Poverty and violence were important themes for Jusepe de Ribera, who served several kings and contributed to the cultural exchange between Italy and Spain. In his time, he was considered one of the most important painters in Naples and a powerful defender of the naturalistic style against the onset of classicism.
(...) Continue readingJusepe de Ribera – The small Spaniard studied in Italy
Jusepe de Ribera was born on 12 January 1591 in Játiva in the Spanish province of Valencia. Whilst other surviving variants of his name are Josep de Ribera and José de Ribera, the artist became known as Lo Spagnoletto ('The Little Spaniard'), and was the son of a shoemaker who defied his parents' wishes to become a painter from an early age. The claim that he was subsequently apprenticed to the Spanish painter Francisco Ribalta has not yet been substantiated. What is certain, however, is that he spent time in Italy, travelling via Parma to Rome to study the rich art treasures, and whilst there drawing frescoes on the façade of a Roman palace, probably caught the attention of an unnamed cardinal who took him into his house as a guest. It was in Rome that Jusepe de Ribera received his nickname from other artists. According to his early biographers, he belonged to the circle around Caravaggio, lived for a time in the Via Margutta and socialised with artists such as Hendrik ter Brugghen and Gerrit van Honthorst as well as other representatives of the Utrecht School who were in Rome in 1615.
Celebrated artist, feared opponent
In 1616, Jusepe de Ribera moved to Naples, perhaps to escape from his creditors, as he was considered a man who liked to live beyond his means despite his good income. In Naples, he married Caterina Azzolino, the daughter of the Sicilian-born painter Giovanni Bernardino Azzolino, who helped his son-in-law to quickly establish himself on the Neapolitan art scene. At the time, the Kingdom of Naples belonged to the Spanish Empire and as a highly talented Spanish artist, Jusepe de Ribera was quickly able to secure the favour of the Viceroy of Naples, Pedro Téllez-Girón. The latter had also only recently arrived in Naples and had not yet finalised the design of his court. Jusepe de Ribera fulfilled several commissions for his new master that showed unmistakable influences from Guido Reni. While the artist de Ribera was celebrated, biographers paint a less favourable picture of the man de Riber: He was regarded by his contemporaries as selfish and greedy, engaged in numerous intrigues and, together with Belisario Corenzio and Battistello Caracciolo, belonged to a Neapolitan art mafia that fought unwelcome competitors with no scruples. The terrible triumvirate is said not to have even shied away from poisoning Domenichino.
Lasting fame as a printmaker
Posterity honours Jusepe de Ribera for his lithographs. Although the artist probably only devoted himself to this medium for a short time and only eighteen etchings have survived, he is not only regarded as the best Spanish printmaker before Francisco Goya, but also as one of the greatest masters of this discipline in the entire 17th century. Jusepe de Ribera's pupils included Bartolomeo Passante, Francesco Fracanzano, Luca Giordano and the Flemish artist Hendrick de Somer.
Jusepe de Ribera died in Naples on 2 September 1652.
Jusepe de Ribera - Works that have already been sold at Kunsthaus Lempertz:
