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Aunque la estampa está firmada por F. Taylor, esta litografía que reproduce el óleo de José de Ribera (P01071), se atribuye a Isidore-Justine-Séverin Taylor (1789-1879) (Vega, J.: Museo del Prado. Cat [+]
Aunque la estampa está firmada por F. Taylor, esta litografía que reproduce el óleo de José de Ribera (P01071), se atribuye a Isidore-Justine-Séverin Taylor (1789-1879) (Vega, J.: Museo del Prado. Cat [+]
Aunque la estampa está firmada por J. F. Taylor, esta litografía, que reproduce el óleo de José de Ribera (P01124), custodiado en el Museo Nacional del Prado, se atribuye a Isidore-Justine-Séverin Tay [+]
Aunque la estampa está firmada por J. F. Taylor, esta litografía, que reproduce el óleo de José de Ribera (P01124), custodiado en el Museo Nacional del Prado, se atribuye a Isidore-Justine-Séverin Tay [+]
Aunque la estampa está firmada por J. F. Taylor, esta litografía que reproduce el óleo de José Ribera (P01082), se le asigna a Isidore-Justine-Séverin Taylor (1789-1879) según la atribución que hace J [+]
Aunque la estampa está firmada por J. F. Taylor, esta litografía que reproduce el óleo de José Ribera (P01082), se le asigna a Isidore-Justine-Séverin Taylor (1789-1879) según la atribución que hace J [+]
Until now, this drawing has been dated in the 1630s, fundamentally because its subject matter can be related to the epidemics of cholera and leprosy that struck the city of Naples in those years. Styl [+]
Se conoce una variante de la composición en un dibujo de Ribera, a sanguina, conservado en el Museo Británico. [+]
Emerging from a dark background, a half-length image of a man appears in the close foreground, his right shoulder and arm bare, his hair white and long, his features aged. He holds a wooden cross in h [+]
La obra se sitúa en la fase final de la actividad del artista, que utiliza el mismo esquema compositivo que otras composiciones anteriores suyas del mismo tema. Se conocen numerosas copias, entre ella [+]
By the time he entered his last period, a life dedicated to the representation of religious scenes led Ribera to develop a supreme mastery in the transmission of religious feelings with a great econom [+]
The painting is among a group of eight full-length single-figure composition of saints by Ribera that in 1658 were in the Madrid collection of Don Jerónimo de la Torre, a member of the Royal Co [+]
Traditionally identified as the woman who was a sinner and wept on Christ’s feet and wiped away her tears with her hair (Luke 7:36-50), Mary Magdalene is shown here as the hermit saint she became upon [+]
The saint in this painting can be identified by the knife in his right hand - the tool with which he was skinned. The work is part of a set of four hermits, although it is unusual to see this saint re [+]
Series of Apostles became very popular during the Counter-reformation; they were usually half-length figures against a neutral background, holding their iconographical attributes. One of the most impo [+]
The painting is among a group of eight full-length single-figure composition of saints by Ribera that in 1658 were in the Madrid collection of Don Jerónimo de la Torre, a member of the Royal Co [+]
Saint Paul, the first hermit, is shown meditating before a skull in solitude. This work dates from the final stage of Ribera’s career, which, in contrast to the darkness of his early years, is a phase [+]
Saint Peter lies in prison where his sleep is interrupted by an angel who frees him. This subject allows Ribera to create a work in which he can show the very best of his mature style. The work combin [+]
