Conference: "Murillo Painter of popular life"
Ateneo Andaluz Dos Hermanas
On the occasion of the IV Centenary of the birth of the great Sevillian painter of the Baroque, Bartolomé Esteban Murillo , the Artistic Collectives Ventana Plástica and AlYamal and the Cultural Center Athenaeum Andaluz , organize a conference that will be given by the professor emeritus of Art History at the University of Seville, . The act that takes by title: "Murillo Painter of the popular life", will be made next January 25 at 20: 00h at the Cultural Center La Almona in Dos Hermanas.
Enrique Valdivieso is one of the greatest experts on the work of the famous painter. Born in Valladolid, he completed his academic training in Valladolid and Madrid. He was a professor of Art History at the University of Valladolid and an associate professor at the University of La Laguna, until 1976, coming to Seville. Since 2016 he is Professor Emeritus of History of Art at the University of Seville . In 1996 he entered as a member of number in the Real Academia Sevillana de Buenas Letras. He specializes in the Sevillian school of painting , to which he has dedicated much of his research and numerous publications, both the Renaissance, the Baroque and the nineteenth and twentieth centuries.
The commemoration of the four hundred years of his birth aims to revise a distorted idea of Murillo's painting. For centuries he was one of the most famous masters of painting and his canvases hang today in the main museums of the world.
However, his figure was turned off in the late nineteenth century until it ends up classified as a soft and cheesy artist. There are the decades of repetition and distortion of his painting in banal stamps of saints, in almanacs and in boxes of quince jams. National Catholicism will capture the imaginary of his religious painting until it becomes an aesthetic for devotionals. But is that the real Murillo?
In recent times many researchers have shown a more complex and real idea of an artist who revolutionized pictorial sensibility by renewing techniques and narrating religion in another way. But for the general public, Murillo continues to be the victim of the cliché, of the superficial idea of being a painter of syrupy religious scenes. The commemoration that starts this year aims to show another Murillo much more complete.
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