Bartolomé Esteban Murillo's Workshop

Workshop of BARTOLOME ESTEBAN MURILLO (Seville, 1617 - 1682).
"St. Peter Magpie.
Oil on canvas. Relined.
It presents faults and restorations on the pictorial surface.
It has a frame of the twentieth century wood and glass with faults.
Measurements: 127 x 100 cm; 126 x 102 cm (frame).
In this intimate scene the artist resorts to the theatricality of the baroque, enhanced by a completely artificial and directed light that enhances the relevance of the protagonist. In the center of the scene, as usual, the protagonist is shown kneeling before the spectator in a prayerful attitude with his heart in his hand and with his gaze fixed on the sky where a cross can be seen. The scene is completed with a table dressed with a white tablecloth on which a crucifix with the figure of Christ can be seen. In the lower area the name of the protagonist can be read. Pedro Urraca was a Spanish mercenary born in Jadraque (1583) into a noble family. One of his brothers joined the Franciscans and left for the New World; he got his parents to allow Pedro to join him. In 1604, at the age of 21, he entered the convent of the Mercedarians in Quito. He then dedicated himself to preaching and evangelizing the poor, as well as begging to fulfill the fourth vow of his order. The viceroy of Peru, Francisco de Borja y Aragón, who when he returned to Spain in 1621, asked him to be his chaplain. In 1627 he returned to Lima and dedicated himself mainly to confession.
Thematically the piece presents similarities with Murillo's works, specifically some of those of the convent of La Merced. Although the style is reminiscent of the painting of the painter Francisco Meneses Osorio (Seville, c. 1640 - 1721), who was born in Seville, and is believed to have died there. Very little is known of his life. He was a pupil and imitator of Murillo, and it has been suggested that some of the works attributed to the latter were painted by Osorio. We know that Murillo considered him his friend, that he was a close acquaintance of Juan Garzón, with whom he worked; that at one time he was secretary and then president of the Academy of Sevillo, and that while in that city he had a great reputation. It is said that this reputation was discarded after his death, because it was felt that some of his copies of Murillo's works were so accurate that he should have signed the master's name. In fact, it was suggested that two of his copies had been accepted as genuine works by Murillo. On the other hand, these statements are stated by a Spanish author to have been made solely for the purpose of discrediting Osorio. It is said that he and Murillo worked together in the Capuchin church in Cadiz. His main work was painted for the church of San Martin in Madrid, and depicts the prophet Elijah. There are pictures of him in the museums of Cadiz and Seville, the latter related to the Order of St. Francis. It is said that a work depicting St. Catherine, which is preserved in Cadiz, had a special devotion to St. Philip Neri and was buried in the church dedicated to that saint.