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Jusepe de Ribera The Deposition (mk05) oil painting


The Deposition (mk05)
Painting ID::  20573
Jusepe de Ribera
The Deposition (mk05)
Canvas,50 x 71 1/2''(127 x 182 cm)Given to the Louvre by Napoleon II in 1868

   
   
     

Jusepe de Ribera The Adoration of the Shepherds (mk05) oil painting


The Adoration of the Shepherds (mk05)
Painting ID::  20576
Jusepe de Ribera
The Adoration of the Shepherds (mk05)
1650 Canvas,94 x 71 1/4''(239 x 181 cm)Given by the king of Naples,Ferdinand IV,to the French government in compensation for the Pictures removed from the Church of San Luigi in Rome by the Neapolitan troops,1802.Musee Napoleon INV

   
   
     

Jusepe de Ribera The Beggar Known as the Club-foot (mk05) oil painting


The Beggar Known as the Club-foot (mk05)
Painting ID::  20578
Jusepe de Ribera
The Beggar Known as the Club-foot (mk05)
1642 Canvas,64 1/2 x 37''(164 x 94 cm)The Paper that the child holds solicits alms Bequest of Dr Louis La Caze 1869

   
   
     

Jusepe de Ribera The Boy with the Clubfoot (mk08) oil painting


The Boy with the Clubfoot (mk08)
Painting ID::  21615
Jusepe de Ribera
The Boy with the Clubfoot (mk08)
1642 Oil on canvas 164x92cm Paris,Musee National du Louvre

   
   
     

Jusepe de Ribera Archimedes (mk08) oil painting


Archimedes (mk08)
Painting ID::  21617
Jusepe de Ribera
Archimedes (mk08)
1630 Oil on canvas 125x81cm Madrid,Museo del Pardo

   
   
     

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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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