, holding a crozier in one hand and a Latin inscribed scroll in the other, with a dark curtain and table in the background.
Saint Leander of Seville
Vertical Baroque painting of Saint Catherine of Alexandria by Murillo showing the saint in white and blue robes standing beside a spiked wheel, a sword in her hand, a crowned head under her foot and a cherub placing a floral crown on her head as she looks up toward a luminous sky.
Saint Catherine of Alexandria
Painting by Bartolomé Esteban Murillo showing St. Isidore of Seville seated in ornate bishop’s robes and mitre, holding a crozier and reading from a large open book, with another inscribed volume resting on a ledge beside him in a dark interior.
St. Isidore of Seville
Baroque painting by Murillo showing Saint Rodriguez standing in ornate red chasuble holding a palm of martyrdom, looking upward as a flying cherub in the clouds offers him a wreath of flowers, with stone balustrade and pedestal in the background.
St. Rodriguez
Baroque painting by Murillo showing the Virgin Mary in white and blue garments standing on clouds surrounded by cherubs, hands clasped in prayer and eyes lifted toward a golden sky, representing the doctrine of the Immaculate Conception.
The Immaculate Conception
Painting by Bartolomé Esteban Murillo showing a youthful Virgin Mary in a white dress and blue mantle standing on a glowing sphere above clouds, surrounded by cherubs and warm golden light in a depiction of the Immaculate Conception.
The Immaculate Conception
Baroque painting by Murillo showing St. Anthony of Padua kneeling in a dim cell with arms outstretched while above him the Christ Child and numerous angels appear in a burst of light and clouds, transforming the room into a radiant heavenly vision.
Vision of St. Anthony of Padua
Painting of the biblical scene “Rebecca and Eliezer” by Murillo showing a weary traveler drinking from a vessel offered by a young woman in a red dress beside a stone well, with other women carrying water jars and a distant camel caravan in a soft, sunlit landscape.
Rebecca and Eliezer
Painting by Bartolomé Esteban Murillo showing a smiling peasant boy and an elderly woman seated outdoors with a dog, basket, and jug, as the woman eats from a bowl and looks toward the boy in a warm, earth toned rural setting.
Peasant Woman and a Boy
Painting by Murillo showing a young girl in simple dress and headscarf standing outdoors, holding a wicker basket filled with fruit in one arm while lifting her scarf to her cheek with the other hand, smiling softly against a golden sky.
A Girl with Fruits
Baroque painting of the Adoration of the Magi by Murillo showing the Virgin Mary holding the infant Jesus on a manger table while an elderly king kneels in a gold fur lined cloak, two other kings stand behind with gifts, and soldiers and children look on inside a rustic stable.
Adoration of the Magi
Monochrome drawing by Bartolomé Esteban Murillo of a winged angel standing in clouds, holding and embracing a large cross, with flowing robes and soft ink wash creating a calm, devotional atmosphere.
Angel Carrying the Cross
Monochrome drawing by Murillo showing a standing angel in flowing robes holding a long staff with a fluttering banner, wings spread behind and soft wash shading creating a sense of gentle movement.
Angel holding a banner
Sepia toned drawing by Murillo showing a softly modeled angel walking on clouds, wings spread, and holding a cloth that cradles a small hammer and nails, symbols of the Crucifixion.
Angel holding a hammer and nails
Monochrome drawing by Bartolomé Esteban Murillo showing a youthful winged angel walking forward while holding a small plaque with the inscription “INRI,” dressed in flowing robes against a lightly washed background.
Angel holding registration
Monochrome drawing by Murillo showing a standing angel in flowing robes and broad wings holding the Crown of Thorns in both hands, lightly shaded with brown wash against a simple background.
Angel Holding the Crown of Thorns
Sepia toned drawing by Murillo showing an angel walking on clouds, holding a cylindrical lantern in one hand and an upright sword in the other, symbolising the lanterns and weapon used during Christ’s arrest and the wounding of Malchus.
