Fray Juan Andrés Rizi Paintings & Artwork for Sale | Fray Juan Andrés Rizi Art Value Price Guide

May. 29, 2023
JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta". Oil on copper.
Est: €8,000 - €9,000
JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta". Oil on copper. Size: 16,5 x 13,5 cm. The painter Juan Andrés Ricci entered the Benedictine monastery of Montserrat in 1627 to study theology. His intellectual development went hand in hand with his pictorial evolution. Here we see a representation of the Virgin of Montserrat (the Moreneta) with the child on her lap, as in the original sculpture, although the painter added sumptuous crowns and bunches of lilies. Behind the Maternity, the unique mountainous terrain is depicted following Flemish models, as can be seen in the use of rich blue and cerulean shades and in the botanical detail. A painter and theoretician from a family of artists, he was the son of the painter Antonio Ricci de Ancona, who came to Spain to work at El Escorial with Federico Zuccaro and stayed permanently in Madrid, and brother of Francisco, painter to the king in 1656. He must have been educated alongside his father, although Palomino also describes him as a pupil of Maíno. The treatise writer also mentions the success of his paintings at court. However, Ricci left the court to enter the monastery of Montserrat. On entering the Benedictine order he began his intellectual training, which was compulsory for the followers of Benedict of Nursia. He studied theology at Irache and law at Salamanca. All this provided him with a genuine scholarly knowledge which he exploited in his writings on art. A connoisseur of several ancient and modern languages, he called, very much in line with the times, for the liberality of painting, especially in his treatise La pintura sabia (1660-1662), dedicated to the Duchess of Béjar. This text follows the tradition of Alberti in requiring the painter to study geometry, perspective and anatomy, to which he adds the essential role of painting as a disseminator of the religious image, making the painter an emulator of the Deus pictor. All this is accompanied by beautiful drawings in which his knowledge of architecture is also evident. In 1641 he was already away from Montserrat and, after being appointed drawing teacher to Prince Balthasar Charles, he was removed for political reasons. From then on he made several trips to the Castilian monasteries of the order, which he combined with stays in Madrid. He continued to work as a painter in all of them. The best preserved groups of works by the artist are those of San Millán de la Cogolla and the transept of Burgos cathedral. In 1662 he moved to Rome, where he stayed for several years, coming into contact with Pope Alexander VII and Christina of Sweden, to whom he dedicated a new architectural work. In 1667 he was already in the famous monastery of Montecassino, where he continued to work on both painting and writing. His painting evolved very little, remaining far removed from the novelties imposed at court or those he would later discover in Italy. Although his brushstrokes are loose and reflect a great freedom of touch, the most successful aspect of his work is the great severity of the figures in his monastic cycles. To this must be added the exceptional portrait of Fray Alonso de San Vítores in the Museo de Burgos.
Setdart Auction House
Sep. 28, 2022
JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta".
Est: €8,000 - €9,000
JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta". Oil on copper. Size: 16,5 x 13,5 cm. The painter Juan Andrés Ricci entered the Benedictine monastery of Montserrat in 1627 to study theology. His intellectual development went hand in hand with his pictorial evolution. Here we see a representation of the Virgin of Montserrat (the Moreneta) with the child on her lap, as in the original sculpture, although the painter added sumptuous crowns and bunches of lilies. Behind the Maternity, the unique mountainous terrain is depicted following Flemish models, as can be seen in the use of rich blue and cerulean shades and in the botanical detail. A painter and theoretician from a family of artists, he was the son of the painter Antonio Ricci de Ancona, who came to Spain to work at El Escorial with Federico Zuccaro and stayed permanently in Madrid, and brother of Francisco, painter to the king in 1656. He must have been educated alongside his father, although Palomino also describes him as a pupil of Maíno. The treatise writer also mentions the success of his paintings at court. However, Ricci left the court to enter the monastery of Montserrat. On entering the Benedictine order he began his intellectual training, which was compulsory for the followers of Benedict of Nursia. He studied theology at Irache and law at Salamanca. All this provided him with a genuine scholarly knowledge which he exploited in his writings on art. A connoisseur of several ancient and modern languages, he called, very much in line with the times, for the liberality of painting, especially in his treatise La pintura sabia (1660-1662), dedicated to the Duchess of Béjar. This text follows the tradition of Alberti in requiring the painter to study geometry, perspective and anatomy, to which he adds the essential role of painting as a