Ostalo
A WORK SY SEBASTIAN RICCI IN THE STROSSMAYER GALLERY
Vinko Zlamalik
Sažetak
Comparing the picture»St, Francis of Paola restores dead boy to life (oil on canvas, sized 61,8 X 53 cm), which the Strossmayer Gallery of Old Masters of the Yugoslav Academy of Sciences and Arts in Zagreb had received as a gift f rom Ante Topić Mimara, of Salzburg, as a work by G. B. Piazzetta (1682 — 1754), with a sketch of an almost identical representation by Sebastian Ricci, presented for the first time to the public at the exposition »Dall Ricci al Tiepolo» at Venice (Palazzo Ducale, 1969), and with the final realization of this invention of the master's, which today is in the Church of St, Rocco in Venice, the author is of the opinion that the Zagreb exhibit is actually a »bozzettoe of an altar picture from the aforementioned church. The Zagreb picture lacks the upper portion of the composition, which will probably have been subsequently cut off because of damage, whereby the work had lost it s entirety and the beauty of its original impression with the characteristic vastness of an elevated horizon. It is precisely in this amputation, as it were, that the author sees the reason that the work had not earlier been recognized as being composed by Sebastian Ricci.
The time of origin of this work by Ricci is not disputable. The altar picture for the church of S. Rocco was worked upon by the master from 1732 to 1734, and the author believes that it is likely that the Zagreb »bozzettoc had come into being at t he beginning of this period. In this work i t i s onl y i n individual details that the skilI of this experienced master comes into evidence, notably in the shaping of certain figures leisurely east by thick-set coatings of paint, which model most effectively the volumes of the body and of the lively moving mass of drapery. However, taken as a whole, the refinement of a long painting
experience is shaded over by a certain weariness of the old master, who i n some f igures reiterates types and situation f rom his earlier works. Very similar female figures had already earlier been created by the master in the extraordinary sketch for the picture »Moses's spring miraclec, which today is kept at Hampton Court, and which had originated between 1726 and 1729. The author expresses his conviction that by i t s invention, typology and interpretation the Zagreb sketch is a possible work by Sebastian Ricci himself. Although by its relatively modest quality level this work does not represent a specially conspicuous discovery, the author deems it necessary to point t o i t i n o r der to complete the stages of the creative process linked with the last realization of Sebastian Ricci.
Ključne riječi
Hrčak ID:
158101
URI
Datum izdavanja:
15.12.1972.
Posjeta: 804 *