1635, Jusepe de
Ribera (1591-1652), oil on canvas, 226 x181cm.
The title of the exhibition in Italian, Artemisia Gentileschi e il suo tempo, clearly indicated that the painter's work would be shown in context, in "her time." Indeed, of the sixty-five non-Artemisia paintings on view, four were by her father, Orazio, two by the painter and writer, Giovanni Baglione (remembered as Caravaggio's nemesis), and several by the Spanish painter working in Naples, Jusepe de
Naples: Reconsideration of some lesser-known personages linked to the art of Jusepe de
Ribera in order to publicise the historical and cultural value of one of the most fervent periods in the art of Italy's Mezzogiorno: this is the objective of the elegant and refined exhibition-dossier that the Gallerie of Palazzo Zevallos Stigliano is dedicating to Neapolitan painting in the first half of the 17th century.
The book concludes in brilliant fashion with a fascinating meditation on Jusepe de
Ribera's astonishing painting Prometheus.
One striking example is "David and Goliath," a chalk drawing by the great 17th century painter Jusepe de
Age is pitted against youth in Swing, in which an old man--bearded and clad in only a loincloth, resembling a Saint Jerome by Jusepe de
Ribera--prepares to take an ax to a dead tree.