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拍品專文
Marco Ricci was the nephew of Sebastiano Ricci, and a painter, printmaker and stage designer. He probably began his career in Venice in the 1690s as a pupil of his uncle, concentrating on history painting, although none of these are known today. Little is known about Ricci's early development, and it is difficult to establish a chronology for his work. His earliest dated works are serene and classical, showing an indebtedness to Nicolas Poussin. The work of Pieter Mulier, il Cavaliere Tempesta, whom Ricci probably knew, was another formative influence; and the work of Salvator Rosa, Joseph Heintz II and Johann Eismann further encouraged this more romantic aspect of his art.
In 1705 Ricci is documented as collaborating with Alessandro Magnasco, and under that artist's influence Ricci's technique became freer and more fluent. In 1706 he may have assisted Sebastiano in the decoration of Palazzo Marucelli, Florence, and in 1708 he left for England, with Giovanni Antonio Pellegrini, in the party of Charles Montagu, later 1st Duke of Manchester. Their journey took them through the Netherlands where Ricci absorbed certain characteristics of Dutch art in his landscapes. During his sojourn in England, Ricci worked on several monumental decorative cycles, most notably for Lord Manchester's house in London (with Pellegrini) and at Castle Howard for the Earl of Carlisle.
In 1716 Marco Ricci returned to Venice where he produced many stage designs for Venetian theaters and found an important patron in Joseph Smith, who owned 42 of his paintings as well as 150 of his drawings.
Ricci's most original contribution is in landscape, many of which were small, brightly colored and luminous, and many are executed in gouache on kidskin; 32 are now in the collection of Her Majesty the Queen at Windsor Castle. His larger landscape paintings, such as the present work and the following lot unite his more realistic views with the fantasies of the Baroque stage. Scarpa Sonino described the present painting and the following lot as 'I due dipinti, d'altissima qualità, sono tra le prove più elevate della produzione matura di Marco'. She dates them to the same period as the Windsor landscapes, towards the end of the 1730s (op. cit.).
A closely related drawing (Fig. 1) was sold at Christie's, Monaco, June 20, 1994, lot 6 (FF580,000=$105,000).
This picture is sold with a certificate dated August 12, 1054 by Professor Antonio Morassi, in whose opinion it 'è da considerarsi come il capolavero del periodo matura di Marco Ricci'.
In 1705 Ricci is documented as collaborating with Alessandro Magnasco, and under that artist's influence Ricci's technique became freer and more fluent. In 1706 he may have assisted Sebastiano in the decoration of Palazzo Marucelli, Florence, and in 1708 he left for England, with Giovanni Antonio Pellegrini, in the party of Charles Montagu, later 1st Duke of Manchester. Their journey took them through the Netherlands where Ricci absorbed certain characteristics of Dutch art in his landscapes. During his sojourn in England, Ricci worked on several monumental decorative cycles, most notably for Lord Manchester's house in London (with Pellegrini) and at Castle Howard for the Earl of Carlisle.
In 1716 Marco Ricci returned to Venice where he produced many stage designs for Venetian theaters and found an important patron in Joseph Smith, who owned 42 of his paintings as well as 150 of his drawings.
Ricci's most original contribution is in landscape, many of which were small, brightly colored and luminous, and many are executed in gouache on kidskin; 32 are now in the collection of Her Majesty the Queen at Windsor Castle. His larger landscape paintings, such as the present work and the following lot unite his more realistic views with the fantasies of the Baroque stage. Scarpa Sonino described the present painting and the following lot as 'I due dipinti, d'altissima qualità, sono tra le prove più elevate della produzione matura di Marco'. She dates them to the same period as the Windsor landscapes, towards the end of the 1730s (op. cit.).
A closely related drawing (Fig. 1) was sold at Christie's, Monaco, June 20, 1994, lot 6 (FF580,000=$105,000).
This picture is sold with a certificate dated August 12, 1054 by Professor Antonio Morassi, in whose opinion it 'è da considerarsi come il capolavero del periodo matura di Marco Ricci'.