The Iola register. [volume] (Iola, Allen County, Kansas) 1875-1902, 1900-02-16
MISS SHOWS ART TALKS
The Influence of the Flemish on the
Spanish School of Painting
ESteban MurillO.

Esteban MurillO.
The historical connection between
the Netherlands and Spain could not
fail to exert great influence upon
the art of both nations. But while
the northern development was the
result, in its best estate, of the pro-
life seeds of freedom, the Spanish
attainment, even in its noblest
period, was cramped and hampered
by the most extreme tenets of
Catholicism. Like all the other
national divisions Spanish art was
born in the service of the Church
Illuminated books and church dejo-
ration called forth in the different
provinces of Spain characteristic ex-
preston, and in course of time diff
ferent schools Of painting arose just
as they did in other countries. But
in no other land except in ancient
Egypsdid q national religion 90 color
and cIrcHmscribe every slightest
effort.
Until the Fifteenth century growth
was thus exceedingly slow, and then
the influence of the Renaissance WAS
met by the ,Inqulsition, and when
royal patronage WAS extended to
Italian and Flemish painters the
most rigid censorship was constantly
exerted. The soul of the Spanish
lot iagh 10 n nf
Titan or Rubens, but he dare not
paint religious picture that did not
conform to the rules of the official in
spector.
But the spirit of art cannot be
wholly bound by any human power
spanish art is MS peculiarly distinct
i've as Spanish history and character,
and it finally produced early in the
Seventeenth century two universal
artists who were still remark Ably
true to the national tendencies.
Many men prepared the way for
Velasquez and Murillo. Turbaran
and Ribera in some respects rank
with them, but these two mark the
elimination of Spanish art and are
by far most widely known.
Ruskin said OF Velasquez: "You
may be sure that he is absolutely
right in everything" He attempted
all branches of art and succeeded in
everything. The whole school ex-
celled in portraiture because in this
they could be more free and indie
pendent, and 80 Velasquez became
the greatest portrait painter the
world has ever known. He was an
intense realist, such religion as he
knew gave him only an earthly ideal,
all his work was full of life and vigOT,
and ne was man of the world and
great atfairs-the painter of the
court as distinguished from MurrillO
who lived a quiet life, gathered nc
riches and was at last the painter OF
the Church.
MurrillO is a remarkable example
of great results from scanty means.
Born of humble parents and early
showing the artistic character, he
was first taught by master OF
moderate ability whom he soon sur.
passed. Then he kept soul and body
together by painting religious pictures
for the market-peasantry, and hav-
ing conceived the idea OF travelling to
Italy he sold enough of the same kind
of paintings to American traders tC
pay his way to Madrid. There Velas
quez beiTiended him, opened to hin
the Italian and Flemish treasures o
the Escurial, and gave him such i'm
petus and guidance that he gave NJ
the Italian project and returned tt
his nativei Seville.
Here by a fortunate chance hi
painted series of pictures for tn,
Franciscan convent that brought hin
Immediate recognition and opened
the way for larger efforts. He mar
ried noble lady and ariHtocracy
smiled upon him, but while he faith