Meadow; Sunset; Winter in Norway (1883); Winter Twilight, W. H. Vanderbilt, New York.—Müller, 386.
MURANO, ANTONIO DA. See Antonio.
MURANT (Meurant), EMANUEL, born
in Amsterdam, Dec. 22, 1622, died at Leeuwarden
in 1700. Dutch school; landscape
and architecture painter, pupil of Philip
Wouwerman. His subjects are old village
houses, castles, ruins, executed with the
most careful minuteness and enlivened by
skilfully introduced figures or cattle. His
colouring is generally warm and powerful.
Works: Dilapidated Farmhouse, Amsterdam
Museum; A Farm, Rotterdam Museum;
Peasant Cottage (1676), Dutch Landscape,
Copenhagen Gallery; Landscape with Ruined
Buildings and Figures, Städel Gallery,
Frankfort; do., Gotha Museum; Village
View with Animals, Kunsthalle, Hamburg;
do. with Woman Spinning, etc., Old Pinakothek,
Munich; Landscape, Stuttgart Museum.—Immerzeel,
ii. 246; Kugler (Crowe),
ii. 506.
MURATON, Mme. EUPHÉMIE, née Duhanot,
born at Beaugency (Loiret); contemporary.
Flower and fruit painter, wife and
pupil of Alphonse Muraton (genre and portrait
painter, born at Tours in 1824; medal,
1868); medal, 3d class, 1880. Works: Souvenir
of Spain (1876); Bad Encounter (1877);
A Garden Bench (1880); The Two Friends
(1881); Upset Basket, Good Chase (1882);
Peach Tree (1883); Bouquet of the Vintagers,
Rabid Dog (1884); Peach Tree, Milkmaid
(1885).—Bellier, ii. 144.
MURCH, Mrs. ARTHUR; contemporary.
Landscape and figure painter. Exhibits
chiefly at Grosvenor Gallery. Works: At
Castle Gondolfo—Rome, Persephone (1880);
Sleeping Girl, Gallantry Bower—Clovelly,
Capri—Evening, Capri—Morning (1882);
Sailor's Cottage, In the Bay of Naples,
Mesta Memoria (1883).
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MURILLO, BARTOLOMÉ ESTÉBAN,
born in Seville, Jan. 1, 1618, died there,
April 3, 1682. Spanish school. From his
first master, Juan del Castillo, Murillo
learned all the mechanical parts of his calling,
and in 1639-40, when Castillo removed
to Cadiz, earned
his daily bread by
painting such devotional
pictures
as were commonly
bought up by colonial
merchants
for shipment to
Transatlantic
Spain. In this
way he obtained
sufficient means to allow him to go in 1643
to Madrid, where he introduced himself to
Velasquez, then in the zenith of his fame,
who gave him valuable counsel, and obtained
admission for him to the royal galleries,
where he copied the works of the great
masters. On his return to Seville in 1645
he spent three years in painting a series of
eleven pictures for the small cloister of the
Franciscan Convent, whose excellence at
once gave him reputation and brought him
many commissions. In 1648 he married,
and soon after gave up his first, so-called
cold (frio) manner, and adopted his second,
warm (calido) style. The fertility of his talent,
only paralleled by that of Lope de Vega
in literature, enabled him to cover the walls
of private and public buildings at Seville with
pictures, now scattered all over Europe at
prices which, to the artist, would have
seemed fabulous. In representing his favourite
subject, the Virgin of the Conception,
of which the finest example is that in the
Louvre, Murillo so far surpassed all other
painters that he obtained the surname of
the Painter of the Conception. Alternating,
according to the nature of his subject, between
his warm manner and his so-called
vaporous (vaporoso) style, he produced his
masterpieces for the Capuchin Convent near
Seville, and the Hospital de la Caridad in
that city. In 1658 Murillo conceived the
idea of founding a public Academy of Art
at Seville, and having obtained the concurrence
of Valdes Leal and of Herrera the