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Murillo Il Ragazzo Di Siviglia

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Murillo Il Ragazzo Di Siviglia ARTE E ARTISTI Maestro della pittura barocca spagnola Murillo il ragazzo di Siviglia MELANIA G. MAZZUCCO no, presso la Torre dell’Oro, le navi Scrittrice scaricavano i lingotti del Messico e l’argento delle Ande. Nel Cinque­ cento, trafficando con le Indie, uo­ el 1633, a poco più di mini senza scrupoli di oscure fami­ quindici anni, Bartolo­ glie avevano accumulato ricchezze mé Esteban Murillo favolose, ed erano stati accolti non vedeva alcun futu­ nell’élite dell’aristocrazia, della reli­ Nro per sé a Siviglia. Quattordicesi­ gione e della municipalità. Natura­ mo e ultimo figlio di un barbiere le che l’adolescente Bartolomé che esercitava anche la chirurgia osservasse affascinato l’andirivie­ (ed era abbastanza agiato da pos­ ni dei galeoni e sperasse di andar sedere degli schiavi neri), rimasto via anche lui, lontano, al di là dell’o­ orfano di madre a nove anni, cre­ ceano, e di costruirsi una vita diver­ sciuto con la sorella maggiore, era sa. Non da artista. Da mercante, da quattro anni apprendista nella funzionario, o avventuriero. bottega di Juan de Castillo, il mae­ Non sappiamo se Murillo sia stro di minor talento fra quelli della poi riuscito a partire e se abbia vi­ scuola di Siviglia (Herrera il Vec­ sto coi suoi occhi quel Nuovo Mon­ chio, Las Roelas e Pacheco, che do che bramava diventasse il suo. ebbe per allievo Velázquez). Nem­ ©2018. The National Gallery, London/Scala, Firenze Non esistono documenti che con­ meno lui dimostrava particolari Bartolomé Esteban Murillo (1618-82), Autoritratto, particolare, 1670 ca., fermino il viaggio. Ma nemmeno capacità, e a Siviglia il mercato olio su tela, National Gallery, Londra. che lo smentiscano. Comunque sia del l’arte era allora dominato dal­ Bartolomé Esteban Murillo (1618-82), Self-portrait, detail, 1670 approx., andata, Murillo tornò a Siviglia, o vi l’austero Zurbarán, che si accapar­ oil on canvas, National Gallery, London. rimase. E nel 1639 divenne pittore, rava le migliori commissioni delle iniziando l’attività da maestro indi­ chiese e dei potenti ordini mona­ pendente. Nel 1645 sposò Beatriz stici. Così, come buona parte dei Murillo, the boy from Seville de Cabrera Villalobos. Il matrimo­ suoi concittadini e compatrioti (e At the beginning of the 17th century he carries within his heart nio doveva essere stato organizza­ in verità anche europei di ogni na­ the hopes and dreams of adventure, typical of an adolescent boy, to dalle famiglie senza il consenso zione, età e grado), il ragazzo so­ as well as a strong bond with Seville, his hometown. Murillo della giovane donna, che aveva al­ gnava il Nuovo Mondo. does not feel the call of art nevertheless he becomes a painter lora ventitré anni, perché al mo­ Anche se non era più la capi­ anyway. It is the public’s approval that convinces him to follow mento di presentare i documenti tale, Siviglia era ancora la città più this path. However, it’s also his talent that guides his profession: lei dichiarò di essere costretta alle fiorente e popolosa della Spagna, the vocation towards genre art emerges in his paintings of daily nozze e mandò tutto a monte. Poi, life. Taverns, pedlars, beggars and especially children are abitata da gente di ogni razza e forse impaurita dall’interrogatorio his creative source. The success he achieves brings him patrons frequentata da mercanti di ogni from the religious field. He expresses a successful blend of realism cui fu sottoposta, smentì e accettò nazione: si avviava al declino, co­ and devotion that take him to levels of sublime value. lo sposo. Nonostante l’esordio ca­ me il regno, che pur raggiungendo, In this way, painting is no longer only a means of expressing tastrofico, il loro fu un matrimonio all’epoca di Filippo IV, la massima oneself but becomes a spiritual mission, alongside the last, fecondo, se non addirittura felice. estensione territoriale era già mi­ for the last. His most famous painting and the genuinely inspired, Beatriz gli diede rapidamente nove nato dalla crisi, ma era sempre il The Immaculate Conception, after being passed in a turmoil figli: la prima, Ana Maria, nacque principale porto interno e ogni gior­ from hand to hand around Europe, finally returns to Madrid. nel 1646, l’ultimo, Gaspar Este­ ARTE E ARTISTI 69 ©2018. Foto Scala, Firenze ©2018. Album/Scala, Firenze ban, nel 1661. E quando Beatriz Sopra a sinistra: conventi. Murillo lasciò talmente accattoni. Li acquistavano nobili, morì, nel 1663, Murillo ne fu deso­ Giovane tante opere alla sua città che col borghesi e artigiani, per le proprie lato al punto da sognare di nuovo mendicante, 1645 tempo ne divenne l’orgoglio. «Per case. Adornavano soprattutto le le Americhe. Una delle sue sorelle ca., olio su tela, gli spagnoli – scrisse De Amicis – cucine. Forse avevano un significa­ Museo del Louvre, c’era andata davvero e si era sta­ Parigi. A destra: Murillo è un santo. Pronunciano il to morale – o forse no. Murillo si bilita a Santo Domingo. Voleva Ragazza con fiori, suo nome con un sorriso, come specializzò in ragazzini di strada. raggiungerla. Ma ormai era tardi. 