The Ribaltas and Naturalist Baroque – 17th century – Art of great mastery 📷 Málaga – Spain

Art in the past had a special purpose: to awaken devotion, empathy, emotions and feelings in people. But in reality, all forms of art can do this; it’s just that realism is more vivid, where the images seem to leap out of the canvases, and in many cases they look less like paintings and more like photographs.

One of the temporary exhibition galleries at the Thyssen Museum in Málaga seems to be permanently dedicated to a particular type of art. Whilst every exhibition at this museum is of unquestionable quality, bringing master artists and their works closer to the public, there is a gallery known as the ‘Sala Noble’, where the works never fail to impress. In that very gallery, I’ve enjoyed exhibitions such as Fieramente humanos and Zurbarán: Saints, as well as engravings by Rembrandt. Honestly, looking back on all those marvellous exhibitions, I can’t help but feel grateful to be able to visit this wonderful museum, which is a symbol of excellence.

What I’m bringing you today is a fabulous exhibition of spectacular masterpieces by the Ribaltas, father and son, from the era of naturalist Baroque art. It was a time when art focused on religious imagery to evoke emotion, devotion, faith and empathy amongst the faithful towards the Catholic religion.

Almost all the artists of the period painted the same subjects in the same way; there was an unrivalled realism in the paintings, and I believe it was that very realism that resonated with people – that was the mission of this type of art.

But beyond this religious significance, what I admire in these works is that realism I’ve been talking about. When I was a student, I painted many pictures like this; my teacher painted in a very realistic style, so much so that once a painting or drawing was finished, you couldn’t tell whether it was a photograph or not, and I think she taught us in the same way, using her own techniques. Creating a painting of this size and with the level of detail they possess can take a great deal of time.

I remember once doing a Baroque-style drawing of a woman in a period dress sitting on a swing; it took me a month to complete and was no more than 30 cm high. But the level of detail was such that I had to go back and touch up the woman’s face and details of the dress many times, which is why I value this type of painting so highly. Because it requires a great deal of knowledge and technique in drawing, painting, proportions, the human figure and much more. This isn’t abstract or surrealist art; it’s painting as if it were a photograph.

Saint Bruno, 1625–1627, Francisco Ribalta, oil on panel.

Saint Peter, 1625–1627, Juan Ribalta, oil on panel.

Saint Paul, 1625–1627, Juan Ribalta, oil on panel.

One of the things that surprised me most about this art exhibition is that the works belong to two people, a father and son, who both painted in practically the same style; but not only that, they also shared the same studio and died in the same year, 1628. The father died first, and months later, at a very young age, the son died, all within the same year. It really does sound tragic, but they have left behind an enormous legacy and some spectacular works.

Of course, as one of the most visited museums by tourists, this museum provides all the information in two languages, which is excellent. It is thanks to this information that I was able to learn about the artists, who were originally from Valencia and about whom I knew absolutely nothing.

Preparations for the Crucifixion, 1615, Juan Ribalta, oil on canvas.

Calvary, 1616, Juan Ribalta, oil on canvas.

The Last Supper, 1620, Juan Ribalta, oil on panel.

They say that good things come in small packages, and this room is not very large nor does it contain a great many works, but the excellence, quality and detail of each piece are worth many more. The works are large in scale, as you will see in the photos, and there is one in particular where Christ is nailed high up on the cross, which reminds me of a painting I did back in those days that was almost identical; the difference is that there were no people below.

I’d like to emphasise once again that what stands out about these works is the level of professionalism and quality. If you look closely at each one, you’ll see how skilfully the muscles of the chest, back and legs are rendered, as well as the facial expressions. A characteristic of this period is that the background was dark, allowing the human figures to stand out most clearly. It required a deep understanding of physiognomy and the anatomy of the human body. And on top of that, to achieve facial expressions that would evoke empathy in the faithful, that is no easy task.

Saint Vincent Ferrer Preaching, 1620–1625, Francisco Ribalta, oil on canvas.

Mary Magdalene after Communion, 1620–1625, Francisco Ribalta, oil on canvas.

The Nazarene’s Encounter with the Virgin, 1611–1615, Francisco Ribalta, oil on canvas.

Scene from the Life of Saint Eloy’s Mother / The Dream of Saint Eloy’s Mother, 1607, Francisco Ribalta, oil on panel.

The aim was to use art to appeal to the senses and strengthen people’s faith. As visual imagery has a profound impact on people, it was the perfect method for reaching them and thus communicating the teachings of the faith. Whilst these works were originally created for purely religious purposes, today they are regarded as masterpieces of naturalistic and Baroque realism. The precepts of the Counter-Reformation and their artistic implications at the time were applied, with a particular emphasis on naturalism in themes such as the Passion of Christ and depictions of sainthood. Today, we are left with an invaluable historical and cultural legacy.

This exhibition was made possible thanks to the collaboration of the Valencia Museum of Fine Arts, which contributed ten masterpieces from its collection of works by these painters, and I am delighted to have been able to visit it.
Thank you very much for joining me today; I send you my warmest regards. See you soon.
Amonet.