Paper
Name Class Date

Bartolomé Esteban Murillo, Saint Peter in Tears, Museo de Bellas Artes de Bilbao. Public domain. See this canvas under a moving light: the drawing, the true colour under the varnish, the bare pigment

The facts

Artist
Bartolomé Esteban Murillo originaluniqueart.com/en/artists/bartolome-esteban-murillo/
Artist’s dates
1618 – 1682
Medium
Oil On Canvas
Movement
Baroque Dramatic, theatrical pictures using deep shadow and strong diagonals to pull you into the action.
Held at
Museo de Bellas Artes de Bilbao originaluniqueart.com/en/museums/museo-de-bellas-artes-de-bilbao-bilbao/
Artistic style
Realistic, emotive
Influences
Ribera, Zurbarán
Notable elements
Chiaroscuro, repentance
Subject or theme
Religious sorrow

In context

Saint Peter in Tears — Bartolomé Esteban Murillo

When might this have been painted?

  1. 1610
  2. 1620
  3. 1630
  4. 1640
  5. 1650
  6. 1660
  7. 1670
  8. 1680

Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 64 at death.

Shaded: the lifetime of Bartolomé Esteban Murillo (1618–1682) every dated painting, decade by decade

First works: up to 1655 Main working years: 1655–1670 Late works: from 1670

Those three bands split the works this catalogue has a date for into a first quarter, a middle half and a last quarter. They are not the artist’s complete output: a thin stretch may be a gap in the record rather than a quiet spell. The same years with the artist’s life laid along them

This record has no exact year on file — using the artist's lifetime and the work's style, what decade would you guess?

Compare with

Pick one work above: name two things it shares with this one, and one thing that's different.

More works to set beside this one: originaluniqueart.com/en/art/similar/bartolome-esteban-murillo-saint-peter-in-tears-D4JJPM-en/

Colours

Measured from the image

    Main colour

    Black #0f0c0c

    Catalogued palette

    • #0F0C0C
    • #886522
    • #B99252
    • #3A341C

    These colours inside the artist’s whole palette Find other paintings by colour

    Palette
    Earthy The dominant colour family in the image.
    Main colour name
    Black
    Intensity
    Monochromatic How saturated and varied the colours are, from a single toned-down hue to many bright ones.
    Contrast
    Gentle How much the colours differ in lightness and saturation across the picture.
    Harmony
    Strong Color Unity How well the colours work together, from clashing to fully unified.
    Brightness
    Deep_shadow How light or dark the picture reads overall, from deep shadow to bright highlight.
    Saturation
    Muted How pure and strong the colours are, from near-grey to fully vivid.

    Where in the world is this painting looked at?

    • under 1%
    • 1–3%
    • 3–8%
    • 8–20%
    • 20% and over
    This painting alone has too few recorded visitors to map, so the plate reads every work by Bartolomé Esteban Murillo over the last twelve months — 28 countries in all. Where these figures come from

    The ten leading countries

    1. 1 China 53.5%15,400 visits
    2. 2 United States of America 10.4%3,000 visits
    3. 3 Spain 8.0%2,300 visits
    4. 4 Romania 5.9%1,700 visits
    5. 5 Hong Kong 3.5%1,000 visits
    6. 6 Singapore 2.8%800 visits
    7. 7 Brazil 1.7%500 visits
    8. 8 France 1.7%500 visits
    9. 9 Mexico 1.7%500 visits
    10. 10 Germany 1.4%400 visits
    11. · 18 other countries 9.4%2,700 visits

    Find the three darkest countries on the map. Is the museum that keeps this painting in any of them? Write down one reason people far away might look at it.