Angel holding the lantern and the sword that was used to cut the ear of Malchus
Monochrome drawing by Bartolomé Esteban Murillo showing a youthful winged angel walking forward while carrying a long diagonal spear topped with the sponge holder, clothed in flowing robes against a softly washed background.
Angel holding the spear and sponge holder
Monochrome drawing by Murillo showing a standing angel in flowing robes and wings spread, walking forward while holding Christ’s tunic in both hands with small dice resting in the cloth, rendered in soft brown ink and wash on paper.
Angel holding the tunic and dice
Sepia toned drawing by Murillo showing an angel with flowing robes and wings standing beside a tall column, one arm wrapped around it while holding the whips of Christ’s scourging, surrounded by soft cloudlike shading.
Angel with the instruments of whipping
Painting by Bartolomé Esteban Murillo showing the Virgin Mary on a raised throne surrounded by angels as she bestows a richly colored chasuble on kneeling St. Ildefonso, with cherubs in a glowing sky and a nun witnessing the miracle at the side.
Chasuble of St. Ildefonso
Painting by Murillo showing three humble figures crowded on a stone step: a smiling boy in a hat on the left, a young woman lifting her headscarf in the center, and an older woman with spectacles seated on the right, all against a dark background.
Four Figures on a Step
Baroque painting of the Christ Child as a young shepherd sitting barefoot on a rock with a staff, one arm resting on a lamb beside him, set against a soft landscape with distant sheep and classical ruins.
Christ the Good Shepherd
Painting by Bartolomé Esteban Murillo showing the Holy Family during the Flight into Egypt, with Mary seated holding the infant Jesus, Joseph leaning toward them, a donkey waiting at their side, and three cherubs floating in bright clouds above.
Flight into Egypt
Painting by Murillo showing the Prodigal Son on horseback in a red cloak turning away from a house, while his grieving parents and attendants stand on the steps watching him depart against a distant rural landscape.
The Departure of the Prodigal Son
Baroque painting of the Virgin Mary seated on soft clouds, wearing a red dress and green mantle, calmly holding the standing Christ Child wrapped in a white cloth against a glowing golden sky.
Madonna in the Clouds
Painting by Bartolomé Esteban Murillo showing Joseph standing in a workshop holding the infant Jesus and leaning forward to place him into the open arms of the seated Mary, illuminated by soft light against a dark interior.
The Holy Family
Full length Baroque portrait by Murillo showing Andres de Andrade-i-la Col standing in black cloak and white stockings with one hand resting on a large white dog beside him, set against a subdued architectural background.
Portrait of Andres de Andrade-i-la Col
Baroque painting of the prodigal son stumbling out of a doorway as two women and a man chase him with sticks and a broom, while a small dog barks at his heels in a warm toned urban street setting.
The Prodigal Son Driven Out
Painting by Bartolomé Esteban Murillo showing the prodigal son richly dressed at a white table surrounded by courtesans, servants, and a musician, with abundant food and a red canopy in a garden terrace setting.
The Prodigal Son Feasting with Courtesans
Painting by Murillo showing the Prodigal Son barefoot and kneeling in rags among pigs near a ruined building, looking up toward a dramatic cloudy sky in a barren landscape.
The Prodigal Son Feeding Swine
Baroque painting of the prodigal son in rags kneeling on a street as his elderly father bends to embrace him at the doorway of a house, with family members and servants watching in the background and an archway opening to a distant street.
The Return of the Prodigal Son
Painting by Bartolomé Esteban Murillo showing three poor boys outdoors, one Black boy standing with a clay jug on his shoulder and hand extended, another boy kneeling with a loaf of bread, and a third seated on the ground smiling toward the viewer with jugs and a basket beside them.
Two Peasant Boys and a Negro Boy
Baroque painting by Murillo showing inquisitor Pedro de Arbués kneeling at an altar as two assassins attack him with dagger and sword while an angel with a palm of martyrdom appears in a golden cloud above.
Death of the Inquisitor Pedro de Arbués
Baroque painting of the Prodigal Son kneeling on rough ground in ragged clothes, hands clasped in prayer, looking up toward a faint light in a stormy sky, with a tree to the right and distant pigs and farm buildings in the background.
