Null "EL REPOSO" - Juan Ripollés (Alzira, 4 septembre 1932), huile sur toile
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"EL REPOSO" - Juan Ripollés (Alzira, 4 septembre 1932), huile sur toile Dimensions de la toile : 130 x 97 cm. École contemporaine espagnole du XXe siècle. Juan García Ripollés, également connu sous le nom de Ripo ou Beato Ripo (Alcira, 4 septembre 1932), est un peintre et sculpteur espagnol. Toujours coiffé d'un foulard et un brin de romarin entre les dents, il se vante de profiter de la nature et de faire ce qu'il veut tous les jours. Il a trois enfants : Paloma, Yerma et Natalio. Collection privée, Madrid.

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"EL REPOSO" - Juan Ripollés (Alzira, 4 septembre 1932), huile sur toile Dimensions de la toile : 130 x 97 cm. École contemporaine espagnole du XXe siècle. Juan García Ripollés, également connu sous le nom de Ripo ou Beato Ripo (Alcira, 4 septembre 1932), est un peintre et sculpteur espagnol. Toujours coiffé d'un foulard et un brin de romarin entre les dents, il se vante de profiter de la nature et de faire ce qu'il veut tous les jours. Il a trois enfants : Paloma, Yerma et Natalio. Collection privée, Madrid.

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Attributable to Juan Sánchez Cotán, Holy Family, Granada school, 17th century Oil on canvas, canvas measures: 82 x 105 cm, framed measures: 97 x 118 cm. Juan Sánchez Cotán (Orgaz, Toledo, 1560-Granada, 1627) was a Spanish painter, a disciple of Blas de Prado and influenced by some artists who worked in El Escorial, such as Luca Cambiaso or Juan Fernández Navarrete. Sánchez Cotán worked in Toledo, where he had an important clientele, until in 1603 he decided to enter the Cartuja as a lay brother, one of the most strictly observed religious orders, settling in Granada until his death on September 8, 1627, a festival of the Nativity of the Virgin, the same day that, according to Antonio Palomino, he had professed as a Carthusian in 1604. Antonio Palomino affirms that he was a disciple of Blas de Prado in Toledo, with whom he "excelled in painting fruit". Although it has not been possible to confirm documents, this learning relationship is plausible. Prado, who made frequent trips to El Escorial assimilating the Mannerist tendencies that were practiced there, would have been, according to literary sources, the creator of the Spanish still life, although none of his hands have been preserved. On the other hand, their friendly relationship and professional with Sánchez Cotán is accredited until the same year of his death in 1599. The testament that Sánchez Cotán drew up in 1603, when he was preparing to take the Carthusian habit, together with the inventory of his assets carried out by his executors, are the best source of information available for the knowledge of his human and professional trajectory up to that year. Reference bibliography: Ripollés, Carmen (2018). «The still lifes of Juan Sánchez Cotán and artistic ingenuity in early modern Toledo». Bulletin of the Museo del Prado XXXVI (54): 34-47.