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.  Related Paintings of Jusepe de Ribera :. | St Albert | Magdalena Ventura with Her Husband and Son | magdalena ventura | St Sebastian Tended by the Holy Women | Bende Magdalena Magdalena penitente |
Related Artists:
Luca Cambiaso
Luca Cambiasi (surname also written Cambiaso or Cangiagio; 1527 - 1585) was an Italian painter and draftsman, familiarly known as Lucchetto da Genova.
Hesselius Gustavus
American portrait painter. 1682-1755 He was trained in Sweden as a wood-engraver, gilder and painter. In 1712 he accompanied his brother, a Lutheran pastor, to America, where he settled in Philadelphia, PA. About 1720 he moved to the Annapolis, MD, area, returning before 1730 to Philadelphia, where he lived until his death. He was one of the first European-trained painters to settle permanently in America and introduced a greater technical skill and increased realism into Colonial painting. His painterly, atmospheric style, which derived from European Baroque, contrasted with the more linear technique of American-born painters. During most of his career he was the leading painter of the Middle Colonies. In addition to mythological scenes, altarpieces and portraits of prominent individuals, Hesselius undertook utilitarian work that included painting the country seat at Springettsbury of Thomas Penn (1702-75) and the interior of the Pennsylvania State House, as well as flower-boxes,
TRAVERSI, Gaspare
Italian Painter, ca.1722-1770 Italian painter. He was apprenticed to the elderly Francesco Solimena, whose late style, a reinterpretation of the Baroque art of Mattia Preti, influenced his earliest works. At the same time he studied the naturalist painters of the 17th century: Preti himself, Giovanni Battista Caracciolo, Jusepe de Ribera, Filippo Vitale and Francesco Fracanzano. Classical art also attracted him, and in the 1740s he began to make journeys to Rome to study the influential works of Bolognese and Roman classicism: paintings by Guido Reni, Guercino and the Carracci family, and by Carlo Maratti. During one of these visits he copied two pictures by Maratti, then in S Isidoro, Rome: the Flagellation and a Crucifixion . In the following year he was in Naples; three canvases of scenes from the Life of the Virgin (Naples, S Maria dell'Aiuto), one of which is signed and dated 1749