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Title Crucifixion
Collection Touchstones Rochdale Art Gallery
Artist Attributed to after Murillo, Bartolomea-Esteban (Spanish painter and draftsman, 1618-1682)
Attributed to Spanish School
Previously attributed to Murillo, Bartolomea-Esteban (Spanish painter and draftsman, 1618-1682)
Date Earliest about 1640
Date Latest about 1700
Description Murillo was one of the most widely admired and imitated religious painters of the seventeenth century. Many of his works were large altarpieces for which he normally made small oil sketches, known as modelli. This seems to be a copy after one of his sketches; several similar sketches from his hand are known.
Current Accession Number ROCDG:1232
Subject religion (Crucifixion)
Measurements 56 x 34 cm (estimate)
Material oil on canvas
Acquisition Details Transferred from Heywood Library 1974.
Provenance Thomas Stainton, 37 Wellbeck St, London; given by Thomas Kay to Heywood Library 1912.
Publications Kay, Thomas., Descriptive Catalogue of Pictures, Heywood Municipal Art Gallery and Museum, 1911, cat. no. XXXIV, p. 58, as by Murillo.
Notes Thomas Kay attributed this painting to Esteban Murillo. Godfrey Evans (University of Manchester) in c.1980 considered this 'as no more than a copy of' the 'modello' (formerly in the Cook Collection and that sold at Christie's 24th May 1963, lot 52) for Murillo's great altar-piece of the Crucifixion, now in the Prado, Madrid (A.L. Mayer, Murillo, Klassiker de Kunst, Berlin und Stuttgart, 1913, p.186). Murillo was born and worked in Seville. His particular style and pictorial technique emerged in a cycle of large canvases started in 1645 for a cloister in the convent of S. Francisco. His early religious paintings illustrate his naturalism and his tender approach to the subjects. His most often repeated religious subject was the Immaculate Conception, the first important version being the monumental canvas for the Franciscan Church in Seville (c.1650/2; Mus. Provincial), in which he eliminated most of the Marian symbols usually scattered throughout the sky and landscape. Artist notes from: Mallory, N. A., 'Murillo, Bartolome Esteban', Grove Art Online, Oxford University Press, 22 July 2006, http://www.groveart.com/. The attribution to Murillo was also regarded as unsafe by Christie's, 1991, owing to both the poor quality of the canvas and its style. A partly destroyed label on the upper-support, apparently in Spanish, suggests that the work can only reliably be attributed to the Spanish School and as most of the modelli seem to have remained in Spain and Portugal until the mid-nineteenth century the likelihood of the work being Spanish is further increased.
Rights Owner Touchstones Rochdale Art Gallery
Author Lisa Howard



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