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Jusepe de Ribera's Classical Subjects
Jusepe de Ribera was a Spanish Baroque painter who worked in Naples (under Spanish rule since the 15th century) for most of his career. After his move to Naples around 1620 he was known as Lo Spagnoletto (the little Spaniard) and followed in the Caravaggisti manner of painting, which meant that the Italian painter Caravaggio had an enormous impact on his style. Caravaggio painted with extreme darks and lights in a style known as tenebrism, and was known for painting subjects taken from life who were never shown as idealized figures. Caravaggio lived in Naples for a brief time in the early 17th century and after his stay much of Neapolitan painting followed his lead in both style and subject matter.
Ribera took Caravaggio's techniques a step further and became well known for portraying figures in an extremely naturalistic style. Rather than idealizing his models Ribera focused on things such as wrinkles, sagging flesh or grotesque figures. He was influenced also by Caravaggio's use of tenebrism; painting compositions with dark backgrounds and a strong contrast between light and dark. Ribera always created figures that were highly individualized, such as his portrait representing the Greek mathematician Archimedes.
Archimedes, Jusepe de Ribera, 1630, Museo del Prado, Madrid
detail of Archimedes, Jusepe de Ribera, 1630
As we can see in a detail of this painting below, Ribera emphasizes every deep wrinkle in the face of the older model that he uses for Archimedes. He was less interested in painting the idealized faces associated with the Italian Renaissance and instead was interested in his sitter's character, personality and individuality.
detail of Archimedes, Jusepe de Ribera, 1630
AWhile he painted many Biblical scenes and Catholic saints, Ribera was also the first Spanish painter to take up subjects derived from classical mythology such as his Drunken Silenus (below) and Apollo Flaying Marsyas (not shown) among others.
Drunken Silenus, Jusepe de Ribera, 1626, Museo Nazionale de Capodimonte, Naples
The Drunken Silenus was one of Ribera's first signed and dated works and is characteristic of his early style in the manner of Caravaggio. In Greek mythology Silenus was the son of Pan and the foster father of Bacchus. Both Bacchus and Silenus are known for their enjoyment of wine and merriment. However unlike the regal god Bacchus, Silenus is shown as someone to be loathed or pitied and could be used as an allegory for gluttony.
In mythology Bacchus granted the king Midas the wish to turn objects to gold after Midas treated his drunken foster father Silenus with kindness. In Ribera's painting the obese Silenus is shown nude and is surrounded by figures with grotesque features.
In mythology Bacchus granted the king Midas the wish to turn objects to gold after Midas treated his drunken foster father Silenus with kindness. In Ribera's painting the obese Silenus is shown nude and is surrounded by figures with grotesque features.
Ixion, Jusepe de Ribera, 1630, Museo del Prado, Madrid
Another example of Ribera's classical subject is in his work Ixion. In Greek mythology, Ixion spawned the centaurs. After Ixion tried to seduce Juno (the Queen of the Gods), his punishment was to be tied to a wheel and be turned for eternity. In this painting a cruel looking Satyr has just chained Ixion to the wheel. As in Drunken Silenus and Apollo Flaying Marsyas Ribera paints every detail of these gruesome scenes and creates a compelling image filled with drama. Here (as in his other work Titus) the main figures are shown being turned upside down which adds to the dramatic feeling of the overall composition.
While best known for his powerful religious paintings created in Catholic Italy and Spain after the Counter-Reformation, the viewer can see that the Classical themes of Jusepe de Ribera are every bit as emotional and dynamic.
Las Meninas and John Singer Sargent
I visited the famous Prado art museum in Madrid with my sister in March of 2010 and was fortunate enough to view the temporary pairing of Las Meninas by Velázquez with The Daughters of Edward Darley Boit by John Singer Sargent. The Sargent painting was on loan from the Museum of Fine Arts in Boston and it was really interesting to see them hanging near each other. I had never connected the two works on my own, but seeing them together made for a very interesting and unique comparison.
