Assumption of the Virgin Bartolome Esteban Murillo (1618-1682)
Bartolome Esteban Murillo – Assumption of the Virgin
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Painter: Bartolome Esteban Murillo
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The renowned painter Murillo treats religious themes with awe and reverence, and the image of the Virgin Mary appears many times in his paintings. Beginning in the 1690s, however, the Virgin Mary loses her former warmth and kindness and takes on a general appearance. The new appearance of Mary is an abstracted deity, which cannot be said about the previous works, where she appeared as an ordinary woman with sadness in her eyes.
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Description of the painting The Ascension of the Virgin Mary by Bartolomé Esteban Murillo
The renowned painter Murillo treats religious themes with awe and reverence, and the image of the Virgin Mary appears many times in his paintings. Beginning in the 1690s, however, the Virgin Mary loses her former warmth and kindness and takes on a general appearance. The new appearance of Mary is an abstracted deity, which cannot be said about the previous works, where she appeared as an ordinary woman with sadness in her eyes. You get the feeling that Murillo has matured to the point where he can generalize the Virgin Mary and create a single image. The artist has separated from the earthly people, and now Mary appears on a pedestal and does not particularly share the problems and bitterness of the common people.
However, the same cannot be said for the painting The Ascension of the Virgin Mary, in which Murillo returned to his former style - an image close to the common people. The image of Mary is still simple and good-natured, she is again a young woman who looks trusting and affectionate, in the eyes there is light and sadness. Openness and trustfulness towards people can also be seen in her open palms. The lines are clear, but at the same time give a sense of warmth. The moment Mary accepts the divine intentions conveyed by the archangel Gabriel is represented. The Holy Spirit will descend upon you.
You will remain protected in the shadow of the power of the Most High. Various sources have been cited to explain how Murillo conceived this performance. The artist’s oil supports the elements of the compositions that accentuate the pictorial background, where the monumental classical architecture, illustrating the suggestions of architect Vitruvio, is presented in perspective.
It is a very meticulous work that distinguishes his execution - a delicate drawing made with a special medium, followed by a first coat of color, coated with a subsequent oil treatment.
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Surrounding the central figure is a multitude of small, winged figures – presumably cherubs or angels – who appear to be actively participating in her ascent. They are arranged in tiers, some reaching towards her, others hovering nearby, creating a sense of joyous celebration and divine escort. The artist has rendered them with soft lighting and delicate features, contributing to the overall atmosphere of reverence and grace.
The background is dominated by dark, turbulent clouds that contrast sharply with the luminous figure and surrounding angels. This creates a visual separation between the earthly realm and the heavenly destination, reinforcing the idea of transcendence. The use of chiaroscuro – the dramatic interplay of light and shadow – enhances the sense of depth and emphasizes the spiritual significance of the event depicted.
Subtly, the composition conveys themes of purity, ascension, and divine intervention. The white garments symbolize innocence and virtue, while the blue mantle may allude to royalty or a connection to the heavens. The presence of the angels underscores the belief in celestial assistance and the promise of eternal reward. The upward movement is not merely physical but also spiritual, suggesting a liberation from earthly constraints and an entry into a higher state of being. The arrangement of the cherubic figures evokes a sense of communal joy and participation in this momentous occasion, hinting at the broader implications for faith and salvation.