Francisco Herrera "the Old"

FRANCISCO DE HERRERA “THE ELDER” (Seville, c. 1590 – Madrid, c. 1654).
“The Multiplication of the Loaves and Fishes.”
Oil on canvas.
The painting shows losses in the paint layer.
Measurements: 187 x 164 cm.
The scene depicts the moment when Jesus, facing a hungry crowd, multiplies five loaves of bread and two fish to feed those present, transforming a gesture of compassion into a manifestation of his divine nature. The composition focuses attention on Christ and the figures arranged around him, establishing a narrative core. The format and compositional approach allow for an interesting connection to Sevillian painting from the first half of the 17th century, particularly to the style of Francisco de Herrera the Elder, one of the key artists in the transition from late Mannerism to Baroque naturalism in Seville. A comparison with the two known compositions on this theme associated with Herrera the Elder is particularly significant.
The first is the monumental *Multiplication of the Loaves and Fishes* at the Royal Academy of Fine Arts of San Fernando (inventory no. 0840), a painting measuring 305 × 540 cm. It is a composition with a broad horizontal scope, in which the episode unfolds through a large group of figures. The work presented here adopts a more concentrated approach, reducing the visual field and giving greater prominence to Christ. This approach allows for an interesting compositional relationship with the Academy’s canvas. Also worthy of attention is the version held at the Goya Museum in Castres (France), with inventory number 89-2-1. This painting, which is smaller in size (111.3 × 81.7 cm), is cataloged under the name of Herrera the Elder and dates to the first half of the 17th century. Its museum entry considers it a possible initial sketch or preparatory study for the monumental composition at the Academy. Although it depicts the same Gospel episode, it features a different arrangement of the figures and a unique organization of the pictorial space. The existence of these different approaches to the same subject highlights Herrera’s interest in developing and reformulating religious compositions of great narrative complexity. In this context, the painting in question is of particular interest due to its unique selection of the episode.
In this painting, several of the most characteristic features of Herrera the Elder’s artistic language are evident, particularly his bold conception of the human figure and his distinctive sense of naturalism. Notable is the physicality of the figures, constructed through solid volumes and anatomies of great presence, as well as the expressiveness of the faces, with individualized features and a certain, almost folk-like intensity. The composition, structured through the grouping of figures in the foreground and the opening toward a landscape populated by figures in the distance, reveals his narrative skill and his interest in creating spatial depth. Equally significant is the treatment of light, which shapes the bodies through sharp chiaroscuro hallmarks, alongside a palette of earthy, ochre, and reddish tones, balanced by the blues and grays of the landscape. The brushwork, executed with energy and freedom—particularly visible in the clothing and in certain sections of the background—reflects the influence of Juan de Roelas, which Herrera developed into a more vigorous and personal style.
The son of the painter Juan de Herrera, Francisco Herrera was likely trained in his father’s studio. He achieved notable recognition thanks to his religious commissions. In 1650, he moved to Madrid, where he remained until his death. His works are housed in institutions such as the Prado Museum, the Museum of Fine Arts in Seville, and the Louvre.