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Jusepe de Ribera St Sebastian Tended by the Holy Women oil painting


St Sebastian Tended by the Holy Women
Painting ID::  52678
Jusepe de Ribera
St Sebastian Tended by the Holy Women
1621 Oil on canvas, 180,3 x 231,6 cm

   
   
     

Jusepe de Ribera Marsyas flas oil painting


Marsyas flas
Painting ID::  53801
Jusepe de Ribera
Marsyas flas
mk234 183x234cm

   
   
     

Jusepe de Ribera The Holy family oil painting


The Holy family
Painting ID::  55733
Jusepe de Ribera
The Holy family
mk244 253x196cm 1639 Oil on canvas

   
   
     

Jusepe de Ribera St Albert oil painting


St Albert
Painting ID::  62305
Jusepe de Ribera
St Albert
230 x 170 mm British Museum, London Throughout his career, Ribera was an avid draftsman in pen and ink and in red chalk, and the chalk drawings in particular evince the approach of an artist trained in an Italian workshop. In this study of St Albert Ribera solves a problem of figure drawing with an ease that is rarely matched by Spanish painters of the period. The technique is Italianate as well: thin, closely spaced lines and soft shadows are used to delineate the body and musculature

   
   
     

Jusepe de Ribera hans atelje. oil painting


hans atelje.
Painting ID::  64718
Jusepe de Ribera
hans atelje.
sankt bartolomeus. 1644. olja pa duk se

   
   
     

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     Jusepe de Ribera
     1591-1652 Spanish Jusepe de Ribera Galleries Jusepe de Ribera (January 12, 1591 - 1652) was a Spanish Tenebrist painter and printmaker, also known as Jos?? de Ribera in Spanish and as Giuseppe Ribera in Italian. He was also called by his contemporaries and early writers Lo Spagnoletto, or "the Little Spaniard". Ribera was a leading painter of the Spanish school, although his mature work was all done in Italy. In his earlier style, founded sometimes on Caravaggio and sometimes on the wholly diverse method of Correggio, the study of Spanish and Venetian masters can be traced. Along with his massive and predominating shadows, he retained from first to last a great strength in local coloring. His forms, though ordinary and sometimes coarse, are correct; the impression of his works gloomy and startling. He delighted in subjects of horror. In the early 1630s his style changed away from strong contrasts of dark and light to a more diffused and golden lighting. Salvator Rosa and Luca Giordano were his most distinguished followers, who may have been his pupils; others were also Giovanni Do, Enrico Fiammingo, Michelangelo Fracanzani, and Aniello Falcone, who was the first considerable painter of battle-pieces. Among Ribera's principal works could be named "St Januarius Emerging from the Furnace" in the cathedral of Naples; the "Descent from the Cross" in the Certosa, Naples, the "Adoration of the Shepherds" (a late work, 1650), now in the Louvre; the "Martyrdom of St Bartholomew" in the Prado; and the "Pieta" in the sacristy of San Martino, Naples. His mythologic subjects are often as violent as his martyrdoms: for example, "Apollo and Marsyas", with versions in Brussels and Naples, or the "Tityus" in the Prado . The Prado and Louvre contain numbers of his paintings; the National Gallery, London, three. He executed several fine male portraits and a self-portrait. He was an important etcher, the most significant Spanish printmaker before Goya, producing about forty prints, nearly all in the 1620s.

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     | Lodewijk de Vadder | askevold | FOSCHI, Pier Francesco |


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