    The 20 most looked-at works by Bartolomé Esteban Murillo

    1. 1 Immaculate Conception of Soult, 1678 5.7%2,100 visits
    2. 2 the immaculate conception 4.9%1,800 visits
    3. 3 The Assumption of the Virgin, 1670 3.3%1,200 visits
    4. 4 Return of the Prodigal Son, 1670 2.2%800 visits
    5. 5 Two Women at a Window, 1660 1.9%700 visits
    6. 6 The Baptism of Christ, 1655 1.9%700 visits
    7. 7 Four Figures on a Step, 1655 1.6%600 visits
    8. 8 Liberation of St. Peter, 1667 1.6%600 visits
    9. 9 The Virgin and Child with St. Rosalina, 1670 1.6%600 visits
    10. 10 Baptism of Christ, 1665 1.6%600 visits
    11. 11 The last supper 1.6%600 visits
    12. 12 Mary and Child with Angels Playing Music, 1675 1.6%600 visits
    13. 13 St. Augustine with the Virgin and Child 1.6%600 visits
    14. 14 The Immaculate Conception of the Virgin 1.4%500 visits
    15. 15 La Virgen presentando el rosario a Santo Domingo 1.4%500 visits
    16. 16 Immaculate Conception, 1680 1.1%400 visits
    17. 17 Virgin and Child in Glory, 1673 1.1%400 visits
    18. 18 The Annunciation, 1680 1.1%400 visits
    19. 19 St. John the Baptist as a Child, 1665 1.1%400 visits
    20. — Saint Peter in Tears this painting 0.0%0 visits

    Together these works take 38.3% of all the attention this artist's paintings received over the last twelve months. The catalogue holds 373 works by this artist, of which 149 were looked at at least once. This painting has not been looked at yet in that time — it closes the list without a rank. The same counts, month by month

    Bars measure attention, not quality. Pick the work at the top and this one: name one thing that might make a painting famous beyond how well it is painted.

    About this artwork

    Saint Peter in Tears — Bartolomé Esteban Murillo

    The Heart of Sorrow – Bartolomé Esteban Murillo’s Saint Peter

    Bartolomé Esteban Murillo's “Saint Peter in Tears” isn’t merely a depiction of a biblical scene; it’s a profound exploration of remorse, humility, and the enduring power of repentance. Painted around 1650-1655 during Seville’s golden age of Baroque art, this oil on canvas work transcends its religious subject matter to resonate with universal human emotions. Murillo, a master of capturing the essence of everyday life alongside profound spiritual themes, here presents us with an elderly figure – traditionally identified as Saint Peter – consumed by grief and regret. The painting immediately draws the viewer in with its masterful use of chiaroscuro, a dramatic technique employing stark contrasts between light and shadow that sculpts the subject’s face and hands, emphasizing his vulnerability and drawing our attention to the palpable sorrow etched upon his features.

    Composition: The figure is positioned slightly off-center, creating an intimate and deeply personal connection with the viewer. The simplicity of the background – a dark, undefined space – serves only to heighten the drama surrounding Peter’s emotional state.

    Color Palette: Murillo employs a predominantly dark palette of deep blues, greens, and browns, punctuated by warm yellows and golds that highlight key elements like Peter's hands clasped in prayer and the subtle glow of his face. This restrained use of color amplifies the painting’s somber mood.

    Brushwork: Noticeable brushstrokes contribute to a sense of texture and weight, particularly in the folds of Peter’s robe and beard – details that speak to Murillo's meticulous attention to realism and his ability to convey both physical presence and emotional depth.

    A Testament to Penance: Historical Context

    To understand “Saint Peter in Tears,” we must consider the religious climate of 17th-century Spain, a period dominated by the Counter-Reformation. The Catholic Church was actively seeking ways to combat the spread of Protestantism and reaffirm its authority. The episode depicted – Peter’s denial of Christ three times before the rooster crowed – became a potent symbol of human fallibility and the necessity of repentance. Murillo, deeply embedded in this cultural context, skillfully utilized this narrative to convey a powerful message about faith, forgiveness, and the importance of seeking redemption. The painting reflects the prevailing theological emphasis on confession and the sacrament of penance, which were central to Catholic practice at the time.

    The image of Peter’s tears was particularly resonant during this era, serving as a visual reminder of the potential for even the most revered figures to succumb to human weakness. It underscored the Church's teachings on humility and the ongoing struggle against sin.