disseminator of the religious image, making the painter an emulator of the Deus pictor. All this is accompanied by beautiful drawings in which his knowledge of architecture is also evident. In 1641 he was already away from Montserrat and, after being appointed drawing teacher to Prince Balthasar Charles, he was removed for political reasons. From then on he made several trips to the Castilian monasteries of the order, which he combined with stays in Madrid. He continued to work as a painter in all of them. The best preserved groups of works by the artist are those of San Millán de la Cogolla and the transept of Burgos cathedral. In 1662 he moved to Rome, where he stayed for several years, coming into contact with Pope Alexander VII and Christina of Sweden, to whom he dedicated a new architectural work. In 1667 he was already in the famous monastery of Montecassino, where he continued to work on both painting and writing. His painting evolved very little, remaining far removed from the novelties imposed at court or those he would later discover in Italy. Although his brushstrokes are loose and reflect a great freedom of touch, the most successful aspect of his work is the great severity of the figures in his monastic cycles. To this must be added the exceptional portrait of Fray Alonso de San Vítores in the Museo de Burgos.
Setdart Auction House
Jan. 26, 2022
JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta". Oil on copper.
Est: €8,000 - €9,000
JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta". Oil on copper. Size: 16,5 x 13,5 cm. The painter Juan Andrés Ricci entered the Benedictine monastery of Montserrat in 1627 to study theology. His intellectual development went hand in hand with his pictorial evolution. Here we see a representation of the Virgin of Montserrat (the Moreneta) with the child on her lap, as in the original sculpture, although the painter added sumptuous crowns and bunches of lilies. Behind the Maternity, the unique mountainous terrain is depicted following Flemish models, as can be seen in the use of rich blue and cerulean shades and in the botanical detail. A painter and theoretician from a family of artists, he was the son of the painter Antonio Ricci de Ancona, who came to Spain to work at El Escorial with Federico Zuccaro and stayed permanently in Madrid, and brother of Francisco, painter to the king in 1656. He must have been educated alongside his father, although Palomino also describes him as a pupil of Maíno. The treatise writer also mentions the success of his paintings at court. However, Ricci left the court to enter the monastery of Montserrat. On entering the Benedictine order he began his intellectual training, which was compulsory for the followers of Benedict of Nursia. He studied theology at Irache and law at Salamanca. All this provided him with a genuine scholarly knowledge which he exploited in his writings on art. A connoisseur of several ancient and modern languages, he called, very much in line with the times, for the liberality of painting, especially in his treatise La pintura sabia (1660-1662), dedicated to the Duchess of Béjar. This text follows the tradition of Alberti in requiring the painter to study geometry, perspective and anatomy, to which he adds the essential role of painting as a disseminator of the religious image, making the painter an emulator of the Deus pictor. All this is accompanied by beautiful drawings in which his knowledge of architecture is also evident. In 1641 he was already away from Montserrat and, after being appointed drawing teacher to Prince Balthasar Charles, he was removed for political reasons. From then on he made several trips to the Castilian monasteries of the order, which he combined with stays in Madrid. He continued to work as a painter in all of them. The best preserved groups of works by the artist are those of San Millán de la Cogolla and the transept of Burgos cathedral. In 1662 he moved to Rome, where he stayed for several years, coming into contact with Pope Alexander VII and Christina of Sweden, to whom he dedicated a new architectural work. In 1667 he was already in the famous monastery of Montecassino, where he continued to work on both painting and writing. His painting evolved very little, remaining far removed from the novelties imposed at court or those he would later discover in Italy. Although his brushstrokes are loose and reflect a great freedom of touch, the most successful aspect of his work is the great severity of the figures in his monastic cycles. To this must be added the exceptional portrait of Fray Alonso de San Vítores in the Museo de Burgos.
Setdart Auction House
Nov. 24, 2021
JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta". Oil on copper.
Est: €8,000 - €9,000
JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta". Oil on copper. Measurements: 16,5 x 13,5 cm. The painter Juan Andrés Ricci entered the Benedictine monastery of Montserrat in 1627 to study theology. His intellectual development went hand in hand with his pictorial evolution. Here we see a representation of the Virgin of Montserrat (the Moreneta) with the child on her lap, as in the original sculpture, although the painter adds sumptuous crowns and bunches of lilies. Behind the Maternity, the unique mountainous orography has been represented following Flemish models, as can be seen in the use of rich blue and cerulean shades, and in the botanical detail. Painter and theoretician, he belonged to a family of artists, son of the painter Antonio Ricci de Ancona, who came to Spain to work in El Escorial with Federico Zuccaro and who stayed definitively in Madrid, and brother of Francisco, painter of the king in 1656. He must have been educated with his father, although Palomino makes him a disciple of Maíno. This treatise writer also speaks of the success of his paintings at court. However, Ricci left the court to enter the monastery of Montserrat. From the moment he entered the Benedictine order, he began his intellectual instruction, which was obligatory for the followers of Benedict of Nursia. He studied theology in Irache and law in Salamanca. All this will provide him with an authentic erudite knowledge that he will exploit in his writings on art. A connoisseur of several ancient and modern languages, he will claim, very much in line with the times, the liberality of painting, especially in his treatise La pintura sabia (1660-1662), dedicated to the Duchess of Béjar. This text follows the tradition of Alberti by requiring the painter to study geometry, perspective and anatomy, to which he adds the essential role of painting as a disseminator of the religious image, turning the painter into an emulator of the Deus pictor. All this is accompanied by beautiful drawings in which he also shows his knowledge of architecture. In 1641 he was already outside Montserrat and, after being appointed professor of drawing to Prince Balthasar Charles, he was removed for political reasons. From then on he made several trips to the Castilian monasteries of the order, which he combined with stays in Madrid. He did not stop working as a painter in all of them. The best preserved sets of the artist are those of San Millán de la Cogolla and the trascoro of the cathedral of Burgos. In 1662 he moved to Rome, where he remained for several years, coming into contact with Pope Alexander VII and Christina of Sweden, to whom he dedicated a new architectural work. In 1667 he is already in the famous monastery of Montecassino, where he will continue to work both in painting and writing. His painting evolves very little, remaining far from the novelties that are imposed at court or those that he will know later in Italy. Although his brushwork is loose and reflects a great freedom of touch, the most successful aspect of his work is the great severity of the characters in his monastic cycles. To this we must add the exceptional portrait of Fray Alonso de San Vítores in the Museum of Burgos.
Setdart Auction House
Apr. 22, 2021
Attributed to Fray Juan Andrés Ricci de Guevara. (Madrid, 1600 - Montecassino, 1681)
Est: €3,700 - €4,200
Attributed to Fray Juan Andrés Ricci de Guevara. (Madrid, 1600 - Montecassino, 1681) Oil on canvas. 53 x 39 cm.
La Suite Subastas
Mar. 23, 2021
ATTRIBUTED TO FRIAR JUAN RIZI Madrid 1600 - Montecassino 1681 Virgin of Montserrat wi
Est: -
ATTRIBUTED TO FRIAR JUAN RIZI Madrid 1600 - Montecassino 1681 Virgin of Montserrat with Benedictine monk. h. 1645 Oil on canvas Sizes 78 x 61.5 cm With important baroque frame. This interesting work can be related to a monumental composition with a similar theme made around 1645 by Friar Juan Rizi that is housed in the Bowes Museum in Barnard Castle, Durham (United Kingdom). As we well know, Fray Juan Rizi was requested by Abbot Diego de Silva in 1645 to remodel the pictorial decoration of the monastery of San Juan de Burgos. All the paintings, as well as the English canvas, ended up being dispersed due to the confiscation. Of a more complex but equally similar composition is the large canvas in the Montserrat Monastery museum, from the Monastery of San Plácido. The naturalism of the Benedictine monk's face has the same treatment as the Bowes Museum portrait. Likewise, the monastery that can be seen in the second term is built in a similar way to the work of Montserrat.
Subastas Segre
May. 30, 2019
Attributed to Brother Juan Andrés Ricci de Guevara (Madrid, 1600 - Montecassino, 1681)
Est: €8,500 - €10,000
Attributed to Brother Juan Andrés Ricci de Guevara (Madrid, 1600 - Montecassino, 1681) "Saint Agnes" Oil on canvas. 53 x 38 cm.
La Suite Subastas
Apr. 26, 2007
Fray Juan Andrés Rizi de Guevara Madrid 1600-1681 Montecassino , Portrait of a benedictine monk, bust length
Est: £5,000 - £8,000
inscribed on the reverse: Pintado por el célebre/ Velazquez oil on canvas, in a Spanish carved parcel gilt frame
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JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta". Oil on copper.

JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta".

JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta". Oil on copper.

JUAN ANDRÉS RICCI (Madrid, 1600-Montecassino, 1681). "La Moreneta". Oil on copper.

Attributed to Fray Juan Andrés Ricci de Guevara. (Madrid, 1600 - Montecassino, 1681)

ATTRIBUTED TO FRIAR JUAN RIZI Madrid 1600 - Montecassino 1681 Virgin of Montserrat wi

Attributed to Brother Juan Andrés Ricci de Guevara (Madrid, 1600 - Montecassino, 1681)

Fray Juan Andrés Rizi de Guevara Madrid 1600-1681 Montecassino , Portrait of a benedictine monk, bust length

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