Oil On Canvas, Real Flavor of Old Masters

All RIBALTA, Francisco 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
Adoration of the Shepherds, RIBALTA, Francisco
 Adoration of the Shepherds   15 x 29,5 cm Museo de Bellas Artes, Bilbao This small painting was painted on a copper plate used for engraving, the back side of the plate shows an engraving of the Sermon of St Luis Beltr?n. The attribution to Juan Ribalta is debated, Francisco Ribalta and Pedro Orrente are also mentioned in the literature as possible author
Christ Embracing St Bernard xfgh, RIBALTA, Francisco
 Christ Embracing St Bernard xfgh   Oil on canvas, 158 x 133 cm Museo del Prado, Madrid
Christ Embracing St.Bernard, RIBALTA, Francisco
 Christ Embracing St.Bernard   mk61 Oil on canvas 158x113cm
Christ Embracing St.Bernard, RIBALTA, Francisco
 Christ Embracing St.Bernard   mk84 1625-27 Madrid Prado,canvas 158x113cm
christ embracing st.bernard, RIBALTA, Francisco
 christ embracing st.bernard   mk247 1625 to 27,oil on canvas,62.25x44.5 in,158x113 cm,museo del prado ,madrid,spain
Christ Nailed to the Cross, RIBALTA, Francisco
 Christ Nailed to the Cross   mk65 1582 Oil on canvas 57x41"
St Francis Comforted by an Angel, RIBALTA, Francisco
 St Francis Comforted by an Angel   Oil on canvas, 204 x 158 cm Museo del Prado, Madrid
St.Vincent in a Dungeon, RIBALTA, Francisco
 St.Vincent in a Dungeon   mk65 Oil on canvas 104x70"

RIBALTA, Francisco
Spanish Baroque Era Painter, ca.1565-1628 He was the most distinguished artist working in Valencia in the early 17th century. His move towards naturalism at an early date was significant for the history of Spanish painting as well as being very influential. His documented mature works after about 1620 show a change of vision, and they are also of the highest quality. The religious paintings are depicted with more pronounced realism, and his deeply felt spiritual belief is expressed in a direct and very immediate way. In 1607 Ribalta supported other leading Valencian painters in a move to form the Colegio de Pintores (College of Painters) to safeguard the interests of the profession. The expulsion of the Moriscos in 1609 and the death in 1611 of the Patriarch Archbishop Juan de Ribera, Ribalta's most important patron, led to an economic crisis and spiritual void in Valencia that had an effect on his activity, since thereafter commissions came more rarely, and his work became more introspective. During 1616 and 1617 the idea of forming the Colegio de Pintores was revived, and Ribalta took an active role in the management and signed the petition to Philip III seeking support for the Colegio.

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