Jusepe ribera wikipedia

Much of this misinformation was pervasive well into the 20th century and is occasionally still repeated today. It was long believed he was born inDe Dominici saying he was from Gallipoli, Apulia while Celano stated he was from Lecce. One said he descended from nobility, and another identified his father as a Spanish army officer. Research and documents emerged in the 20th century have proven these false.

Other episodes and events in Ribera's life remain unverified. Early accounts still repeated today state that Ribera began his art education in Valenciawhere he was a pupil of Francesc Ribalta. Although this is entirely plausible, there is no real evidence to confirm it. De Dominici's biography described Ribera as an egotistical and condescending individual of reprehensible behavior.

He was reputed to have been chief of the so-called Cabal of Napleshis abettors being a Greek painter, Belisario Corenzio and the Neapolitan Battistello Caracciolo. However, there are no real documents or records to substantiate or discredit this other than these early biographies. De Dominici's biography has been called "barefaced lies" by one modern historian, [ 9 ] and "a caricature" by another, although the latter noted a critical examination of it can still provide some insights.

Little information is available on Ribera's youth. It was as recent as that the year of his birth was positively established.

Jusepe ribera wikipedia

Ribera's move to the Italian peninsula and his training as an artist have been subjects of jusepe ribera wikipedia to art historians in recent decades. His 18th century biographer Palomino wrote that he apprenticed with the Spanish painter Francesc Ribalta in Valencia, [ 6 ] and this was generally accepted by historians into the mid to late 20th century, although no proof of this connection exists.

Recently, historians have begun to question this scenario. Recent decades have also shed light on Ribera's presumed teacher Francesc Ribalta, whose early works exhibit a mannerist style, and is now known to have only reached his final and mature period, reflecting a realist and Caravaggesque current aboutat which point Ribera is already documented working in Italy.

Some historians also believe Ribera's drawing technique shows a thoroughly Italian education and influences. It is notable and some indication of Ribera's reputation that a foreigner, at the age 20, was given a commission for a public altarpiece. Ludovico Carracci wrote inthat Ribera was under the protection of the ducal family House of Farnese while in Parma which aroused some resentment from local artist.

The painting, now lost, is known from copies and prints and was often praised in the local literature until it was taken by Napoleon 's troops. The artist is next confirmed in Rome in Octoberwhere records show he was a member of the Accademia di San Luca. At that time Rome was the most important center of painting, "the fountainhead of the Baroque", [ 12 ] where artist from throughout Europe gravitated, including painters such as Gerrit van Honthorst from the Netherlands, Simon Vouet from France, Adam Elsheimer from Germany, and many others, all exploring various aspects of chiaroscuro and tenebrism in the wake of Caravaggio.

In his Considerazioni sulla pittura — Giulio Mancini wrote a brief account of Ribera's time in Rome. He stated that Guido Reni was an admirer of Ribera's work and that a painter of Ribera's disposition had not been seen in the city for many years, exceptionally high praise in reference to an art center like Rome. He characterized Ribera as a follower of Caravaggiobut more experimental and bolder.

According to Mancini, Ribera began working for daily wages in other artists workshops and in time developed a strong reputation and was making great profits. He wrote that Ribera had some problems with Roman authorities when he neglected his Easter confession one year likely or earlier. Mancini stated that Ribera could also be lazy at times, indulged in extravagant spending, and that he left Rome in order to avoid his creditors.

InRibera moved to Naples permanently, in order to avoid his creditors according to Giulio Manciniwho described him as living beyond his means despite a high income. Few paintings survive from tobut this was the period in which most of his best prints were produced. These were at least partly an attempt to attract attention outside of Ribera's Neapolitan circles.

His career picked up in the late s, and he was accepted as the leading painter in Naples thereafter. Although Ribera never returned to Spain, many of his paintings were taken back by returning members of the Spanish governing class, such as the Duke of Osuna, and his etchings were brought to Spain by dealers. He has been characterized as selfishly protecting his prosperity, and is reputed to have been chief of the so-called Cabal of Napleshis abettors being a Greek painter, Belisario Corenzio and the Neapolitan Giambattista Caracciolo.

It is said this group aimed to monopolize Neapolitan art commissions, using intrigue, sabotage of work in progress, and even personal threats of violence to frighten away outside competitors such as Annibale Carraccithe Cavalier d'ArpinoGuido Reni, and Domenichino. All of them were invited to work in Naples, but found the place inhospitable. The cabal disbanded at the time of Domenichino's death jusepe ribera wikipedia Aroundhis daughter married a Spanish nobleman in the administration, who died soon after.

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