The Prodigal Son Among the Swine
Painting by Bartolomé Esteban Murillo showing the Annunciation, with the angel Gabriel kneeling before Mary in a small room, a dove of the Holy Spirit descending from a cloud of cherubs above, and soft golden light enveloping the scene.
Annunciation
Painting by Murillo of the baptism of Christ, showing Jesus in a white cloth standing in the river as John the Baptist in a red cloak pours water over his head, with a white dove of the Holy Spirit glowing in the sky above.
Baptism of Christ
Baroque painting of Saint Anne seated with the young Virgin Mary beside her, both holding a book, while a group of cherubs hovers in a golden cloud above them in a simple domestic setting.
Childhood of Virgin
Painting by Bartolomé Esteban Murillo showing the wounded Christ on hands and knees after the flagellation, near a scourging column, as two angels in flowing robes approach from the right holding a cloth to cover him against a dark background.
Christ after the Flagellation
Murillo painting of Christ after the flagellation showing a nearly naked Jesus kneeling on the ground, wrapped in a white cloth, reaching to gather a dark robe in a stark dark background.
Christ after the Flagellation
Baroque painting of the Virgin Mary kneeling in a dark space, wearing a blue mantle and ocher veil, with hands open in supplication and eyes lifted upward in sorrowful prayer.
Dolorosa
Vertical painting by Bartolomé Esteban Murillo showing the nude Christ with a white loincloth nailed to a wooden cross, head bowed, against a dark cloudy sky, with a skull on the ground and a faint city in the distant background.
Christ on the Cross
Murillo painting of Joseph and Potiphar’s wife showing Joseph fleeing left while Potiphar’s half dressed wife grips his cloak on a luxurious bed with red curtains.
Joseph and Potiphar’s Wife
Nighttime Baroque painting of Jacob asleep on the ground while a tall ladder rises into glowing clouds, filled with angels ascending and descending against a dark landscape.
Jacob’s Dream
Painting by Bartolomé Esteban Murillo showing Mary Magdalene in a cave, wrapped in red and white drapery, hands crossed over her chest and eyes raised toward a cloud of angels, with a skull and wooden cross resting on a stone ledge nearby.
Penitent Magdalene
Murillo painting of Santa Rufina showing a young woman in green and red garments holding two clay jugs and a palm branch against a soft neutral background.
Santa Rufina
Baroque painting of a young St. John the Baptist seated barefoot on rocky ground, draped in a red cloak, one hand on his chest, gazing up toward a beam of light while a white lamb stands beside him.
St. John the Baptist as a Child
Painting by Bartolomé Esteban Murillo showing John the Baptist in a brown tunic and red mantle facing three scribes and Pharisees by a river, holding a cross staff with a lamb at his feet, while two small heavenly medallions with Latin scrolls appear in the cloudy sky above.
St. John the Baptist with the Scribes and Pharisees
Murillo painting showing a pope and patrician couple talking inside an arched interior while, in the distance, a crowd witnesses miraculous snow on a hill, all framed by a golden decorative arch with medallions of Santa Maria Maggiore.
The Patrician Reveals his Dream to the Pope
Semicircular Baroque painting of a sleeping patrician couple in a dark room while the Virgin Mary with the Christ Child appears in a glowing cloud above, with a small dog and a distant landscape completing the quiet nocturnal scene.
The Patrician’s Dream
Vertical Baroque painting by Bartolomé Esteban Murillo showing the Virgin Mary in a white dress and blue mantle floating on golden clouds, hands clasped in prayer, surrounded below by cherub angels holding lilies and roses.
The Immaculate Conception
Baroque painting of the Holy Family resting during the Flight into Egypt, with Mary seated beside the sleeping Christ Child on a rock, Joseph standing behind them, a donkey to the right and two small angels embracing on the left in a warm golden landscape.
The Rest on the Flight into Egypt
Vertical Baroque painting of Saint Anthony in a brown habit kneeling before the Infant Jesus seated on a book, with soft golden light and a group of cherubs in a cloud above them.
