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THE ENCYCLOPEDIA OF VISUAL ART
VOLUME
NINE
BIOGRAPHICAL DICTIONARY
OF ARTISTS
Jusepe de Ribera - Francisco de Zurbaran
Glossary
GROLIER EDUCATIONAL CORPORATION
DANBURY, CONNECTICUT 06816 USA

Riberajusepe de 1591-1652
Spanish origin in the wording ofthe signa-
The Spanish painter Jusepe de Ribera was tures on his paintings, while his style
born in Jativa (Valencia). He is beheved to retained a Spanish flavor throughout his
have been a pupil of Francisco Ribalta in career.
Valencia, but nothing more is known ofhis In the middle 1630s Ribera's palette
working life in Spain. He went to Italy at became more colorful, as in the large
an early age. After visiting Emilia and Immaculate Conception (1635; center of
Rome, where he became a member of the the main altarpiece, Augustinian monas-
Accademia di San Luca, he had settled by tery, Salamanca). This work was commis-
1616 in Naples, where he lived for the rest sioned by the Count of Monterrey, then
of his life and was one of the leading Viceroy in Naples, for his newly founded
artists. convent of Augustinian nuns in Salaman-
His early style was close to that of ca. It influenced painters of the School of
Caravaggio in its realism and tenebrism, Madrid from Juan Carreno de Miranda to
but it was also typically Spanish in its Claudio Coello. After a few years during
depth of religious feeling. He was soon which Venetian color-schemes predomi-
SebastianoRicci: St PeterReleased from Prison;
patronized by the Duke of Osuna, the nated, as in the Isaac and Jacob (1637; fresco; 165X138cm (65X5410); 1722-3. S.
Spanish Viceroy in Naples, who commis- Prado, Madrid), Ribera returned C1640 to Stae,Venice
sioned a group of religious works for the the darker tones of his early period. The
collegiate church of Osuna in Andalusia. increasing vigor and movement in his
Ricci family
These include his early masterpiece, the works were typical of the High Baroque,
large Crucifixion (1616-zo), in which the but his main figures were usually concen- 17th and 18th centuries
composition recalls Reni, though the style trated into a shallow area of foreground, The Ricci were painters born in Belluno,
is strongly CJaravaggesque. In addition to with landscape relegated to an unobtrusive active mainly in Venice. The historical
many Neapolitan patrons, Ribera fre- background role. importance of Sebastiano Ricci (1659-
quently worked for the King of Spain and Ribera was best known for his rugged 1734) lies in his successful revival of the
for Spanish religious orders, who chan- half-length philosophers, his usually great tradition of Venetian history painting
neled commissions to him through succes- bearded apostles and aged saints (particu- after a century of decadence, preparing the
sive Viceroys. He proudly emphasized his larly St Jerome), his scenes of The Martyr- way for the achievements of G.A. Pelle-
dom of St Sebastian (numerous versions) grini, Piazetta, and Tiepolo. After an early
Jusepede Ribera: TheClub-footed Boy; oil on and St Bartholomew (1630; Prado, career that included visits to Bologna,
canvas; i64X92cni (65X36in); 1642. Louvre, Madrid), and his sometimes gruesome Parma, and Rome, he established himself
Paris mythological subjects like Apollo and in Venice C1700, setting the pattern for his
Marsyas (1637; S. Martino, Naples). But successors by making several further ex-
he was not impervious to physical beauty, tended journeys abroad, visiting Vienna
as in The Penitent Magdalen (C1640; (1701-3), Florence (1706-7), London
Prado, Madrid) and The Holy Family with (1712-16), and Paris (1716). The breadth
St Catherine (1648; Metropolitan of his artistic experience is reflected in the
Museum, New York). Outstanding among eclecticism of his style, which variously
his rare portraits were the Jesuit Mission- reveals the influence ofAntonio Correggio,
ary (1638; Museo Poldi-Pezzoli, Milan) the Carracci, Pietro da Cortona, and
and the bearded woman Magdalena Ven- especially Paolo Veronese. At times,
tura (1631; Duke of Lerma Foundation indeed, Ricci's paintings come dangerously
.Museum, Toledo). He also executed a close to becoming more pastiches of
luimhcr of fine etchings. Veronese's, and he has been accused of
Ribera's thick fleshy handling of paint lacking original inspiration; but quite
was imitated briefly by his outstanding apart from the novel gaiety and lightness
pupil, Luca Ciiordano. His influence had of his palette, and the sheer brilliance of
earlier affected most of the contemporary his painterly technique, his very choice
Neapolitan painters, from Massimo Stan- of sources was to be of crucial import-
/ione onwards, of whom he remained to ance for the next generation of Venetian
the end a keen and successful rival. painters.
