1591-1652 Spanish Jusepe de Ribera Galleries Jusepe de Ribera (January 12, 1591 - 1652) was a Spanish Tenebrist painter and printmaker, also known as Jos?? de Ribera in Spanish and as Giuseppe Ribera in Italian. He was also called by his contemporaries and early writers Lo Spagnoletto, or "the Little Spaniard". Ribera was a leading painter of the Spanish school, although his mature work was all done in Italy. In his earlier style, founded sometimes on Caravaggio and sometimes on the wholly diverse method of Correggio, the study of Spanish and Venetian masters can be traced. Along with his massive and predominating shadows, he retained from first to last a great strength in local coloring. His forms, though ordinary and sometimes coarse, are correct; the impression of his works gloomy and startling. He delighted in subjects of horror. In the early 1630s his style changed away from strong contrasts of dark and light to a more diffused and golden lighting. Salvator Rosa and Luca Giordano were his most distinguished followers, who may have been his pupils; others were also Giovanni Do, Enrico Fiammingo, Michelangelo Fracanzani, and Aniello Falcone, who was the first considerable painter of battle-pieces. Among Ribera's principal works could be named "St Januarius Emerging from the Furnace" in the cathedral of Naples; the "Descent from the Cross" in the Certosa, Naples, the "Adoration of the Shepherds" (a late work, 1650), now in the Louvre; the "Martyrdom of St Bartholomew" in the Prado; and the "Pieta" in the sacristy of San Martino, Naples. His mythologic subjects are often as violent as his martyrdoms: for example, "Apollo and Marsyas", with versions in Brussels and Naples, or the "Tityus" in the Prado . The Prado and Louvre contain numbers of his paintings; the National Gallery, London, three. He executed several fine male portraits and a self-portrait. He was an important etcher, the most significant Spanish printmaker before Goya, producing about forty prints, nearly all in the 1620s.  Related Paintings of Jusepe de Ribera :. | Jacob with the Flock of Laban | Mary Magdalene in the Desert | Jakobs Traum | Martyrdom of St Bartholomew (mk08) | St Christopher (mk08) |
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MASTER Bertram
German painter (b. cca. 1345, Minden, d. 1415, Hamburg). was a German International Gothic painter primarily of religious art. His most famous surviving work is the large Grabow Altarpiece (or Petri-Altar) in the Kunsthalle Hamburg, the largest and most important North German painting of the period. There is a 45-scene altarpiece of the Apocalypse, probably by his workshop, in the Victoria and Albert Museum in London. He, or his workshop, also produced sculpture, presumably in wood; in fact in his first years in Hamburg most surviving documentation relates to sculpture, including chandeliers. He is first recorded in Hamburg in 1367, and lived there for the rest of his life, becoming a citizen and Master in 1376, and achieving considerable prosperity. In 1390 he made a will in advance of an intended pilgrimage to Rome, but if he made the journey it had no detectable influence on his art. He was married, but his wife had died by his second will in 1410, when he had a surviving daughter. His style is less emotional than that of his Hamburg near-contemporary Master Francke, but has great charm. Bertram was largely forgotten after the Renaissance until the end of the 19th century
Prospero Fontana
(1512 - 1597) was an Italian painter of the late Renaissance. Fontana was born in Bologna, and became a pupil of Innocenzo da Imola. He afterwards worked for Perin del Vaga in the Palazzo Doria in Genoa. Towards 1550, it is reported that Michelangelo introduced him to Pope Julius III as a portrait-painter; and he was pensioned at the pontifical court. He later joined Vasari's studio in Florence, and worked in frescoes at the Palazzo Vecchio (1563-65). He is an early representative of the Bolognese school of painting. Sabbatini, Sammachini and Passerotti were three of his principal pupils or colleagues. His daughter, Lavinia Fontana, was also a prominent painter of mostly conventional religious canvases. Returning to Bologna, after doing some work in Fontainebleau (France) and in Genoa, he opened a school of art, in which he became briefly the preceptor of Lodovico and Agostino Carracci. He has left a large quantity of work in Bologna. His altarpiece of the Adoration of the Magi, in the church of Santa Maria delle Grazie, being considered his masterpiece. It is not unlike the style of Paul Veronese. He died in Rome in 1597.
Mendham, Robert
English, active 1821-1858