All RICCI, Sebastiano 's Paintings
The Painting Names Are Sorted From A to Z

Choice ID Image  Paintings (From A to Z)       Details 
20641 Allegory of France as Minerva or Wisdom Who Treads Ignorance Underfoot and Crowns Martial Virtue (mk05)  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  Allegory of Tuscany   mk156 1706 Oil on canvas 90x70.5cm
51991 Altar of St Gregory the Great  Altar of St Gregory the Great   Oil on canvas
8924 Bacchus and Ariadne  Bacchus and Ariadne   c. 1713 Oil on canvas, 189 x 104 cm Chiswick House, London
43268 Bacchus and Ariadne  Bacchus and Ariadne   mk170 1700-1710 Oil on canvas 75.9x63.2cm
8920 Bathsheba at the Bath  Bathsheba at the Bath   1720s Oil on canvas, 118,5 x 199 cm Museum of Fine Arts, Budapest
8921 Bathsheba in her Bath  Bathsheba in her Bath   c. 1725 Oil on canvas, 111,8 x 144,3 cm Staatliche Museen, Berlin
32577 Betsabea al Bagno  Betsabea al Bagno   mk79 1720
71450 Die angeklagte Susanna und der Prophet Daniel  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  Dream of Aesculapius   c. 1710 Oil on canvas, 62 x 101 cm Gallerie dell'Accademia, Venice
8914 Fall of Phaeton  Fall of Phaeton   1703-04 Oil on canvas Museo Civico, Belluno
76739 Grabmal des Herzogs von Devonshire  Grabmal des Herzogs von Devonshire   Date 1725 Medium Oil on canvas Dimensions Deutsch: 217 ?? 138 cm cyf
29983 Hercules at the Crossroads  Hercules at the Crossroads   mk67 Oil on canvas 25 9/16x15 3/16in Uffizi,
28901 Jove and Semele  Jove and Semele   mk65 Oil on canvas 75 3/16x59 7/16in Uffizi
8919 Moses Defending the Daughters of Jethro  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  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  Prayer in the Garden   c. 1730 Oil on canvas, 95 x 76 cm
32540 Recreation by our Gallery  Recreation by our Gallery   mk79 1706-1707
81703 Rusticus von Verona sowie ein Engel  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  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  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  The Adoration of the Magi   1726-30 Oil on canvas, 330,2 x 289,6 cm Royal Collection,
63048 The Adoration of the Magi  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  The Liberation of St Peter   1722 Oil on canvas
8915 The Punishment of Cupid  The Punishment of Cupid   1706-07 Oil on canvas Palazzo Marucelli-Fenzi, Florence
8917 Venus and Adonis  Venus and Adonis   1705-06 Oil on canvas, 70 x 40 cm Mus??e des Beaux-Arts, Orl??ans
8918 Venus and Satyr sg  Venus and Satyr sg   1720s Oil on canvas, 102 x 125,5 cm Museum of Fine Arts, Budapest
45593 Victim at Vesta  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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