Francisco de Herrera the Elder was born in Seville around 1590 and died in Madrid around 1654. Painter, designer and engraver, he belongs to the generation which made the Sevillian school abandon the rigid formulas of mannerism for a more direct naturalism. His family practices illumination and engraving; this context explains the solidity of the outline in its beginnings. The exact relationship with Francisco Pacheco remains debated, but Herrera knows perfectly the scholarly and religious culture of the Sevillian workshops. The exact relationship with Francisco Pacheco remains debated, but Herrera knows perfectly the scholarly and religious culture of the Sevillian workshops. The example of Juan de Roelas remains debated, but Herrera knows perfectly the scholarly and religious culture of the Sevillian workshops. The example of Juan de Roelas gives it a freer touch, Venetian chords and a new sense of crowds. Herrera receives important commissions for convents, brotherhoods and churches. The cycle of San Buenaventura, executed in the 1620s, constitutes a peak of his career. Saint Bonaventure receiving the habit from the hands of Saint Francis combines a clearly ordered ceremony with observed faces, heavy fabrics and vibrant material. The Apotheosis of Saint Herménégild shows its monumental ambition, while the Blind Hurdy-gurdy Player reveals his interest in popular types and the dignity of everyday life. His isolated saints, like Jerome or Simon, are constructed by direct lighting, firm anatomy and gestures without artificial elegance. His isolated saints, like Jerome or Simon, are constructed by direct lighting, firm anatomy and gestures without artificial elegance. His isolated saints, like Jerome or Simon, are constructed by direct lighting, firm anatomy and gestures without artificial elegance. His isolated saints, like Jerome or Simon, are constructed by direct lighting, firm anatomy and gestures without artificial elegance. His isolated saints, like Jerome or Simon, are constructed by direct lighting, firm anatomy and gestures without artificial elegance. His isolated saints, like Jerome or Simon, are constructed by direct lighting, firm anatomy and gestures without artificial elegance. His isolated saints, like Jerome or Simon, are constructed by direct lighting, firm anatomy and gestures without artificial the body and anticipates the freedom of several Baroque masters. Herrera runs an important workshop and passes the trade on to his son Francisco, known as the Younger. The works of the two painters have sometimes been mixed, but their styles differ: the father favors weight, naturalism and an earth brush; the son adopts a more airy and spectacular setting after Italy. Installed in Madrid at the end of his life, Herrera the Old remains a pivotal figure of the Spanish golden age. Installed in Madrid at the end of his life, Herrera the Old remains a pivotal figure of the Spanish golden age. Installed in Madrid at the end of his life, Herrera the Old remains a pivotal figure of the Spanish golden age. The selection "Francisco de Herrera the Old" notably compares Saint Bonaventure receives the habit and The Apotheosis of Saint Herménégild. His reading favors figures.
In Herrera the Old, the miracle never erases matter: homespun, skin, stone and fatigue give the sacred the convincing weight of the real world.
