Museo Bellas Artes de Sevilla. printer version


The Immaculate Conception (La Colosal). The picture illistrates the Collection's  section
The Immaculate Conception (La Colosal)

The Museum of Fine Arts Sevilla was established thanks to the confiscation measures taken under the 1836 laws, gathering together a selection of the contents in convents and other Sevillian ecclesiastical properties.

Since the first decades of the 20th century, there has been considerable growth in both quantity and variety in the museum collection. Some Sevillian scholars, as occurred in the rest of Europe and North America, developed an encyclopaedic collection which, thanks to the donations of these items, will prove to be the origin of significant development in the museums during the first decades of the century. In Spain, during these years, we witnessed the creation of the Cerralbo Museum and the Lázaro Galdiano Museum, among others. Similarly, in Seville, notable collections were donated by prominent local figures to the Museum, thus providing the museum with a diverse collection. In particular  the donations by Rafael González Abreu (1928), José Gestoso (1931) and, a few years later, Andrés Parladé (1945) are worth special mention. These collections all contain works by painters and sculptors with diverse themes, in addition to bladed weapons and firearms, ancient ceramics, fabrics, etc. These donations led to a new museographic concept, which was varied and scenographic- a house and a museum, where there is a room dedicated to each donor.

During the 1970s, as occurred in the rest of Spain, a new type of museographic concept was introduced to the museum, aiming at reducing the contents and giving greater order to the presentation of the permanent collection, in an attempt to move with the times. The quantity of pieces was not the most important factor; above all the meaning of each piece within the exhibition was more important.

Over the last fifteen years,&nbso; since the museum has been run by the Autonomous government, a total of fifty-seven objects, including paintings and sculptures, some ceramics and furniture, and a single piece of goldsmiths? ware, have been added to the collections, which has implied an important episode in the history of the museum in terms of an increase in the collections. An increase in the collection incorporates not only the purchase, but also the storage, donation and transfer of works for the payment of taxes.

The increase in the collection is mainly due to the purchase of objects by the Junta de Andalucía over recent years. In total, to be precise, the Junta de Andalucía has purchased and incorporated thirty-four works in the museum. Donations by individuals make up another important set of works. Of these, those made by descendants of artists from the Sevillian school in the early 20th century stand out. Examples include the donations of paintings by the heirs of Javier de Winthuysen, Eugenio Hermoso,  Diego López and Félix Lacárcel. In addition, portraits by the painters, Miguel Ángel del Pino, López-Quintana, Jiménez Alpériz have also been donated and, the most recent, a large format painting, entitled Sin Pan by González Santos, donated by one of his descendants. Incorporations which have notably contributed to an increase in the number of works by local painters from the beginning of the 20th century, completing an important stage in the Sevillian school.