Attributed to Bartolomé Esteban Murillo

Attributed to BARTOLOMÉ ESTEBAN MURILLO (Seville, 1618–1682).
“Christ, Savior of the World.”
Oil on copper.
Accompanied by a study by José María Quesada.
Measurements: 11 x 9 cm; 27.5 x 25 cm (frame).

The monumental quality of the figure and the consistency of the subject, portrayed through a vaporous brushstroke that creates an almost dusty atmosphere, combined with the softening of the gesture and the psychological portrayal of the protagonist—which conveys great tenderness—are characteristics typical of Murillo’s painting. Furthermore, it is worth noting that this type of image was highly popular among Sevillian society at the time, and its devotional power has remained intact throughout the centuries. In this type of work—which was often intended for private worship—the artist proves himself a true master at combining a refined and delicate style with gentle, sweet subject matter. However, possessing as he did a powerful sense of composition, he endows these works with remarkable grandeur and balance.
Little is known about Murillo’s childhood and youth, except that he lost his father in 1627 and his mother in 1628, after which he came under the guardianship of his brother-in-law. Around 1635, he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to one of his cousins. This professional and artistic relationship would last about six years, as was customary at the time. Following his marriage in 1645, he embarked on what would become a brilliant career that gradually established him as the most famous and sought-after painter in Seville. The only recorded trip he ever took was in 1658, when Murillo spent several months in Madrid. It is reasonable to assume that at court he maintained contact with the painters residing there, such as Velázquez, Zurbarán, and Cano, and that he had access to the Royal Palace’s collection of paintings—a magnificent subject of study for all the artists who passed through the court.
Despite the scarcity of documentary evidence regarding his mature years, we know that he enjoyed a comfortable life, which allowed him to maintain a high standard of living and employ several apprentices. Having become the city’s foremost painter—surpassing even Zurbarán in fame—he was driven to raise the artistic standard of local painting. Consequently, in 1660, he decided, together with Francisco Herrera el Mozo, to found a painting academy, of which he was the principal driving force. His fame spread so widely throughout the country that Palomino notes that around 1670, King Charles II offered him the opportunity to move to Madrid to work there as a court painter. We do not know if this account is true, but the fact is that Murillo remained in Seville until the end of his life.