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Jose de Ribera
The Holy Trinity
mk61
c.1635
Oil on canvas
226x118cm
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Jose de Ribera
The Martyrdom of St. philip
mk61
1639
Oil on canvas
234x234cm
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Jose de Ribera
Jacob's Dream
mk61
1639
Oil on canvas
179x233cm
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Jose de Ribera
The Deliverance of St.Peter
mk61
1639
Oil on canvas
177x232cm
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Jose de Ribera
Martyrdom of St Philip
mk156
1639
Oil on canvas
234x234cm
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Jose de Ribera
St Jerome and the Angel
1626
Oil on canvas,
262 x 164 cm
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Jose de Ribera
Bearded Woman
1631
Oil on canvas,
196 x 127 cm
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Jose de Ribera
Landscape with Shepherds
1639 Oil on canvas, 128 x 269 cm
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Jose de Ribera
the clubfoot
mk247
1642,oil on canvas,64.625x37 in,164x94 cm,louvre,paris,france
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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
Der Tastsinn
c. 1630
114 ?? 88 cm (44.88 ?? 34.65 in)
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Jose de Ribera
Der trunkene Silenos Detail
Medium Oil on canvas
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Jose de Ribera
touch
c. 1630
Oil on canvas
114 x 88 cm (44.88 x 34.65 in)
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Jose de Ribera
Hl. Franz von Assisi
1643(1643)
Oil on canvas
103 x 77 cm
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Jose de Ribera
Der Tastsinn
Date Deutsch: um 1630
English: c. 1630
Medium Oil on canvas
Dimensions 114 X 88 cm (44.88 X 34.65 in)
cyf
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Jose de Ribera
Mystische Hochzeit der Hl. Karharina von Alexandrien, Detail
1648(1648)
Oil on canvas
cjr
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Jose de Ribera
Mystische Hochzeit der Hl
1648(1648)
Medium Oil on canvas
cyf
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Jose de Ribera
Die Bubende Hl. Maria Magdalena als Thais, Fragment
c. 1641
Oil on canvas
181 x 195 cm
cjr
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Jose de Ribera
Mystische Hochzeit der Hl. Katharina von Alexandrien, Desposorios misticos de Santa Catalina de Alejandria.
Date 1648(1648)
Medium Oil on canvas
Dimensions Deutsch: 209 x 154 cm
cjr
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Jose de Ribera
St Jerome
Date 1646(1646)
Medium Oil on canvas
Dimensions 146 x 198 cm (57.5 x 78 in)
cjr
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| Jose de Ribera
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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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