Saint Anthony of Padua and the Infant Jesus
Dark toned painting by Bartolomé Esteban Murillo showing the Virgin Mary half length holding the Christ Child, both softly illuminated against a black background, with Mary in a simple red garment and veil and the Child reaching a hand toward the viewer.
Madonna with a Napkin
Vertical Baroque painting of Saint Joseph standing and holding the young Christ Child close, both wrapped in warm brown drapery against a soft, shadowed background.
Joseph with Infant Christ
Painting of St Bonaventure in a brown Franciscan habit presenting a model church to St Leander dressed as a bishop with crozier and scroll, with a small angel at their feet inside a church interior.
St. Leander and St. Bonaventure
Baroque painting by Bartolomé Esteban Murillo showing Abraham kneeling beneath a tree and welcoming three youthful angels with staffs who stand opposite him in a quiet countryside setting with a house in the background.
Abraham Receiving the Three Angels
Baroque painting of the apostle Peter in a dark prison being lifted by a glowing angel in a red cloak, with chains on the floor and sleeping guards in the shadows.
Liberation of St. Peter
Baroque painting of the Nativity showing Mary presenting the sleeping infant Jesus in a manger to kneeling shepherds, surrounded by peasants, animals, and cherubic angels in a dimly lit stable.
Adoration of the Shepherds
Baroque painting by Bartolomé Esteban Murillo showing the young Saint Thomas of Villanueva in a white shirt giving his clothes to a group of ragged beggar boys in a narrow city street under a cloudy sky.
Saint Thomas of Villanueva Dividing His Clothes among Beggar Boys
Baroque painting by Bartolome Esteban Murillo showing St Francis kneeling before an apparition of Christ and the Virgin Mary on glowing clouds, surrounded by cherubs and scattered white roses.
The Vision to St. Francis at Porziuncola
Tall vertical Baroque painting by Bartolome Esteban Murillo showing St Thomas of Villanueva in a black habit on church steps blessing a kneeling beggar with crutches, with friars and city architecture in the background.
St. Thomas of Villanueva Distributing Alms
Baroque painting by Bartolomé Esteban Murillo showing the Virgin Mary in white and blue standing on a crescent moon among clouds and cherubs, while God the Father appears above her in a golden light extending his arms in blessing.
The Immaculate Conception with the Eternal Father
Baroque painting by Bartolomé Esteban Murillo showing Saint Francis of Assisi in a brown habit embracing the crucified Christ on a tall cross, with a small angel holding a tablet beside them and a dark landscape in the background.
Saint Francis of Assisi embracing the crucified Christ
Baroque painting by Bartolome Esteban Murillo showing the Virgin Mary, the Christ Child, young John the Baptist, and Saint Joseph in a peaceful outdoor setting, with a lamb beside the children and soft golden light surrounding the holy family.
The Holy Family with the Infant Baptist
Baroque painting by Bartolomé Esteban Murillo showing a smiling young woman leaning on a window ledge while an older veiled duenna stands behind her partly hidden by the shutter, both emerging from a dark interior.
A Girl and her Duenna
Baroque painting by Bartolome Esteban Murillo showing Christ at the pool of Bethesda extending his hand toward a sick man lying on the ground, with disciples and other sufferers in an arched courtyard.
Christ at the Pool of Bethesda
A young flower seller in rustic dress sits outdoors holding blossoms in her shawl, softly lit against a muted background in Bartolome Esteban Murillo’s Baroque painting “Flower Seller.”
Flower Seller
Painting by Bartolomé Esteban Murillo showing Saint Francis Xavier in a black Jesuit habit holding a tall staff, looking up toward a golden beam of light and cherubs in the sky, with small crowds and ships in the distant landscape behind him.
Francis Xavier
Full length image of the Virgin Mary in white and blue standing on a crescent moon and clouds, surrounded by small cherubs, in Murillo’s “The Immaculate Conception.”
The Immaculate Conception
Wide Baroque painting by Bartolome Esteban Murillo showing Moses striking the rock of Horeb as water pours out to a crowd of thirsty Israelites with camels, women, and children in a desert landscape.
