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©
Museo Nacional Thyssen-Bornemisza, Madrid
Bartolomé Esteban Murillo

The Virgin and Child with Saint Rose of Viterbo

ca. 1670
Oil on canvas.
190 x 147 cm
Museo Nacional Thyssen-Bornemisza, Madrid
Inv. no.
296
(
1968.2
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
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Discover some of the secrets and details invaluable to the human eye in this work.

Together with The Adoration of the Magi, now in the Toledo Museum of Art, Ohio, The Virgin and Child with Saint Rose of Viterbo was acquired in Spain by Mr Stanhope, later Lord Harrington, the British Ambassador in Madrid, and was to be found in his collection in the UK in 1729. The canvas passed down through his family and in 1883 was at Belvoir Castle, home of the dukes of Rutland. It was auctioned from that collection at Christie’s in London in 1926. In 1930 the two paintings were in the Contini-Bonacossi collection in Florence where they were recorded by Longhi and Mayer. However, only The Virgin and Child with Saint Rose of Viterbo was acquired for the Thyssen-Bornemisza collection in 1968 through the Jolanda D’Antoni gallery in Rome, having previously been in the possession of Count Alessandro Contini-Bonacossi. In the 1969 catalogue of the Thyssen-Bornemisza collection the entry by Rudolph Heinemann suggested that the painting might originally have been in the Capuchin monastery in Seville. This idea was rejected by Diego Angulo who considered that there was no real evidence for this hypothesis.

The girl in this painting has mistakenly been identified in previous catalogues of the Thyssen-Bornemisza collection and in various publications of the 1980s as Saint Rosalia of Palermo, a hermit who dwelled in a cave near Palermo, where she led an ascetic life, and whose attributes include white roses. The girl in this work by Murillo is Saint Rose of Viterbo, a Franciscan tertiary who died in the mid-thirteenth century and is also identified by the roses she usually carries in a basket or in the folds of her dress. Here her identity is further borne out by the secondary scene on the left where Saint Rose preaches to a crowd – an unusual action for someone of her age and a distinctive episode in her life.

The canvas has been dated to around 1670 or slightly after, corresponding to Murillo’s mature period. Its large size suggests that it was painted for an altar, and it uses a classical, triangular composition of a harmonious type to depict the principal figures on a large scale in the foreground. The group of the saint, the Virgin and the Infant Christ are accompanied on the right by four virgin martyrs with their palm branches, dressed in pure white tunics. Balancing this group at the upper left is another one of four small angels in the sky who witness the principal scene. The loose brushstrokes that sketchily define the forms, particularly evident in the four martyrs and the small angels, and the emotional mood created by the gazes, gestures and poses of the principal group, make this canvas a fine example of Murillo’s work with its characteristic softness and delicacy that was so highly appreciated. Around the time that he painted this canvas Murillo had completed the second group of paintings for the Capuchin monastery in Seville and had begun work on the Hospital de la Caridad in the same city.

A canvas in the Wallace Collection in London has been related to the present painting due to the similarity of the composition. In the London painting, in which the composition is reversed, the Virgin is depicted half-length and Saint Rose bust-length. The pose of the Christ Child in that work is different to the present one as he is seated astride the Virgin’s knees and clutches Mary’s tunic with one hand while with the other he grasps a rose held out to him by the saint. There is also a preparatory drawing that relates to the London painting, now in the Biblioteca Nazionale in Turin, in which the whole composition is included. In the drawing the saint has loose hair falling around her shoulders and a rosary that hangs from the belt of her habit. These details led Diego Angulo to suggest that the painting in the Wallace Collection might reproduce a lost original by Murillo. He also mentioned copies of the present painting, in the collections of the duque de Fernán Núñez and the marqués de Saltillo, both in Madrid, as well as one in a private collection in Utrera.

Mar Borobia

17th Centurys. XVII - Pintura españolaPaintingOilcanvas
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More details about The Virgin and Child with Saint Rose of Viterbo

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Murillo: espacios para la narración por Alicia Cámara

Conferencia de Alicia Cámara, UNED, dentro del curso "Imágenes, símbolos y modelos en la pintura del Barroco".

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Conferencia "Pintura al aire libre"

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The Virgin and Child with Saint Rose of Viterbo

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The Virgin and Child with Saint Rose of Viterbo. Bartolomé Esteban Murillo
The Virgin and Child with Saint Rose of Viterbo
Bartolomé Esteban Murillo

©

Museo Nacional Thyssen-Bornemisza, Madrid

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The Virgin and Child with Saint Rose of Viterbo. Bartolomé Esteban Murillo
The Virgin and Child with Saint Rose of Viterbo
Bartolomé Esteban Murillo

©

Museo Nacional Thyssen-Bornemisza, Madrid

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