Ribera: Darkness and light.
Petit Palais/Museum of Fine Arts of Paris/Paris Museums| N° d'inventaire | 31667 |
| Format | 23.5 x 30.5 |
| Détails | 304 p., numerous color illustrations, publisher's hardcover. |
| Publication | Paris, 2024 |
| Etat | Nine |
| ISBN | 9791020409430 |
The Petit Palais hosts the first French retrospective of the painter José de Ribera (1591-1652).
His artistic training is still controversial, but his presence is attested in Parma in 1611, when he was only twenty years old. His genius was already beyond doubt, and he established himself as one of the most brilliant painters of his time. But it was in Rome, which he arrived in 1616, that his talent truly shone, when he discovered the painting of Caravaggio, of whom he became one of the faithful disciples while accentuating the contrasts of light and shadow. Covered in debt, he fled Rome for Naples, where he ended his life. There, thanks to the protection of the viceroy Conde de Osuna, Ribera quickly became a prominent figure on the Neapolitan art scene, receiving numerous commissions from the local aristocracy and powerful religious orders. While Ribera is close to Caravaggio's realism, he also absorbs elements from other artistic languages of his time, including aspects of Bolognese classicism and Roman color.
Beaux Arts Éditions returns to this precocious genius and shows a tragic and terribly baroque work, which constantly oscillates between raw realism and the implacable violence of chiaroscuro.
The Petit Palais hosts the first French retrospective of the painter José de Ribera (1591-1652).
His artistic training is still controversial, but his presence is attested in Parma in 1611, when he was only twenty years old. His genius was already beyond doubt, and he established himself as one of the most brilliant painters of his time. But it was in Rome, which he arrived in 1616, that his talent truly shone, when he discovered the painting of Caravaggio, of whom he became one of the faithful disciples while accentuating the contrasts of light and shadow. Covered in debt, he fled Rome for Naples, where he ended his life. There, thanks to the protection of the viceroy Conde de Osuna, Ribera quickly became a prominent figure on the Neapolitan art scene, receiving numerous commissions from the local aristocracy and powerful religious orders. While Ribera is close to Caravaggio's realism, he also absorbs elements from other artistic languages of his time, including aspects of Bolognese classicism and Roman color.
Beaux Arts Éditions returns to this precocious genius and shows a tragic and terribly baroque work, which constantly oscillates between raw realism and the implacable violence of chiaroscuro.