Moses and the Water from the Rock of Horeb
Painting by Bartolomé Esteban Murillo showing the blind Isaac in a bed blessing the kneeling Jacob while Rebekah stands behind him inside a house, with Esau approaching outside along a path under a cloudy sky.
Isaac Blessing Jacob
Baroque painting by Bartolome Esteban Murillo showing the prodigal son kneeling in rags as his elderly father embraces him at the doorway, surrounded by family, servants, a calf, and a small white dog.
Return of the Prodigal Son
Full length portrait of a seventeenth century Spanish gentleman in black clothing and white ruff collar standing beside a red covered table, holding his hat and gloves and gazing calmly at the viewer.
Portrait of a Gentleman in a Ruff Collar
Painting by Bartolomé Esteban Murillo showing the Virgin Mary in white and blue robes ascending through golden clouds, arms outstretched and eyes lifted, while numerous cherub angels swirl around her and support her ascent.
The Assumption of the Virgin
Sepia-toned drawing by Bartolome Esteban Murillo showing a young St. John the Baptist seated on the ground, gently holding a lamb beside him against a simple, softly washed background.
St. John the Baptist with a Lamb
Baroque painting by Bartolome Esteban Murillo showing the Virgin Mary seated outdoors holding the standing Christ Child, with Saint Elizabeth and the young John the Baptist beside them, a lamb in the foreground, and God the Father, the Holy Spirit, and cherubs appearing in glowing clouds above.
The Holy Family
Seventeenth century painting by Bartolome Esteban Murillo showing Mary seated with sewing while the Christ Child and the infant St. John the Baptist play on the steps and Joseph works at a carpenter’s bench in a sunlit courtyard.
The Holy Family with the Infant St. John the Baptist
Baroque painting by Bartolome Esteban Murillo showing the marriage of the Virgin Mary and Saint Joseph, surrounded by witnesses under a red curtain with a dove of the Holy Spirit above.
The Marriage of the Virgin
Baroque painting of the Virgin Mary seated with the Christ Child on her lap, accepting flowers from kneeling St Rosalina, surrounded by angels in a warm golden sky.
The Virgin and Child with St Rosalina
Baroque painting by Bartolome Esteban Murillo showing the Christ Child and young Saint John the Baptist sharing water from a shell beside a lamb, with soft clouds and cherubs in the background.
The Holy Children with a Shell
Oil painting of two poor boys in a dark corner: one barefoot boy sits on the ground smiling upward, while another stands holding a piece of fruit, both lit by warm golden light against a shadowy background.
Two Peasant Boys
Painting of Christ kneeling in the dark Garden of Gethsemane, hands clasped in prayer, looking up toward an angel in a glowing cloud who offers a chalice and cross, with sleeping disciples barely visible in the distant shadows.
Christ In The Garden Of Olives
Sepia toned drawing by Bartolomé Esteban Murillo showing the Christ Child sleeping across a wooden cross while small cherub angels hover among swirling clouds above him, creating a tender and contemplative religious scene.
The Christ Child asleep on the Cross
Baroque painting of St Rose of Lima in a white Dominican habit and black veil, receiving pink roses from the Christ Child who sits on a basket, surrounded by scattered flowers in a garden with a dramatic sky and distant buildings.
St. Rose of Lima
Seventeenth century portrait of Nicolas Omasur by Bartolome Esteban Murillo, showing a dark clad man within an oval frame, calmly facing the viewer while gently holding a human skull in his hands against a dark background.
Portrait of Nicolas Omasur
Vertical Baroque painting by Bartolomé Esteban Murillo showing the Virgin Mary seated on clouds with the Christ Child offering a flaming heart to St Augustine, while cherub angels hover in a golden sky above.
St. Augustine with the Virgin and Child
Baroque self portrait of Bartolome Esteban Murillo shown in black clothing with a white lace collar, framed inside a painted stone oval whose lower edge he touches, with a palette, brushes and a sheet of paper on a ledge and a Latin inscription below.
