Francisco
Ribalta

From the family tailor. In 1572, the family moved to Barcelona. In 1581 he lost his father, moved to Madrid. He studied at the Juan fernández Navarrete. He was influenced by Sebastiano del Piombo, Jacopo Bassano, Leonardo da Vinci. One of the first in Spain used the light of the findings of Caravaggio. Worked in Madrid, 1599 in Valencia. Was friends with Lope de VEGA. Among students Ribalta was Jose de Ribera.

The son of artist Juan Ribalta.

Creator tenebrists schools in Valencia, a Catalan by descent (recently found a certificate of his baptism in the foot and ankle does not leave any doubt), Ribalta was formed in Castile in the artistic environment of the Escorial. His first known works ("Raising the Cross", 1582, St. Petersburg, State. The Hermitage) show its proximity to the Italian artists Zuccaro and Tibaldi, and the Spaniards ambazo K. and Navarrete El Mudo, whose painting "the Martyrdom of St. James" from the TS. Algemesi in the Escorial he almost literally copied. In 1596, in Madrid, he married, and the following year he had a son, Juan. But in 1599, the artist works in Valencia, where you will remain until the end of life, with the exception of the intended trip to Italy between 1616 and 1620 (this is the only period of his life, which did not reach us reliable information). Italian journey allowed the artist to explore the works of Caravaggio (subscription copy of the "Crucifixion of the Apostle Peter," Rome, private collection).

In Valencia and the surrounding area Ribalta created his most significant works, in particular the altars in the Church. Algemesi (1603-1604 partially died in 1936) and the big picture for Archbishop Juan de Ribera ("the Vision of St. Vincent Ferrier", 1604; "the last supper", 1606). In addition, he performed a series of remarkable portraits of the Archbishop. But his main work is painting for the monastery of the Capuchins, with whom in 1620 he entered into a contract (scenes from the life of St Francis - Madrid, Prado; Valencia, Museum of fine arts); painting "Christ with St. Bernard" (Madrid, Prado) and the altar for the monastery of Porta Coeli (1625, now in the Valencia Museum of fine arts). In the later works Ribalta still uncertain realism of the early works becomes frankly naturalistic, Baroque in nature, and reminiscences of Caravaggio connected with the memories of Venice and free interpretation of the model. Several works by Ribalta are the most strong and noble in the history of Spanish painting ("St. Peter", "St. Paul", "St. Bruno" from the altar of Port Coeli). The artist had a large workshop, numerous students (among which is his son Juan); his work has had a significant impact on the development of painting in Valencia.

His son, Juan Ribalta (1596 or 1597, Madrid - 1628, Valencia), was also a prominent representative of the Valencian school of painting. Early death did not allow him to do all the things that you would expect from his brilliant and already Mature talent. In 1613, he played a big subscription "Crucifixion" with its many characters (Valencia, Museum of fine arts), whose composition, like the work of his father, differs in details from modern realism. However, the signature works of Joan Ribalta remained very small ("John the Evangelist", Madrid, Prado; "SV. Jerome", 1618, Barcelona, the Museum of fine arts of Catalonia). All of them indicate technique a confident and strong naturalism. .He has cooperated extensively with his father; his hand is recognizable in some of the paintings of the altars of Porta Coeli (1625) and Andilly (1622-1626).