Jusepe de Ribera [1]

Nationality : Spanish, 1591-1652

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  • Title : Allegory of Touch
  • Info : 1613 Oil on canvas Norton Simon Foundation, Pasadena

Oil Painting ID: 28968


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  • Title : Allegory of Sight
  • Info : 1613 Oil on canvas Museo Franz Mayer, Mexico City

Oil Painting ID: 28969


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  • Title : Allegory of Smell
  • Info : 1613 Oil on canvas Abello Collection, Madrid

Oil Painting ID: 28970


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  • Title : Allegory of Taste
  • Info : 1613 Oil on canvas Wadsworth Atheneum, Hartford, CT

Oil Painting ID: 28971


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  • Title : Matthew with the Angel
  • Info : Matthew with the Angel 1613 Oil on canvas

Oil Painting ID: 28972


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  • Title : Calvary
  • Info : 1616-18 Oil on canvas Patronato de Art, Osuna

Oil Painting ID: 28973


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  • Title : Bartholomew
  • Info : 1616-18 Oil on canvas Patronato de Art, Osuna

Oil Painting ID: 28974


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  • Title : St. Sebastian
  • Info : St. Sebastian 1616-18 Oil on canvas

Oil Painting ID: 28975


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  • Title : The Madonna with the Christ Child and Saint Bruno
  • Info : The Madonna with the Christ Child & Saint Bruno 1624 Oil on canvas Schlossmuseum, Kunstsammlung zu Weimar

Oil Painting ID: 28976


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  • Title : St. Jerome and the Angel of the Last Judgement
  • Info : 1626 Oil on canvas Museo di Capodimonte, Naples

Oil Painting ID: 28977


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Ribera, Jusepe de
Jusepe also spelled Josef, or Giuseppe, byname Lo Spagnoletto (Italian for the little Spaniard) (baptized Feb. 17, 1591, Sept. 2, 1652, Naples), Spanish painter and printmaker, noted for his Baroque dramatic realism and his depictions of religious and mythological subjects. He was born in Spain but spent most of his life in Italy. Little is known of his life in Spain, though he is said by the painter and biographer Antonio Palomino to have received his first training there under Francisco Ribalta. It is not known when he went to Italy, but there is evidence that as a young man he worked in Parma and Rome. In 1616 he married in Naples, then under Spanish rule, where he remained the rest of his life. In 1626 he signed as a member of the Roman Academy of St. Luke and in 1631 as a knight of the Papal Order of Christ, although he always retained his Spanish identity. The whole of Ribera's surviving work appears to belong to the period after he settled in Naples. His large production comprises mainly religious compositions, along with a number of classical and genre subjects and a few portraits. He did much work for the Spanish viceroys, by whom many of his paintings were sent to Spain. He was also employed bythe Roman Catholic church and had numerous private patrons of various nationalities. His paintings were widely imitated and copied in Spain. From 1621 onward there are numerous signed, dated, and documented works from Ribera's hand. Ribera's paintings are austere or gloomy in mood and can be rather dramatic in their presentation. The chief elements of Ribera's style, tenebrism (dramatic use of light and shadow) and naturalism, are used to emphasize the mental and physical suffering of penitent or martyred saints or tortured gods. Realistic detail, often horrific, is accentuatedby means of coarse brush marks on thick pigment to represent wrinkles, beards, and flesh wounds. Ribera's technique is characterized by sensitivity of outline and the sureness with which he rendered the changes from brilliant light to darkest shadow. Ribera was one of the few 17th-century Spanish artists to produce numerous drawings, and his etchings were among the finest produced in Italy and Spain during the Baroque period.

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