    Symbolism: Keys, Books, and the Weight of Repentance

    Beyond the central figure’s grief, “Saint Peter in Tears” is rich with symbolic elements. The keys he holds represent his authority as the first Pope and his role as gatekeeper to heaven – a potent reminder of the responsibilities associated with leadership and faith. The open book symbolizes his role as an apostle and author of two epistles within the New Testament, underscoring his importance in spreading Christ’s teachings. Most significantly, Peter's clasped hands, positioned prominently in the foreground, are a clear visual representation of humility and supplication – a gesture of profound remorse and a plea for divine mercy. The very posture of his body conveys the weight of his past sins and the burden of seeking forgiveness.

    The Legacy of Murillo: A Master of Emotion

    Bartolomé Esteban Murillo’s “Saint Peter in Tears” stands as a testament to his extraordinary talent for capturing human emotion with remarkable realism and sensitivity. His ability to imbue religious subjects with profound psychological depth, combined with his masterful technical skills, cemented his place as one of the most celebrated artists of the Spanish Baroque period. Reproductions of this powerful work continue to resonate with viewers today, offering a timeless meditation on faith, repentance, and the enduring human capacity for both sorrow and redemption. It’s a painting that invites contemplation, prompting us to reflect on our own struggles and the importance of seeking forgiveness – a truly remarkable achievement in art.

    Artist and museum

    Artist

    Bartolomé Esteban Murillo

    Born in Seville, Spain

    A Life Bathed in Andalusian Light

    Bartolomé Esteban Murillo, a name synonymous with the golden age of Spanish Baroque painting, emerged from the vibrant heart of Seville in 1618. His life, though marked by personal tragedy and societal shifts, blossomed into an artistic career that captured the spirit of his time—a period of religious fervor, social change, and burgeoning artistic innovation. Born to Gaspar Esteban, a barber-surgeon, and María Pérez Murillo, within a large family of fourteen children, young Bartolomé experienced early loss with the passing of both parents in quick succession during his childhood. This hardship led him into the guardianship of his sister’s husband, Juan Agustín Lagares, a pivotal figure who would indirectly guide his artistic path. Murillo's initial training began under Juan del Castillo, a local artist and relative through his mother, laying the foundation for a style that would eventually become uniquely his own. The early years were steeped in the realist traditions prevalent in Seville, absorbing influences from masters like Zurbarán, Ribera, and Cano—artists who prioritized stark realism and dramatic intensity. However, Murillo’s genius lay not in mere imitation but in transforming these foundations into something softer, more luminous, and profoundly human.

    From Realism to Radiant Grace

    Murillo's artistic journey wasn’t a sudden leap to fame but rather an evolution marked by distinct phases. His early works, heavily influenced by the austere realism of his contemporaries, showcased a meticulous attention to detail and a somber palette. Young Man with a Basket of Fruit (Personification of Summer), created around 1640-50, exemplifies this period—a grounded depiction of everyday life rendered with remarkable precision. Yet, even in these early pieces, hints of the tenderness and emotional depth that would define his mature style began to emerge. The Young Beggar, painted circa 1645, demonstrates a growing sensitivity towards human suffering, echoing the influence of Velázquez’s masterful portrayals of everyday people. As Murillo matured, his style underwent a remarkable transformation. He moved away from the stark realism of his predecessors, embracing a more polished and refined aesthetic that resonated with the tastes of Seville's burgeoning bourgeois and aristocratic classes. This shift was particularly evident in his religious works, where he infused traditional iconography with an unprecedented sense of warmth, grace, and emotional accessibility. St. Jerome, painted between 1650-52, stands as a testament to this mature style—a softly luminous depiction that radiates serenity and devotion.

    A Master of Religious Sentiment and Genre Scenes

    Murillo’s artistic output was remarkably diverse, encompassing religious paintings, genre scenes, portraits, and mythological subjects. However, he is most celebrated for his depictions of the Immaculate Conception—a subject that captivated him throughout his career and resulted in numerous variations, each imbued with a unique sense of ethereal beauty. These works, characterized by their delicate brushwork, luminous colors, and graceful compositions, became immensely popular and established Murillo as the preeminent painter of religious imagery in Spain. Beyond his sacred subjects, Murillo also excelled at capturing the everyday lives of ordinary people. His genre scenes—depictions of flower girls, street urchins, and beggars—offer a poignant glimpse into the social realities of 17th-century Seville. These paintings are not merely observational studies; they are imbued with a deep sense of empathy and compassion, elevating the humble subjects to a level of dignity and grace. He possessed an extraordinary ability to capture the innocence of childhood, portraying young children with remarkable realism and tenderness.

