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Saint Jerome, who translated the Bible into Latin, is shown here as both an intellectual and penitent. Ribera painted this canvas around 1615. Together with The Raising of Lazarus, also in the Prado (P-7768), it casts light on his early career at a time when he was particularly influenced by caravaggesque models.
A man is writing in a book and looking towards the viewer. His tears identify him as the Greek philosopher Heraclitus (6th century BC). Attributed to various artists in the past, this canvas is now considered an early work by Ribera from his Roman period. Numerous details of the technique are characteristic of this phase in his career, such as the modelling of the hands.
Having been told of the death of his disciple Lazarus, Christ went to his grave in Bethany and commanded him to arise from the tomb. Lazarus arose, “bound hand and foot with graveclothes: and his face was bound about with a napkin”. Among the witnesses to this event were Lazarus’ sisters Martha and Mary. Ribera emphasised the dramatic aspect of this subject, depicting a wide range of emotional sta
Series of Apostles became very popular during the Counter-reformation; they were usually half-length figures against a neutral background, holding their iconographical attributes. One of the most important series is the one that Ribera painted around 1630. It is mentioned for the first time in the Royal Collection towards the end of the eighteenth century and is made up of paintings of varying qua
Series of Apostles became very popular during the Counter-reformation; they were usually half-length figures against a neutral background, holding their iconographical attributes. One of the most important series is the one that Ribera painted around 1630. It is mentioned for the first time in the Royal Collection towards the end of the eighteenth century and is made up of paintings of varying qua
Saint Simon is depicted over a dark background. He carries a book and the saw that symbolizes his martyrdom. The technique, with strong contrasts of light and shadows, is still tenebrist, following the style of the Italian painter, Caravaggio, who was the maximum influence on Ribera´s work. That same influence is visible in the naturalist representation of the saint´s face, which may have been bas
The figure’s rough clothing, the activity in which he is engaged and his books indicate an intellectual from the classical world. His identity has been debated. Previously thought to be Aesop or Aristotle, the existence of a similar composition inscribed “Archimedes” suggests that he is the 3rd- century BC Greek mathematician.
A man stands before a dark background, portrayed more than half-length with his torso bare and his hair and beard white from age. With his left hand he holds a cross and with his right he holds a hook caught in the mouth of a fish. Both motifs allow us to identify him as the apostle Saint Andrew. The X-shaped cross recalls the one on which he was crucified and the fish with a hook is a reminder th
The keys in his right hand identify the figure as Saint Peter. A less common attribute is the book. To represent the saint, Ribera has used a real model with distinctive appearance, which make his sanctity believable.
Series of Apostles became very popular during the Counter-reformation; they were usually half-length figures against a neutral background, holding their iconographical attributes. One of the most important series is the one that Ribera painted around 1630. It is mentioned for the first time in the Royal Collection towards the end of the eighteenth century and is made up of paintings of varying qua
The painting is one of the most celebrated of Jusepe de Ribera´s so-called ragged philosophers. Although born in Spain, the artist spent his entire professional life in Italy. He appears to have been largely responsible for the invention of the subject in the mid 1610s, and it enjoyed great success in Italy over the course of the seventeenth century in the hands of artists such as Salvator R
Series of Apostles became very popular during the Counter-reformation; they were usually half-length figures against a neutral background, holding their iconographical attributes. One of the most important series is the one that Ribera painted around 1630. It is mentioned for the first time in the Royal Collection towards the end of the eighteenth century and is made up of paintings of varying qua
