José Ribera

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Ribera, José

 

(also Jusepe de Ribera, called II Spagnoletto). Born Feb. 17 (?), 1591, in Játiva, Valencia; died Sept. 2, 1652, in Naples. Spanish painter and engraver.

It is believed that Ribera studied with F. Ribalta in Valencia. He settled in Italy in 1613. From 1616 to 1618 he worked in Naples, where he was court painter for the Spanish viceroys. Ribera’s art reflects the influence of Caravaggism. His early works, including etchings executed during the 1620’s, are dominated by harsh chiaroscuro. In the 1620’s and 1630’s, Ribera painted dramatic scenes of martyrdom, stressing the victory of will over physical suffering. His half-length representations of saints and ancient philosophers are greatly humanized (Democritus, 1620, Prado, Madrid).

In the mid-1630’s, Ribera, while remaining a strict realist, produced works that were less severe. He used less chiaroscuro, and his palette acquired golden and silvery tones. Ribera’s paintings on themes from the Old and New Testaments were noted for lofty humanism (The Adoration of the Shepherds, 1638, Museum of Fine Arts, Grenoble). His depictions of women were particularly profound and moving (St. Inés, Dresden Picture Gallery, 1641). Ribera also painted mythological and genre scenes (The Club-footed Boy, 1642, Louvre, Paris).

REFERENCES

Znamerovskaia, T. P. Tvorchestvo Khusepe Ribery i problema narodnosti ispanskogo realisticheskogo iskusstva. Leningrad, 1955.
Du Gué Trapier, E. Ribera. New York, 1952.
Brown, J. Jusepe de Ribera: Prints and Drawings. Princeton, 1973.
References in periodicals archive ?
Painting is well represented: Munich-based Kunkel Fine Art offers the enigmatic oil Luzifer (1890) by Franz von Stuck, a leading figure in the Symbolist movement, while Colnaghi impresses with a Jusepe de Ribera canvas of St Jude.
One striking example is "David and Goliath," a chalk drawing by the great 17th century painter Jusepe de Ribera.
Its misadventures, chronicled in the plays of Lope de Vega and Calderon, also fueled the genius of Diego Velazquez, Francisco de Zurbaran, Jusepe de Ribera, and Bartolome Esteban Murillo.
The Collection includes work by Spanish Baroque painters Juan De Borgona, Jusepe de Ribera, Francisco de Zurburan, and Juan de Valdes Leak The collection also includes portraits by eighteenth-century French painters, Portrait of a Lady by Flemish painter Anthony van Dyck, a Venetian landscape by Canaletto; and Bartolome Esteban Murillo's Ecce Homo.
Jusepe de Ribera was born in Spain in 1591 and moved to Italy at a young age.
Jusepe de Ribera escaped to Naples in 1616 to avoid his creditors, becoming one of the leading painters in the city.
Despite his studies in Paris, he was most influenced by 17th-century Dutch and Spanish painters, particularly Diego Velazquez and Jusepe de Ribera.
Franits correctly stresses the importance to Van Baburen of the young Jusepe de Ribera, whose stay in Rome has now been pinned down to 1612-16.
Part of a contemporary movement rooted in the traditions of 17th-century Spanish realism, Lopez Garcia, Claudio Bravo, Bernando Torrens, Francisco Roa, and many others have drawn inspiration from the meticulous work of Francisco de Zurbaran, Jusepe de Ribera, and Diego Velasquez to create their own naturalist style (2).
Another recent rediscovery is the sensitively interpreted half-length Saint James the Greater, painted in Naples by the Spanish-born Jusepe de Ribera probably some time in the 1630s (Galerie Canesso, Paris).
1530) by Sebastiano del Piombo face a group of paintings of philosophers by Jusepe de Ribera, Luca Giordano, Salvator Rosa and Johann Moreelse, the short-lived son of the more famous Paul.