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 St Jerome and the Angel oil painting


St Jerome and the Angel
1626 Oil on canvas, 262 x 164 cm
Painting ID::  43683 		Jose de Ribera
St Jerome and the Angel
1626 Oil on canvas, 262 x 164 cm
   
   
     
Jose de Ribera Bearded Woman oil painting


Bearded Woman
1631 Oil on canvas, 196 x 127 cm
Painting ID::  43809 		Jose de Ribera
Bearded Woman
1631 Oil on canvas, 196 x 127 cm
   
   
     
Jose de Ribera Landscape with Shepherds oil painting


Landscape with Shepherds
1639 Oil on canvas, 128 x 269 cm
Painting ID::  52675 		Jose de Ribera
Landscape with Shepherds
1639 Oil on canvas, 128 x 269 cm
   
   
     
Jose de Ribera the clubfoot oil painting


the clubfoot
mk247 1642,oil on canvas,64.625x37 in,164x94 cm,louvre,paris,france
Painting ID::  56073 		Jose de Ribera
the clubfoot
mk247 1642,oil on canvas,64.625x37 in,164x94 cm,louvre,paris,france
   
   
     
Jose de Ribera St Jerome and the Angel oil painting


St Jerome and the Angel
318 x 238 mm - In the 1620s Ribera began to experiment with etching, he soon mastered. For Ribera, this medium was a sideline that did not long hold his interest; all but one of his eighteen prints were created between 1620 and 1630, in the hope of attracting new patrons
Painting ID::  62301 		Jose de Ribera
St Jerome and the Angel
318 x 238 mm - In the 1620s Ribera began to experiment with etching, he soon mastered. For Ribera, this medium was a sideline that did not long hold his interest; all but one of his eighteen prints were created between 1620 and 1630, in the hope of attracting new patrons
   
   
     
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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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