1665-70 ca., olio dicessero, ci appartiene». Pareva Dal Pidocchioso alla Piccola frutti- E non perché aveva già qua­ su tela, Dulwich indissolubilmente legato a Siviglia, vendola, dai Bambini che mangiano rantacinque anni ed era padre di Picture Gallery, come Tintoretto era stato legato a melone e uva fino al perturbante quattro figli ancora piccoli (gli altri Londra. Venezia. Siviglia, sua patria, dove­ Quattro figure sulla scala, ne avreb­ erano morti prematuramente). Si­ va restare il suo unico museo. be dipinti centinaia, fino a meritar­ viglia lo aveva fatto prigioniero con Above left: Eppure, non era stato facile. si l’epiteto di “pittore di bambini”. la catena più forte che possa lega­ Young beggar, Murillo non fu un pittore precoce. I Procurarsi i modelli era sem­ re un uomo: il consenso. Il ricono­ 1645 approx., oil suoi primi quadri, tecnicamente plice. Poteva usare i suoi figli. Si on canvas, Louvre scimento unanime dell’eccellenza Museum, Paris. impacciati, sordi nel colore, inge­ pensa possano essere Gabriel e nella sua professione, che per un Right: Girl with nui nella composizione, non face­ Gaspar Esteban, insieme al figlio artista non è separabile dalla sua flowers, 1665-70 vano sospettare una forte perso­ nero della sua schiava Juana de identità, ma la costituisce. E la sua approx., oil on nalità, che potesse mai imporre un Santiago, i bambini de Il povero pittura a Siviglia aveva trovato non canvas, Dulwich proprio stile. Non ricevendo com­ negro, che forse divideranno con solo un mercato, ma uno scopo. Picture Gallery, missioni importanti dalle chiese l’intruso la torta, o forse gliela ne­ London. Nemmeno Madrid poteva ormai né dall’aristocrazia, si ricavò il pro­ gheranno, perché non basterebbe attirarlo: c’era stato, nel 1658; prio spazio nella pittura di genere, per tre. Oppure reclutarli sotto ca­ aveva potuto vedere la collezione meno reputata nella gerarchia ac­ sa. I monelli brulicavano davvero, del re e assorbire le novità della cademica, che esaltava invece la come i pidocchi tra i capelli dei pittura contemporanea (in partico­ pittura religiosa e storica. A Sivi­ pezzenti, nelle viuzze del barrio lare del concittadino Velázquez, glia, un po’ per influenza della pit­ santa Cruz, intorno alla cattedrale pittore di Filippo IV, le cui opere lo tura dei bamboccianti fiamminghi di Siviglia. Chiedevano l’elemosi­ influenzarono profondamente). Il caravaggeschi reduci da Roma, un na, vendevano fiori e frutta di sta­ soggiorno a Madrid lo maturò co­ po’ per i geniali esperimenti di gione, rubacchiavano, si prostitui­ me artista, ma non pensò mai di Velázquez, si era sviluppato un vano con l’aiuto di vecchie mezza­ restarci. Siviglia ricambiò la sua florido mercato di quadri che raffi­ ne: vestiti di stracci, coi calzoni fedeltà, offrendogli gli altari delle guravano la vita quotidiana: taver­ squarciati sul sedere, le scarpe proprie chiese e dei propri fastosi ne (bodegones), cibi, ambulanti, rotte o addirittura scalzi, famelici e 70 ARTE E ARTISTI però spensierati come Lazarillo de Tormès, Justina e gli altri picari protagonisti di romanzi e comme­ die di successo. La peste del 1649, che sterminò la popolazione di Siviglia, e poi la susseguente carestia, che infierì nel 1651, de­ cimarono i miserabili, ma ingrossa­ rono le fila degli orfani vagabondi. Murillo non era mai stato po­ vero e il suo lavoro ormai gli con­ sentiva un discreto tenore di vita. Aveva delle proprietà immobiliari, degli assistenti e perfino una cop­ pia di schiavi neri (Juana la liberò solo nel 1676), ma non era nem­ meno ricco, né dipingeva per dena­ ro. Nel 1645, la sua prima com­ missione importante, un ciclo di dipinti per il chiostro piccolo del convento dei francescani, la otten­ ne solo perché si offrì di realizzarlo per un bassissimo compenso. Nel telero La cucina degli angeli (1646) le stoviglie e gli attrezzi da cucina illuminati dal riverbero del fuoco – i calderoni in rame, il setaccio, i ©2018. Kimbell Art Museum, Fort Worth, Texas /Art Resource, NY/Scala, Firenze piatti – dimostrano quanto in pochi Sopra: Quattro figure sulla scala, 1655-60 ca., olio su tela, Kimbell spazio intermedio tra la città e la anni si fosse perfezionato nel me­ Art Museum, Fort Worth, Texas, Usa. Sotto: Bambini che mangiano campagna, ai margini della civiltà. stiere. In esso, per la prima volta, frutta e melone, 1646, olio su tela, Alte Pinakothek, Monaco. Forse in quei ragazzini soli al mon­ Murillo fondeva due generi diversi Above: Four figures on a step, 1655-60 approx., oil on canvas, Kimbell do, indipendenti, indifferenti al pro­ e opposti: i quadri di tema religioso Art Museum, Fort Worth, Texas, USA.
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