17th century Andalusian school. Workshop of BARTOLOMÉ ESTEBAN MURILLO (Seville, 1617 - Cadiz, 1682). "Immaculate Conception. Oil on canvas. Measurements: 97 x 76 cm; 121 x 100 cm (frame). This canvas is directly inspired by "La Inmaculada del Escorial", an oil painting by Bartolomé Esteban Murillo between 1660 and 1665, today housed in the Prado Museum. The Sevillian master was inspired by a young maiden whose figure is at the centre of the canvas, her body slightly turned, her hands crossed over her heart and her gaze raised. The entire Immaculate Conception rises above a lunar crescent and is accompanied by several child angels, who appear both below her and in the upper corners, surrounding the break of Glory that surrounds the Virgin with golden light. The angels at her feet carry lilies, roses and a palm leaf, Marian symbols taken from the litanies. In the last decades of the 17th century, Murillo s emotional, sweet and delicate sentimentality prevailed in Seville over the more dramatic one of Valdés Leal, hence the predominance of his influence in the following century. As time went on, however, his influence became increasingly superficial, focusing on the imitation of models and compositions, but leaving aside his artistic language in favour of formulas more characteristic of the new century. The theme of the Immaculate Conception, which was very common in Spanish art, came to constitute one of the signs of Spain s national identity as a Catholic country. It is one of the most genuinely local themes in Spanish Baroque painting, as Spain was the main defender of this mystery and the country that fought most insistently to make it a dogma of faith. In this context, numerous artists and intellectuals worked to construct a clear iconography that would help to disseminate the Immaculate Conception, bringing together symbolism and popular fervour. Little is known of Murillo s childhood and youth, except that he lost his father in 1627 and his mother in 1628, for which reason he was taken into the care of his brother-in-law. Around 1635 he must have begun his apprenticeship as a painter, most likely with Juan del Castillo, who was married to a cousin of his. This working and artistic relationship lasted about six years, as was customary at the time. After his marriage in 1645 he embarked on what was to be a brilliant career that gradually made him the most famous and sought-after painter in Seville. The only trip he is known to have made is documented in 1658, when Murillo was in Madrid for several months. It is conceivable that while at court he kept in touch with the painters who lived there, such as Velázquez, Zurbarán and Cano, and that he had access to the collection of paintings in the Royal Palace, a magnificent subject of study for all the artists who passed through the court. Despite the few documentary references to his mature years, we know that he enjoyed a comfortable life, which enabled him to maintain a high standard of living and have several apprentices. The fact that he became the leading painter in the city, surpassing even Zurbarán in fame, motivated his desire to raise the artistic level of local painting.