March 3, 2012
conchahuerta:

Restaurations confirm the Prado Museum’s Gioconda was painted at the same time that the original by one of Leonardo’s aprentices.

Have you guys heard about this? It’s cray. El País, one of Spain’s major newspapers, covered the story, and the link’s article features a fun bit of business where you can move between the Mona Lisa and La Gioconda, comparing them.  http://cultura.elpais.com/cultura/2012/02/19/actualidad/1329682980_425598.html

conchahuerta:

Restaurations confirm the Prado Museum’s Gioconda was painted at the same time that the original by one of Leonardo’s aprentices.

Have you guys heard about this? It’s cray. El País, one of Spain’s major newspapers, covered the story, and the link’s article features a fun bit of business where you can move between the Mona Lisa and La Gioconda, comparing them.  http://cultura.elpais.com/cultura/2012/02/19/actualidad/1329682980_425598.html

January 25, 2012
cavetocanvas:

Jusepe de Ribera, An Old Usurer, 1638
From the Museo del Prado:

In this depiction that some have interpreted as an allegory of avarice, a n old usurer, with wrinkled face, ragged clothes, an annoyed gaze and a distrustful expression, holds a set of scales, probably for weighing gold.In the sixteen thirties, Ribera’s style grew closer to that of the Venetians and Bolognese painters, yet this work affirms his continuing relation to Caravaggio’s naturalism. This is especially clear in the rendering of the scales and of the old woman’s figure. Unlike his youthful works, though, this one is characterized by rapid, intense brushstrokes.


I love Ribera!

cavetocanvas:

Jusepe de Ribera, An Old Usurer, 1638

From the Museo del Prado:

In this depiction that some have interpreted as an allegory of avarice, a n old usurer, with wrinkled face, ragged clothes, an annoyed gaze and a distrustful expression, holds a set of scales, probably for weighing gold.

In the sixteen thirties, Ribera’s style grew closer to that of the Venetians and Bolognese painters, yet this work affirms his continuing relation to Caravaggio’s naturalism. This is especially clear in the rendering of the scales and of the old woman’s figure. Unlike his youthful works, though, this one is characterized by rapid, intense brushstrokes.

I love Ribera!

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