1445 Wood, 55,5 x 31,5 cm Museum of Fine Arts, Budapest We know very little about the life of Petrus Christus, though it is certain that in 1444 he obtained the citizenship of Bruges, then the richest town in Flanders and its main artistic centre. He may have been the pupil of Jan van Eyck, and in his surviving panel paintings we can see that his solutions to problems of composition and his figure types are similar to those of his predecessor. Indeed Christus's delicately wrought and brilliantly coloured works served to popularise the technique and manner of Van Eyck. Some fifteen to twenty works by Christus are known, one of which is The Virgin and Child, probably the surviving part of a triptych for home devotion. Framed by a semi-circular arch resting on slender columns and with a pleasant landscape in the background, the Virgin looks tenderly down at the naked Infant supported on her arm. Every detail has been painted with meticulous care - the minute wrinkles on the Infant's face, the foliage of the trees in the distance and the statuette of Adam and Eve on the columns at the sides, which, in alluding to the Fall, emphasize the coming Redemption through Christ. Other versions and copies have survived, indicating the popularity of this picture over the years, but unfortunately none of them give any clue as to when it was painted or who commissioned it.Artist:CHRISTUS, Petrus Title: Madonna Painted in 1451-1500 , Flemish - - painting : religious
Painting ID:: 63561
Bartolome Esteban Murillo Spanish
Bartolome Esteban Murillo Galleries
Murillo began his art studies under Juan del Castillo in Seville. Murillo became familiar with Flemish painting; the great commercial importance of Seville at the time ensured that he was also subject to influences from other regions. His first works were influenced by Zurbaran, Jusepe de Ribera and Alonso Cano, and he shared their strongly realist approach. As his painting developed, his more important works evolved towards the polished style that suited the bourgeois and aristocratic tastes of the time, demonstrated especially in his Roman Catholic religious works.
In 1642, at the age of 26 he moved to Madrid, where he most likely became familiar with the work of Velazquez, and would have seen the work of Venetian and Flemish masters in the royal collections; the rich colors and softly modeled forms of his subsequent work suggest these influences. He returned to Seville in 1645. In that year, he painted thirteen canvases for the monastery of St. Francisco el Grande in Seville which gave his reputation a well-deserved boost. Following the completion of a pair of pictures for the Seville Cathedral, he began to specialise in the themes that brought him his greatest successes, the Virgin and Child, and the Immaculate Conception.
After another period in Madrid, from 1658 to 1660, he returned to Seville. Here he was one of the founders of the Academia de Bellas Artes (Academy of Art), sharing its direction, in 1660, with the architect, Francisco Herrera the Younger. This was his period of greatest activity, and he received numerous important commissions, among them the altarpieces for the Augustinian monastery, the paintings for Santa Mar??a la Blanca (completed in 1665), and others. Madonna oil on canvas
Dimensions 157 X 107 cm