- Museum number
A miraculous healing by a saint; a figure pushing another in a wheelchair towards a group of sick
Pen and brown ink and brush with brown wash over black chalk heightened with lead white on red-prepared paper
- Production date
- 1610-1628 (c.)
Height: 307 millimetres
Width: 230 millimetres
- Curator's comments
- Modified text from McDonald 2013
The third son of Francisco Ribalta (1565-1628), Juan trained in his father’s workshop in Valencia and is regarded his outstanding disciple. He died at a young age shortly after his father. Palomino observes how their close collaboration makes their work hard to distinguish. The extent of Juan’s painting activity is not well understood and his practice as a draftsman even less so. Several drawings have been attributed to him on the basis of their inscriptions, none can be connected directly with a painting. The attribution of this drawing to Juan Ribalta rests on the technique and the double inscription on the sheet. ‘Ribalta’ is inscribed, once in pen and brown ink and again partly trimmed in pencil below.
The red wash is similar to other drawings thought to be by Juan Ribalta such as the Descent from the Cross in the Louvre, Paris. He also used warm tones for the ground of his paintings, a practice thought to have been influenced by Pedro Orrente, who arrived in Valencia around 1616. Preparing papers with a coloured ground was uncommon in Spain during the seventeenth century. There are however earlier precedents in Valencia. Fernando Yáñez de la Almedina (c.1465/70–1536) for example encountered drawings on prepared paper when he was in Italy and adopted the practice on his return to Valencia.
Juan Ribalta’s compositions were influenced by Albrecht Dürer’s prints. The London drawing, for example, is compositionally similar to prints from Dürer’s Small Passion and the Life the Virgin: a circle of figures, with a single figure in the foreground seen from the back, those in the background being executed more lightly, some just showing their heads to suggest depth. The Presentation of Christ in the Temple from the Life of the Virgin series is an example (1895,0122.633). The Renaissance-style columns used to frame the composition also occur in Dürer’s prints and points to the availability of his work in Spain.
D. Angulo Iñíguez and A.E. Pérez Sánchez 1988, IV, 'A Corpus of Spanish Drawings. IV: Valencia 1600–1700', London 1988, no.372; M. P. McDonald, 'Renaissance to Goya: Prints and drawings from Spain', exh.cat., British Museum, London 2012, p.169; M. P. McDonald, 'El trazo español en el British Museum: Dibujos del Renacimiento a Goya', exh. cat., Museo Nacional del Prado, Madrid 2013, cat.no.41.
- Not on display
- Exhibition history
2012/13 Sept-Jan, London, British Museum, ‘Renaissance to Goya: Prints and Drawings from Spain’
2013 March-June, Madrid, Museo Nacional del Prado, ‘El trazo español en el British Museum …’
2013, Aug-Nov, Sydney, AGNSW, 'Renaissance to Goya'
2013-4, Dec-Mar, Santa Fe, New Mexico Museum of Modern Art, 'Renaissance to Goya'
- Acquisition date
- Prints and Drawings
- Registration number