RICCI, Marco
Italian Painter, 1676-1730 Painter, printmaker and stage designer, nephew of (1) Sebastiano Ricci. He probably began his career in Venice in the late 1690s as his uncle's pupil, concentrating on history paintings (untraced). Having murdered a gondolier in a tavern brawl, he fled to Split in Dalmatia, where he remained for four years and was apprenticed to a landscape painter (Temanza, 1738). Once back in Venice (c. 1700) he put this training to use in painting theatrical scenery. Little is known about his early development, and it remains difficult to establish a chronology for his work. A group of restless, romantic landscapes (examples, Leeds, Temple Newsam House; Padua, Mus. Civ.), painted with lively, free strokes and formerly thought to represent his early period, have now been convincingly attributed (Moretti) to Antonio Marini (1668-1725). His earliest dated works, a tempera painting, View with Classical Ruins (1702; priv. col.), and a Landscape with Fishermen (1703; ex-Kupferstichkab., Berlin; untraced), are serene and classical, close in style to tempera paintings generally dated 1710-30. This suggests that Ricci's style did not develop much, and that strong classicizing tendencies,
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RICCI, Marco Landscape with Washerwomen oil painting


Landscape with Washerwomen
mk157 c.1720 Oil on canvas 136x198cm
Painting ID::  41173 		RICCI, Marco
Landscape with Washerwomen
mk157 c.1720 Oil on canvas 136x198cm
   
   
     
RICCI, Marco Sacrifice to Silenus oil painting


Sacrifice to Silenus
c. 1723 Oil on canvas, 56,5 x 73,5 cm
Painting ID::  51997 		RICCI, Marco
Sacrifice to Silenus
c. 1723 Oil on canvas, 56,5 x 73,5 cm
   
   
     
RICCI, Marco Classical capriccio of Rome oil painting


Classical capriccio of Rome
oil on canvas, 77 x 135.2 cm cyf
Painting ID::  85104 		RICCI, Marco
Classical capriccio of Rome
oil on canvas, 77 x 135.2 cm cyf
   
   
     
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     RICCI, Marco
     Italian Painter, 1676-1730 Painter, printmaker and stage designer, nephew of (1) Sebastiano Ricci. He probably began his career in Venice in the late 1690s as his uncle's pupil, concentrating on history paintings (untraced). Having murdered a gondolier in a tavern brawl, he fled to Split in Dalmatia, where he remained for four years and was apprenticed to a landscape painter (Temanza, 1738). Once back in Venice (c. 1700) he put this training to use in painting theatrical scenery. Little is known about his early development, and it remains difficult to establish a chronology for his work. A group of restless, romantic landscapes (examples, Leeds, Temple Newsam House; Padua, Mus. Civ.), painted with lively, free strokes and formerly thought to represent his early period, have now been convincingly attributed (Moretti) to Antonio Marini (1668-1725). His earliest dated works, a tempera painting, View with Classical Ruins (1702; priv. col.), and a Landscape with Fishermen (1703; ex-Kupferstichkab., Berlin; untraced), are serene and classical, close in style to tempera paintings generally dated 1710-30. This suggests that Ricci's style did not develop much, and that strong classicizing tendencies,

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