Francisco Rizi's (1614-1685)
Pentitent Magdalen
Oil on canvas
126 x 169 cm
Private collection
A sinner, perhaps a courtesan, Mary Magdalen was a witness of Christ who renounced the pleasures of the flesh for a life of penance and contemplation. Penitent Magdalene or Penitent Magdalen refers to a post-biblical period in the life of Mary Magdalene, according to medieval legend.
According to the tenets of the 17th–century Catholic church, Mary Magdalene was an example of the repentant sinner and consequently a symbol of the Sacrament of Penance. According to legend, Mary led a dissolute life until her sister Martha persuaded her to listen to Jesus Christ. She became one of Christ's most devoted followers and he absolved her of her former sins. More on The Penitent Magdalen
Francisco Rizi, or Francisco Ricci de Guevara (9 April 1614 – 2 August 1685) was a Spanish painter of Italian ancestry.
He was born in Madrid. His father, Antonio Ricci, was an Italian painter, originally from Ancona, who had come to Spain in 1583 to do decorative work at El Escorial. His brother, Juan, also became a painter. After beginning his apprenticeship in his father's workshop, he studied with Vicente Carducho, who was also of Italian origin.
Francisco Rizi's (1614-1685)
Circumcision, c. 1673
Oil on canvas
169 x 251 cm
Private collection
The circumcision of Jesus is an event from the life of Jesus, according to the Gospel of Luke chapter 2.
This is in keeping with the Jewish law which holds that males should be circumcised eight days after birth during a Brit milah ceremony, at which they are also given their name. The circumcision of Christ became a very common subject in Christian art from the 10th century onwards, one of numerous events in the Life of Christ to be frequently depicted by artists. It was initially seen only as a scene in larger cycles, but by the Renaissance might be treated as an individual subject for a painting, or form the main subject in an altarpiece. More on The circumcision
Thanks to Carducho's influence, he was able to make contacts at the Royal Court in 1634. After Carducho's death in 1638, he joined with several other painters to create decorations for the Golden Salon at the Royal Alcázar of Madrid. These were destroyed in the Great Fire of 1734.
Virgin and Child with Sts Philip and Francis, c. 1650
Oil on canvas
Capuchinos, El Pardo
The Virgin and Child with Sts Philip and Francis might be called the first High Baroque altarpiece painting in Spain. The composition is enclosed within an illusionistic proscenium arch, behind which is seen a landscape vista drawn in the deep perspective of contemporary stage sets. The Virgin and Child are surrounded by a small army of fluttering putti, whose varied poses imitate the heavenly glories of Rubens. While the main figures are still firmly and solidly drawn, they have taken on a new sense of animation and movement. More on this painting
Between 1640 and 1649, he became one of the earliest painters in Spain to adopt the Baroque style. A notable example is the large altarpiece made for the Capuchins, (See above). In 1649, he provided decorations to celebrate the arrival of Mariana of Austria, to become Queen, which brought him to the attention of the Court. He also maintained close ties to Toledo Cathedral, creating numerous canvases and frescoes; notably for the famous "Chapel of the Eighths" (the Ochavo). In 1653, he was named the official "Painter of the Cathedral", and would retain that position until his death.
Circle of Francisco Rizzi
The Sermon of Saint Anthony and the Fish
Oil on copper
27.2 x 32 cm.; 10 3/4 x 12 5/8 in.
Private collection
The "Sermon of Saint Anthony to the Fish" is a sermon written by Portuguese Jesuit priest António Vieira, preached to the congregation at the Church of Saint Anthony in São Luís do Maranhão, Colonial Brazil, on 13 June 1654.
It was preached in the context of the conflict between the colony's settlers and the Jesuits, who reiterated Pope Urban VIII's prohibition against Indian slavery. Three days after preaching it, Vieira secretly embarked to Lisbon to appeal King John IV for laws that would guarantee basic rights to Brazilian Indians, preventing them from being exploited by white colonists.
The sermon comprises an elaborate allegory: borrowing from the familiar legend of his namesake Saint Anthony's preaching to the fish (commonly cited in his hagiography), Vieira uses the different kinds of fish as metaphors for men, drawing direct parallels between the dynamics between big and little fish and those between colonists and the Indians. More on The Sermon of Saint Anthony and the Fish
In 1656, he was officially named a "Painter to the King". This began a large series of commissions from religious institutions that would keep him occupied throughout the 60s. He also opened a workshop where artists such as Claudio Coello received their first training. For many of these years, and into the 70s, he was the Director of stage decorations at the theater in Buen Retiro Palace. In 1661, he was granted permission to live in the Royal Alcázar.
In 1671, he was passed over for an appointment as Chamber Painter to Queen Mariana. The post went to Juan Carreño de Miranda and, two years later, he filed a formal grievance, citing his seniority. In 1675, the Queen granted him a small pension, but his standing at court never fully recovered. He continued in good standing with religious authorities, however.
Francisco Rizi's (1614-1685)
The Immaculate Conception, c. XVII centuryOil on canvas
Height: 211 cm.; Width: 376 cm.
