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Madrid, 21 nov (EFE).- As “caravaggista”, it is surprising that José de Ribera was a cartoonist “die-hard”, dump in addition to the classicism of court academic. So far they have recovered about 160 drawings, with which it has pergeñado a catalogue raisonné and the exhibition “Bank. Teacher of drawing” at the Prado Museum.
Both have in common to Gabriele Finaldi, former deputy of Conservation of the Prado and current director of the National Gallery of London, that looks like a dream fulfilled since I began to study this facet of the Españoleto (Játiva, Valencia, 1591 – Naples, 1652) for his doctoral thesis 25 years ago.
“Addressed a range of topics was very broad, more than any other painter of the SEVENTEENTH century”, highlighted today Finaldi in the presentation of the exhibition, which brings together 71 works including drawings, paintings and prints from various museums, private collections and the Prado, which in recent decades has assembled one of the sets most important drawings from Ribera.
“it Is an exhibition of surprising. Before Goya, Ribera is the great cartoonist Spanish”, apostilló Miguel Zugaza, director of the art gallery that will host from tomorrow until the 19th of February for travel after the Meadows Museum in Dallas (USA), who has co-edited the catalogue along with the Focus Foundation, Seville.
Saints and martyrs, gods and heroes, scenes of punishment and torture are some of the reasons that led with expertise on the paper in pen, ink, red chalk or black pen, not always as sketches for later paintings, but with an independent character.
through a chronological path, the show allows visitors to admire the production of the artist baroque from his youth, newly arrived in Rome with about 15 years to train as a painter, until his last years, when his line was already shaky.
In that path there is a stage like that of your professional maturity, which it reaches in the decade of 1620, when it remains patent for his exceptional skill in drawing, to pen strokes long and precise and red chalk, that stand out for their delicacy and attention to detail.
Among them “Samson and Delilah” and “David and Goliath”, which, according to Finaldi, could be made to submit to Philip IV paintings after colgarían on the walls of the Alcázar of Madrid and they disappeared in a fire in 1734.
Another of the spaces shows the predilection that by martyrdom and penance had the Españoleto, for which he was branded with the artist image of the cruel and sadistic in the EIGHTEENTH and NINETEENTH centuries.
His drawings of San Sebastian and San Bartolomé, which gave him the opportunity to experiment with another of his favorite topics, the naked man tied to a tree, demonstrate their ability to reflect the human suffering through the tension of the muscles and facial expressions, in a combination of ecstasy and pain.
even Though the content of myth were scarce in his corpus graph, are exhibited the “Achilles among the daughters of Licomedes”, one of his masterpieces, and “Nymph asleep, with two cupids and a satyr”, his only female nude classic.
Ribera worked also as a witness of his time, specifically the torture and executions by order of the Inquisition were held in the squares of Naples.
“None of these drawings was done with the intention to include the figures in their paintings, nor to turn them into prints. Seem to be taken from a curious objective, as if you were composing an authentic visual report of the event”, explained from the museum.
On the other hand, he made preparatory drawings for paintings in their “prodigious”, ranging from 1634 to 1637. Several of that are exhibited are related to the orders of the viceroy Manuel de Fonseca and Zúñiga, as the “Immaculate Conception” or “Apollo and Marsias”.
Complete the display a set of heads, some with headdresses, quirky, sometimes almost deformed. And some of his last years of life, as the “Martyrdom of St. Bartholomew” and the “Adoration of the shepherds”, in which the pulse had failed.
In parallel to this exhibition presented “a Catalogue raisonné. José de Ribera. Drawings”, which offers a global vision of the work of the Españoleto as a draftsman and lists all the sheets of his which are known. EFE
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