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Felice Riccioの絵画：ギャラリーの視点で選ぶ、最も有名な6作品
11月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 6点の Felice Riccioの作品がカタログにあります
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当ギャラリーの視点では、Felice Riccioの最も有名な作品はThe Holy Family with a Saint (1560)です。 Assumption of Mary (1572)とVenus at the Forge of Vulcan (1600)が加わり、誰もが一度は目にしたことのある至高のトリオが完成します。 当カタログに含まれるFelice Riccioの作品6点の中から、特に有名な6点を厳選してご紹介します。各作品は、制作年、所蔵美術館、そしてその作品ならではの魅力とともに、一点物のオリジナル作品として掲載されています。
1542 – 1605, Verona
最多収蔵館: 美術史美術館
ギャラリーが選ぶFelice Riccioのトップ10作品
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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…
Felice Riccioの原画を所蔵する美術館
このページに掲載されている絵画を最も多く所蔵している 3 の美術館
| 美術館 | 都市 | Felice Riccioの作品 | このリストの絵画 |
|---|---|---|---|
 美術史美術館 |
ウィーン | 2 | Burial of Christ, Christ in Limbo |
 バイエルン州立絵画コレクション |
ミュンヘン | 1 | Assumption of Mary |
 ボストン美術館 |
ボストン | 1 | Dead Christ Mourned by Angels |
Felice Riccio、10年ごとに1枚の代表作
年代別作品数
その時代を象徴する名作を見るために、年代を選択してください。
Felice Riccioの絵画：ギャラリーの回答
Felice Riccioの作品の中で、最も有名な絵画は何ですか？答えを見る
The Holy Family with a Saint (1560)。続いてAssumption of Mary (1572)、Venus at the Forge of Vulcan (1600)が続きます。
Felice RiccioがThe Holy Family with a Saintを完成させた時の年齢は？答えを見る
18歳：The Holy Family with a Saintは1560年の作品で、Felice Riccioの生年は1542年です。
Felice Riccioの作品数は？答えを見る
当カタログには、1560年から1600年にかけて制作されたFelice Riccioによる6点の作品が収められています。
Felice Riccioの最も有名なオリジナル作品はどこに展示されていますか？答えを見る
主に美術史美術館 (ウィーン), バイエルン州立絵画コレクション (ミュンヘン) と ボストン美術館 (ボストン)に所蔵されています。上記の美術館一覧にすべて記載されています。
Felice Riccioの初期および後期の代表作は何ですか？答えを見る
このページでは、最も古い作品はThe Holy Family with a Saint (1560)、最新の作品はVenus at the Forge of Vulcan (1600)です。
美術史美術館が所蔵するFelice Riccioのオリジナル作品は何ですか？答えを見る
Burial of Christ と Christ in Limbo：美術史美術館, ウィーンには、このページに掲載されている作品のうち2点が所蔵されています。
Felice Riccio：アーティスト
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.