Saint Anthony Bartolome Esteban Murillo
Murillo's painting practice was standard for artists of the Baroque period: the artist would first make a quick sketch of his future composition in pen or black chalk, then move on to more detailed studies in red and black chalk or ink wash in order to work out problems of light and shade.
He achieved a balance between reality and spirituality in his religious paintings by combining the sculptural formalism and clarity of traditional Spanish art with the technical innovations of Venetian and Flemish art.
An early example of Murillo's so-called "vaporous style" that combined golden tonal color with diffused form, it is possible, as some have argued, that he was inspired by Venetian painting, or works by Herrera the Younger. However, neither would explain what compelled Murillo to pair realism (the furniture and floor are typical of local décor) with the subtle sensitivity of gesture and expression in painting this serenely supernatural image.
Born in medieval Lisbon, Anthony opted first for a life of prayer, but soon his ambitions turned to martyrdom. En route to Morocco, where he planned to convert Saracens, his ship foundered off Sicily, so instead he roamed Italy as a preacher.
One evening while praying in his cell, he saw the Infant Christ floating in a cloud of golden light with cherubim, a vision whose obvious appeal did not go unnoticed by the Counter-Reformation Church. Anthony also became known as the patron saint of lost property, an identity that became particularly resonant in 1874, when thieves cut out most of the lower right section of the painting. About a year later, the remnant re-appeared in New York, where a picture dealer recognized it, bought it and turned it over to the Spanish consulate. The stolen section was returned to Seville, and following careful restoration, the entire painting was reinstalled in the Cathedral.
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