Marco Ricci (1676-1730), Sebastiano's
Further reading. Felton, CM. jusepe de nephew and occasional collaborator, was
Ribera: a Catalogue Raisonne, Pittsburgh by contrast a specialist in landscape paint-
(1971). Perez Sanchez, A.E. and Spinosa, ing. Within this genre, his historical pos-
N. I.'Opera Completa del Ribera, Milan ition roughly parallels that of his uncle,
(1978). Trapier, E. du G. Ribera, New and his early assimilation of a wide range
York (1952). of foreign influences, including Salvator
Rosa, Claude Lorrain, and perhaps also
.
578 RICHARDS Ceri
Richards Ceri 1903-71 Richier Germaine 1904-59
the Dutch, was to help lay the foundations
for the development of Venetian landscape The Welsh artist Ceri Giraldus Richards Germaine Richier was a French sculptor.
and townscape painting in the i8th was born of Welsh-speaking parents near During the 1930s she was influenced by
century. Swansea. He attended Swansea School of the classicism of Charles Despiau and
Art {1920—4) and the Royal College of Aristide Maillol. The Toad of 1942, on
Art, London (1924-7). Receptive to new one level a conventional nude, also refers
Richard of Verdun 1288-1318
//. visual ideas, he quickly assimilated the obliquely to the title in its pose and is the
Richard of Verdun was a French il- decorative economy of Matisse's portraits first of her sculptures to use the human
luminator who lived in Paris. He was the and the metamorphism of Picasso, Max body as an analogy for animal life. VCTiile
son-in-law of Master Honore, and as no Ernst, and other Surrealists. Such in- this penchant for visual metaphor relates
work by his own hand has been identified fluences are discernible in his early reliefs her to Surrealism, her sinister zoomorphic
his career is interwoven with that of the (for example Bird and Beast, 1936; Scott- images find parallels in the works of other
older master. He is first recorded in 1288, ish National Gallery of Modern Art, Edin- postwar sculptors, notably Cesar. So does
when he was witness to the sale of a burgh), but the whimsy and invention her concern for richness of texture in her
manuscript by Honore. Like him, he lived displayed in them are his own. They are handlingof bronze, sometimes emphasized
in the main residential quaner for lay among his finest achievements. by gilding or polychrome.
illuminators in Pans (now Rue Boutebrie), Throughout the 1930s and 1940s
and in 12.9Z the tax paid by him was Richards often used the Surrealist tech-
substantial. He continued to enjoy the niques of free association and metamor- Richter Hans 1888-1976
royal patronage accorded to Honore, and phism to illustrate his favorite theme, the The German painter, sculptor, and
is last recorded in 1318. This was in cycle of life. After the war he developed filmmaker Hans Richter was born in
conjunction with an associate, Jean de la this further in many semi-abstract compo- Berlin. He joined the Zurich Dadagroup in
Mare, who had collaborated with him on sitions, most notably perhaps in the series 916. He never regarded Dada as purely
1
the illumination of three Antiphonaries for Homage to Dylan Thomas (1953—5; ^^' nihilistic, but was strongly attracted to the
the Sainte Chapelle. The attribution to him amples in the Tate Gallery, London; Cecil idea of using dance as an element in his
of various manuscripts, including La Higgins Art Galler>-, Bedford; Glyn Vivian work. His Dada heads, created by a few
Legende de Satnt Denis which was pre- Art Gallery, Swansea). Here the richness of strokes of black ink on white paper, had in
sented to Philip V in 1317, is purely the forms themselves express the continual their slightness the provocative quality-
hypothetical. triumph of the life force over death. sought by the movement; but they were
also, for him, an exploration of musical
rhythm. This concept was developed in the
CeriRichards: Blossoms;oiloncanvas; 5iX6icni (2oX24in); 1940.TateGallery,London abstract films, the first of their kind, made
by Richter and Viking Eggeling in 1920.
