Copying was crucial to the learning process in the painter's workshop. But also, as part of a dialogue with the past. An interview. Why to put that color in that place? Why to make the eyes like that?, and then , as painting progresses, find the answers. I will post some of the copies I am doing as training.
Murillo, besides the famous tenderness of his characters, has a masterful technique, made of unafraid use of color and a confident drawing, which sets him aside among his contemporaries.
In this sense, it wouldn't be strange to think of him in the same vein of Norman Rockwell, as both relish in the charisma of their models and, as said, a perfect technique.
This can be appreciated in his different works, specially those one in the Museum of Fine Arts in Seville. There, among others, is the painting of the saint patrons of Seville.
The drawing, the proportion, the lightning, are so solid that could be considered a serene, quiet evolution of the Spanish baroque. Even the protoimpresionism or non chalance of Velasquez is left behind. I guess when people talk about academic painting, they rfer to something similar to this, and actually might be the reason why it was so popular at some points of the 19th century. As usual, an artists is at his best in the less famous works; no in the children, as interesting as they could, but in the old saint, the virgins, the men submerged in the clouds of his heavenly scenes. The same could be said of course of Rockwell, if we focus on the technical wisdom of a painter.
Murillo, besides the famous tenderness of his characters, has a masterful technique, made of unafraid use of color and a confident drawing, which sets him aside among his contemporaries.
In this sense, it wouldn't be strange to think of him in the same vein of Norman Rockwell, as both relish in the charisma of their models and, as said, a perfect technique.
This can be appreciated in his different works, specially those one in the Museum of Fine Arts in Seville. There, among others, is the painting of the saint patrons of Seville.
The drawing, the proportion, the lightning, are so solid that could be considered a serene, quiet evolution of the Spanish baroque. Even the protoimpresionism or non chalance of Velasquez is left behind. I guess when people talk about academic painting, they rfer to something similar to this, and actually might be the reason why it was so popular at some points of the 19th century. As usual, an artists is at his best in the less famous works; no in the children, as interesting as they could, but in the old saint, the virgins, the men submerged in the clouds of his heavenly scenes. The same could be said of course of Rockwell, if we focus on the technical wisdom of a painter.
Is specially interesting to compare, say, Zurbaran, Ribera or the early Velasquez with Murillo to appreciate those singularities.
#adobe #workinprogress #drawing #wacom #photoshop #digitalpainting #murillo #classicallytrained #intuos #arthistory.
This is a copy I started from his double portrait, if we can call it like that, of the saints Santa Rufina and Santa Justa, which are present all around Seville. They appeared to sustain the Giralda when the echoes of the Lisboa earthquake were felt in the city. The piece is in the useum of Fine Arts of Seville, and is a masterpiece, where Murillo shows a confidence and an elegant brushwork in the best tradition of the baroque.
This is a copy I started from his double portrait, if we can call it like that, of the saints Santa Rufina and Santa Justa, which are present all around Seville. They appeared to sustain the Giralda when the echoes of the Lisboa earthquake were felt in the city. The piece is in the useum of Fine Arts of Seville, and is a masterpiece, where Murillo shows a confidence and an elegant brushwork in the best tradition of the baroque.
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Notes:
Other copies I have made:
Raphael Sanzio
Peter paul Rubens
William Bouguereau
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PS: I continued working in the image and updated in 2020.
Here the screenshoots:
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