“Ribalta, Francisco”的意思、由来-百科全书

Ribalta, Francisco

Spanish painter

baptized June 2, 1565, Lérida, Spain

died Jan. 12, 1628, Valencia

Spanish painter who was one of the first artists to be influenced by the new realism initiated by Caravaggio in Italy. Ribalta's use of light and shadow to give solidity to his forms made him the first native Spanish tenebroso (tenebrism) (a painter who emphasizes darkness rather than light), and he was a major influence on later Spanish painters.

Ribalta probably studied under Navarrete el Mudo at El Escorial and in Madrid. Only one painting from his first period has survived, the Nailing to the Cross (1582). It is an undistinguished Mannerist (Mannerism) work. In 1598 he moved to Valencia and established a large studio under the patronage of the archbishop, Juan de Ribera. His compositions of this period, notably the Retable of Santiago in the church of Algemesí (1603, 1610), are highly imitative and mediocre. In his last period, after 1612, he achieved both originality and grandeur. Paintings such as The Singer, Christ Embracing St. Bernard (1625–27), and the Portacoeli Retable are marked by their monumental and powerfully modeled forms, simplicity of composition, and realistic lighting. These late paintings anticipate the work of Diego Velázquez (Velázquez, Diego), Francisco de Zurbarán (Zurbarán, Francisco de), and José de Ribera (Ribera, José de) later in the 17th century.

词条	Ribalta, Francisco
释义	Ribalta, Francisco Spanish painter baptized June 2, 1565, Lérida, Spain died Jan. 12, 1628, Valencia Spanish painter who was one of the first artists to be influenced by the new realism initiated by Caravaggio in Italy. Ribalta's use of light and shadow to give solidity to his forms made him the first native Spanish tenebroso (tenebrism) (a painter who emphasizes darkness rather than light), and he was a major influence on later Spanish painters. Ribalta probably studied under Navarrete el Mudo at El Escorial and in Madrid. Only one painting from his first period has survived, the Nailing to the Cross (1582). It is an undistinguished Mannerist (Mannerism) work. In 1598 he moved to Valencia and established a large studio under the patronage of the archbishop, Juan de Ribera. His compositions of this period, notably the Retable of Santiago in the church of Algemesí (1603, 1610), are highly imitative and mediocre. In his last period, after 1612, he achieved both originality and grandeur. Paintings such as The Singer, Christ Embracing St. Bernard (1625–27), and the Portacoeli Retable are marked by their monumental and powerfully modeled forms, simplicity of composition, and realistic lighting. These late paintings anticipate the work of Diego Velázquez (Velázquez, Diego), Francisco de Zurbarán (Zurbarán, Francisco de), and José de Ribera (Ribera, José de) later in the 17th century.
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