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RIBERA, GIUSEPPE (1588-1656)
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See also:RIBERA, GIUSEPPE (1588-1656) , commonly called Lo SPAGNOLETTO, or the Little Spaniard, a leading painter of the Neapolitan or partly of the See also:Spanish school, was See also:born near See also:Valencia in See also:Spain, at Xativa, now named S. Felipe, on 12th See also:January 1588. His parents intended him for a See also:literary or learned career; but he neglected the See also:regular studies, and entered the school of the Spanish painter Francisco Ribalta. Fired with a longing to study See also:art in See also:Italy, he somehow made his way to See also:Rome. See also:Early in the 17th See also:century a See also:cardinal noticed him in the streets of Rome See also:drawing from the frescoes on a See also:palace See also:facade; he took up the ragged stripling and housed him in his See also:mansion. Artists had then already bestowed upon the See also:alien student, who was perpetually copying all sorts of See also:objects in art and it1 nature, the See also:nickname of Lo Spagnoletto. In the cardinal's See also:household Ribera was comfortable but dissatisfied, and one See also:day he decamped. He then betook himself to the famous painter See also:Michelangelo da See also:Caravaggio, the See also:head of the naturalist school, called also the school of the Tenebrosi, or See also:shadow-painters, owing to the excessive contrasts of See also:light and shade which marked their See also:style. The See also:Italian See also:master gave every encouragement to the Spaniard, but not for See also:long, as he died in 1609. Ribera, who had in the first instance studied chiefly from See also:Raphael and the See also:Caracci; had by this See also:time acquired so much mastery over the tenebroso style that his performances were barely distinguishable from Caravaggio's own. He now went' to See also:Parma; and worked after the frescoes of See also:Correggio with See also:great zeal and efficiency: in the museum of See also:Madrid is his "See also:Jacob's See also:Ladder," which is regarded as his chef-d'ceuvre in this manner. From Parma Spagnoletto returned to Rome, where he resumed the style of Caravaggio, and shortly after-wards he migrated to See also:Naples, which became his permanent :See also:home. Ribera was as yet still poor and inconspicuous, but a See also:rich picture-dealer in Naples soon discerned in him all the stuff of a successful painter, and gave him his daughter in See also:marriage. This ' was the turning-point in the ,Spaniard's fortunes. He painted a " Martyrdom of St See also:Bartholomew," which the See also:father-in-See also:law exhibited from his See also:balcony to a rapidly increasing and admiring See also:crowd. The popular excitement See also:grew to so noisy a height as to attract the See also:attention of the Spanish See also:viceroy, the See also:Count de See also:Monterey. From this nobleman and from the See also: His own See also:signature on his pictures is constantly " Jusepe de Ribera, Espanol." His daughter, so far from being disgraced by an abduction, married a Spanish nobleman who became a See also:minister of the viceroy. The pictorial style of Spagnoletto is extremely powerful. In his earlier style, founded (as we have seen) sometimes on Caravaggio and sometimes on the wholly diverse method of Correggio, the study of Spanish and Venetian masters can likewise be traced. Along with his massive and predominating shadows, he retained from first to last great strength of See also:local colouring. His forms, though See also:ordinary and partly See also:gross, are correct; the impression of his See also:works gloomy and startling. He delighted in subjects of horror. Salvator Rosa and Luca See also:Giordano were his most distinguished pupils; also Giovanni Do, Enrico Fiammingo, Michelangelo Fracanzani, and Aniello See also:Falcone, who was the first considerable painter of See also:battle-pieces. Among Ribera's See also:principal works should be named " St See also:Januarius Emerging from the See also:Furnace," in the See also:cathedral of Naples; the " Descent from the See also:Cross," in the Neapolitan Certosa, generally regarded as his masterpiece; the " See also:Adoration of the Shepherds " (a See also:late work, 1650), now in the Louvre; the " Martyrdom of St Bartholomew," in the museum of Madrid; the " Pieta," in the See also:sacristy of S. Martino, Naples. His mythologic subjects are generally unpleasant—such as the " See also:Silenus," in the Studj See also:Gallery of Naples, and " See also:Venus Lamenting over See also:Adonis," in the See also:Corsini Gallery of Rome. The Louvre contains altogether twenty-five of his paintings; the See also:National Gallery, See also:London, two—one of them, a " Peita," being an excellent though not exactly a leading specimen. He executed several See also:fine male portraits; among others his own likeness, now in the collection at See also:Alton Towers. He also produced twenty-six etchings, ably treated. For the use of his pupils, he See also:drew a number of elementary designs, which in 165o were etched by Francisco See also:Fernandez, and which continued much in See also:vogue for a long while among Spanish and See also:French painters and students. Besides the work of Dominici already referred to (184o-46), the Diccionario Historico of Cean See also:Bermudez is a principal authority regarding Ribera and his works; also E. de See also:Lalaing, ' Ribera " (in Histoire de quatre grands peintres), 1888. (W. M. Additional information and CommentsThere are no comments yet for this article.
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