Relevant bibliographies by topics / Jusepe de Ribera

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  1. Journal articles
  2. Dissertations / Theses
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  4. Book chapters

Academic literature on the topic 'Jusepe de Ribera'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Jusepe de Ribera"

1

Mallory, Nina A., Alfonso E. Perez Sanchez, and Nicola Spinosa. "Jusepe de Ribera." Art Journal 52, no. 1 (1993): 90. http://dx.doi.org/10.2307/777307.

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Konečný, Lubomír. "AN UNEXPECTED SOURCE FOR JUSEPE DE RIBERA." Source: Notes in the History of Art 13, no. 2 (January 1994): 21–24. http://dx.doi.org/10.1086/sou.13.2.23205053.

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Martino, E. "Jusepe de Ribera “Lo Spagnoletto”: Sileno ebbro." Journal of Endocrinological Investigation 40, no. 11 (July 27, 2017): 1275–76. http://dx.doi.org/10.1007/s40618-017-0724-9.

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Nicoli, F., and D. Lazzeri. "“The Penitent Magdalene”: Jusepe de Ribera (1591–1652)." Journal of Endocrinological Investigation 40, no. 4 (November 25, 2016): 455–56. http://dx.doi.org/10.1007/s40618-016-0586-6.

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Stahl, André, Pierre Tourame, and Debbie Montjean. "The clubfootpainted by Jusepe de Ribera: a controversial diagnosis." Journal of Maternal-Fetal & Neonatal Medicine 29, no. 8 (September 28, 2015): 1308–10. http://dx.doi.org/10.3109/14767058.2015.1046829.

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Lazzeri, Davide, and Fabio Nicoli. "Pectus excavatum in paintings by Jusepe de Ribera (1591–1652)." Thorax 71, no. 7 (February 22, 2016): 669–70. http://dx.doi.org/10.1136/thoraxjnl-2015-208236.

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van Gastel, Joris. "Slow Violence: Jusepe de Ribera and the Limits of Naturalism." Oxford Art Journal 41, no. 1 (March 1, 2018): 1–17. http://dx.doi.org/10.1093/oxartj/kcx042.

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Sallée, C., M. Blondel, S. Durand-Fontanier, D. Valleix, and C. Mabit. "Le pied bot du « Nain » de Jusepe de Ribera : étude sémiologique." Morphologie 97, no. 318-319 (October 2013): 100. http://dx.doi.org/10.1016/j.morpho.2013.09.003.

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Garland, Patricia Sherwin. "THE RESTORATION AND REATTRIBUTION OFTHE MOCKING OF CHRISTBY JUSEPE DE RIBERA." Studies in Conservation 37, supplement1 (September 1992): 8. http://dx.doi.org/10.1179/sic.1992.008.

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Garland, Patricia Sherwin. "THE RESTORATION AND REATTRIBUTION OFTHE MOCKING OF CHRISTBY JUSEPE DE RIBERA." Studies in Conservation 37, sup2 (September 1992): 8. http://dx.doi.org/10.1179/sic.1992.37.s2.008.

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Dissertations / Theses on the topic "Jusepe de Ribera"

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Finaldi, Gabriele Maria. "Aspects of the life and work of Jusepe de Ribera (1591-1652)." Thesis, Courtauld Institute of Art (University of London), 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283391.

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Cornea, Ioan-Bogdan. ""Why tear me from myself?" : the depiction of flaying in the art of Jusepe de Ribera." Thesis, University of York, 2015. http://etheses.whiterose.ac.uk/11996/.

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This thesis examines from an original point of view the relationship between technique and subject matter in Jusepe de Ribera’s depictions of flaying. Ribera revisited the topic throughout his career, painting it more than any artist at the time – there are eight extant paintings showing the Martyrdom of St. Bartholomew and Apollo flaying Marsyas. Scholarly interest in Ribera has thus far been predominantly biographical and attributional, treating his paintings mostly in terms of style inherited from Caravaggio and subject matter as a reflection of the supposedly violent nature of “Neapolitan society.” This thesis argues that Ribera’s paintings of flaying offer viewers a visual paradox by never aligning, or making coherent the relationship between the force of their subject and their technique. This thesis focuses on the relationships between corporeal and pictorial surfaces in order to explore life and death, chiaroscuro and spirituality, touch as creative and destructive, violence and materiality. The fundamental question of life and death is treated in relation to corporeal fragmentation and the integrity of pictorial surfaces. The chiaroscuro is considered as a moving fold in relation to apophatic and cataphatic theology. Touch, as the key gesture of these paintings, is explored in relation to making and unmaking. And finally, violence is examined in relation to materiality. This thesis pays special attention to the working of the canvas, impasto, and chiaroscuro, interpreting them as refashioning the subject’s narrative, temporality, and spirituality. Ultimately, this dissertation shows that Ribera’s paintings of flaying should be conceived as powerful, distinct pictorial bodies, rather than altarpieces or gallery pictures representing an extravagant subject matter.
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Sousa, Dalila Doring. "A representação dos pobres nas pinturas religiosas do caravaggismo napolitano." [s.n.], 2002. http://repositorio.unicamp.br/jspui/handle/REPOSIP/278819.