    Legacy and Enduring Influence

    Bartolomé Esteban Murillo’s impact on the course of Spanish art—and indeed, European painting—is undeniable. He established a distinctive style that blended religious devotion with humanistic sentiment, creating works that resonated deeply with audiences across social strata. His influence extended far beyond his native Spain, inspiring generations of artists throughout Europe. Gainsborough and Greuze, among others, acknowledged their debt to Murillo’s luminous style and sensitive portrayals of human emotion. He trained numerous pupils in his Seville workshop, ensuring the continuation of his artistic legacy. His paintings can be found in prestigious museums worldwide, including the Museo del Prado in Madrid, the Hermitage Museum in Saint Petersburg, the Wallace Collection in London, and the Timken Museum of Art in San Diego—testaments to his enduring appeal and historical significance. Murillo’s art continues to captivate viewers with its beauty, grace, and profound humanity, solidifying his place as one of the most beloved and influential painters of the Spanish Baroque period. His ability to infuse religious imagery with emotional depth and portray everyday life with empathy ensures that his work remains relevant and inspiring centuries after his death in 1682.

    Museum

    Museo de Bellas Artes de Bilbao

    On show in Bilbao, Spain

    A Sanctuary of Basque and European Art

    Nestled within the verdant embrace of Doña Casilda Iturrizar Park in Bilbao, Spain, stands a cultural beacon known as the Museo de Bellas Artes de Bilbao. More than just a repository of artistic treasures, it is a profound journey through centuries of creative expression and a vital cornerstone of Basque identity. Established in 1908 from the merging of two pioneering collections, the museum has blossomed into the second most visited art institution in the Basque Country. While it is often compared to the iconic Guggenheim Museum nearby, the Bilbao Fine Arts Museum possesses a distinct character all its invention—one deeply rooted in local tradition and a remarkable collaborative spirit that breathes life into its halls.

    The museum’s architectural narrative is as compelling as the art it houses, offering a seamless dialogue between historical grandeur and modern functionality. Originally conceived in a stately neoclassical style, the building first opened its breathtaking doors in 1945, exuding an air of timeless elegance. As the collection grew, so did the structure; significant expansions undertaken in 1970 and 2001 integrated contemporary design with the original masonry, creating a harmonious space that feels both imposing and inviting. Walking through these galleries, one experiences a deliberate flow of movement where the careful use of light enhances every brushstroke, providing moments of quiet contemplation amidst the vibrant displays of human achievement.

    A Tapestry of Eras and Masters

    A panoramic journey through artistic eras awaits every visitor, as the collection boasts an extraordinary diversity that spans from medieval artistry to the cutting edge of contemporary expression. For those captivated by the Old Masters, the museum offers a remarkable selection including the intensely spiritual and dramatically lit compositions of

    El Greco

    , alongside the meticulous realism of

    Cranach

    and the poignant portraits of

    Sofonisba Anguissola

    . The halls continue to tell stories through the evocative scenes of

    Murillo, Goya, and Van Dyck

    , eventually transitioning into the dramatic canvases of

    Gustave Doré

    and the sun-drenched landscapes of

    Sorolla

    . This rich tapestry even extends to modern provocateurs such as

    James Ensor, Francis Bacon, and Richard Serra

    , ensuring that the museum remains a dynamic stage for both historical reverence and avant-garde exploration.

    What truly distinguishes the Museo de Bellas Artes de Bilbao is its unique history of collaboration between civil society, local artists, and public institutions. This collective spirit has been instrumental in assembling a collection that reflects not only artistic excellence but also the cultural values of the Basque Autonomous Community. A significant portion of the permanent collection is dedicated to Basque artists, offering a unique lens through which to understand regional identity. Beyond its walls, the museum acts as an active participant in cultural preservation and education, fostering dialogue through regular exhibitions and community outreach. It stands as a testament to the belief that art has the power to transform individuals and communities alike, honoring the weight of the past while fearlessly embracing the future.

