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School of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652)."Philosopher of Antiquity".Oil on
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Beschreibung
School of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652).
"Philosopher of Antiquity".
Oil on canvas.
Measurements: 61 x 45 cm., 81 x 65 cm. (frame).
Very good state of conservation. Restored.
The philosopher, with the naked lathe and looking towards the spectator, as if we were inside the scene, takes with his hands what seems to be his clothes. The artist presents us with an intimate image of the Philosopher, a moment of personal and intimate recollection, showing the figure half-naked, which could be a scene inside his chambers. For this, the artist has opted for an aesthetic sobriety, which is reflected in a reduced chromatic range and the concentration of few iconographic elements.
From its subject matter and style we can situate this painting within the Neapolitan school of the 17th century around the school of José de Ribera, a key painter who belonged to the generation of the great masters of the Golden Age and trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before the latter arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also marked the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper left corner and directly illuminates the face and torso of the philosopher, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models by relying on the light, that touch of doughy, expressive brushstroke directly from the school of Ribera.
"Philosopher of Antiquity".
Oil on canvas.
Measurements: 61 x 45 cm., 81 x 65 cm. (frame).
Very good state of conservation. Restored.
The philosopher, with the naked lathe and looking towards the spectator, as if we were inside the scene, takes with his hands what seems to be his clothes. The artist presents us with an intimate image of the Philosopher, a moment of personal and intimate recollection, showing the figure half-naked, which could be a scene inside his chambers. For this, the artist has opted for an aesthetic sobriety, which is reflected in a reduced chromatic range and the concentration of few iconographic elements.
From its subject matter and style we can situate this painting within the Neapolitan school of the 17th century around the school of José de Ribera, a key painter who belonged to the generation of the great masters of the Golden Age and trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before the latter arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also marked the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper left corner and directly illuminates the face and torso of the philosopher, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models by relying on the light, that touch of doughy, expressive brushstroke directly from the school of Ribera.
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School of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652).
"Philosopher of Antiquity".
Oil on canvas.
Measurements: 61 x 45 cm., 81 x 65 cm. (frame).
Very good state of conservation. Restored.
The philosopher, with the naked lathe and looking towards the spectator, as if we were inside the scene, takes with his hands what seems to be his clothes. The artist presents us with an intimate image of the Philosopher, a moment of personal and intimate recollection, showing the figure half-naked, which could be a scene inside his chambers. For this, the artist has opted for an aesthetic sobriety, which is reflected in a reduced chromatic range and the concentration of few iconographic elements.
From its subject matter and style we can situate this painting within the Neapolitan school of the 17th century around the school of José de Ribera, a key painter who belonged to the generation of the great masters of the Golden Age and trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before the latter arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also marked the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper left corner and directly illuminates the face and torso of the philosopher, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models by relying on the light, that touch of doughy, expressive brushstroke directly from the school of Ribera.
"Philosopher of Antiquity".
Oil on canvas.
Measurements: 61 x 45 cm., 81 x 65 cm. (frame).
Very good state of conservation. Restored.
The philosopher, with the naked lathe and looking towards the spectator, as if we were inside the scene, takes with his hands what seems to be his clothes. The artist presents us with an intimate image of the Philosopher, a moment of personal and intimate recollection, showing the figure half-naked, which could be a scene inside his chambers. For this, the artist has opted for an aesthetic sobriety, which is reflected in a reduced chromatic range and the concentration of few iconographic elements.
From its subject matter and style we can situate this painting within the Neapolitan school of the 17th century around the school of José de Ribera, a key painter who belonged to the generation of the great masters of the Golden Age and trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would play a key role in the development of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before the latter arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also marked the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper left corner and directly illuminates the face and torso of the philosopher, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models by relying on the light, that touch of doughy, expressive brushstroke directly from the school of Ribera.
9th March - Old Masters
Auktionsdatum
Ort der Versteigerung
Aragón 346, Barcelona
Calle Velázquez 7, Madrid
Carrer de Cirilo Amorós 55, Valencia
Barcelona
08009
Spain
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