The Spanish Old Master was a pioneer in painting a pictorial narrative in sequence.
Bartolomé Esteban Murillo's "The Prodigal Son Feasting" is part of the Spanish painter's series from the 1660s that's on view at the Meadows Museum through June 12.For those of us in Dallas who crave a steady influx of Old Master painting in new and expertly researched exhibitions, look no further than the Meadows Museum.
The story has themes centering on immaturity and vice before giving way to the attainment of virtue and forgiveness. It lends itself to a pictorial narrative in sequence. Painting in series is something we’ve become used to, but in late 17th-century Europe, it would have been quite new. This is the first serial treatment of the parable in Spanish art.
Keep in mind that Murillo was a Baroque painter quite conscious of the demands made by his patrons, and the Catholic Church, within the political context of the Counter Reformation. Style and content that portrayed penitence and forgiveness — over wrath and suffering — with a toned-down iconography were the order of the day.
Spanish painting has always been about texture and dealing directly with the surface — painterly phrases as opposed to linear ones, an important distinction theorized by Heinrich Wölfflin in the 1920s.
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