Jusepe de Ribera

Jusepe de Ribera
Copy of Saint Thomas (purported Ribera self-portrait) engraved by Hamlet Winstanley
Baptised	(1591-02-17)17 February 1591 Játiva, Valencia, Spain
Died	3 November 1652(1652-11-03) (aged 61) Mergellina, Naples, Italy
Occupation(s)	Painter and printmaker
Years active	1611–1652
Known for	Drunken Silenus, Magdalena Ventura with Her Husband and Son, The Martyrdom of Saint Philip, Clubfooted Boy, The Holy Family with Saints Anne and Catherine of Alexandria
Movement	Baroque
Signature

Jusepe de Ribera (Valencian: [josep ðe riˈβeɾa]; baptised 17 February 1591 – 3 November 1652) was a Spanish painter and printmaker. Ribera, Francisco de Zurbarán, Bartolomé Esteban Murillo, and the singular Diego Velázquez, are regarded as the major artists of Spanish Baroque painting. Referring to a series of Ribera exhibitions held in the late 20th century, Philippe de Montebello wrote "If Ribera's status as the undisputed protagonist of Neapolitan painting had ever been in doubt, it was no longer. Indeed, to many it seemed that Ribera emerged from these exhibitions as not simply the greatest Neapolitan artist of his age but one of the outstanding European masters of the seventeenth century."^{[1]: vii p.} Jusepe de Ribera has also been referred to as José de Ribera (usual in Spanish and French), Josep de Ribera (in Catalan), and was called Lo Spagnoletto ("the Little Spaniard") by his contemporaries and early historians.

Ribera created history paintings, including traditional Biblical subjects and episodes from Greek mythology, but he is perhaps best known for his numerous views of martyrdom, which at times are brutal scenes depicting bound saints and satyrs as they are flayed or crucified in agony. Less familiar are his occasional, but accomplished portraits, still lifes, and landscapes. Nearly half of his surviving work consist of half length portraits of workers and beggars, often older individuals in ragged clothes, posing as various philosophers, saints, apostles, and allegorical figures. Ribera's paintings, particularly his early work, are characterized by stark realism using a chiaroscuro or tenebrous style. His later work embraced a greater use of color, softer light, and more complex compositions, although he never entirely abandoned his Caravaggisti leanings.

Very little is known about the first 20 years of his life and there are many gaps concerning his later life and career. He was baptized on February 17, 1591, in Játiva, Spain, his father identified as a shoemaker. He is not recorded again until 1611, when records show he was paid for a painting (now lost) for a church in Parma, Italy. Documents show he was a member of the Accademia di San Luca in Rome by October 1613 and living in a house in the Via Margutta in 1615–16, at that time known as "the foreigner's quarter", apparently living a bohemian life with his brothers and other artists. Anecdotal accounts written at the time indicate he quickly earned a reputation as an outstanding painter after arriving in Rome and was earning great profits, but also noted his laziness and extravagant spending.

Ribera moved to Naples in late 1616, under Spanish rule at that time, and in November married Caterina Azzolino, the daughter of Sicilian painter Giovanni Bernardino Azzolini. There he remained for the rest of his life, setting up a workshop with many pupils, securing commissions, and establishing an international reputation. In 1626 he received the Cross of the Order of Christ from Pope Urban VIII. His health began to deteriorate in 1643 and his productivity declined from that time on, and by 1649 he was experiencing financial hardships as well. However, when his health permitted, he continued to produce several acclaimed paintings into the last year of his life.^[1][2][3]