Richter's book Dada: Art and Anti-Art
(Cologne, 1964) is considered a classic on
the subject.
Riemenschneider Tilman
C1460—1531
First mentioned in Wiirzburg in i4-'8/9,
the German sculptor Tilman Riemen-
schneider settled there in 1483 and became
a citizen and master two years later.
During his journeyman years he appears to
have traveled extensively. Apart from ab-
sorbing the more recent developments in
the Trier-Strasbourg-Ulm area, he reveals
considerable Netherlandish echoes in his
early alabaster Annunciation of 1484
iBayerisches Nationalmuseum, Munich).
His rise to fame was very rapid, and in a
working career of over 40 years he pro-
duced at least 19 complex carved wooden
retables, as well as a large body of stone
sculpture.
In 1490 he was commissioned to car\e
the high altar (now dismembered; in the
parish church of Miinnerstadt, and the
surviving parts reveal his characteristic
fcii/i-O^I-^J. gentle, naturalistic style. Contrary to the
RIGAUD Hyacinthe 579
maker. Before his association with the De ciples, and is still regarded as a high point
Stijl group he began to work in primary in the development of modern architec-
forms and colors, producing his revolu- ture. While practicing as an architect,
tionary open-construction "red and blue" Rietveld continued to design furniture. His
chair in 1918. He joined the De Stijl group later buildings included the Dutch Pavilion
in 1919, with important consequences for at the Venice Biennale of 1953.
its declared intention to unite architecture
and painting. In 1923 he collaborated on
Rigaud Hyacinthe 1659-1743
an exhibition of architectural designs for
the Galerie de PEffort Moderne in Paris. Hyacinthe Rigaud was a French portrait
His design for the Schroder house, which painter. Trained in the Midi, he came to
was built in 1924, realized De Stijl prin- Paris in 1681. His highly reputed career as
HyacintheRigaud: LouisXFV;oiloncanvas; 277X194cm (io9X76in); 1701. Louvre,Paris
Tilman Riemenschneider: Virgin and Child;
detail; limewood; full height i42cin (56in);
C1490-3. DetroitInstituteofArts
current practice in Germany he delivered
this retable in natural wood, but in i 503
Veit Stoss was called in to "color, paint,
and gild" it. Similarly, the tender Adam
and Eve commissioned in 1491 for the
Marienkapelie in Wiirzburg (Mainfriink-
isches Museum, Wiirzburg) show his ex-
quisite sensitivity in exploiting the natural
qualities of the sandstone. This novel ap-
proach to sculpture may owe something to
earlier Netherlandish sculpture, but its
closest spiritual ancestors are the sculp-
tures of Nikolaus Gerhaert van Leyden.
The same sensitivity and shy spirituality is
characteristic of Riemenschneider's monu-
ment to Konrad von Schaumberg (C1500;
Marienkapelie. Wiirzburg).
Above all, Riemenschneider and his large
workshop were responsible for the great
series of wooden retables culminating in
the Assumption ofthe Virgm in the Herr-
gottskirche at Creglingen near Rothenburg
(4:1505—10). In this work the natural
wood surfaces are treated with consum-
mate delicacy. In his last sculptures, such
as the Deposition of Christ in the parish
church of Maidbronn (1520—5), his wist-
ful melancholy deepens into a new inten-
sity, reflecting his personal sufferings in the
wake of the Peasants' War.
