Jose de Ribera
Spanish Painter and Print engraver , 1591-1652
Information concerning the life and personality of Jusepe de Ribera is sparse. He was born the son of a shoemaker in Jetiva, Valencia Province. He appears to have gone to the city of Valencia while still a boy, but nothing is known of his possible artistic training there. As an adolescent, he traveled to Italy and spent time in Lombardy. Next he was in Parma, from which, it is said, he was driven by the contentious jealousy of local artists. He located himself in Rome until an accumulation of debts forced him to flee. Finally he settled in Naples, where in 1616 he married Caterina Azzolino, the daughter of a painter, by whom he had seven children between the years 1627 and 1636. The Academy of St. Luke in Rome elected Ribera to membership in 1625, and 6 years later the Pope conferred upon him the Order of Christ. It is understandably speculated that Ribera revisited Rome for these events. Being sought after in Naples by the Church and the various Spanish viceroys who ruled there in the name of the Spanish monarchy, he dismissed the idea of returning to his homeland. He was quoted as saying that he was honored and well paid in Naples and that Spain was a cruel stepmother to its own children and a compassionate mother to foreigners. Nevertheless, he generally added his nationality when he signed his works. This practice inspired the Italians to nickname him "the Little Spaniard" (Lo Spagnoletto). The last decade of Ribera's life was one of personal struggle. He suffered from failing health, the taunts of other artists that his fame was "extinct," and difficulty in collecting payments due him. Nevertheless, he kept it from being a tragic defeat by continuing to paint until the very year of his death in Naples. Actually, he was the victim of the local politics and finances. Naples was in the throes of a severe economic depression for which the foreign rulers, the patrons of Ribera, were naturally blamed, and the desperate citizenry was rioting in the streets. It is significant that Ribera continued to receive commissions in such a time, even if there was a dearth of payments. Ribera was inventive in subject matter, ranging through visionary spectacles, biblical themes, genre, portraits, mythological subjects, and portraits of ascetics and penitents. Related Paintings of Jose de Ribera :. | Bearded Woman | Martyrdom of St Philip | Hl. Franz von Assisi | L Apollo e Marsia di Jusepe de Ribera e un quadroche si trova a Napoli nel Museo di Capodimonte (inv. Q 511), nella Galleria Napoletana. Fa parte dell | St John the Baptist in the Desert | Related Artists: Joos van Craesbeeck (c. 1605/06- c. 1660) was a Flemish painter who specialized in tavern interiors, tronies, and other works similar to his teacher Adriaen Brouwer. Born in Neerlinter (Flemish Brabant), he became a master in Antwerp's guild of St. Luke in 1633?C1634, and like his contemporaries David Teniers the Elder and David Rijckaert III he developed rustic genre scenes. He subsequently moved to Brussels, where he joined that city's painters' guild in 1651.
Paintings such as Death is Violent and Fast are typical of his small, theatrical images of peasants brawling crowded with violent expressive figures. Unlike Teniers, whose style became more elegant, Craesbeeck continued to paint bawdy figures later in his career.
Domenicho GhirlandaioRenaissance Artists , 1449-94 Maria Sibylla MerianGerman Baroque Era Illustrator, 1647-1717,Daughter of Mattheus Merian. After her father's death, her mother married in 1651 the flower still-life painter Jacob Marell, who became Maria Sibylla's teacher. On 16 May 1665 she married Johann Andreas Graff, another pupil of her stepfather. She thenceforth specialized in illustrations of flowers, fruit and, especially, grubs, flies, gnats and spiders. In 1670 the family moved to Nuremberg. In 1675 Sandrart referred to her in the Teutsche Academie, reporting that she painted on cloth (i.e. silk, satin). With Graff, she produced a book of flowers, the first part appearing in 1675; a second edition, enlarged by parts 2 and 3 ,came out in 1680, entitled Florum fasciculi tres. It included 36 engravings intended to serve as patterns for embroidery.
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