Jose de Ribera
Spanish Painter and Print engraver , 1591-1652 Information concerning the life and personality of Jusepe de Ribera is sparse. He was born the son of a shoemaker in Jetiva, Valencia Province. He appears to have gone to the city of Valencia while still a boy, but nothing is known of his possible artistic training there. As an adolescent, he traveled to Italy and spent time in Lombardy. Next he was in Parma, from which, it is said, he was driven by the contentious jealousy of local artists. He located himself in Rome until an accumulation of debts forced him to flee. Finally he settled in Naples, where in 1616 he married Caterina Azzolino, the daughter of a painter, by whom he had seven children between the years 1627 and 1636. The Academy of St. Luke in Rome elected Ribera to membership in 1625, and 6 years later the Pope conferred upon him the Order of Christ. It is understandably speculated that Ribera revisited Rome for these events. Being sought after in Naples by the Church and the various Spanish viceroys who ruled there in the name of the Spanish monarchy, he dismissed the idea of returning to his homeland. He was quoted as saying that he was honored and well paid in Naples and that Spain was a cruel stepmother to its own children and a compassionate mother to foreigners. Nevertheless, he generally added his nationality when he signed his works. This practice inspired the Italians to nickname him "the Little Spaniard" (Lo Spagnoletto). The last decade of Ribera's life was one of personal struggle. He suffered from failing health, the taunts of other artists that his fame was "extinct," and difficulty in collecting payments due him. Nevertheless, he kept it from being a tragic defeat by continuing to paint until the very year of his death in Naples. Actually, he was the victim of the local politics and finances. Naples was in the throes of a severe economic depression for which the foreign rulers, the patrons of Ribera, were naturally blamed, and the desperate citizenry was rioting in the streets. It is significant that Ribera continued to receive commissions in such a time, even if there was a dearth of payments. Ribera was inventive in subject matter, ranging through visionary spectacles, biblical themes, genre, portraits, mythological subjects, and portraits of ascetics and penitents.

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Jose de Ribera Martyrium des Hl. Andreas oil painting


Martyrium des Hl. Andreas
Date 1628(1628) Medium Oil on canvas Dimensions 285 x 183 cm cjr
Painting ID::  85324
Jose de Ribera
Martyrium des Hl. Andreas
Date 1628(1628) Medium Oil on canvas Dimensions 285 x 183 cm cjr
   
   
     

Jose de Ribera St Jerome oil painting


St Jerome
1646(1646) Medium Oil on canvas Dimensions 146 x 198 cm (57.5 x 78 in) cyf
Painting ID::  85502
Jose de Ribera
St Jerome
1646(1646) Medium Oil on canvas Dimensions 146 x 198 cm (57.5 x 78 in) cyf
   
   
     

Jose de Ribera Philosopher Crates oil painting


Philosopher Crates
1636(1636) Medium Oil on canvas Dimensions 124 x 98.5 cm (48.8 x 38.8 in) cyf
Painting ID::  85854
Jose de Ribera
Philosopher Crates
1636(1636) Medium Oil on canvas Dimensions 124 x 98.5 cm (48.8 x 38.8 in) cyf
   
   
     

Jose de Ribera Bubender Hl. Hieronymus San Jeronimo penitente. oil painting


Bubender Hl. Hieronymus San Jeronimo penitente.
Date 1652(1652) Medium Oil on canvas Dimensions Deutsch: 77 x 71 cm cjr
Painting ID::  86385
Jose de Ribera
Bubender Hl. Hieronymus San Jeronimo penitente.
Date 1652(1652) Medium Oil on canvas Dimensions Deutsch: 77 x 71 cm cjr
   
   
     

Jose de Ribera L Apollo e Marsia di Jusepe de Ribera e un quadroche si trova a Napoli nel Museo di Capodimonte (inv. Q 511), nella Galleria Napoletana. Fa parte dell oil painting


L Apollo e Marsia di Jusepe de Ribera e un quadroche si trova a Napoli nel Museo di Capodimonte (inv. Q 511), nella Galleria Napoletana. Fa parte dell
Date 1637(1637) Medium Oil on canvas Dimensions Deutsch: 182 x 232 cm cjr
Painting ID::  86805
Jose de Ribera
L Apollo e Marsia di Jusepe de Ribera e un quadroche si trova a Napoli nel Museo di Capodimonte (inv. Q 511), nella Galleria Napoletana. Fa parte dell
Date 1637(1637) Medium Oil on canvas Dimensions Deutsch: 182 x 232 cm cjr
   
   
     

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     Jose de Ribera
     Spanish Painter and Print engraver , 1591-1652 Information concerning the life and personality of Jusepe de Ribera is sparse. He was born the son of a shoemaker in Jetiva, Valencia Province. He appears to have gone to the city of Valencia while still a boy, but nothing is known of his possible artistic training there. As an adolescent, he traveled to Italy and spent time in Lombardy. Next he was in Parma, from which, it is said, he was driven by the contentious jealousy of local artists. He located himself in Rome until an accumulation of debts forced him to flee. Finally he settled in Naples, where in 1616 he married Caterina Azzolino, the daughter of a painter, by whom he had seven children between the years 1627 and 1636. The Academy of St. Luke in Rome elected Ribera to membership in 1625, and 6 years later the Pope conferred upon him the Order of Christ. It is understandably speculated that Ribera revisited Rome for these events. Being sought after in Naples by the Church and the various Spanish viceroys who ruled there in the name of the Spanish monarchy, he dismissed the idea of returning to his homeland. He was quoted as saying that he was honored and well paid in Naples and that Spain was a cruel stepmother to its own children and a compassionate mother to foreigners. Nevertheless, he generally added his nationality when he signed his works. This practice inspired the Italians to nickname him "the Little Spaniard" (Lo Spagnoletto). The last decade of Ribera's life was one of personal struggle. He suffered from failing health, the taunts of other artists that his fame was "extinct," and difficulty in collecting payments due him. Nevertheless, he kept it from being a tragic defeat by continuing to paint until the very year of his death in Naples. Actually, he was the victim of the local politics and finances. Naples was in the throes of a severe economic depression for which the foreign rulers, the patrons of Ribera, were naturally blamed, and the desperate citizenry was rioting in the streets. It is significant that Ribera continued to receive commissions in such a time, even if there was a dearth of payments. Ribera was inventive in subject matter, ranging through visionary spectacles, biblical themes, genre, portraits, mythological subjects, and portraits of ascetics and penitents.

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