Rietveld Gerrit 1888-1964
The Dutch architect and designer Gerrit
Thomas Rietveld trained as a cabinet-
580 RIKYU Sen no
a court painter began in 1688, when he have persisted since his time. He also Riopelle Jean-Paul 1923-
painted a portrait of Monsieur, brother of patronized the simple, very tactile Black The Canadian artist Jean-Paul Riopelle
King Louis XIV. He painted most people Raku pottery of Kyoto, which became the was born in Montreal. He began to paint
of note at Versailles, including generals, standard tea ware. his first nonfigurative pictures in 1944 and
diplomats, and visiting princes. He de- 1945, then traveled to France and Ger-
veloped a pattern for such portraits based many, and then to New York in 1946,
Riley Bridget 1931-
on the elegance of Anthony van Dyck and exhibiting in the International Surrealist
the formality of Philippe de Champaigne. The British painter Bridget Riley was born Exhibition of that year. In 1948 he was a
Typical military portraits show the figure in London. She studied at Goldsmiths' cosigner of the manifesto Refus Global,
inmodern armoragainsta landscapewitha College (1949—52) and at the Royal Col- and cofounder with Paul-Emile Borduas of
distant battle. The State portraits can be lege ofArt (1952-5), and had her firstone- the Automatistes group, based in Mon-
typifiedbythatofLouisX/V{1701;Louvre, woman show at Gallery One in 1962. She treal. He moved to Parisin 1946, becoming
Paris), with a tempered Baroque exuber- was given a large-scale retrospective at the a close friend of Fernand Leduc and briefly
ance in its swirling draperies, complex Hayward Gallery, London, in 1971. an associate of Georges Mathieu. He is
curves, and rich color. Rigaud employed a Riley's art, mtluenced at first by Victor considered a member of the School of
large studio of assistants. He also painted Vasarely, has always been concerned with Paris.
some simple, direct portraits, which show pattern and optical effect. She creates elab- Riopelle's mature work is based on his
his admiration for Rembrandt. orate abstract patterns, often markedly interest in Surrealist automatism. His best
linear in feeling, that are deliberately in- known paintings rely on much use of the
tended to unsettle the eyes ofthe spectator. palette knife, and the direct application of
Rikyu Sen no 1521-92 —
The patterns often give the impression of paint from the tube creating a mosaic
—
Sen no Rikyu was a Japanese Tea Master forms vibrating almost like objects seen surface (for example. Encounter, 1956;
(Tea Ceremony expert) whose influence as from a distance in a heat haze (for ex- Wallraf-Richartz-Museum,Cologne).Since
an arbiter of taste was unequaled. He ample. Fall, 1963; Tate Gallery, London). the early 1960s he has also been sculpting
trained in the Zen temple of the Daitokuji At first she worked exclusively in black in bronze.
(Kyoto) and established the fully mature and white, but she has smce added color.
rules of taste for the Tea Ceremony. De- The designs are worked out with enor-
ferred to in these matters even by the mous geometrical precision, the final can- Rivera Diego 1886-1957
dictators Oda Nobunaga and Toyotumi vases sometimes being executed by studio Diego Rivera was a Mexican mural
Hideyoshi, he was finally forced to commit assistants on the basis of Riley's modello. painter. From 1898 to 1904 he studied
suicide by the latter, presumably because in Mexico City under Santiago Rebull
of his political influence. Further reading. Lucie-Smith, E. and (1829-1902). Receiving a grant in 1907 to
Rikyu insisted on simple sobriety in White, P. Art in Britain i^6^-j6, London study in Europe, he went first to Madrid
architecture, in flower arrangement, and in (1970). Vaizey, M. "For the Mind's Eye", and then to Paris, becoming friends with
(
the painting andcalligraphy scrolls hung at Sunday Times, London (July 1976). Wolfe, Modigliani and Picasso among others. He
a Tea Ceremony; and these austere tastes T. The Painted Word, New York (1975). also traveled in Italy, Germany, and
Russia.
