Word: ribera
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Dates: during 1980-1989
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...Metropolitan Museum of Art last week got its new season off to a magnificent start with the doctrinaire mystic of the Spanish Baroque, Francisco de Zurbaran (1598-1664). After Velasquez, El Greco and Ribera, Zurbaran was the best painter the so-called Golden Age of Spanish painting produced, but his work has never been seen in depth in America. Now, in one of those big transatlantic double acts the Met does so well, in cahoots with the Musee du Louvre in Paris, we have a show of 71 paintings organized by Jeannine Baticle of the Louvre. From this panoramic exposure...
...comparing any Salle image with its art source -- his feeble paint-by- numbers rendering of details from Gericault and Ribera, for instance -- one is struck by his inability to put any vitality at all into the relation between the motif and the traces of the hand, to create an interesting shape, or even to model a form convincingly. But there is an out: Salle's graphic ineptitude is praised by his fans as a kind of fallen representation, as though it were a critique of affectlessness. Thus his work is credited with exposing what it merely embodies. This...
...painter more and more possessed by death. Caravaggio's sense of mortality was the thing his imitators found hardest to copy. But this did not stop the spread of Caravaggism. Within a decade of his death his followers had diffused his message all over Europe: Caracciolo and Ribera in Naples, Georges de La Tour and Valentin de Boulogne in France, Seghers and Honthorst in The Netherlands, and dozens of others inside and outside Italy...
...smaller, edited version of the exhibition that was seen in 1982 at the Royal Academy of Arts in London. It contains many loans of the first importance, from Caravaggio's altarpiece of The Seven Acts of Mercy to groups of work by Mattia Preti and Jusepe de Ribera, along with many remarkable paintings by lesser-known artists...
...very surprising to learn that Ribera and two painter friends (Battistello Caracciolo and Corenzio) ran what amounted to an artists' Mafia in Naples, grabbing the commissions for themselves and frightening rivals with bloodcurdling threats. Poor Domenichino, the Bolognese master who had been invited to decorate the chapel of St. Gennaro in Naples' cathedral, rushed back to Rome in a state of collapse after hearing from this cabal. Grand Guignol abounded, especially in details like the amputated hand in the foreground of Massimo Stanzione's Massacre of the Innocents, which seems ready to scuttle away, like a pink...