Jusepe de Ribera (1591–1652) was one of Spain’s greatest 17th-century artists, although, ironically, he spent his career in Italy. Called “Lo Spagnoletto,” or “The Little Spaniard,” he was one of Caravaggio’s most talented followers. In his artistic practice, Ribera modified Caravaggio’s definitive dramatic chiaroscuro to explore a more luminous light. Ribera also incorporated Venetian palettes, Spanish realism, Bolognese classicism, and Roman form.
This polyglotism resulted in Ribera’s unique artistic expression, brilliantly displayed in his late work “The Holy Family with Saints Anne and Catherine of Alexandria” at The Metropolitan Museum of Art. This painting, which was featured in a 2001 episode of “The Sopranos,” reflects opposing concepts as it embodies both beauty and realism, the sacred and profane.
Spain’s Golden Age
The 17th century was a glorious time for Spanish Baroque art. The period is referred to as a Golden Age, and it had a quartet of famous painters. Living in Spain were Francisco de Zurbarán, Diego Velázquez, and Bartolomé Esteban Murillo. Ribera was born in the province of Valencia to a shoemaker and moved to Italy by 1606. He spent his early years abroad working primarily in Rome and Parma. In 1616, Ribera settled permanently in Naples, married the daughter of a prominent local artist, and became the city’s most important painter, influencing a generation of artists near and far.
At the time, Naples was part of the Spanish Empire and ruled by appointed viceroys. They favored patronizing Spanish talent instead of foreign artists. This preference helped Ribera become successful in his adoptive city. He received commissions from officials and Spanish nobility, including the Duke of Osuna, Duke of Alcalá, Count of Monterrey, and Duke of Medina de las Torres. In addition, all of these men shipped Ribera’s works back to Spain. A large portion ended up in the royal collection; King Philip IV acquired around 100 Ribera paintings. Furthermore, Ribera had prestigious patrons outside of Naples, such as Cosimo II de’ Medici, Grand Duke of Tuscany.
Ribera is a rarity in 17th-century Spanish art because of his mastery of multiple media. A prolific painter, he also pursued and displayed prodigious talent in engraving and drawing. His painting subjects are varied. While religious scenes dominate his oeuvre and his best-known works showcase violent subjects in a graphic manner, he also painted genre scenes, portraits, mythological stories, still lifes, and landscapes. He even invented his own genre—ancient “beggar-philosophers.”
"A Philosopher" (probably Euclid), 1637, by Jusepe de Ribera. Oil on canvas; 49 1/8 inches by 38 7/8 inches. Indianapolis Museum of Arts at Newfields. (Public Domain)
Ribera’s Masterpiece
“The Holy Family With Saints Anne and Catherine of Alexandria” is a large canvas with a rich palette from 1648. The subjects are the Virgin Mary, Jesus, Saint Joseph, Saint Anne (Mary’s mother), and Saint Catherine. In the foreground, the Virgin Mary, dressed in blue and red, holds the Christ Child; their heads lean against each other. Saint Catherine kisses Jesus’ outstretched right hand in a poignant detail that former Met curator Xavier F. Salomon calls “incredibly touching.” The heads of these three figures are portrayed in an idealized manner.
"The Holy Family With Saints Anne and Catherine of Alexandria," 1648, by Jusepe de Ribera. Oil on canvas; 82 1/2 inches by 60 3/4 inches. The Metropolitan Museum of Art, New York City. (Public Domain)
Starting in the late 1630s, Ribera painted similar scenes of Christ’s early life. These include “Adoration of the Shepherds” at the Louvre and a small-scale devotional work “Virgin and Child” at the Philadelphia Museum of Art. The latter features the same female model for Mary as The Met’s Ribera painting.
(L) A detail from "Adoration of the Shepherds," 1650, by Jusepe de Ribera. Oil on canvas; 94 inches by 71 1/5 inches. Louvre Museum, Paris. (R) "Virgin and Child," circa 1646, by Jusepe de Ribera. Oil on canvas; 27 3/8 inches by 23 7/16 inches. Philadelphia Museum of Art. (Public Domain)
In Ribera’s painting of the holy family, the background figures of the older Saints Joseph and Anne are depicted from life. It was Caravaggio who famously used working-class models to pose for his paintings, which ran counter to the Renaissance’s strong emphasis on idealized beauty. Ribera assumed this realistic approach throughout his career. Elements of the everyday are in many aspects of this painting. The setting is a nondescript, mundane domestic interior. Although none of the figures have haloes or identifying markers of divinity, Ribera explored luminous light, both golden and silvery in his paintings.
Ribera’s skill for still lifes is showcased by the beautifully rendered, detailed baskets at the upper left and lower right of the canvas. The first contains grapes and peaches. It is carried by Saint Anne, who holds a rose in her right hand. The other basket, with a pillow used for embroidery, is on the terracotta floor.
Basket detail from "The Holy Family With Saints Anne and Catherine of Alexandria," 1648, by Jusepe de Ribera. (Public Domain)
Specific artistic influences visible in Ribera’s painting include the use of color and composition. These were found in the work of the Renaissance Raphael and the Baroque Guido Reni. Ribera was a great admirer of Raphael and his ability to convey, as described by the National Gallery of Art, the “monumentality of the human figure.” Reni’s elegant and sculptural style also influenced Ribera’s work throughout his career; both artists looked to ancient classical sculptures for ideas.
"The Virgin of the Chair," 1624–1625, by Guido Reni. Oil on canvas; 84 inches by 54 inches. The Prado Museum, Madrid, Spain. (Public Domain)
The original location and owner of “The Holy Family With Saints Anne and Catherine of Alexandria” remain unknown. Given the canvas’ size, scholars believe it may have been an altarpiece for a church or private chapel. It is theorized that the artwork is connected to a 1602 poem by a Spanish artist about the life of Saint Joseph.
While greatly successful in his lifetime, Ribera was overshadowed in art history by Caravaggio and other Baroque contemporaries. But this trend has started to shift in recent years. In 2012, The Met purchased with great enthusiasm a second Ribera painting for their collection. There have also been a half dozenpainting and drawing exhibits at major, international museums exploring Ribera’s genius. Despite other works gaining a good deal of attention, “The Holy Family With Saints Anne and Catherine of Alexandria” continues to be considered one of Ribera’s greatest works.
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Michelle Plastrik is an art adviser living in New York City. She writes on a range of topics, including art history, the art market, museums, art fairs, and special exhibitions.