As Erica E. Hirshler writes of the work:
"Its unusual format was inspired by the art of both the past and the present, a characteristic approach that Sargent employed to make paintings that seemed simultaneously traditional and modern. The historical precedent for the Boit portrait can be found in the work of the seventeenth-century Spanish master Diego Velázquez, an artist greatly admired in nineteenth-century France. Sargent had traveled to Madrid in 1879 to make copies after Velázquez at the Museo Nacional del Prado; among the paintings he studied was Las Meninas (about 1656), a large and famous portrait of the young Spanish infanta with her maids in a great shadowed room. Sargent adapted Velázquez’s mysterious space, his dark subdued palette, and the manner in which his self-possessed princess directly confronts the viewer. At the same time, Sargent must have been thinking of the unusual portraits and oddly centrifugal compositions of his French contemporary Edgar Degas. The Daughters of Edward Darley Boit shares some of Degas’s strategies: the asymmetrical composition with an almost empty center, the sense of disconnection between family members, and a feeling of modern life interrupted." 1
There are many differences between them too, the biggest one being that they were painted over two hundred years apart and for very different reasons. Velázquez was the painter in the royal court of Spain, during the height of the country's colonial period in the mid-17th century. Sargent was a well known American portrait painter living abroad in Paris who was commissioned by a fellow expatriate and painter Edward Boit to paint a group portrait of his young daughters. While in Las Meninas the focus is on other members of the court including the artist himself, the Boit portrait focuses only on the children.
When seen together we can note the contrast between the palate and technique of each painter. As was the style of the time Velázquez was using a darker and more monochromatic palate and has created his painting with many layers of oil paint. The brushstrokes are smaller and well blended with many tiny details painted into the work.
Sargent is painting at a time after the French Impressionists have been exhibiting their work for a decade. His palate is subdued but is still brighter, lighter and contains a wider variety of color and pigments than the earlier work. The brushstrokes are looser and more painterly and several bright highlights are not blended in, these effects bring his subjects to life.
Still even with these differences, it seems apparent that Sargent was looking back towards of the work of Velázquez and that he was influenced by the Spanish master in this and other of his own paintings.
It has been a few years since I saw these artworks hanging near each other, but I still think of this pairing each time I see a reproduction of either painting. In the last few years the Prado has had several pieces as part of its "Invited Work" series where a well known painting from another museum is hung near a work at the Prado. I think starting these types of conversations about art is a large reason that I am so drawn to all aspects of art history.
1-Erica E. Hirshler, Sargent’s Daughters: The Biography of a Painting [http://www.mfashop.com/780878467426.html] (Boston: MFA Publications, 2009)
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Diego Velázquez, Las Meninas,1656 Museo Nacional del Prado, Madrid 125.20 x 108.66 in. (318 cm x 276 cm) |
Las Meninas (Infanta Margarita and her maids of honor) might be one of the most famous paintings in the world and also one of the most unique. Diego Velázquez was the royal court painter, during his career he was responsible for painting dozens of portraits of the Spanish Royal Family during the reign of King Philip IV. This was painted near the end of his career and at a time when he had been painting for the court for over 30 years.
It is perhaps the familiarity he had with the royal family that let him to this type of portrait, a big departure from the typical formal portraits more people at the time, especially royalty. It is as if someone had taken a candid photo in the artist's studio while Velázquez was painting and the young princess and her maids were caught unaware in a moment in time.
It is a painting that seems purposely enigmatic, what exactly is going on here? Diego Velázquez shows a foreground with the young princess and her maids, Magarita's pose is rigidly formal while the others move more naturally around her. Velázquez creates a long vertical axis with the edge of the painting he is working on. Is he painting a self-portrait? He has given the viewer a self-portrait within a portrait. Or instead is he painting a portrait of the princess and at this moment perhaps she is taking a break from her pose? Or perhaps he is painting a portrait of the king and queen, who can be seen in the background reflected in a mirror. On second look are the king and queen reflected in a mirror or is that meant to be a painting of them hanging on the wall? It almost seems as if Velázquez is painting us, the viewer and drawing us into his daily life.
Velázquez has given the viewer some insight into a day in the life of the royal family, its busy court and his own important role as the royal court painter in the midst of everything.
