Word: murillo
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Dates: during 1960-1969
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...Spanish flavor of their past. To their delight, this year the sentiment is being reciprocated by the loan to San Antonio's HemisFair of 13 masterpieces from Spain. The heavily guarded collection, estimated to be worth $10 million, includes outstanding works by Goya, Velásquez, Murillo, Zurbaran and El Greco (see color pages). It not only represents the pick of the Prado, but also includes paintings from other Spanish museums. The exhibit is designed to tie in with the fair's theme, "The Confluence of Civilizations," by demonstrating that Spanish culture is itself a confluence of influences...
...envision a large collection," explains S.M.U. Director William Jordan, "but rather one of the best." S.M.U. has already acquired some fine Goya engravings, a distinguished Velásquez portrait; other works by artists ranging from Zurbaran to Miró. The loveliest of the lot is Murillo's landscape showing Jacob with Laban's flocks (see color overleaf). As the tale is related in Genesis, Laban, who owned the sheep, told Jacob he would be paid for tending them with any lambs born spotted or speckled, and Jacob's method of inducing speckled progeny was to lay peeled...
...painter could ever claim a more fiery passion than Mexico's Gerardo Murillo. He loved volcanoes. He lived four months on the slopes of Mount Etna, spent six months inside Popoca tepetl's crater, and bought Paricutin volcano for $78 when it was a baby in 1943. He so mistreated his body that his teeth fell out from sulphur fumes and a leg was amputated because of bad circulation. He called himself "Dr. Atl" (Aztec for water), and signed that name to more than 11,000 drawings and 1,000 paintings, mostly volcanic landscapes...
Died. Gerardo Murillo (assumed name: Dr. Atl), 89, pioneer Mexican landscape and folk artist, who kindled the artistic fires in Rivera, Orozco and Siqueiros; of a heart attack; in Mexico City...
...little nosegay on the staff of Ribera's Saint Joseph (opposite). Landscapes are notably missing: Spanish painters were mostly interested in painting people rather than scenery. But religious subjects, redolent of the mystery and aspiration that typified every Spaniard's day-by-day point of view, abound. Murillo's Christ After the Flagellation (overleaf) has a tragic, mystic quality. On the other hand, Zurbaran's St. Francis Praying, painted around 1650, is a surprisingly sophisticated example of religious preoccupation; St. Francis seems almost like a zealot interrupted at prayer and, like many old Spanish works...