Martyrdom of Saint Philip (Ribera)

The Martyrdom of Saint Philip is a canvas by the Spanish painter José de Ribera (1591-1652), one of the great works of his pictorial production. It belongs to the Spanish school of the XVII century. It was installed in the missing Palacio del Buen Retiro (Madrid).

Frame analysis

For a time it was thought to represent the martyrdom of Saint Bartholomew, but the large knife with which he is usually depicted, alluding to the fact that he was skinned alive, is not found here. That is why it ended up considering that it is about San Felipe.

The scene represents the preparations for the martyrdom of the saint, described in his legend by Santiago de la Vorágine. According to said legend, he died crucified, but not held by nails, but tied with ropes. The composition of the scene is made geometrically, on diagonal and vertical lines. Ribera here uses foreshortening quite violently. The saint is painted with a great mystical force, in an attitude of abandon, and with a magnificent study of the nude. The light illuminates his face, revealing suffering and resignation. The contrasts of light and shadows on his face enhance the drama.

The executioners that hold it to raise the body are seen in the foreground; one of them helps by holding a leg. To the right there is a group of people who are curious about the scene and it seems that they are commenting on it. On the left, on the contrary, the people who appear are oblivious to what is happening; In this group there is a woman holding a small child in her arms and looking towards the viewer, putting a tender and delicate counterpoint to the cruelty that dominates the rest of the scene. Some critics have wanted to see an allegory in this figure of the charity.

It is a mature work of the painter, judging by the treatment of colouring, the touches of brush and the splendid nude. It is less caravagist than in previous works, giving the canvas more light. The possibility that he was influenced by more classicist painters such as Guido Reni or Domenichino has been pointed out. The chromaticism moves away from the earthy tones typical of the Spanish Baroque, getting closer to the Venetian influence. The critic Eugenio D'Ors went so far as to say of this work that due to its strikingness it was "almost, almost, like a Russian ballet"..

It was located in the old Alcazar of Madrid and it is thought that it was commissioned by Felipe IV, who wanted to have his patron like this. It is currently in the Prado Museum in Madrid.