Saint Anthony Bartolome Esteban Murillo

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Saint Anthony of Padua with the Infant Christ — Bartolomé Esteban Murillo, c. 1665–1670

Murillo’s working method followed the standard practice of Baroque painters: he began with quick compositional sketches in pen or black chalk, followed by more detailed studies in red or black chalk and ink wash to resolve questions of light, form, and gesture. 

Through this process, he developed the soft, luminous handling for which he is now celebrated, achieving an equilibrium between spiritual transcendence and lived human experience. His religious works draw on the sculptural clarity of traditional Spanish painting, while also incorporating the atmospheric tonalism of Venetian colorists and the intimate naturalism of Flemish devotional scenes.

The subject reflects the well-known mystical vision of Saint Anthony of Padua, who, according to tradition, encountered the Infant Christ while praying alone at night. Anthony, born in Lisbon, had first pursued a monastic life, then sought martyrdom through missionary work, only to be diverted by shipwreck and ultimately become a preacher in Italy. 

The Counter-Reformation Church quickly recognized the devotional appeal of this vision: its warmth, tenderness, and theological clarity aligned perfectly with its emphasis on emotional access to the divine. Anthony would later also become patron saint of lost objects, a role that proved uncannily relevant to this painting’s history, when thieves cut away and stole a large section of the canvas in 1874. The missing portion was unexpectedly rediscovered in New York, purchased by a dealer who recognized it, and returned to Seville. After careful restoration, the painting was reinstated in the Cathedral.

In the scene, Murillo depicts Saint Anthony kneeling in humble devotion, his Franciscan habit softly modeled in warm browns and ochres. Before him, the Christ Child appears seated upon an open book, luminous against the subdued, sepia-toned palette. Anthony inclines his head with reverent tenderness while the Child reaches toward his heart, establishing a direct line of spiritual affection. The background dissolves into a golden atmospheric haze that removes the figures from ordinary space, suggesting the miraculous nature of the encounter. 

The minimal setting—simple flooring, a hint of furniture—grounds the vision in earthly reality even as the softened contours and glowing light elevate it into the realm of the divine. This interplay between intimacy and transcendence is characteristic of Murillo’s early “vaporous style,” where diffused forms and warm tonality create a serene and contemplative mood. The result is a devotional image that feels both deeply human and quietly miraculous.

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This image is a public domain image, which means either that copyright has expired in the image or the copyright holder has waived their copyright. Franciscan Gallery charges for the access to high resolution copy of the image. Manually restoration was necessary in order to improve quality, without covering the original image.