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Illustration · Lunenburg

Jusepe de Ribera

Jusepe de Ribera (Spanish, 1591–1652) Active 1591–1652. Public-domain works from the Cleveland Museum of Art Open Access collection, used as development stand-ins for the Organized Chaos Arts directory.

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Development stand-in portrait: person facing the camera, soft focus (not a photograph of Jusepe de Ribera)

Lunenburg, Nova Scotia

Selected work

IllustrationPaintingPrintmakingLunenburg

From the studio

5 works, from the studio to here.

  • Saint Jerome

    Jusepe de Ribera · oil on canvas · 1638

    Saint Jerome (about ad 347–420) translated biblical texts into Latin. Although he sometimes appears as a scholar in his study, Ribera represents him here as a penitent who withdrew to the desert, beating his chest with a stone to emulate Christ’s suffering and contemplating a skull symbolizing human vanity. Working in Naples, Ribera enthusiastically adapted Caravaggio’s characteristic use of light and dark and naturalistic models. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

  • Silenus

    Jusepe de Ribera · etching · 1628

    Before a large wine barrel, Silenus (Bacchus’s teacher) lies inebriated on the ground as he raises his cup to receive wine from a satyr in this print. Jusepe de Ribera included these and other details indicating that the scene was intended to be humorous. Two infants mimic Silenus, and a braying donkey adds to the chaotic setting. Pan, patron of shepherds, with his pipe and staff at his feet, crowns Silenus with grapevines. A satyr and a maenad, at upper left, contribute music as well as sexual innuendo (implied by the placement of the satyr’s flute). Ribera drew inspiration from Andrea Mantegna’s bacchanalia image but he introduced more texture and sensuality to the subject matter through his rich etching technique. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

  • St. Sebastian

    Jusepe de Ribera · red chalk with pen and brown ink · 1626

    This subtly drawn study in red chalk with ink accents depicts the moment just before the Roman soldier Sebastian was shot through with arrows for refusing to renounce his Christian faith. The young martyr turns hopefully toward heaven as if comforted by divine light. Ribera favored the subject because it allowed him to study the expressive possibilities of the bound human figure. A number of related drawings by the artist from the same period treat similar themes of saints bound in punishment. Although Spanish by birth, Jusepe de Ribera spent most of his life in Naples, where he became the dominant artistic figure until his death in 1652. Image and data from the Cleveland Museum of Art, released under Creative Commons Zero (CC0).

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