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St Sebastian Tended by the Holy Women
new19/Jusepe de Ribera-734587.jpg
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St_Sebastian_Tended_by_the_Holy_Women
1621 Oil on canvas, 180,3 x 231,6 cm
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Marsyas flas
new19/Jusepe de Ribera-694868.jpg
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Marsyas_flas
mk234
183x234cm
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The Holy family
new20/Jusepe de Ribera-976637.jpg
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The_Holy_family
mk244
253x196cm
1639
Oil on canvas
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St Albert
new21/Jusepe de Ribera-979396.jpg
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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
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hans atelje.
new22/Jusepe de Ribera-565282.jpg
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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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