Word: ribera
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Dates: during 1920-1929
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...their own right. There are Italian cassone, papal chairs, a cheminée of Francis the First. Spanish embossed leather covers the walls of one room. Among the artists represented are Raphael, Veronese, Titian, Botticelli,, Fra Angelico, Giotto, Pollaiuolo, da Fabriano, Diirer, Holbein, Rembrandt, Rubens, Van Dyck, Ribera, Velasquez, Sargent, Zorn, La Farge, Whistler. Three of the most famous paintings are da Fabriano's Madonna and Child, Titian's magnificent Rape of Europa, and the glorious Velasquez portrait Pope Innocent X. It is hoped that the collection will still be available to students and lovers...
...These names of earlier artists are becoming better and better known and more beloved as the knowledge of art and taste progresses in the modern world. There are also works by later masters easier to understand, as the fine portrait by Van Dyck, the St. Jerome of Ribera, the so-called Rembrandt's Daughter by Turner, and the portrait of Count Rumford by Gainsborough. For those who are still more modern in their tastes there are oil and water colors by Winslow, Homer, Whistler, LaFarge, Dodge Macknight, and others...
...small 14th Century painting of the Italian school representing the mourning over the body of Christ. It is a piece, brilliant of color and particularly striking in composition. Against the wall of the print room partition hangs the superb 17th Century Spanish painting of "St. Jerome" by Ribera. This recently purchased canvass was well known for years in the Portalis Collection. Before one passes into the print room, two Italian paintings, the gift of Mr. Bernhard Berenson '87, a distinguished art critic, attract the attention. These pictures were given by Mr. Berenson in recognition of the work that is being...
...Fogg Art Museum has recently acquired a monumental painting of Saint Jerome, by the Spanish master Ribera The picture represents the artist's best work. Although realistically rendered, it does not show the over-emphasis on disagreeable details, apparent in many of Ribera's works, nor his exaggerated "tenebroso" manner, in which the greater part of the canvas is painted in deep shadow, and certain parts in very high light against the shadow. The noble and dignified figure of the saint is well characterized and splendidly handled. Particularly fine is the rendering of flesh. The picture recalls the Apostles...