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 Hl. Bruno, der Kartauser oil painting


Hl. Bruno, der Kartauser
1643(1643) Medium oil on canvas Dimensions Deutsch: 38 x 27 cm cjr
Painting ID::  93920 		Jose de Ribera
Hl. Bruno, der Kartauser
1643(1643) Medium oil on canvas Dimensions Deutsch: 38 x 27 cm cjr
   
   
     
Jose de Ribera St John the Baptist in the Desert oil painting


St John the Baptist in the Desert
between 1644(1644) and 1647(1647) Medium oil on canvas cyf
Painting ID::  95708 		Jose de Ribera
St John the Baptist in the Desert
between 1644(1644) and 1647(1647) Medium oil on canvas cyf
   
   
     
Jose de Ribera Arrependimento de Sao Pedro oil painting


Arrependimento de Sao Pedro
from 1640(1640) until 1650(1650) Medium oil on canvas Dimensions 112 X 91 cm cyf
Painting ID::  96988 		Jose de Ribera
Arrependimento de Sao Pedro
from 1640(1640) until 1650(1650) Medium oil on canvas Dimensions 112 X 91 cm cyf
   
   
     
Jose de Ribera Hl Moses oil painting


Hl Moses
1638(1638) Medium oil on canvas Dimensions 168 X 97 cm cyf
Painting ID::  96998 		Jose de Ribera
Hl Moses
1638(1638) Medium oil on canvas Dimensions 168 X 97 cm cyf
   
   
     
Jose de Ribera Der Hl Franz von Assisi und der Engel mit der Wasserflasche oil painting


Der Hl Franz von Assisi und der Engel mit der Wasserflasche
1636-1638 Medium oil on canvas Dimensions 129 X 98 cm cyf
Painting ID::  97280 		Jose de Ribera
Der Hl Franz von Assisi und der Engel mit der Wasserflasche
1636-1638 Medium oil on canvas Dimensions 129 X 98 cm cyf
   
   
     
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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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