This exhibition makes possible reconstructing the entire great series of Capuchins, painted by Murillo, since its dispersion during the 19th century.
This admirable depiction of the childhood of Jesus has great similarities with one of his most famous paintings, the Buen Pastor [Good Shepherd] of the Museo Nacional del Prado, a work made around the same dates, with which it shares a pictorial technique and the naturalness in the face of the Child, which justifies his renown for his portrait ability.
In this painting, Anunciación, a theme on which Murillo created several works, the figures appear static, with somewhat theatrical gestures but with little expression in their faces.
The harmonious but somewhat muted coloring and the backlighting effect of the luminosity that radiates from the Holy Spirit towards that imprecise space in which the Virgin Mary is found contribute to this.
This episode alludes to the evangelical passage (Luke 14: 33) of the book which the two angels on the right hold: «Qui non renunciat omnibus qui possidet non potes meus esse discipulus» (Those of you who do not give up everything you have cannot be my disciples.). Jesus releases one of his arms in order to comfort Saint Francis.
Murillo and the Capuchins of Seville
Curator: Valme Muñoz Rubio, director of the Museum of Fine Arts of Seville.
Department of Dissemination: Ignacio Cano Rivero, Virginia Marqués Ferrer and Fernando Panea Bonafé.
Department of Conservation and Research: Ignacio Hermoso Romero, Rocío Izquierdo Moreno and Lourdes Páez Morales.
Restoration: Fuensanta de la Paz Calatrava, Mercedes Vega Toro and Alfonso Blanco López de Lerma.
Photographs: Google Arts & Culture, Pepe Morón, Fuesanta de la Paz Calatrava, Mercedes Vega Toro and Alfonso Blanco López de Lerma.
Social networks: Lourdes Páez Morales.
Virtual adaptation: Lourdes Páez Morales.