Jose ribera el españoleto

Zurbarán

Nació en Xátiva (Valencia) en 1591 como hijo de un zapatero. No hay casi ningún testimonio ni registro de su infancia y primera educación. Por algunas fuentes italianas del siglo XVII se sabe que hacia 1611 estuvo al servicio del duque Ranuccio Farnesio. Fue también en la ciudad de Parma donde se le reconoció como un pintor considerablemente dotado. A partir de 1613 se instaló en Roma y se vinculó a la Academia de San Lucas, donde se familiarizó con la pintura de Caravaggio y con el naturalismo. En 1616 fue nombrado académico de San Lucas y se trasladó definitivamente a Nápoles, donde se casó con Caterina Azzolino. Su primer periodo oscuro de contrarreforma dio paso a otro más colorido, influenciado por los venecianos Tiziano y Veronés. Murió en Nápoles en 1652.

The grecogreek painter

José de Ribera was born in Játiva where he was baptized in the parish of Santa Tecla on February 17, 1591. Son of Simón Ribera, a shoemaker by profession, and Margarita Cucó, at the baptismal font he received the name Joan Josep.[4][5] He had a brother named Juan who also had to devote himself to painting, although very little is known about him. Very little is known about the family, but it is assumed that the Ribera family lived relatively well off; the shoemaker’s profession was esteemed since footwear was a luxury item of clothing at that time.

His color range became clearer in the 1630s, influenced by Van Dyck, Guido Reni and other painters, and despite serious health problems in the following decade, he continued to produce important works until his death on September 3, 1652.

The earliest known signed work by him is a St. Jerome now preserved in Toronto, Canada (Art Gallery of Ontario), circa 1614; in the signature Ribera proclaims himself a «Roman scholar». But despite the inscription, such a painting was disputed by experts until recently, as it differed significantly from the known style of the master.

Jose ribera guitar

Born in Játiva, 1591 and died in Naples, 1652). There is no certain information about his artistic training, although it is believed that he was a disciple of Francisco Ribalta. He was the most influential in his time, both through his paintings and his facet of excellent draughtsman and engraver, which allowed the dissemination of his compositions throughout Europe.

Around 1608-1610 he went to Italy, where he visited the court of the Farnese in Parma (St. Martin parting his cloak with the poor) and became interested in the work of Correggio. Until 1616 he was in Rome, where he admired Raphael, Michelangelo and, especially, Caravaggio. There he achieved fame and produced works of great quality, as evidenced by The Taste and The Touch, from the series of The Five Senses.

He settled in Naples for good, where he established himself as the most important personality of the Neapolitan scene. Here he developed his entire pictorial career and left a deep imprint on the painting of southern Italy. He enjoyed the protection of the viceroys, who adopted him as their chamber painter, such as the Duke of Osuna, for whom he painted the group of works in the collegiate church of Osuna, Count Monterrey (Inmaculada and other works in the church of the Agustinas de Salamanca) and Don Juan de Austria.

Martyrdom of saint philip

Before that he passed through Parma, where he painted, for example, St. Martin and the Poor Man for the church of St. Andrew, which, although lost, is known from an engraving and several old copies. It is true that Ribera’s Italian journey is not completely closed, and it is not known if he traveled first to Naples, then to Rome and then to Parma; or first to Genoa and then to Parma… In any case, in 1613 -already a member of the Academy of St. Luke- he appears with domicile in the Roman Via Margutta, together with his brother John.

And also from there he exerted an enormous influence on the artists around him until a generation after his death. Vitzthum’s 1963 article, Le dessin baroque a Naples, argued that Ribera’s role was as fundamental for drawing as Caravaggio’s was for painting.

It was illustrious specialists such as Walter Vitzthum and Michael Mahoney who, since the 1960s, have set the essential notes of Ribera’s drawing style, and who established the basic corpus of autograph works. More recently, two scholars have made important contributions to the expansion and understanding of Ribera’s work: the British Nicholas Turner and the Neapolitan Viviana Farina. And before and after, successive researchers have been expanding and modifying it. Thanks to the work of all of them, this catalog raisonné of Ribera’s drawings is now published. Here are six works that are now confirmed as originals by the Valencian artist.