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The description for this book, Jusepe de Ribera: Prints and Drawings, will be forthcoming.

A volume which celebrates the 400th anniversary of the birth of Jusepe de Ribera by bringing together 60 of the artist's greatest paintings, including The Clubfooted Boy, The Drunken Silenus, The Martyrdom of Saint Philip and The Holy Family with Saints Anne and Catherine of Alexandria.

Bross.con cop. ill. a col., cm 28x25, pp 422, moltissime tavv. e ill. a col. e b/n. - ISBN: 884353842X

A volume which celebrates the 400th anniversary of the birth of Jusepe de Ribera by bringing together 60 of the artist's greatest paintings, including "The Clubfooted Boy", "The Drunken Silenus", "The Martyrdom of Saint Philip" and "The Holy Family with Saints Anne and Catherine of Alexandria".

Book by Scholz-Hansel, Michael

Brings Together Some of Ribera's Mist Famous Works. 235 Pages Pictures and Text

A volume which celebrates the 400th anniversary of the birth of Jusepe de Ribera by bringing together 60 of the artist's greatest paintings, including The Clubfooted Boy, The Drunken Silenus, The Martyrdom of Saint Philip and The Holy Family with Saints Anne and Catherine of Alexandria.

Painter and printmaker José Ribera (1591-1652, also known as Jusepe de Ribera) was among the earliest and best-loved exponents of Caravaggio's "Tenebrism," in which stark drama is drawn from extreme contrasts of light and shadow. Despite the tendency to identify him with the Spanish school, Ribera was quick to leave his native land, moving to Italy around 1611, and living in Rome and Naples; however, he often signed his paintings "Jusepe de Ribera, Spaniard." In these early years, Ribera practiced the Caravaggian style, creating many Tenebrist masterpieces (such as his 1630 portrait of Archimedes) before embracing more diffuse effects of lighting. With Poligrafa's beautifully printed introduction to Ribera, Javier Portús, Chief Curator of Spanish Baroque Painting at the Prado, opens up a new approach to Ribera's career, focusing on the early Tenebrist years in Rome and Naples.

Painter and printmaker José Ribera (1591-1652, also known as Jusepe de Ribera) was among the earliest and best-loved exponents of Caravaggio's "Tenebrism," in which stark drama is drawn from extreme contrasts of light and shadow. Despite the tendency to identify him with the Spanish school, Ribera was quick to leave his native land, moving to Italy around 1611, and living in Rome and Naples; however, he often signed his paintings "Jusepe de Ribera, Spaniard." In these early years, Ribera practiced the Caravaggian style, creating many Tenebrist masterpieces (such as his 1630 portrait of Archimedes) before embracing more diffuse effects of lighting. With Poligrafa's beautifully printed introduction to Ribera, Javier Portús, Chief Curator of Spanish Baroque Painting at the Prado, opens up a new approach to Ribera's career, focusing on the early Tenebrist years in Rome and Naples.

The Spanish Baroque artist and printmaker, Jusepe de Ribera (1591–1652), has long been celebrated for his depictions of human suffering—faces contorted in pain, mutilated bodies, sagging flesh, and deformed bodies. This new volume explores, for the first time, the theme of violence in Ribera's work to demonstrate how his images are neither the product of his supposed sadism nor the expression of a purely aesthetic interest, but rather involve a complex artistic, religious and cultural engagement in the depiction of bodily suffering, challenging visitors to look beyond the shocking imagery.Born in Játiva, Valencia, Ribera spent most of his career in Naples, southern Italy, where he influenced many Neapolitan masters including Salvator Rosa and Luca Giordano. He is often regarded as the heir to Caravaggio for his dramatic use of light and shadow, and his practice of painting directly from the live model. His prints and paintings alike had an enormous impact on the development of Baroque art all over Europe.

Jusepe Ribera (1591-1652), Guercino (1591-1666), Stefano della Bella (1610-1664), Abraham Bloemaert (1566-1651), and Peter Paul Rubens (1577-1640) all created printed drawing lessons dedicated to the practice and theory of drawing. These artists composed wordless compositions on a page of eyes, ears, hands, mouths and noses, configurations that were ostensibly meant to teach the practice of drawing. Yet as this book argues, these were not only pedagogical treatises on practice but also theoretical works on draftsmanship made by the most influential European draftsmen. This book is the first theoretical consideration of these major works. Reading these treatises in the context of an early modern intellectual history of the senses, this book examines how artists visually theorized the process of producing knowledge through making lines on a page. Beginning with the pedagogical treatises of Albrecht Dürer and progressing through the pedagogical writings, drawings, and printed drawing books of early-modern draftsmen, this book traces a history of the senses and drawing, demonstrating how shifting concepts of the body, divinity and god changed the processes by which artists conceived of drawing the world, themselves and others.

Jusepe Martínez’s Practical Discourses on the Most Noble Art of Painting (ca. 1673–75), though little known today, was highly influential on art, artists, and artistic practice and theory in Spain long after its publication. This volume is the first English translation of the Discourses, which, while circulated in manuscript copies, was not even published until the mid-nineteenth century.   Martínez wrote the Discourses toward the end of his life as a well-traveled professional artist who had studied and worked in Italy and the major artistic and literary centers of Spain; his ideas were especially enriched by his participation in the elevated cultural life of his native Aragonese school. His discussions on art offer anecdotal knowledge from his friendships with many of the principal artists of Spain’s Golden Age, including Diego Velázquez and Alonso Cano, as well as writers and intellectuals of the period.   Martínez’s text stands out for a nuanced humanism that is rare in practical treatises. Along with his original ideas on handling, pictorial aesthetics, and the vocation of painting, his work has even more affinities with philosophical discourses than with artists’ practical instructional books. Zahira Véliz’s introduction and notes provide historical context and situate Martínez’s ideas in his rich cultural milieu.