The Immaculate Conception
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
Sizes
About this painting
Ribera painted her hands twice. Pentimenti show them first crossed on the breast, as in the high altarpiece at Las Agustinas Descalzas in Salamanca, finished two years earlier for the Count of Monterrey. He covered it and joined the palms in prayer.
Apocalypse 12 gives the moon underfoot and twelve stars; both are here. The sun that should clothe her is not — Stracke notes Ribera sets it at some remove on the left. White tunic, blue mantle: Pacheco's prescription.
Sandra Cheng calls it a personal image for the cloistered nuns. The smaller version is over eight feet tall.
Sources: "Columbia Museum of Art's Jusepe de Ribera, Immaculate Conception, 1637" · Kress Foundation object record / academia.edu essay commission chain · Richard Stracke, Christian Iconography, 'Immaculate Conception, Jusepe de Ribera' (Columbia Museum of Art). · Apocalypse 12:1, Douay-Rheims.
Printed on demand. Public-domain masterwork, reproduced from a 6,970 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.