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 :. | Martyrdom of St Bartholomew (mk08) | The Holy family | Sense of Taste | The Adoration of the Shepherds (mk05) | St Christopher |
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Carl Friedrich Lessing
German Painter, 1808-1880,Painter, great-nephew of GOTTHOLD EPHRAIM LESSING. He studied architecture in Berlin at the Kenigliche Bau-Akademie under Karl Friedrich Schinkel, before transferring to the Kunstakademie, where he became a pupil of Wilhelm Schadow in 1825. The next year Lessing followed Schadow to Desseldorf, where the latter had been appointed Director of the Kunstakademie. Almost to the end of his career Lessing was to follow Schadow's rules for a standard series of procedures in the production of a finished work: compositional sketch, oil study, detailed model study, cartoon and underdrawing for the final painting. Without an official position, Lessing worked at the Desseldorf Akademie until 1858
Bernard Blommers
(30 January 1845 in The Hague - 12 December 1914 in The Hague) was a Dutch etcher and painter of the Hague School. He learned lithography early in his career, and then studied at the Hague Akademie under Johan Philip Koelman until 1868.His early paintings were mostly genre works depicting fishermen and their wives, heavily influenced by Jozef Israëls.The later works (from about 1890) are more loosely painted, although maritime and genre scenes remained the primary subject matter. His work was critically successful during his lifetime, being sought after by English, Scottish and American collectors.
LINGELBACH, Johannes
Dutch Baroque Era Painter, 1622-1674 German painter, active in the Netherlands and Italy. By 1634 his family had settled in Amsterdam, where presumably Lingelbach trained as a painter. According to Houbraken, he visited France in 1642 and arrived in Italy two years later. However, he is not mentioned in any document of 1644, although he is recorded in Rome from 1647 to 1649. The artist left Rome in 1650 and by 1653 was back in Amsterdam, where he remained until his death. Lingelbach is perhaps the only one of the Dutch Italianates with a catalogue of numerous signed and dated works to document his artistic development. The first two signed works are The Blacksmith (1650; Rome, Melmeluzzi priv. col., see Briganti, Trezzani and Laureati, fig. 10.1) and Self-portrait with Violin (1650; Zurich, Ksthaus). Unfortunately no certain works survive from the previous years. Kren (1982) attributed a series of works depicting Roman trades, some formerly ascribed to Pieter van Laer, to Lingelbach's early career. The original group consisted of three small paintings: the Acquavita-seller, the Cake-seller and The Tobacconist (all Rome, Pal. Corsini). While these paintings have some striking points in common with the Melmeluzzi Blacksmith of 1650 and the signed Dentist on Horseback (1651; Amsterdam, Rijksmus.), it is still uncertain whether they belong to Lingelbach's pre-1650 work or are by another hand