Description

Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel

SAN ROCCO Oil on canvas. 86 x 68 cm. Accompanied by expert opinions by Luigi Salerno; Nicola Spinosa, October 15, 2014; Claudio Strinati, March 2015. The painting shows a life-size, half-length portrait of a middle-aged man. His face, illuminated from the top left, stands out against an olive-brown background, framed by black hair and a half-length beard. A brightly lit area of skin, uncovered by clothing, corresponds as a spot of light to the face, which is directed towards the viewer with an almost engaging gaze. A large part of the picture is taken up by the upper body, clad in a black shoulder cape and a brown cloak draped over it. The head is tilted to the left, leaving space for the broad-brimmed black hat over the shoulder. The cape and hat are attributes that allow the sitter to be identified as Rochus. However, the painting is clearly a portrait of a contemporary, possibly a person named Rochus, whose patron saint is commemorated by the attributes. The painting is accompanied by another depiction of Roch by Ribera (Museum Prado, 212 x 144 cm.). It shows the same man, identical in head posture and physiognomy, but in full figure and with the other attributes of the saint: the staff, the dog with bread in its mouth, which according to legend provided the saint with food during his seclusion, and the thigh shown. Significantly, however, the Prado painting lacks a plague bump on the leg. This can only be explained if it is not a depiction of the saint himself, but a portrait of a gentleman with this name, who does not show any signs of illness, meaning that the leg is merely an attributive reference to the name. In the years 1631-32, Ribera created a series of portraits that were later placed in other pictorial contexts - for example as philosophers or saints. However, the Spanish-born painter spent most of his life in Italy, although the biographer and painter Antonio Palomino de Castro y Velasco reports that Ribera received his first training under Francisco Ribalta (1565-1628). However, Ribera continued with Ribalta's brown-toned painting style and enhanced it with Italian influences. It is not known when he came to Italy, but we do know that he worked in Parma and Rome and married in Naples in 1616. He is named as a member of the Academy in 1626 and as a Knight of the Papal Order in 1631. Still associated with Spain, he received commissions from the Spanish viceroys. The tenebrous color palette of his works was able to lend unmistakable expression to depictions of martyrs, character heads and philosophical figures. His works are considered highlights in the most important museums and collections worldwide. Before Ribera went to Naples, he studied under Francisco Ribalta (1565-1628) in Valencia. In Rome, he studied the works of Raphael (1483-1520) and Agostino (1557-1602) and Annibale Carracci (1560-1609), and in Parma and Modena those of Antonio Allegri Correggio (around 1489-1534). Later, he was strongly influenced by Michelangelo Merisi il Caravaggio (1570/71-1610). The quality of his paintings elevated him to the position of court painter to the Duke of Osuna and the King of Naples. In 1644, he was made a Knight of the Order of Christ by the Pope. By 1630 he was already a member of the Accademia di San Luca in Rome. Alongside Caravaggio, he is the most important naturalist of Neapolitan painting with an emphasis on chiaroscuro. One of the main characteristics of his work is his deliberate choice to depict mostly old, ascetic, bony and slender figures such as hermits or philosophers. Literature: Cf. Nicola Spinosa, Ribera, l'opera completa, Naples 2006. Cf. Michael Scholz-Hänsel, Jusepe de Ribera, 1591-1652, Cologne 2000. Cf. Alfonso E. Perez Sanchez, Nicola Spinosa, Jusepe De Ribera 1591-1652. catalog of the exhibition at the Metropolitan Museum. New York 1992, Cf. Jonathan Brown, Jusepe de Ribera: prints and drawings. Catalog of the exhibition at the Art Museum, Princeton University, October-November 1973, New Jersey 1973. (1401251) (11) Jusepe de Ribera, also known as "lo Spagnoletto", 1588/91 Xàtiva/ Valencia - 1652 Naples SAINT ROCH Oil on canvas. 86 x 68 cm. Accompanied by expert's reports by Luigi Salerno; Nicola Spinosa, 15 October 2014; Claudio Strinati, March 2015. The painting shows a life-size half-length portrait of a middle-aged man. His face is illuminated from the top left and stands out against an olive-brown background; it is framed by his black hair and medium-long beard. A cloak and hat are attributes identifying the depicted as Saint Roch. The painting is, however, clearly also a portrait of a contemporary, possibly a person named Roch, whose namesake is intended to be commemorated by the at

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Jusepe de Ribera, genannt „lo Spagnoletto“, 1588/91 Xàtiva/ Valencia – 1652 Neapel

Estimate 170 000 - 250 000 EUR

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For sale on Thursday 27 Jun : 10:00 (CEST)
munich, Germany
Hampel
+4989.288.041.70
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