Sebastiano Ricci (Belluno, July 1659 - Venice, 15 May 1734) A prominent figure of the seventeenth and eighteenth centuries in Europe, Sebastiano Ricci was active in the most important artistic centers, Venice in particular. He pioneered a clear and brilliant pictorial style - partly Veronese - with a compositional structure of scenes based on the baroque lessons of Luca Giordano. Read the full biography
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Sebastiano Ricci (Belluno, July 1659 - Venice, 15 May 1734) A prominent figure of the seventeenth and eighteenth centuries in Europe, Sebastiano Ricci was active in the most important artistic centers, Venice in particular. He pioneered a clear and brilliant pictorial style - partly Veronese - with a compositional structure of scenes based on the baroque lessons of Luca Giordano. The artist had a great influence on the development of Venetian art in the eighteenth century. Sebastiano began his artistic training in the studio of Federico Cervelli in Venice (1625-1699), then went to Bologna, where he had direct contact with the painting of Carraccis, and then to Parma, where he collaborated with Ferdinando Bibbiena (Bologna). , 1657) - 1743) to the frescoes of the Aula Magna of Santa Maria del Serraglio. In these works the influence of Parmigianino and Correggio is highlighted. In the Farnese Palace in Piacenza he created the cycle with the Stories of Pope Paul III (currently preserved in the city's Civic Museum). In Rome, in the four-year period 1691-94, he showed great interest in the works of Giovanni Lanfranco, Pietro da Cortona and Giovan Battista Gaulli (Genoa, 1639 - Rome, 1709). From this period is the "Gloria di Macantonio Colonna", performed in 1692 for Filippo II Colonna in the Sala degli Scrigni in the palace of the same name. Immediately afterwards the artist worked in Milan, and in 1964 he participated in the decoration of the church of S. Bernardino alle Ossa. In 1696 he returned to Venice, where he created many important works until 1701, giving new life to local art by rediscovering the Veronese chromaticity and using baroque compositional structures: Altarpiece of S. Gregorio Magno and frescoes in the apse of S. Giustina in Padua, 1700, paintings from the church of S. Marziale, period 1699-1701, Ascension in SS. The Apostles in Rome, 1701. In 1702 he was in Vienna, where he painted the frescoes of Schönbrunn Castle. In the same period, in Florence, he was involved in the decoration of Palazzo Maruccili and Pitti, and had an important collaborative relationship with Prince Ferdinand. Returning to the lagoon city, from 1712 to 1716, he moved to England with his nephew Marco. There he worked for Lord Burlington (Burlington House Painting) and other work for various commissions. After a brief stop in Paris, he meets Watteau and returns to Venice. Many of the artist's works belong to this period, including the Emancipation of St. Peter (1722, S. Stae), The Glory of Science (1721, Seminary Library), the altarpieces of Gesuati and S. Rocco. Other works created for national and foreign commissions are: The Allegorical Tomb of the Duke of Devonshire (1720-25 currently at the Barber School of Art, Birmingham), in collaboration with his nephew Marco, Mythical Tales (1717-20, Palazzo Taverna), Rome), paintings of the Savoy Court (Galleria Sabauda, Turin, founded in 1724), The Suffragettes of the Virgin (1729, Church of S. Alessandro della Croce, Bergamo).
