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tapestries --- Applied arts. Arts and crafts --- wandtapijten --- Isabella I the Catholic [Queen of Spain] --- Tapestry, Flemish --- Tapisserie flamande --- Catalogs --- Catalogues --- Isabella --- Art collections --- Catalogs.

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Murillo has attracted particular attention from historians since the seventeenth century, though perception of his oeuvre have varied over time. Due to the unique communicative power of his painting, his art has an occasion been utilized as a means to achieve various ends both during his lifetime and at later times. Murillo deliberately cultivated this quality in his works as he enjoyed great prestige thanks to his art, his talent as well as his ability to elicit emotions and arouse passions. His paintings, functioning almost as propheties, can only be fully understood by analysing what they provoke in their audience, in particular through an approach that situates them within the context of visual culture. Their seemingly easy and familiar appearance is merely the mirror that Murillo, with his skilled command of local codes and the devices of painting, places in front of viewers in order to trigger a complex empathetic process designed specifically to persuade and seduce them, often even anticipating their responde This book examines how Murillo constructed his paintings and the devices he employed to provoke responses in the viewer, both then and now.00Murillo has attracted particular attention from historians since the seventeenth century to the present day, though opinions of his oeuvre have varied from period to period. The communicative power of his paintings, both then and now, has led him to be used and exploited for different ends. He deliberately cultivated this quality from the time he became an accomplished artist in his native Seville, where he enjoyed great prestige during his lifetime thanks to the resources of his art, his talent and his ability to elicit emotions and arouse passions. His paintings, as if they were prophecies, can only be understood from a visual culture approach and by analysing what his images provoke. Their seemingly easy and familiar appearance is merely the mirror that Murillo, with his command of local codes and the devices of painting, places in front of viewers to trigger a complex empathetic process designed solely to persuade and seduce them, often anticipating their response

Murillo, Bartolomé Esteban, --- Murillo, Bartolomé Esteban, --- Criticism and interpretation. --- Painting --- Spanish Renaissance-Baroque styles --- Murillo, Bartolomé Esteban --- Painting, Spanish --- Painting, Baroque --- Criticism and interpretation --- Painters --- Oil painting --- Painting, Primitive --- Paintings --- Graphic arts --- Baroque painting --- Paintings, Baroque --- Artists --- Murillo, Bartolomé Esteban --- Murillo, --- Murilʹo, Bartolome Ėstevan, --- Murillo, Bartolomé Esteban, - 1617-1682 - Criticism and interpretation. --- Murillo, Bartolomé Esteban, - 1617-1682 --- Murillo --- receptiegeschiedenis --- Murillo, Bartolomé Esteban, - 1617-1682

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art market --- Art --- Charles I [King of England and Scotland] --- anno 1600-1699 --- Great Britain --- Spain --- 7:32 --- Kunst. Ruimtelijke ordening. Architectuur. Sport en spel-:-Politiek. Staatskunde. Staatswetenschappen --(algemeen) --- Art patronage --- Painting --- Painting, European --- History --- Private collections --- Marketing. --- Charles --- Art collections --- Foreign relations --- 7:32 Kunst. Ruimtelijke ordening. Architectuur. Sport en spel-:-Politiek. Staatskunde. Staatswetenschappen --(algemeen) --- Oil painting --- Painting, Primitive --- Paintings --- Graphic arts --- European painting --- Arts patronage --- Business patronage of the arts --- Corporations --- Maecenatism --- Patronage of art --- Art and industry --- Marketing --- Charles Ier, roi d'Angleterre