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730! CHAPTER 24 The Baroque in Italy and Spain

José de Ribera. In the 17th cen- tury, Spain maintained its passionate commitment to Catholic ortho- doxy, and, as in Counter-Reformation Italy, Spanish Baroque artists sought ways to move viewers and encourage greater devotion and piety. Scenes of death and martyrdom had great appeal in Spain. !ey provided art- ists with opportunities both to depict extreme emotion and to elicit pas- sionate feelings. Spain prided itself on its saints—Saint Teresa of Ávila ("#$. 24-1) and Saint Ignatius Loyola ("#$. 24-24) were both Spanish- born—and martyrdom scenes appear frequently in Spanish Baroque art.

As a young man, J%&' (J(&)*)) +) R#,)-. (1591–1652) emigrated to Naples and fell under the spell of Caravaggio, whose innovative style he introduced to Spain. Emu- lating Caravaggio, Ribera made naturalism and compelling drama primary ingredients of his paintings, which o/en embraced bru- tal themes, re0ecting the harsh times of the Counter-Reformation and the Spanish taste for stories showcasing courage and devotion. Ribera’s Martyrdom of Saint Philip ("#$. 24-26) is grim and dark in both subject and form. Scorning idealization of any kind, Ribera represented Philip’s executioners hoisting him into position a/er tying him to a cross, the instrument of Christ’s own martyrdom. !e saint’s rough, heavy body and swarthy features express a kin- ship between him and his tormentors, who are similar to the types of 1gures found in Caravaggio’s paintings. !e patron of this paint- ing is unknown, but it is possible that Philip IV commissioned the work, because Saint Philip was the king’s patron saint.

Francisco de Zurbarán. Another prominent Spanish painter of dramatic works was F-.23#&3% +) Z(-,.-42 (1598–1664), whose primary patrons throughout his career were rich Spanish monastic

24-27 F!"#$%&$' () Z*!+"!,#, Saint Serapion, 1628. Oil on can- vas, 39 11 120 - 39 4

3 40. Wadsworth Atheneum Museum of Art, Hartford

(.e Ella Gallup Sumner and Mary Catlin Sumner Collection Fund).

The light shining on Serapion calls attention to his tragic death and increases the painting’s dramatic impact. The monk has a peasant’s coarse features, which must have evoked empathy from a wide audience.

24-26 J'&/ () R%+)!", Martyrdom of Saint Philip, ca. 1639. Oil on can- vas, 79 80 - 79 80. Museo del Prado, Madrid.

Martyrdom scenes were popular in Counter-Reformation Spain. Scorning idealization of any kind, Ribera repre- sented Philip’s executioners hoisting him into position to die on a cross.

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