The Adoration of the Shepherds (mk05)
new6/Jusepe de Ribera-589232.jpg
INCHES
CM
High Quality
Museum Quality
16x20
40x50
$89
$99
20x24
50x60
$109
$119
24x36
60x90
$139
$159
30x40
75x100
$169
$199
36x48
90x120
$249
$249
48x72
120x180
$459
469
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
The Beggar Known as the Club-foot (mk05)
new6/Jusepe de Ribera-748289.jpg
INCHES
CM
High Quality
Museum Quality
16x20
40x50
$65
$69
20x24
50x60
$85
$89
24x36
60x90
$129
$139
30x40
75x100
$139
$149
36x48
90x120
$209
$209
48x72
120x180
$389
399
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 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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