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Bartholomé Esteban Murillo Seville 1617 – Cadiz 1682
Saint Roch
Circa 1650
Oil on canvas 190 x 102 cm Murillo painted this canvas in in circa 1650
when he he he was at the height of his career in Seville and at the time when he he he he was receiving a a a a a steady stream of major commissions It demonstrates his extraordinary attention to detail in in in the the rendition of the the varying textures of the the draperies and the the esh-tones while also instilling
a a a a sense of tenderness in in the the the interplay between the the the angel and the the the saint and and the addition of dog faithfully standing by his master’s leg proudly sporting a a a loaf of bread in in his mouth The importance of this painting is is however not only de ned by its its quality but also by its its illustrious provenance: it it it it was purchased
by Duke Carlos Miguel in in 1756 for the the palace of of the the Prince of of Santo Buono where it was referred to to as as a a a a life-size work by Murillo It was thereafter acquired by by the the Duke of Alba who by by 1828 had placed it it in the the chapel at the the Palace of Liria and described it it as ‘a large original painting by Murillo that depicts Saint Roch
with the dog and an an angel full-body life-size gures on fabric Value 10 000 reals’ It was referred to to again in in 1911 when it it belonged to to Doña Eugenia Fitz- James Stuart y Falcó Countess of Teba and where it featured in the handwritten documents of Don Ángel Barcia as ‘a full- gure Saint Roch
with the the the dog beside him On the the the other side side a a child angel who is pressing upon the wound in his leg Attributed to Murillo ’ Acquired by a a a private European collector