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<p>En la Francia del Grand Goût de los siglos XVII y XVIII empezó a fraguarse el mito romántico del pintor español José de Ribera, cuya leyenda de artista violento se consolidó en el siglo XIX. Frente a los escritos de Félibien y Dezallier D’Argenville, los viajeros franceses del siglo XVIII opusieron su mirada personal ante la contemplación directa de sus obras conservadas en Nápoles. Sus comentarios escritos, que en muchas ocasiones permanecieron inéditos, suponen una crítica más moderna que la condena uniforme de la Academia.</p><p>In France, during the 17th and 18th Century, where the Grand Goût was uniform, begann the romantic mith of the spanish painter José de Ribera, which legendary violence got in the 19th century consolidated. In front of the writtings of Félibien and Dezallier D’Argenville, the french travellers of the 18th century opposed their personal look of the direct contemplation of his works in Naples. Their texts, which in several ocasions remained unpublished, mean a more modern critic than the uniform condemn of the Academy.</p

La visión directa de José de Ribera a través de los "Voyages en Italie" de los franceses en los siglos XVII y XVIII