All RICCI, Sebastiano's oil paintings
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| ID |
Image |
Oil Pantings, Sorted from A to Z |
Other Information |
| 20641 |
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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 |
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Allegory of Tuscany |
mk156
1706
Oil on canvas
90x70.5cm
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| 51991 |
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Altar of St Gregory the Great |
Oil on canvas |
| 8924 |
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Bacchus and Ariadne |
c. 1713
Oil on canvas, 189 x 104 cm
Chiswick House, London |
| 43268 |
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Bacchus and Ariadne |
mk170
1700-1710
Oil on canvas
75.9x63.2cm
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| 8920 |
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Bathsheba at the Bath |
1720s
Oil on canvas, 118,5 x 199 cm
Museum of Fine Arts, Budapest |
| 8921 |
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Bathsheba in her Bath |
c. 1725
Oil on canvas, 111,8 x 144,3 cm
Staatliche Museen, Berlin |
| 32577 |
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Betsabea al Bagno |
mk79
1720
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| 71450 |
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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)
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| 8911 |
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Dream of Aesculapius |
c. 1710
Oil on canvas, 62 x 101 cm
Gallerie dell'Accademia, Venice |
| 8914 |
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Fall of Phaeton |
1703-04
Oil on canvas
Museo Civico, Belluno |
| 76739 |
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Grabmal des Herzogs von Devonshire |
Date 1725
Medium Oil on canvas
Dimensions Deutsch: 217 ?? 138 cm
cyf |
| 29983 |
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Hercules at the Crossroads |
mk67
Oil on canvas
25 9/16x15 3/16in
Uffizi,
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| 28901 |
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Jove and Semele |
mk65
Oil on canvas
75 3/16x59 7/16in
Uffizi
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| 8919 |
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Moses Defending the Daughters of Jethro |
1720s
Oil on canvas, 114 x 178 cm
Museum of Fine Arts, Budapest |
| 8913 |
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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 |
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Prayer in the Garden |
c. 1730
Oil on canvas,
95 x 76 cm |
| 32540 |
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Recreation by our Gallery |
mk79
1706-1707
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| 81703 |
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Rusticus von Verona sowie ein Engel |
1704
Medium Oil on canvas
Dimensions Deutsch: 380 x 250 cm
cyf |
| 8923 |
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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 |
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Susanna and the Elders |
1713
Oil on canvas, 83,2 x 102,2 cm
Collection of Lord Chatsworth, Chatsworth |
| 8922 |
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The Adoration of the Magi |
1726-30
Oil on canvas, 330,2 x 289,6 cm
Royal Collection, |
| 63048 |
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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 |
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The Liberation of St Peter |
1722
Oil on canvas |
| 8915 |
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The Punishment of Cupid |
1706-07
Oil on canvas
Palazzo Marucelli-Fenzi, Florence |
| 8917 |
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Venus and Adonis |
1705-06
Oil on canvas, 70 x 40 cm
Mus??e des Beaux-Arts, Orl??ans |
| 8918 |
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Venus and Satyr sg |
1720s
Oil on canvas, 102 x 125,5 cm
Museum of Fine Arts, Budapest |
| 45593 |
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Victim at Vesta |
mk186
1723 Dresden, Gemaldegalerie old masters |
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| RICCI, Sebastiano
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| 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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