The main tour recommended by the museum is of the paintings by the Seville school and examples from other schools.
The main tour route depends on the building's structure, as the order of the rooms determines the chronological view of the exhibition.
The ground floor tour begins in Room I which contains the oldest objects on display, 15th-century painting and sculpture from Seville, and ends in Room V, the old convent church, currently dedicated to Murillo and the great masters preceding him in the first half of the 17th century.
The upper floor includes Rooms VI to XIV with works by Murillo and paintings from the first half of the 20th century.
On this floor, the following are worth special mention: Room VIII, dedicated to Valdés Leal, Hall IX, dedicated to the painting of the European schools, and Hall X, with outstanding examples of painting from another great master of the Seville school:
Francisco de Zurbarán.
The former Church of the Convento de la Merced (Convent of the Sisters of Mercy) displays the large altar canvasses by the most important painters in the Seville school of the 17th century. The school's development can be traced from the lingering traces of the Mannerist tradition in the Tránsito de San Hermenegildo (Passing of Saint Hermengild) by Uceda and Vázquez to the naturalist renewal which finally imposed itself.
Prominent among this generation are other painters such as Juan del Castillo, Murillo's master, Herrera the Elder and Zurbarán in the second third of the century.
In the apse of the room is the work by Murillo which confirms the evolution to full Baroque. The church is also of architectural value as it is an exceptional room in the museum and also contains mural paintings that Domingo Martínez produced to decorate it in the 18th century, based on commission to exalt the order of the Sisters of Mercy, the owners of the convent
Visitors already familiar with the collection should take a a themed tour of the great masters of the Seville Baroque period: Francisco de Zurbarán, Murillo and Valdés Leal.
Francisco de Zurbarán was the dominant artistic figure in Seville painting during the second third of the 17th century. His sobre and naturalistic style, saturated with intense spirituality, enjoyed extraordinary success and made him the favourite artist of the main religious orders.
Some of the works from his famed series on monasteries are exhibited, such as the paintings for the Dominican monasteries of San Pablo and Santo Domingo de Porta Coeli in Seville.
tanding out is the important series of the Carthusian monastery of Santa María de las Cuevas, in which the spiritual principles governing the life of the Carthusian monks are brilliantly interpreted.
This tour takes in Halls V to X.
Murillo's style dominated Seville painting during the second half of the 17th century and continued to leave its mark until well into the 18th century.
The set of paintings he produced for the Seville monastery of the Capuchins is one of his best works and the most important at the museum.
The visit becomes a unique experience, as Hall V, the old convent church, recreates the original context of this iconographic series, one of the most important in Baroque painting from Seville.
For a complete picture of Murillo's work, Hall VII needs to be seen. This room contains the paintings he produced for the monastery of San Agustín and other individual canvasses.
Valdés Leal was one of the most important and thought-provoking figures in Seville Baroque painting. His direct and energetic style in decidedly Baroque compositions, stands out because of its expressive force and creative originality.
Of the works on display, the series produced for Seville religious institutions are particularly interesting, including the set produced for the Monastery of San Agustín, the Monastery of San Jerónimo de Buenavista and the Professed House (monastery) of the Company of Jesus. This tour focuses on Hall VIII.