Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/338

 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).

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