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RIBOT, THEODULE (1823–1891)

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Originally appearing in Volume V23, Page 286 of the 1911 Encyclopedia Britannica.
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RIBOT, THEODULE (1823–1891) , See also:French painter, was See also:born at See also:Breteuil, in See also:Eure, in 1823, and died at Bois See also:Colombes, near See also:Paris, in See also:September 18gr. A See also:pupil nominally of Glaize, but more really of See also:Ribera, of the See also:great Flemings and of See also:Chardin, Theodule Ribot had yet conspicuously his own See also:noble and See also:personal See also:vision, his own intensity of feeling and See also:rich sobriety of performance. Beginning to See also:work seriously at See also:art when he was no longer extremely See also:young, and dying before he was extremely old, Ribot crowded into some See also:thirty or thirty-five years of active practice very varied achievements; and he worked in at least three mediums, oil paint, See also:pencil or See also:crayon draughtsmanship and the See also:needle of the etcher. His drawings were sometimes " See also:complete in themselves," and sometimes fragmentary but powerful preparations for painted canvases. The etchings, of which there are only about a couple of dozen, are of the See also:middle See also:period of his practice; they show a diversity of method as well as of theme; the work in the well-nigh See also:Velazquez-like " Priere "—a See also:group of girl See also:children- contrast-See also:ing strongly with that See also:process almost of outline alone, which he employed in the brilliant little group of prints which See also:record, his vision of the See also:character and humours of cooks and See also:kitchen boys. In See also:etching, the method varied with the theme—not with the period. It is quite otherwise with the paintings. Here the earlier work, irrespective of its subject, is the drier and the more austere; the later work, irrespective of its subject, the freer and broader. But even in that which is quite See also:early there is a curious and impressive intensity of conception and presentation. His visions of elderly See also:women and young girls remain upon the memory. His wonfen, wrinkled and worn, have had the experience of a hard and grinding See also:world; his children, his young girls, are the See also:quintessence of innocence and happy hopefulness, and See also:life is a jest to his boys. His religious pieces, in which Ribera affected him, have conviction and force.

Into portraits and into character studies, but more especially into genre subjects, Ribot was See also:

apt to introduce Still-life, and to make much of it. Herein, as in his sense of homeliness, he resembled Chardin. But again, Chardin-like, he painted Still-life for its own See also:sake, by itself, and always with an extraordinary sense of the solidity and See also:form, the texture and the See also:hue, and, it must be added also, the very See also:charm of See also:matter. (F.

End of Article: RIBOT, THEODULE (1823–1891)

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