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Orientador : Luciano Migliaccio
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-01T02:51:45Z (GMT). No. of bitstreams: 1 Sousa_DalilaDoring_M.pdf: 28828752 bytes, checksum: 330c8eec895eb1d20d21617f7da6b153 (MD5) Previous issue date: 2002
Resumo: Esta dissertação compreende um estudo sobre o significado artístico da representação dos pobres nas pinturas religiosas caravaggescas napolitanas a partir da "Adoração dos pastores" no MASP, atribuída a Bartolomeo Passante levando em consideração a sociedade, a religião e as teorias artísticas pautadas pelas prescrições iconográficas da Contra-Reforma. Caravaggio foi um pintor revolucionário na proposição de uma "epopéia plebéia" através de suas obras consideradas paradigmáticas no ambiente artístico napolitano, fato que deu origem a um círculo de pintores oriundos do atelier de Ribera e voltados para esta poética mediante a interpretação que o pintor espanhol fez do caravaggismo resultando em repertórios de obras indicativas da representação de tipologias da pobreza enquanto um fenômeno estético
Abstract: This dissertation is concemed to the study on the artistic meaning of the poor people representation in neapolitans caravaggesche religious paintings from the "Adoration of the shepherds" in the MASP museum, atributed to Bartolomeo Passante considering the society, the religion and the Counter Reformation artistic theories due to the iconograpbic prescriptions. Caravaggio was a revolutionary painter on the proposition of a "plebean epopee" througb bis works considered paradigmatic on the neapolitan artistic surrounding, what engendred a painters circle origined on the workshop of Ribera and turned to this poetic through the interpretation that the spanish painter made of the caravaggism resulting on repertories of works indicating the representation of the poverty tipologies as a aestetic phenomena
Mestrado
Mestre em História
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Philippon, Carole. "Le caravagisme à Naples : polymorphisme de la poétique caravagesque méridionale." Thesis, Montpellier 3, 2010. http://www.theses.fr/2010MON30083.

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Mon travail cherche à mettre en valeur la richesse de la Scuola Napoletana du XVIIème siècle (qui prend vie après les deux séjours du Caravage à Naples, entre 1606 et 1610). L'art napolitain est injustement sous-estimé ; la première moitié du Seicento est pourtant extrêmement importante puisque Naples est le seul centre artistique qui continue à considérer le caravagisme comme une force vitale de la peinture, et ce jusqu'en 1656 (année de la Grande Pestequi emporte avec elle les derniers peintres d'"origine" caravagesque). Je mets donc en exergue la période méridionale du Caravage (qui est trop souvent délaissée par rapport à sa période romaine), ainsi que l'extrême diversité des peintres caravagesques qui composent le milieu artistique napolitain, unis par une passion commune pour le langage du Caravage mais dont l'expression artistique intègre peu à peu d'autres influences. Le caravagisme méridional se distingue par son polymorphisme et par la diversité des influences extérieures avec lesquelles les artistes enrichissent leur caravagisme originel : si les premiers naturalistes (tels que Battistello) restent toujours fidèles au Maître, nombreux sont ceux qui suivront le courant ribéresque (Ribera, Fracanzano, le Maître de l'Annonce aux Bergers...) qui se caractérisepar sa portée sociale. Mais, parallèlement, certains peintres tissent des liens entre caravagisme et classicisme (Stanzione, Guarino), tandis que d'autres se focalisent sur un caravagisme narratif (Artemisia Gentileschi est réputée pour son talent de storyteller) ; dans le domaine chromatique, de nombreux artistes (dont Pietro Novelli ou Ribera) succombent au néovénétisme et au vandyckianisme en vogue à partir des années 1630. Enfin, le caravagisme se fait plus raffiné avec Bernardo Cavallino, qui apparaît comme un précurseur du goût rococo, tandis que l'oeuvre de Mattia Preti oscille entre caravagisme et baroque
The aim of this work is to emphasize the richness of the Scuola Napoletana in the 17th Century (after it came to life following Caravaggio†s two stays in Naples between 1606 and 1610). Neapolitan art does not get the appreciation it deserves, and yet the first half of the Seicento was an extremely important period as Naples was the only major artistic centre where Caravaggism was still a driving force of painting, and would do so until 1656 (the year of the Great Plague that wiped out the last "original" Caravaggesque painters). I am therefore emphasizing Caravaggio†s Southern period, which is all too often neglected as compared to his Roman period, as well as the great diversity of Caravaggesque painters making up the artistic milieu in Naples, united by a shared passion for Caravaggio's language but progressively incorporating other influences into their artistic expression. Southern Caravaggism stands out because of its polymorphism and the highly diverse outer influences with which these artists enhance their original Caravaggism: while the first naturalists, such as Battistello, are always true to the Master, many will follow into Ribera's footsteps (Ribera,Fracanzano, the Master of the Announcement to the Shepherds...) and adopt a more socially oriented stance. At the same time, some painters draw links between Caravaggism and Classicism (Stanzione, Guarino), while others focus on narrative Caravaggism (Artemisia Gentileschi is famed for the storytelling talent). In the field of colour, many artists (including Pietro Novelli and Ribera) yield to the Neo-venetism or Vandyckianism that were fashionable as of the 1630†s. Finally,Caravaggism becomes more refined with Bernardo Cavallino, who appears to be a precursor of Rococo taste, while Mattia Preti balances on the verge between Caravaggism and Barocco
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Avilio, Carlo. "Naturalism and the picaresque in Jusepe de Ribera's work." Thesis, University of Warwick, 2016. http://wrap.warwick.ac.uk/92095/.

