The Virgin and Child with St. Rosalina - Bartolomé Esteban Murillo
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Description
A serene Baroque composition by Bartolomé Esteban Murillo, depicting the Virgin and Child in a tender, atmospheric devotional scene.
This work by Bartolomé Esteban Murillo depicts a devotional scene featuring the Virgin Mary holding the Christ Child, who interacts with Saint Rosalina. The composition follows the characteristic soft, atmospheric style of the Spanish Baroque master. Murillo employs a gentle chiaroscuro, where light emanates from the central figures to illuminate the surrounding attendants and the ethereal cherubs positioned in the upper register. The colour palette relies on warm, earthy tones contrasted by the deep blue of the Virgin's mantle and the soft white of the infant's drapery.
Murillo was known for his ability to render human emotion with tenderness. The interaction between the figures is quiet and intimate, avoiding the dramatic tension often found in contemporary Italian Baroque works. The background includes a subtle architectural suggestion, grounding the celestial event in a recognisable space. The brushwork remains fluid, particularly in the treatment of the fabric and the hazy, cloud-like forms that frame the upper portion of the canvas. This piece reflects the artist's mature period in Seville, where his religious output was highly sought after for its accessibility and devotional quality. The figures possess a naturalistic grace, with soft facial features and delicate hand gestures that guide the viewer through the narrative. The inclusion of Saint Rosalina, often associated with protection against plague, adds a layer of specific religious context to the composition. The overall effect is one of calm, meditative stillness, characteristic of Murillo's approach to sacred subjects.
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Each print is produced to order using 12-colour giclée printing on FSC-certified archival paper. Designed in Britain and printed at your nearest production hub to reduce waste and speed up delivery.
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Specific Features
Every Solis piece is made to order with archival, gallery-quality materials built to last.
- Museum-grade giclée printing for rich, fade-resistant colour
- Archival matte fine-art paper, FSC-certified
- Multiple sizes and framing options available
- Frames in black, natural wood, dark wood or white
- Framed prints arrive ready to hang
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- Dust gently with a soft, dry cloth
- Avoid prolonged direct sunlight
- Never use liquid cleaners on the print or canvas surface
- Keep in a dry, room-temperature space
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Materials & Sizing
Museum-grade giclée on FSC-certified archival matte paper, with framed and canvas options.
- Paper sizes: A4, A3, A2, A1, A0 and B2 (50×70 cm)
- Canvas: XS (20×30 cm) to Large (60×90 cm)
- Frames: black, natural wood, dark wood or white
The Virgin and Child with St. Rosalina - Bartolomé Esteban Murillo
Artist Biography
Bartolomé Esteban Murillo
He was born in Seville in late 1617, the youngest of fourteen children. His father was a barber surgeon. Both parents died before he was eleven, and he was raised by an older sister and her husband, also a barber. He studied in the workshop of Juan del Castillo, his uncle and godfather, and absorbed the realism of Zurbaran and Ribera. In 1645 he received his first major commission: eleven canvases for the convent of San Francisco in Seville. The success was decisive.
Seville became his entire world. He rarely left. In 1660 he co-founded and became first president of the city's Academy of Painting. His religious paintings, particularly his Immaculate Conceptions, were reproduced and imitated across the Catholic world for the next two centuries. He also painted contemporary street life: flower girls, beggars, street urchins, recorded with an affectionate realism that constitutes a documentary record of seventeenth-century Andalusia.
For two hundred years after his death he was considered one of the greatest painters who ever lived, ranked alongside Raphael and Titian. Then opinion turned. By the late nineteenth century his religious canvases were dismissed as sentimental and treacly, and he was nearly written out of art history altogether. The reassessment continues; the sentimentality charge has not entirely lifted.
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