Back in Mexico in 1921, he received his
BridgetRiley: Late Morning;acryliconcanvas; 89x142cm (35X56in); 1967-8.TateGallery, first commission for a fresco from the new
London
socialist government. From then on he was
the acknowledged leader of the new Mexi-
can school of painting, which concerned
itselfwith the portrayal ofMexican history
through monumental wall painting in
public buildings. At intervals between the
years 1931 and 1941, Rivera painted
murals in New York City, San Francisco,
and Detroit which provoked considerable
controversy. He sought to strengthen
national consciousness and solidarity by
depicting man in his social and working
environment (for example. Miner Being
Searched; fresco; 1923-8; Patio of Labor,
Secretariat of Public Education, Mexico
City).
Further reading. Arquin, F. Diego I ivera:
the Shaping of an Artist 1889-1911,
Norman, Okla. (1971). Rivera, D. My
Life, MyArt, New York (i960). Rivera, D.
RIZA 581
fallen from royal favor and was in want.
Probably ci6io, when he needed to accept
private commissions, he started to use the
suffix Abbasi, which may have been
granted to him by the Shah.
The use of two prefixes led scholars to
attribute the work of Riza to two artists,
but their common identity was demons-
trated in 1964 by Ivan Stchoukine.
Even after 1610 Riza continued to pro-
duce some fully colored miniatures (ex-
amples in the Hermitage Museum, Lenin-
grad, 1610; and Seattle Art Museum) as
well as some manuscripts (examples dated
1614 formerly in the Rothschild Collec-
tion; examples dated 1632 in the Victoria
and Albert Museum, London). But he was
now mainly occupied with separate draw-
ings of figure subjects, in which he had
always shown virtuosity These range from
.
the early finished portraits of young men
Riza: \GirlwithaFan; 16x7cm (6X3in);
c 590. FreerGailerv ofArt,Washington,D.C.
1
DiegoRivera: TheCafeTerrace;oiloncanvas; 6iX50cni (24X2oin); 1915. MetropolitanMuseum,
New York
and Suarez, L. Confesiones de Diego kitsch than in the Pop image as developed
Rivera, Mexico City (196Z). Seeker, H.S. by Andy Warhol or Claes Oldenburg.
Diego Rivera, Dresden (1957). Wolfe,
Further reading. Hunter, S. Larry Rivers,
B.D. Diego Rivera: his Life and Times, New York (1972). Rosenberg, H. The
London and New York (1939). Anxious Object: Art Today and its Audi-
ence, New York (1964). Soby, J.T.
Rivers Larry 1923- Modern Art and the New Past, Oklahoma
(1958).
Larry Rivers is an American painter born
in the Bronx, New York, who studied both
with Hans Hofmann and with Wilham Riza C1565-1635
Baziotes. His style derived mainly from an The Persian draftsman and miniaturist
admiration for Willem de Kooning's paint- Riza was the son of Ali Asghar of Kashan.
ing which led him out of the impasse of He received royal patronage from Shah
Abstract Expressionism. This reaction Abbas I from the time of the latter's
against Abstract Expressionism turned him accession in 1587 and was in high favor
towards both a stark realism, as in Double during the 1590s, when he shared in the
PortraitofBtrdie (1955; Whitney Museum illustration of a large-scale Shah-nama
of American Art, New York), and towards (Book of kings) (surviving part is in the
a series of transcriptions of popular paint- Chester Beatty Library, Dublin). By this
ings such as Washington Crossing the time he was using the prefix Aqa ("Re-
Delaware (1953). The latter brought him spected") but by 1606 he is said, by Qadi
close to the Pop Movement, although more Ahmad, to have fallen in repute through
in the sense of an interest in popular art as keeping low company. By 1616 he had
58z ROBBiA Luca della
and girls to later brilliant, rapid sketches in to damp, and therefore durable in external in glazed terracotta; and a pair of bronze
line and wash. This kind of work con- architectural settings. He worked with his doors for the North Sacristy (1445—68).
