Word: ribera
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...work of Jusepe de Ribera, whose masterpieces are displayed in a new exhibition at New York City's Metropolitan Museum of Art, is the very antitype of the great Matisse show 30 blocks downtown at the Museum of Modern Art: darkness, Baroque realism and a relentless admixture of piety with sadistic guignol, all done at the highest level of skill and conviction. Surprisingly, given the enormous reputation Ribera had in his day, this is the first comprehensive exhibition of his work ever held in America, or for that matter in Europe (it was previously shown in Naples and Madrid...
...Ribera's known career lies outside Spain. He emigrated to Italy, that artistic magnet of the 17th century, when he was hardly out of his teens and spent most of his life in Spanish-ruled Naples, doing commissions for the Italian church and expatriate Spanish grandees. He rapidly became the unchallenged star of Neapolitan painting and remained so until his death in 1652. Until recently, his art stayed in a sort of limbo; very few visitors to the Prado would ever turn out of the traffic stream headed for Velazquez to take a good look at the great Riberas, like...
...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...