Lot 1046

PIETRO RICCHI

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Seismology. BOLLETTINO DELLA SOCIETÀ SISMOLOGICA ITALIANA.: BOLLETTINO DELLA SOCIETÀ SISMOLOGICA ITALIANA. Pubblicato per cura del Prof. Pietro Tacchini (dal vol. XI: Prof. Luigi Palazzo) in unione al Ministero di Agricoltura, Industria e Commercio. Vol.

2023Seismology. BOLLETTINO DELLA SOCIETÀ SISMOLOGICA ITALIANA.See Sold Price

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Item Details

Description

(Lucca, 1606 - Udine, 1675)
Allegoria della Carità
Olio su tela ovale, cm 65X49

La biografia tramandataci dal Baldinucci disegna un profilo avventuroso e inquieto dell'artista. Formatosi nell'ambiente controriformato fiorentino con il Passignano e partecipe a Bologna della vivace bottega reniana, ancora giovanissimo intraprese un viaggio in Francia, lavorò a Lione, e a Parigi, dove ferì gravemente un uomo a duello, per poi fuggire a Milano, giungere a Venezia agli inizi del sesto decennio e trovare nuove commissioni in Trentino. La sua tecnica, capace di ottenere il meglio dagli impasti pittorici, mostra una sapienza onnivora, una stesura di carattere morbido ma intensa nei suoi giochi tonali e invenzioni di lume. Il Lanzi rimproverava il pittore di aver introdotto a Venezia 'quel metodo di dipingere così oleoso ed oscuro' e tra queste invenzioni vanno certamente ricordate le tele raffiguranti L'Indovina del Museo di Padova, Amore e Psiche già di collezione milanese e la Giuditta conservata al Museo di Trento, opere 'a lume di notte', prodotte tra gli anni 1653 e il 1657. Al momento dell'attività svolta nella città lagunare, quindi al 1660, si può collocare la tela in esame, memore degli esempi nordici e dove il colore cangiante dei panneggi gioca con l'ambientazione notturna e il volto della figura evoca quello della Madonna con Bambino e SS. Caterina e Orsola della Chiesa di S. Lorenzo di Bergamo, L'Erodiade con la testa del Battista e nello stile all'Adorazione dei Magi di San Pietro di Castello (cfr. Dal Poggetto, pp. 266-367, n. 259), opere che svelano come il Ricchi a Venezia rappresentò una corrente di idealismo formale nutrito dalle linfe del barocco lombardo che s'opponeva al crudo ed estremo naturalismo dei tenebrosi.

Bibliografia di riferimento:
M. Botteri Ottaviani, Pietro Ricchi 1606-1675, catalogo della mostra, Milano 1996, ad vocem
P. Dal Poggetto, Pietro Ricchi, Rimini 1996, ad vocem
M. Pulini, La mano cangiante di Pietro Ricchi, in Arte documento, 9, (1995) 1996, pp. 120-131