The earliest interpretations of young Ribera’s life are relatively ambiguous, though there is evidence he travelled to Italy. Although Ribera found himself in Italy, he most times signed his works “Ribera the Valencian,” or “Jusepe de Ribera, Spaniard,” and upon his return to Spain in 1610, Ribera imported the Baroque style into his homeland. A year later in June of 1611, Ribera was paid by the Confraternity of San Martina of the Church of San Prospero in Parma, where he worked for Duke Ranuccio Maria Farnese on Saint Martin Sharing His Cloak with a Beggar -- a piece that has been lost over
The earliest interpretations of young Ribera’s life are relatively ambiguous, though there is evidence he travelled to Italy. Although Ribera found himself in Italy, he most times signed his works “Ribera the Valencian,” or “Jusepe de Ribera, Spaniard,” and upon his return to Spain in 1610, Ribera imported the Baroque style into his homeland. A year later in June of 1611, Ribera was paid by the Confraternity of San Martina of the Church of San Prospero in Parma, where he worked for Duke Ranuccio Maria Farnese on Saint Martin Sharing His Cloak with a Beggar -- a piece that has been lost over