Bernard reflects many of the features of the Italian Baroque, and it is most likely drawn from a replica of a Caravaggio altarpiece Ribalta is known to have copied. Although it is uncertain whether Ribalta ever visited Italy, Christ Embracing St. The sculptural modeling and dramatic chiaroscuro that define the two figures-against a stark background in which two others are barely visible-recall Italian tenebrists such as Caravaggio. In its introspective and expressive depiction of deep religious experience, the painting proposes a redemptive vision of humankind. Bernard’s habit (juxtaposed with the taut and suspended body of Christ) give a sense of intimacy and weighty presence to a mystical vision. The corporality of Christ’s body (descended from the cross) as well as the careful attention to the draping of St. Playing rapturous limpness against divine strength, and the human against the transcendent, Ribalta’s painting shows a scene of devout piety and of distinctly human interaction. Bernard achieves a synthesis of naturalism and religiosity that defined the art of the 17th-century Counter-Reformation. A pioneer in discarding Mannerist conventions for a new type of naturalism, Valencia’s leading artist set a course for Spanish art that paved the way for masters such as Diego Velázquez, Francisco de Zurbarán, and José de Ribera. He transformed the Spanish Baroque in the process. Spanish painter Francisco Ribalta reached the pinnacle of his mature style with Christ Embracing St. After a brief return to Spain, he went back to France, where he died in 1828. The god’s wide-eyed stare suggests madness and paranoia, and disturbingly he seems unselfconscious in carrying out his horrific act. Goya’s version, with its restricted palette and looser style, is much darker in all senses. The artist may have been inspired by Peter Paul Rubens’s Baroque portrayal of the myth, Saturn Devouring His Son (1636). Goya, by then in his 70s and having survived two life-threatening illnesses, is likely to have been anxious about his own mortality. Taking the myth as a starting point, the painting may be about God’s wrath, the conflict between old age and youth, or Saturn as Time devouring all things. The haunting Saturn illustrates the myth of the Roman god Saturn, who, fearing that his children would overthrow him, ate them. They were not intended to be shown to the public, and only later were the pictures lifted from the walls, transferred to canvas, and deposited in the Prado.
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The artist painted directly on to the plaster walls of the Quinta the series of psychologically brooding images popularly known as the “black” paintings (1819–23).
A previous owner of the house was deaf, and the name remained apt as Goya himself had lost his hearing in his mid-40s. In 1819 Francisco Goya bought a house west of Madrid called the Quinta del sordo (“Villa of the deaf man”). SpaceNext50 Britannica presents SpaceNext50, From the race to the Moon to space stewardship, we explore a wide range of subjects that feed our curiosity about space!.
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