tinued until his death in 1635,3 date given nephew Andrea (1434—1525), who intro- Elsewhere, Luca combined polychrome
on a portrait of him by his ablest pupil, duced virtual mass-production of such terracotta with marble. His first datable
Mu'in. Characteristic figure drawings are sculpture. Their reliefs of the Virgin and use of the two was for a sacramental
in the British Museum, London; the Wil- Child, and coats-of-arms, in glazed ter- tabernacle in S. Maria, Perctola (1441—3).
liam Hayes FoggArt Museum, Cambridge, racotta, abound on buildmgs in Tuscany He combined them again on the Federighi
Mass.; Freer Gallery of Art, Washington, and in museums (for example, Museo tomb in S. Trinita, Florence (1454). He
D.C.; and the Bibliotheque Nationale, Nazionale, Florence; Victoria and Albert produced several quasi-architectural pro-
Paris. Museum, London). jects including two for Piero de' Medici,
Luca's first documented commission, in the Chapel of the Crucifix in S. Miniato al
Robbia Luca della 1400-82
143 1, was a marble Singing Gallery for Monte, Florence (1448), and a study in the
Trained in the workshop of Florence Florence Cathedral: its child-musicians Medici Palace (demolished; roundels from
Cathedral as a marble carver, Luca della carved in low relief are famous. He also its vault now in the Victoria and Albert
Robbia was a major Renaissance sculptor, produced other works for the cathedral Museum, London). He also designed two
whose career overlapped the second halfof authorities: five stone reliefs, to complete a chapels in the pilgrimage shrine of S.
those of Ghiberti and Donatello. He is series carved a century before by Andrea Maria at Impruneta near Florence and
famed for an important technical mnova- Pisano for Giotto's Campanile (1437-9); made the ceiling of the Chapel of the
tion: the use of vitreous glazes to color lunettes showing the Resurrection (1442- Cardinal of Portugal in S. Miniato, in
sculpture modeled in terracotta. This 5) and Ascension—(1446—51) to set over collaboration with the Rossellino brothers
rendered polychrome sculpture impervious the Sacristy doors his first major works (1462). Of his many reliefs in glazed
terracotta inserted into architecture, the
Lucadella Robbia: TTieStemmaoftheArtedei MediciedegliSpeziali; enameledterracotta;diameter most famous are the roundels of Apostles
i8ocm (71111);C1464—5.Orsanmichele,Florence in Brunelleschi's Pazzi Chapel, S. Croce,
Florence (C1442).
Luca was an exponent of the "sweet
style" in Florentine sculpture, avoiding the
sort of violent emotion to be seen in the
late work of Donatello. He preferred the
calmer, even domestic, mood that suited
his principal patrons, the Florentine
bourgeois.
Further reading. Baldini, U. La Bottega dei
Della Robbta, Florence (1965). Marquand,
A. Luca della Robbia, Princeton (1914).
Pope-Hennessy, Italian Renaissance
J.
Sculpture, London (1958). Pope-Hennessy,
J. Luca della Robbta, Oxford (1980).
Robert Hubert 1733-1808
The French artist Hubert Robert was
sometimes nicknamed "Robert des
Ruines". He was a painter of landscapes
both imagined and real. Born in Paris, he
went to Rome in 1754 under the pro-
tection of the future Due de Choiseul,
whom he knew because his father worked
for the family. He spent some time at the
French Academy there, but much more
important was the friendship he made with
Fragonard and with the Abbe de Saint-
Non. The latter was a dilettante who was
to patronize both artists, and with whom
they visited southern Italy and Sicily.
Robert's drawing style can be so close to
that of his friend that attribution is some-
times difficult. His main claim to distinc-
tion is forhis revival ofthe tradition ofthe