RICCI, SebastianoItalian painter, Venetian school (b. 1659, Belluno, d. 1734, Venezia). | |||
 |
|||
 |
|||
 |
|||
|
|
|
||||||||||
|
|
||||||||||
|
Victim at Vesta Gemälde ID:: 45593 Siehe Galerie in Schweden |
Victim at Vesta mk186 1723 Dresden, Gemaldegalerie old masters mk186 1723_Dresden,_Gemaldegalerie_old_masters |
||||||||
|
|
||||||||||
|
Altar of St Gregory the Great Gemälde ID:: 51991 Siehe Galerie in Schweden |
Altar of St Gregory the Great Oil on canvas Oil_on_canvas |
||||||||
|
|
||||||||||
|
The Liberation of St Peter Gemälde ID:: 51993 Siehe Galerie in Schweden |
The Liberation of St Peter 1722 Oil on canvas 1722 Oil_on_canvas |
||||||||
|
|
||||||||||
|
Prayer in the Garden Gemälde ID:: 51995 Siehe Galerie in Schweden |
Prayer in the Garden c. 1730 Oil on canvas, 95 x 76 cm c._1730_ Oil_on_canvas, 95_x_76_cm |
||||||||
|
|
||||||||||
|
The Adoration of the Magi Gemälde ID:: 63048 Siehe Galerie in Schweden |
The Adoration of the Magi 1726-30 Oil on canvas, 330,2 x 289,6 cm Royal Collection, Windsor The artist's bold and colourful treatment of the theme (Saint Matthew 2:9-11) is a link in Venetian painting between Paolo Veronese and Giovanni Battista Tiepolo. The composition is derived in its essentials from the altarpiece painted by Veronese in 1573 for the church of San Silvestro, Venice (now in the National Gallery, London) and anticipates the altarpiece painted by Tiepolo in 1753 for the monastery of Schwarzach in Franconia (now in the Alte Pinakothek, Munich). All three works are large, but the composition by Tiepolo differs from the others, which are almost square in format, by being compressed into a vertical. The Adoration of the Magi was acquired by George III in 1762 from Consul Joseph Smith and formed part of a series of seven pictures of New Testament subjects. The related paintings are Christ and the Woman who Believed, Christ and the Woman of Samaria, The Magdalen anointing Christ's Feet (all still in the Royal Collection), The Pool of Bethesda and The Woman taken in Adultery (Ministry of Works, presently at Osterley House) and The Sermon on the Mount, which is lost. All these paintings, with the exception of the present work, illustrate scenes from Christ's ministry. The origin of the commission for this series of paintings is unknown. The size of the undertaking (the dimensions in each case are extremely large and there are fundamental changes in format) has caused the series to be associated with an unrecorded commission for the Royal House of Savoy in Turin, for whom Ricci worked during the 1720s. The painting demonstrates Sebastiano Ricc's role in the evolution of Rococo art in Venice, which reached its climax in the work of Tiepolo. The setting of The Adoration of the Magi is dramatic, the brushwork full of verve and panache and the colours bright. Several changes in the composition can be seen with the naked eye, especially in the centre. The artist travelled extensively in Italy and also worked in England from 1711/12 to 1716, returning home via France. He formed a partnership with his nephew, Marco (1676-1730), who, according to Gherardi, painted the architectural background to The Adoration of the Magi and the related pictures. Artist: RICCI, Sebastiano Painting Title: The Adoration of the Magi , 1701-1750 Painting Style: Italian , , religious 1726-30_Oil_on_canvas,_330,2_x_289,6_cm_Royal_Collection,_Windsor_The_artist's_bold_and_colourful_treatment_of_the_theme_(Saint_Matthew_2:9-11)_is_a_link_in_Venetian_painting_between_Paolo_Veronese_and_Giovanni_Battista_Tiepolo._The_composition_is_derived_in_its_essentials_from_the_altarpiece_painted_by_Veronese_in_1573_for_the_church_of_San_Silvestro,_Venice_(now_in_the_National_Gallery,_London)_and_anticipates_the_altarpiece_painted_by_Tiepolo_in_1753_for_the_monastery_of_Schwarzach_in_Franconia_(now_in_the_Alte_Pinakothek,_Munich)._All_three_works_are_large,_but_the_composition_by_Tiepolo_differs_from_the_others,_which_are_almost_square_in_format,_by_being_compressed_into_a_vertical._The_Adoration_of_the_Magi_was_acquired_by_George_III_in_1762_from_Consul_Joseph_Smith_and_formed_part_of_a_series_of_seven_pictures_of_New_Testament_subjects._The_related_paintings_are_Christ_and_the_Woman_who_Believed,_Christ_and_the_Woman_of_Samaria,_The_Magdalen_anointing_Christ's_Feet_(all_still_in_the_Royal_Collection),_The_Pool_of_Bethesda_and_The_Woman_taken_in_Adultery_(Ministry_of_Works,_presently_at_Osterley_House)_and_The_Sermon_on_the_Mount,_which_is_lost._All_these_paintings,_with_the_exception_of_the_present_work,_illustrate_scenes_from_Christ's_ministry._The_origin_of_the_commission_for_this_series_of_paintings_is_unknown._The_size_of_the_undertaking_(the_dimensions_in_each_case_are_extremely_large_and_there_are_fundamental_changes_in_format)_has_caused_the_series_to_be_associated_with_an_unrecorded_commission_for_the_Royal_House_of_Savoy_in_Turin,_for_whom_Ricci_worked_during_the_1720s._The_painting_demonstrates_Sebastiano_Ricc's_role_in_the_evolution_of_Rococo_art_in_Venice,_which_reached_its_climax_in_the_work_of_Tiepolo._The_setting_of_The_Adoration_of_the_Magi_is_dramatic,_the_brushwork_full_of_verve_and_panache_and_the_colours_bright._Several_changes_in_the_composition_can_be_seen_with_the_naked_eye,_especially_in_the_centre._The_artist_travelled_extensively_in_Italy_and_also_worked_in_England_from_1711/12_to_1716,_returning_home_via_France._He_formed_a_partnership_with_his_nephew,_Marco_(1676-1730),_who,_according_to_Gherardi,_painted_the_architectural_background_to_The_Adoration_of_the_Magi_and_the_related_pictures.__Artist:_RICCI,_Sebastiano_Painting_Title:_The_Adoration_of_the_Magi_,__1701-1750_Painting_Style:_Italian_,_,__religious |
||||||||
|
|
||||||||||
| Vorheriger Künstler Nächster Künstler | ||||||||||
|
|
||||||||||
| RICCI, Sebastiano | ||||||||||
| Italian painter, Venetian school (b. 1659, Belluno, d. 1734, Venezia). | ||||||||||
|
|
||||||||||
IntoFineArt Co,.Ltd.