Die Ölgemälde alles RICCI, Sebastiano

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20641

Allegory of France as Minerva or Wisdom Who Treads Ignorance Underfoot and Crowns Martial Virtue (mk05)

1718 Canvas 44 1/2 x 33 1/2''(113 x 85 cm)Reception Picture at the Academie Royale de Peinture et de Sculpture Transferred to the Louvre in the Revolution INV

40528

Allegory of Tuscany

mk156 1706 Oil on canvas 90x70.5cm

51991

Altar of St Gregory the Great

Oil on canvas

8924

Bacchus and Ariadne

c. 1713 Oil on canvas, 189 x 104 cm Chiswick House, London

43268

Bacchus and Ariadne

mk170 1700-1710 Oil on canvas 75.9x63.2cm

8920

Bathsheba at the Bath

1720s Oil on canvas, 118,5 x 199 cm Museum of Fine Arts, Budapest

8921

Bathsheba in her Bath

c. 1725 Oil on canvas, 111,8 x 144,3 cm Staatliche Museen, Berlin

32577

Betsabea al Bagno

mk79 1720

71450

Die angeklagte Susanna und der Prophet Daniel

Date 1725-1726 Medium Oil on canvas Dimensions 243 x 440 cm (95.67 x 173.23 in)

8911

Dream of Aesculapius

c. 1710 Oil on canvas, 62 x 101 cm Gallerie dell'Accademia, Venice

8914

Fall of Phaeton

1703-04 Oil on canvas Museo Civico, Belluno

76739

Grabmal des Herzogs von Devonshire

Date 1725 Medium Oil on canvas Dimensions Deutsch: 217 ?? 138 cm cyf

29983

Hercules at the Crossroads

mk67 Oil on canvas 25 9/16x15 3/16in Uffizi,

28901

Jove and Semele

mk65 Oil on canvas 75 3/16x59 7/16in Uffizi

8919

Moses Defending the Daughters of Jethro

1720s Oil on canvas, 114 x 178 cm Museum of Fine Arts, Budapest

8913

Paul III Appointing His Son Pier Luigi to Duke of Piacenza and Parma dt

c. 1687 Oil on canvas Museo Civico, Palazzo Farnese, Piacenza

51995

Prayer in the Garden

c. 1730 Oil on canvas, 95 x 76 cm

32540

Recreation by our Gallery

mk79 1706-1707

81703

Rusticus von Verona sowie ein Engel

1704 Medium Oil on canvas Dimensions Deutsch: 380 x 250 cm cyf

8923

St Pius, St Thomas of Aquino and St Peter Martyr

1730-33 Oil on canvas, 343 x 169 cm S. Maria del Rosario (Gesuati), Venice

8916

Susanna and the Elders

1713 Oil on canvas, 83,2 x 102,2 cm Collection of Lord Chatsworth, Chatsworth

8922

The Adoration of the Magi

1726-30 Oil on canvas, 330,2 x 289,6 cm Royal Collection,

63048

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

51993

The Liberation of St Peter

1722 Oil on canvas

8915

The Punishment of Cupid

1706-07 Oil on canvas Palazzo Marucelli-Fenzi, Florence

8917

Venus and Adonis

1705-06 Oil on canvas, 70 x 40 cm Mus??e des Beaux-Arts, Orl??ans

8918

Venus and Satyr sg

1720s Oil on canvas, 102 x 125,5 cm Museum of Fine Arts, Budapest

45593

Victim at Vesta

mk186 1723 Dresden, Gemaldegalerie old masters

RICCI, Sebastiano

Italian painter, Venetian school (b. 1659, Belluno, d. 1734, Venezia).Painter and draughtsman. He painted light and colourful religious, historical and mythological subjects with a fluid, painterly touch. His rediscovery of Paolo Veronese, whose settings and costumes he borrowed, was important to later Venetian painters. Sebastiano was an itinerant artist, celebrated throughout Europe.

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