The former Convent of Merced Calzada dates from the early 1600s, but since 1841 it has been open to the public as the Museo de Bellas Artes.
The fine arts museum originally preserved and showcased works from closed convents and monasteries around Seville. The collection has grown through the years and includes works by some of the most famous painters associated with the city – Murillo, Zurbaran and Leal.
“San Miguel Arcangel,” Juan Hispalense, 1480
detail of “Juico Final,” Martin de Vos, 1570
detail of “Baile en la Taberna,” Manuel Rodriguez de Guzman, 1854
“San Juan Evangelista ante Portam Latinum,” Juan Martinez Montanes, 1638
detail of “Santa Ana ensenando a leer a la Virgen,” Juan de Roelas, 1615
“La Virgen de las Cuevas,” Francisco de Zurbaran, 1655
detail of retablo from el Convento de San Agustin, Martin de Vos, 1570
“San Jeronimo Penitente,” Pietro Torrigiano, 1525
detail of “San Miguel Arcangel,” Juan Hispalense, 1480
detail of retablo from el Convento de San Agustin, Martin de Vos, 1570
Bellas Artes
detail of “Juico Final,” Martin de Vos, 1570
“Carro del Parnaso,” Domingo Martinez, 1748
“Carro de la Comun Alegria,” Domingo Martinez, 1748
detail of “Juico Final,” Martin de Vos, 1570
“La Muerte del Maestro,” Jose Villegas Cordero, 1913
detail of “La Santera,” Manuel Gonzalez Santos, 1930
detail of “La Muerte del Maestro,” Jose Villegas Cordero, 1913
“Virgin con el Nino,” Francisco Niculoso el Pisano, circa 1500
“Santas Justa y Rufina,” altar, Hernando de Valladares, circa 1620
detail of “Juico Final,” Martin de Vos, 1570
Not uncharacteristically, I often found myself distracted by the tilework and the devils in the details.
As we were headed into the season of Semana Santa processions, the paintings of enormous horse-drawn floats from 18th-century Seville proved of particular interest. Although these bacchanalian-themed floats appear to be more closely associated with rowdy pre-Lenten Carnaval celebrations.
Postcards from Barton Springs 