Self portrait
Baroque painting by Murillo showing Saint John of God in a brown habit carrying a wounded man on his shoulders while a luminous angel in a yellow robe and white wings steps forward from the darkness to support them.
Saint John of God
Baroque painting by Bartolomé Esteban Murillo showing two barefoot boys sitting on the ground playing dice on a cloth, with a basket of nuts and a dark wall behind them under a cloudy sky.
Two Boys Playing Dice
Oil painting of three ragged boys outdoors, two crouched on the ground playing dice while a third stands eating bread beside a begging dog, with a basket of lemons and a clay jug in the foreground against a rough wall and open sky.
Boys Playing Dice
Baroque painting of two ragged boys seated on the ground eating a pie, one child leaning back and lifting a slice toward his mouth while the other smiles at him, with a dog watching expectantly and a basket of fruit and bread in the foreground.
Children Eating a Pie
Warm Baroque painting by Bartolomé Esteban Murillo showing the Virgin Mary sewing while the Christ Child lies on her lap as angels play music and cherubic faces appear in a glowing cloud above.
Mary and Child with Angels Playing Music
Oil painting of two female saints standing side by side, each holding a palm branch and together supporting a model of Seville’s Giralda tower, with broken and intact earthenware jugs at their feet against a muted background.
St. Justina and St. Rufina
Painting of two young girls seated beside a large basket of grapes and melons, one girl counting coins in her hand while the other leans in to watch, set against a soft rustic landscape under a cloudy sky.
The Little Fruit-Seller
Large Baroque painting by Bartolomé Esteban Murillo showing Christ seated at the end of a crowded wedding banquet table while servants in the foreground handle large water jars, illustrating the miracle of the marriage feast at Cana.
The Marriage Feast at Cana
Seventeenth century painting by Bartolome Esteban Murillo showing an elderly woman carefully grooming a young boy’s hair in a simple interior while a small dog begs for the bread the child holds.
The Toilette
The Virgin Mary in white and blue stands on a crescent moon amid golden clouds, surrounded by numerous cherubs and angels in Bartolomé Esteban Murillo’s painting “The Aranjuez Immaculate Conception.”
The Aranjuez Immaculate Conception
Baroque painting by Bartolomé Esteban Murillo showing the Infant Jesus on a cloud beside the Virgin Mary and an angel handing bread from a basket to kneeling pilgrims below, with cherub heads in glowing clouds above.
The Infant Jesus Distributing Bread to Pilgrims
Large Baroque painting by Bartolome Esteban Murillo showing Saint Thomas of Villanova in bishop’s robes giving a coin to a kneeling beggar inside a grand church, surrounded by other poor men, women, and children waiting for alms.
Thomas of Villanova giving alms to the poors
Half length image of Christ crowned with thorns, bare chested and draped in a red cloak, holding a reed and looking downward in sorrow in Bartolomé Esteban Murillo’s painting “Ecce Homo.”
Ecce Homo
Baroque painting by Bartolomé Esteban Murillo showing the Infant Christ in rose drapery offering water from a shell to the young St John the Baptist holding a reed cross, with a lamb at their feet and glowing cherubs in a cloud above.
Infant Christ Offering a Drink of Water to St John
Baroque painting by Bartolome Esteban Murillo showing the Virgin Mary seated on a cloud with the Christ Child on her lap, both holding a rosary, surrounded by small cherub angels against a glowing golden background.
The Madonna of the Rosary
The Virgin Mary sits in prayer as the angel Gabriel kneels before her holding lilies, while a dove and cherubs descend in golden clouds above in Bartolomé Esteban Murillo’s painting “The Annunciation.”
The Annunciation
Baroque painting by Bartolomé Esteban Murillo showing the Virgin Mary in a red dress and blue mantle seated and cradling the nude Christ child wrapped in a white cloth against a soft, dark background.
Virgin and Child
Baroque painting by Bartolome Esteban Murillo showing Saint Paul thrown from his horse on the road to Damascus, lying on the ground with arms outstretched as a radiant Christ appears in the sky while terrified companions and the fallen horse tumble around him in deep shadow.