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Although it was an era of extraordinary scientific progress and fertile methodological debate, the seventeenth century was characterized by a profound vein of scepticism that can be traced throughout its literary, scientific and philosophical works. Upon his arrival in Italy, the Spanish painter Jusepe de Ribera (1591-1652), one of the most innovative interpreters of Caravaggio’s painting in Europe, wittily thematized, through his series of the Senses (c.1612-1616), the aspirations, achievements and doubts of his age with regard to man’s sensorial experiences and the possibility of investigating and comprehending the functioning of the senses. Scholars have singled out both the allusions within Ribera’s paintings to scientific experimentalism and their affinity with the themes which characterised contemporary Spanish picaresque literature. However, neither the ‘picaresque vein’ nor the scientific factors in question have been analysed per se, or indeed been examined comparatively. In this regard, my main contention is that, by juxtaposing the tools of the new science with low-genre props, the Senses series clearly alludes to contemporary discussions about the function and reliability of sensory perception, a theme which was then of the utmost importance. By staging the equivalent of the pícaro, the shabby protagonist of numerous novels who has to constantly struggle for his existence and who is both assisted and misled by his senses, Ribera’s series parodies not only the experimental method which had been established by the Roman and Neapolitan members of the Accademia dei Lincei, but also Galileo’s contributions to the debate. By the same token, his connection with picaresque literature is often reduced to Ribera’s predilection for plebeian models and his propensity to represent high subject matters with ordinary figures and accessories. The main goal of this thesis is to offer a new interpretation of Ribera’s naturalism and its interconnections with the picaresque novel, as developed not only in Spain but also in Spanish Naples. My contention is, in fact, that these two aspects of Ribera’s art are not only inextricably connected, but are also specifically rooted in early seventeenth-century Roman and Neapolitan culture and society.
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Books on the topic "Jusepe de Ribera"

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Jusepe de Ribera, 1591-1652. Cologne: Könemann, 2000.

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Jusepe de Ribera, 1591-1652. Napoli: Electa Napoli, 1992.

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Scholz-Hänsel, Michael. Jusepe de Ribera, 1591-1652. Köln: Könemann, 2000.

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Ribera, José de. Jusepe de Ribera: Lo Spagnoletto (Iativa di Valenza 1591-Napoli 1652) : l'opera incisa : catalogo ragionato. Torino: Arte antica, Silverio Salamon, 1998.

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5

Cohen, Ronald. Jusepe (Gioseppe or Giuseppe) de Ribera: An alternative view of his origins, apprenticeship, and early works. London: Trafalgar Fine Art Publications, 1996.

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1588?-1652, Ribera José de, ed. "Opere veramente di rara naturalezza": Studien zum Frühwerk Jusepe de Riberas : mit Katalog der Gemälde bis 1626. Würzburg: Ergon, 2003.

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Perkins, Cynthia O. A study of the iconography of Jusepe de Ribera's Madonna with Child and Saint Bruno / by Cynthia O. Perkins. Francisco de Zurbarán / by James Hogg ; photographs, Francisco Zubillaga. Salzburg: Institut für Anglistik und Amerikanistik, Universität Salzburg, 1999.

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Jusepe de Ribera. New York: Piero Corsini, Inc., 1992.

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Jusepe De Ribera 1592-1652. Edizioni Electa, 1992.

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E, Pérez Sánchez Alfonso, Spinosa Nicola, Bayer Andrea, and Metropolitan Museum of Art (New York, N.Y.), eds. Jusepe de Ribera, 1591-1652. New York: Metropolitan Museum of Art, 1992.

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Book chapters on the topic "Jusepe de Ribera"

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Mallory, Nina Ayala. "Jusepe de Ribera (1591-1652)." In To Murillo, 86–111. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429032578-5.

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