John Singer Sargent, The Daughters of Edward Darley Boit, 1882
Museum of Fine Arts, Boston (221.93 x 222.57 cm (87 3/8 x 87 5/8 in.)
John Singer Sargent was an American painter who spent most of his life in Europe. He was trained as a painter in Paris, studying at the École des Beaux-Arts, and in the Ateliers of both Carolus-Durand and Léon Bonnat. Sargent is probably best known for his many beautiful and original portrait paintings as well as his landscapes.
Sargent's painting on loan at the Prado was a portrait commissioned of Boits’ four daughters, from left: Mary Louisa (eight), Florence (fourteen), Jane (twelve), and Julia (four). While he was likely commissioned to paint a more conventional type of portrait, Boit was pleased with the work and Sargent's more contemporary approach allows each of the girls personalities to show through.
"Its unusual format was inspired by the art of both the past and the present, a characteristic approach that Sargent employed to make paintings that seemed simultaneously traditional and modern. The historical precedent for the Boit portrait can be found in the work of the seventeenth-century Spanish master Diego Velázquez, an artist greatly admired in nineteenth-century France. Sargent had traveled to Madrid in 1879 to make copies after Velázquez at the Museo Nacional del Prado; among the paintings he studied was Las Meninas (about 1656), a large and famous portrait of the young Spanish infanta with her maids in a great shadowed room. Sargent adapted Velázquez’s mysterious space, his dark subdued palette, and the manner in which his self-possessed princess directly confronts the viewer. At the same time, Sargent must have been thinking of the unusual portraits and oddly centrifugal compositions of his French contemporary Edgar Degas. The Daughters of Edward Darley Boit shares some of Degas’s strategies: the asymmetrical composition with an almost empty center, the sense of disconnection between family members, and a feeling of modern life interrupted." 1
Las Meninas by Velázquez and Sargent's The Daughters of Edward Darley Boit can be compared and contrasted with one another in several ways:
Both are large paintings and both are group portraits of young women shown in an informal and unique way. Each artist breaks from a traditional portraiture style and also has more than one figure looking directly at the viewer.
There are figures in both sets of foreground and middle ground and also both have a darker background, the depth of which is difficult to discern. Each painter uses long vertical lines to break up the composition; in Las Meninas we have the edge of the frame on the left and in Sargent's work the painting and figures are divided by a doorway.
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| The Daughters of Edward Darley Boit, Sargent |
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| Las Meninas, Velázquez |
There are many differences between them too, the biggest one being that they were painted over two hundred years apart and for very different reasons. Velázquez was the painter in the royal court of Spain, during the height of the country's colonial period in the mid-17th century. Sargent was a well known American portrait painter living abroad in Paris who was commissioned by a fellow expatriate and painter Edward Boit to paint a group portrait of his young daughters. While in Las Meninas the focus is on other members of the court including the artist himself, the Boit portrait focuses only on the children.
When seen together we can note the contrast between the palate and technique of each painter. As was the style of the time Velázquez was using a darker and more monochromatic palate and has created his painting with many layers of oil paint. The brushstrokes are smaller and well blended with many tiny details painted into the work.
Sargent is painting at a time after the French Impressionists have been exhibiting their work for a decade. His palate is subdued but is still brighter, lighter and contains a wider variety of color and pigments than the earlier work. The brushstrokes are looser and more painterly and several bright highlights are not blended in, these effects bring his subjects to life.
Still even with these differences, it seems apparent that Sargent was looking back towards of the work of Velázquez and that he was influenced by the Spanish master in this and other of his own paintings.
It has been a few years since I saw these artworks hanging near each other, but I still think of this pairing each time I see a reproduction of either painting. In the last few years the Prado has had several pieces as part of its "Invited Work" series where a well known painting from another museum is hung near a work at the Prado. I think starting these types of conversations about art is a large reason that I am so drawn to all aspects of art history.
1-Erica E. Hirshler, Sargent’s Daughters: The Biography of a Painting [http://www.mfashop.com/780878467426.html] (Boston: MFA Publications, 2009)
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