The Conversion of Saint Paul
Ink and wash drawing by Bartolomé Esteban Murillo showing the Virgin Mary seated and cradling the nude Christ Child in her arms, surrounded by flowing drapery and expressive lines.
Virgin and Child
Baroque painting by Bartolomé Esteban Murillo showing St Andrew bound to an X shaped cross being lifted upright by workers amid soldiers, crowds, a white horse, and a dog, with radiant light and cherubs opening in the sky above.
The Martyrdom of St Andrew
Baroque painting by Bartolome Esteban Murillo showing Christ crucified on a tall wooden cross under a dark sky, with the Virgin Mary, Saint John, and Mary Magdalene gathered at the foot of the cross in sorrowful devotion.
Crucifixion
The Virgin Mary sits on steps holding the Christ Child who places a ring on kneeling Saint Catherine, surrounded by angels, clouds, and the saint’s sword and broken wheel in Bartolomé Esteban Murillo’s painting “The Mystic Marriage of Saint Catherine.”
The Mystic Marriage of Saint Catherine
Baroque painting by Bartolomé Esteban Murillo showing the young Christ standing between Mary and Joseph while God the Father and cherubs appear in glowing clouds above and the dove of the Holy Spirit hovers at the center of the scene.
The Two Trinities
Dark Baroque painting by Bartolome Esteban Murillo showing the severed head of Saint Paul with closed eyes and a long white beard resting in a barren landscape, with a sword lying beside it in the shadows.
St. Paul’s Head
Archangel Michael in armor and red cloak stands with sword raised, wings spread, and one foot on a cowering demon amid a golden background in Bartolomé Esteban Murillo’s painting “Archangel Michael plunges the devil into the abyss.”
Archangel Michael plunges the devil into the abyss
Baroque painting by Bartolomé Esteban Murillo showing the prodigal son barefoot and in torn clothes kneeling beside a ruined wall, hand to his chest and eyes raised to the sky, while dark pigs feed at a trough in a barren landscape under a gray sky.
The Prodigal Son Abandoned
Baroque painting by Bartolome Esteban Murillo showing the Child Jesus standing in a landscape, barefoot and turning toward the viewer while carrying a large wooden cross on his shoulder.
Child Jesus
A young kitchen maid plucks a rooster beside a hearth while a cat and dog beg near a roasting spit and a small bandaged child sits in the shadows in Bartolomé Esteban Murillo’s painting “The Cooker.”
The Cooker
Baroque painting by Bartolomé Esteban Murillo showing the Virgin Mary kneeling and cradling the glowing Christ Child in a dark stable, Saint Joseph standing nearby, an ox beside the manger, cherubs with a scroll in the sky above, and a distant scene of angels announcing the birth to shepherds on a hillside.
The Nativity with the Annunciation to the Shepherds Beyond
Small Baroque painting by Bartolome Esteban Murillo showing the Nativity scene, with the infant Jesus glowing in a manger surrounded by Mary, Joseph, kneeling shepherds, animals, and angels above in a softly lit stable interior.
Adoration of the Shepherds
Ink and wash drawing by Bartolomé Esteban Murillo showing a young boy in a loose shirt seated and turning to watch a small dog at his side, with soft shading and minimal background detail.
Child Watching a Dog
Baroque painting by Bartolomé Esteban Murillo showing a barefoot boy in a loose white shirt and brown shorts sitting on the ground near a rocky shelter, holding a plate of food with a shell and fruit beside him and gazing thoughtfully toward a distant landscape and sea.
Child Sitting
Baroque painting by Bartolome Esteban Murillo showing Christ tied to a tall column wearing only a white loincloth, turning gently toward a kneeling Saint Peter who clutches an ocher cloak, with keys and a book lying on the ground against a dark background.
Christ The Column
Two rustic children sit behind a table piled with dead game, as a boy in a hat proudly holds up a duck and a girl in a headscarf leans forward beside him, in Bartolomé Esteban Murillo’s painting “Game Dealers.”
Game Dealers
Baroque painting by Bartolomé Esteban Murillo showing Daniel barefoot and kneeling in a dark lions’ den, wearing a green tunic with a red cloak at his side, hands open in prayer and eyes lifted upward while the dim forms of lions surround him in the shadows.
