Saint Pierre et saint Paul

1609–1616 · Local de trabalho

Parma

1613–1616

Rome: fame, earnings and debts

According to Giulio Mancini, Ribera begins by working for daily wages in other artists' workshops, then wins a strong reputation and large profits; Guido Reni is among the admirers of his work, and a painter of his kind had not been seen in Rome for years. But he is lazy at times, spends extravagantly and falls into debt.

late 1616

The permanent move to Naples

In late 1616 Ribera moves to Naples, then ruled by Spain, for good — according to Mancini, to escape his creditors, since he lived beyond his means despite a high income. Many of his paintings will be taken back to Spain by returning Spaniards, but he himself never goes back.

after 1616

Viceroy Osuna and the signature “español”

Ribera quickly attracts the attention of the Viceroy, Pedro Téllez-Girón, Duke of Osuna, who gives him several major commissions showing the influence of Guido Reni. His Spanish nationality aligns him with the small Spanish governing class of the city, and from this point he signs his work “Jusepe de Ribera, español” — “Spaniard”.

1616

Marrying a Neapolitan painter's daughter

In November 1616 Ribera marries the sixteen-year-old Caterina Azzolino, daughter of the Sicilian-born Neapolitan painter Giovanni Bernardino Azzolino; her father's connections in the Neapolitan art world help establish Ribera at once as a major figure.

1616–1656 · Local de trabalho

Naples