    Where to read more

    Find this online

    QR code linking to the download page for Saint Peter in Tears

    originaluniqueart.com/en/art/download/bartolome-esteban-murillo-saint-peter-in-tears-D4JJPM-en/

    Cite this artwork

    MLA
    Murillo, Bartolomé Esteban. Saint Peter in Tears. n.d., Museo de Bellas Artes de Bilbao. https://originaluniqueart.com/en/art/bartolome-esteban-murillo-saint-peter-in-tears-D4JJPM-en/
    APA
    Murillo, Bartolomé Esteban (n.d.). Saint Peter in Tears [Painting]. Museo de Bellas Artes de Bilbao. https://originaluniqueart.com/en/art/bartolome-esteban-murillo-saint-peter-in-tears-D4JJPM-en/
    Chicago
    Bartolomé Esteban Murillo. Saint Peter in Tears. n.d. Museo de Bellas Artes de Bilbao. https://originaluniqueart.com/en/art/bartolome-esteban-murillo-saint-peter-in-tears-D4JJPM-en/
    Harvard
    Murillo, Bartolomé Esteban (n.d.) Saint Peter in Tears. Museo de Bellas Artes de Bilbao. Available at: https://originaluniqueart.com/en/art/bartolome-esteban-murillo-saint-peter-in-tears-D4JJPM-en/

    Look closely

    Saint Peter in Tears — Bartolomé Esteban Murillo

    Look closely

    Answer in your own words. There are no wrong answers here — only answers you can explain.

    1. What catches your eye first, and why?
    2. Which colours or shapes create the mood — and what is that mood?
    3. How many faces can you find? ____ (our catalogue counts 1 — do you agree?)
    4. Our catalogue files this work under: religious art, baroque painting, saint peter. Do you agree? What would you add, or take away?
    5. Look back at Return of the Prodigal Son (1670), earlier in this guide. Name two things it shares with this work, and one that is different.

    Your response

    Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.

    Art quiz

    Saint Peter in Tears — Bartolomé Esteban Murillo

    How well do you know this artwork?

    Tick one answer for each of the 5 questions below. Each has exactly one correct answer.

    1. 1. What is the primary artistic style of Bartolomé Esteban Murillo’s ‘Saint Peter in Tears’?

      • A Renaissance
      • B Baroque
      • C Rococo
    2. 2. The painting prominently features what artistic technique, creating a dramatic effect?

      • A Sfumato
      • B Chiaroscuro
      • C Impasto
    3. 3. According to the description, what is Saint Peter depicted doing in the painting?

      • A Preaching a sermon
      • B Weeping and reflecting on his sins
      • C Receiving Holy Communion
    4. 4. Which of the following best describes the historical context surrounding this painting?

      • A The rise of Protestantism in Spain
      • B The Counter-Reformation and its emphasis on religious emotion
      • C The Spanish Golden Age of exploration
    5. 5. What is the significance of the key depicted alongside Saint Peter?

      • A It represents his earthly possessions.
      • B It symbolizes his authority as Pope and the opening of Heaven.
      • C It signifies his connection to the Virgin Mary.

    My score: ____ out of 5

    Answer key — for the teacher

    This starts a fresh printed page, so it can simply be left out of the copies.

    1A · 2B · 3B · 4B · 5B

    Check any answer against the catalogue record for this painting

    Questions & Answers

    How do contrast and harmony combine in "Saint Peter in Tears"?

    The color composition of "Saint Peter in Tears" by Bartolomé Esteban Murillo combines a gentle contrast with a strong color unity harmony.

    How is the mood of "Saint Peter in Tears" by Bartolomé Esteban Murillo described?

    The overall mood of "Saint Peter in Tears" by Bartolomé Esteban Murillo is dramatic. The mood describes the general atmosphere of the work.

    How does "Saint Peter in Tears" by Bartolomé Esteban Murillo connect Baroque to the artist's home country?

    "Saint Peter in Tears" connects the Baroque movement with Spain through its creator's birthplace.