Daniel in the Lions’ Den
Vertical drawing by Bartolome Esteban Murillo showing the Virgin Mary standing on a globe and crescent moon, draped in flowing robes, one hand on her chest and the other holding a lily, with lightly sketched cherub heads and clouds surrounding her.
The Immaculate Conception and heads outlined
Tall sunlit cliffs rise above dark ravines while a tiny traveler on horseback approaches a rustic house at the base of the rocks in Bartolomé Esteban Murillo’s painting “Landscape.”
Landscape
Baroque painting by Bartolomé Esteban Murillo showing the Virgin Mary kneeling alone against a dark background, wearing a blue mantle, red gown, and brown veil, with her hands open and eyes raised upward in an expression of sorrowful prayer.
Mother of Sorrows
Baroque painting by Bartolome Esteban Murillo showing an elderly woman in a white headscarf and red skirt holding a hen in her arms, with a basket of white eggs at her side against a dark background.
Old Woman with a Hen
Half length Mary Magdalene with bare shoulders folds her arms across her chest in a dark setting while a small angel leans in beside a jar, both softly illuminated against a shadowy background in Bartolomé Esteban Murillo’s “Repentant Magdalene with an Angel.”
Repentant Magdalene with an Angel
Baroque painting by Bartolomé Esteban Murillo showing Saint Anthony of Padua in a brown Franciscan habit kneeling and lovingly holding the glowing Christ Child in his arms, surrounded by playful cherubs and soft clouds of heavenly light.
Saint Anthony of Padua Adoring the Child
Baroque painting by Bartolome Esteban Murillo showing Saint Augustine in a dark room, leaning on a desk with his head resting on one hand and the other hand’s index finger raised, gazing toward a shaft of light while two large books lie on the table.
Saint Augustine in Meditation
San Salvador de Horta kneels in a gray habit before a richly dressed inquisitor while sick and poor people cluster behind the friar and a crowd fills an urban square in Bartolomé Esteban Murillo’s painting “San Salvador de Horta and the Inquisitor of Aragon.”
San Salvador de Horta and the Inquisitor of Aragon
Baroque self-portrait by Bartolomé Esteban Murillo showing the artist from the waist up in dark clothing, holding a long brush and palette against a warm brown background, his pale face and white collar softly illuminated as he gazes outward with a calm, thoughtful expression.
Self-portrait
Baroque painting by Bartolome Esteban Murillo showing the Virgin Mary in a white dress and blue mantle standing on clouds above cherubs, hands crossed on her chest, surrounded by a golden halo and soft gray clouds with faint angelic faces.
The Immaculate Conception
In a dim room an elderly bearded father sits at a table covered with coins and papers while the prodigal son stands at the right filling a money bag and two worried women watch at the left in Bartolomé Esteban Murillo’s painting “The Prodigal Son Receives His Rightful Inheritance.”
The Prodigal Son Receives His Rightful Inheritance
Baroque painting by Bartolomé Esteban Murillo showing the Virgin Mary seated on a bench, wearing a blue skirt, red dress, and cream shawl, holding the Christ Child on her lap against a dark background, both figures calmly facing the viewer.
The Madonna of the Rosary
Soft Baroque painting by Bartolome Esteban Murillo showing the Virgin Mary in a rose gown and blue mantle holding the nude Infant Jesus, who reaches up to touch her face, both figures softly illuminated against a dark background.
The Virgin And Infant Jesus
Close up painting of Mary in a blue mantle and white veil gently embracing the Christ Child, their faces touching in a quiet, tender moment, in Bartolome Esteban Murillo’s “Virgin and Child.”
Virgin and Child
Baroque painting by Bartolomé Esteban Murillo showing the Virgin Mary in a white gown and blue mantle standing on clouds, hands crossed on her chest, gazing heavenward, surrounded by numerous cherubs holding lilies, a palm, a mirror, a ladder, and other Marian symbols against a warm golden sky.
Virgin Glorious