All RIBALTA, Francisco's oil paintings
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| ID |
Image |
Oil Pantings, Sorted from A to Z |
Other Information |
| 62317 |
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Adoration of the Shepherds |
15 x 29,5 cm Museo de Bellas Artes, Bilbao This small painting was painted on a copper plate used for engraving, the back side of the plate shows an engraving of the Sermon of St Luis Beltr?n. The attribution to Juan Ribalta is debated, Francisco Ribalta and Pedro Orrente are also mentioned in the literature as possible author |
| 8904 |
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Christ Embracing St Bernard xfgh |
Oil on canvas, 158 x 133 cm
Museo del Prado, Madrid |
| 28548 |
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Christ Embracing St.Bernard |
mk61
Oil on canvas
158x113cm
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| 32883 |
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Christ Embracing St.Bernard |
mk84
1625-27
Madrid
Prado,canvas
158x113cm
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| 56055 |
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christ embracing st.bernard |
mk247
1625 to 27,oil on canvas,62.25x44.5 in,158x113 cm,museo del prado ,madrid,spain |
| 29173 |
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Christ Nailed to the Cross |
mk65
1582
Oil on canvas
57x41"
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| 8905 |
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St Francis Comforted by an Angel |
Oil on canvas, 204 x 158 cm
Museo del Prado, Madrid |
| 29195 |
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St.Vincent in a Dungeon |
mk65
Oil on canvas
104x70"
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| RIBALTA, Francisco
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| Spanish Baroque Era Painter, ca.1565-1628
He was the most distinguished artist working in Valencia in the early 17th century. His move towards naturalism at an early date was significant for the history of Spanish painting as well as being very influential. His documented mature works after about 1620 show a change of vision, and they are also of the highest quality. The religious paintings are depicted with more pronounced realism, and his deeply felt spiritual belief is expressed in a direct and very immediate way. In 1607 Ribalta supported other leading Valencian painters in a move to form the Colegio de Pintores (College of Painters) to safeguard the interests of the profession. The expulsion of the Moriscos in 1609 and the death in 1611 of the Patriarch Archbishop Juan de Ribera, Ribalta's most important patron, led to an economic crisis and spiritual void in Valencia that had an effect on his activity, since thereafter commissions came more rarely, and his work became more introspective. During 1616 and 1617 the idea of forming the Colegio de Pintores was revived, and Ribalta took an active role in the management and signed the petition to Philip III seeking support for the Colegio.
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