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 :. | The Boy with the Clubfoot (mk08) | Sense of Taste | Archimedes | Vision fo St.Bruno | The Beggar Known as the Club-foot (mk05) |
Related Artists:
Louis bosworth hurt
1856-1829
Napoletano, Filippo
Italian, approx. 1587-1629 Italian painter and engraver. From 1600 until at least 1613 he was in Naples, where the naturalism of landscape painters from northern Europe, particularly Paul Bril, Goffredo Wals ( fl 1615-31) and Adam Elsheimer, influenced his early development. After 1614 he was in Rome and became acquainted with the landscapes and seascapes of Agostino Tassi. In 1617 Cosimo II de' Medici summoned him to Florence, where he worked closely with Jacques Callot. Filippo sketched in the Tuscan countryside, and pen-and-wash drawings such as the Landscape with a Rustic House (Florence, Uffizi) capture effects of bright sunlight. He developed a new kind of realistic landscape, showing small scenes that suggest the charm of country life; examples are the Country Dance (1618; Florence, Uffizi), the Mill (Florence, Pitti) and the Fair at Impruneta (Florence, Pitti). In 1620-21 he produced a series of etchings of Skeletons of Animals, dedicated to the scientist Johann Faber, and in 1622 twelve etchings of Caprices and Military Uniforms (signed Teodor Filippo de Liagno).
Andrea del Sarto
b.July 16, 1486, Florence d.Sept. 28, 1530, Florence Italian Andrea del Sarto Galleries Andrea del Sarto (1486 ?C 1531) was an Italian painter from Florence, whose career flourished during the High Renaissance and early-Mannerism. Though highly regarded by his contemporaries as an artist "senza errori" (i.e., faultless), he is overshadowed now by equally talented contemporaries like Raphael. Andrea fell in love with Lucrezia (del Fede), wife of a hatter named Carlo, of Recanati; the hatter dying opportunely, Andrea married her on 26 December 1512. She has come down to us in many a picture of her lover-husband, who constantly painted her as a Madonna and otherwise; even in painting other women he made them resemble Lucrezia. She was less gently handled by Giorgio Vasari, a pupil of Andrea, who describes her as faithless, jealous, and vixenish with the apprentices; her offstage character permeates Robert Browning's poem-monologue "Andrea del Sarto called the 'faultless painter'" (1855) . He dwelt in Florence throughout the memorable siege of 1529, which was soon followed by an infectious pestilence. He caught the malady, struggled against it with little or no tending from his wife, who held aloof, and he died, no one knowing much about it at the moment, on 22 January 1531, at the comparatively early age of forty-three. He was buried unceremoniously in the church of the Servites. His wife survived her husband by forty years. A number of paintings are considered to be self-portraits. One is in the National Gallery, London, an admirable half-figure, purchased in 1862. Another is at Alnwick Castle, a young man about twenty years, with his elbow on a table. Another youthful portrait is in the Uffizi Gallery, and the Pitti Palace contains more than one.