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"I've heard it said. .. that, as soon as he arrived in Rome and began to study Raphael's frescoes, he immediately wanted to return to Venice, saying that the style of that great man might compromise his own." - Pierre-Jean Mariette, c. 1853
At the age of 12, Ricci was working in the studio of an artist who rejected the strong contrasts of light and dark (CHIAROSCURO) popular among BAROQUE artists. In 1681 he fled Venice after threatening to kill a woman he had seduced. His travels took him to the major Italian cities and provided an education as well as contacts and commissions. In Bologna he ran off with another painter's daughter and would have been punished by death had not Duke Ranuccio saved his neck and offered refuge in his palace in Rome-but he did not stay long in Rome, according to Mariette, who is quoted above. Ricci returned to Venice in 1696, married, and at the turn of the century, as the foremost painter of his generation, launched Venetian painting into a new age-for most of the 17th century VENICE had had little excitement in artistic realms. Ricci's style was fluid and dynamic in a Rococo manner, his subjects largely biblical and mythological and their spirit highly energized, often joyful. Ricci's drawings and sketches were decorative and airy, extraordinarily skillful and beautiful, especially when he worked in pen and brown ink WASH, as he did on Saint Mary Magdalene Anointing Christ's Feet (c. 1725).
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