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Felice Riccio malerier: De 6 mest berømte, set gennem et galleris øjne
Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 6 værker af Felice Riccio i vores katalog
Kort sagt
I galleriets øjne er Felice Riccios mest berømte maleri The Holy Family with a Saint (1560). Assumption of Mary (1572) og Venus at the Forge of Vulcan (1600) fuldender trioen, som ethvert øje genkender. Ud af de 6 værker af Felice Riccio i vores katalog præsenterer galleriet herunder de 6 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
1542 – 1605, Verona
Flest værker: Kunsthistorisches Museum
Galleriets top 10 Felice Riccio malerier
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Burial of Christ
Felice Riccio presents the Burial of Christ, a somber composition centered on the pale, limp body of Christ. The scene captures a moment of profound grief, conveyed through the slumped postures and sorrowful facial expressions of the mourning group. This religious and tragic subject matter is rendered with an intense emotional weight, focusing the viewer's attention on the immediate space of the figures.
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Christ in Limbo
The composition is vertical and claustrophobic, set within a dark, cavernous architectural space. Heavy stone arches recede into impenetrable shadows, creating a profound sense of depth through tenebristic layering. The palette is muted, dominated by deep blacks, earthy browns, and umbers, where the only relief comes from the pale flesh tones of the figures and the white of a loincloth. Lighting emerges from an unseen source, casting a dramatic chiaroscuro…
De museer, der udstiller Felice Riccios originalværker
De 3 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Felice Riccio | Malerier fra denne liste |
|---|---|---|---|
 Kunsthistorisches Museum |
Wien | 2 | Burial of Christ, Christ in Limbo |
 Bavarian State Painting Collections |
München | 1 | Assumption of Mary |
 Museum of Fine Arts |
Boston | 1 | Dead Christ Mourned by Angels |
Felice Riccio, ét signaturmaleri per årti
Værker per årti
Vælg et årti for at se det originale værk, der definerer det.
Felice Riccio's malerier: galleriets svar
Hvilket maleri af Felice Riccio er det mest berømte af alle?Vis svaret
The Holy Family with a Saint (1560). Derefter følger Assumption of Mary (1572) og Venus at the Forge of Vulcan (1600).
Hvor gammel var Felice Riccio, da The Holy Family with a Saint blev færdiggjort?Vis svaret
18 år gammel: The Holy Family with a Saint er fra 1560, og Felice Riccio blev født i 1542.
Hvor mange værker skabte Felice Riccio?Vis svaret
Vores katalog indeholder 6 værker af Felice Riccio, dateret fra 1560 til 1600.
Hvor hænger Felice Riccios mest berømte originaler?Vis svaret
Primært i Kunsthistorisches Museum (Wien), Bavarian State Painting Collections (München) og Museum of Fine Arts (Boston). Museumslisten ovenfor viser dem alle.
Hvilke er Felice Riccios tidligste og seneste berømte værker?Vis svaret
På denne side er det tidligste The Holy Family with a Saint (1560) og det seneste Venus at the Forge of Vulcan (1600).
Hvilke originalværker af Felice Riccio findes i Kunsthistorisches Museum?Vis svaret
Burial of Christ og Christ in Limbo: Kunsthistorisches Museum, Wien har 2 af værkerne på denne side.
Felice Riccio: kunstneren
A Veronese Hand
Born in Verona in 1542, Felice Riccio entered a world defined by the heavy traditions of his father, Domenico Riccio. Known to many by the pseudonym Il Brusasorci, he did not merely inherit a profession but a specific way of seeing. His early years were spent absorbing the Mannerist language of his lineage, yet there was a distinct softness in his approach that set him apart from the sharper edges of his contemporaries. He moved through the late-Renaissance period with a quiet technical authority, eventually finding his way to Florence, where his presence was noted as late as 1597.
His work often sought a delicate balance between light and form. In pieces such as the Annunciation on the organ shutters of the church of the Madonna di Campagna, one finds a painterly, gentle version of Mannerism. He possessed a particular skill for working on touchstone, using slate to catch the light in ways that traditional canvas could not. This preference for texture and subtle luminism allowed him to create figures that felt less like statues and more like living presences within the shadows.
Evolution of Style
As the decades progressed, Riccio’s brushwork began to shed its rigid Mannerist constraints. The later years of his life, particularly from 1598 toward his death in 1605, saw a shift toward a style that anticipated the Baroque. This transition was marked by an increase in emotional weight and a more intense religious feeling. In works like the Giusti Altarpiece, he experimented with agitated gestures, even as he maintained a sense of normal proportion.
The movement of his art can be traced through specific subjects:
- The Finding of Moses (1584), which remains in Verona at Castelvecchio.
- The Flagellation of Christ, where he utilized a delicate luminism to transform familiar gestures.
- Religious compositions for the church of San Michele Extra, including the Four Saints on the organ shutters.
A Lasting Influence
While his own life ended in 1605, the technical foundations he laid continued through his students. He was a teacher to several painters who would go on to define the Veronese Baroque, including Alessandro Turchi and Pasquale Ottini. These pupils carried forward his sensitivity to color and his meticulous approach to composition. His legacy is found not in grand declarations, but in the quiet, refined tones that populated the churches of Verona and the collections of Bolzano.