Museo del Prado
The Immaculate Conception, according to the teaching of the Catholic Church, was the conception of the Blessed Virgin Mary in the womb of her mother, Saint Anne, free from original sin by virtue of the foreseen merits of her son Jesus Christ. The Catholic Church teaches that Mary was conceived by normal biological means, but God acted upon her soul (keeping her "immaculate") at the time of her conception.
The Immaculate Conception is commonly and mistakenly taken to mean the conception of Mary's son Jesus Christ in her own womb, and the Virgin Birth of Jesus. These are covered by the Doctrine of Incarnation, while the Immaculate Conception deals with the conception of Mary herself, not that of her son. More on The Immaculate Conception
Along with other works, now destroyed, the four canvases at the Museo del Prado (The Annunciation (See below); The Visitation (See below); The Adoration of the Magi (See below) and The Presentation of Jesus at the Temple(See below) were part of a series painted for an unknown purpose.
Francisco Rizi's (1614-1685)
Annunciation, c. 1665
Oil canvas
112 x 96 cm
Museo del Prado, Madrid
The Annunciation referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua , meaning "YHWH is salvation".
According to Luke 1:26, the Annunciation occurred "in the sixth month" of Elizabeth's pregnancy. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. In England, this came to be known as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion. More The Annunciation
Francisco Rizi (1614–1685)
La Visitación, circa 1663
Oil on canvas
Height: 206 cm (81.1 in); Width: 290 cm (114.1 in)
Museo del Prado
The Visitation. Mary visits her relative Elizabeth; they are both pregnant. Mary is pregnant with Jesus and Elizabeth is pregnant with John the Baptist. Elizabeth was in the sixth month before Mary came. Mary stayed three months, and most scholars hold she stayed for the birth of John. The apparition of the angel, mentioned in Matthew, may have taken place then to end the tormenting doubts of Joseph regarding Mary's maternity.
In Catholicism, it is held that the purpose of this visit was to bring divine grace to both Elizabeth and her unborn child. Even though he was still in his mother's womb, John became aware of the presence of Christ, and leapt for joy as he was cleansed from original sin and filled with divine grace. Elizabeth also responded and recognised the presence of Jesus, and thus Mary exercised her function as mediatrix between God and man for the first time. More on The Visitation
Francisco Rizi (1614–1685)
The Adoration of the Magi, circa 1670
Oil on canvas
Height: 54 cm (21.2 in); Width: 57 cm (22.4 in)
Museo del Prado
The Presentation of Jesus in the Temple, Ca. 1670
Oil on canvas
Height: 54 cm.; Width: 57 cm.
Museo del PradoThe Presentation of Jesus at the Temple, according to the gospel, Mary and Joseph took the Infant Jesus to the Temple in Jerusalem forty days after his birth to complete Mary's ritual purification after childbirth, and to perform the redemption of the firstborn son. Luke explicitly says that Joseph and Mary take the option provided for poor people (those who could not afford a lamb), sacrificing "a pair of turtledoves, or two young pigeons." Leviticus indicates that this event should take place forty days after birth for a male child, hence the Presentation is celebrated forty days after Christmas. More on The Presentation of Jesus
In 1685, he received a major commission for a monumental canvas at El Escorial, depicting the "Holy Form" (See below). He died suddenly while working on it there. It was finished by his student, Coello. More on Francisco Rizi
Francisco Rizi (1614–1685)
Auto-da-fe on Plaza Mayor, Madrid, c. 1683
Oil on canvas
Height: 277 cm (109 in); Width: 438 cm (14.3 ft)
Prado Museum
A large auto-da-fé took place in Madrid on 30 June 1680 in the Plaza Mayor, presided over by the young Charles II (reigned 1665-1700) and his mother, Mariana of Austria, who are shown here beneath a canopy. Organised by the Inquisition, autos-da-fé were public ceremonies involving prisoners condemned for crimes against religion. Rizi’s canvas is the finest and most detailed depiction of one of these events. In addition, its ordered and compartmentalised composition offers the most telling reflection of the profoundly hierarchical structure of the Spanish court and of close overlap within it between political and religious power.
Economically bankrupt, Spain was no longer in a position to contribute to the battle against the Turks, so the supposed heretics within the country's borders were persecuted all the more severely. More on this painting
The work represents an auto-da-faith celebrated in Madrid on June 30, 1680, during the reign of Carlos II of Spain . The car was held in the Plaza Mayorand it lasted a whole day. In the background we see the royal tribune and in it Carlos II, his wife María Luisa and his mother. On the balconies, distinguished people from the court are located. On the left, a rich carpet and on it the altar with the green cross, symbolizing the hope of forgiveness of the reconciled, and the banner of the Holy Office. Next to it, the tiers of public office, and the seat of the inquisitor general who is still next to the king's rostrum after having been sworn in. In the center of the painting we see two prisoners dressed as in the 15th century, with coroza and sanbenitos with flames, the rapporteurs or readers of causes and sentences in the pulpits, and some Dominicans with the preacher in the central pulpit. On the right are the stands for the relatives of the Inquisition and the inmates in person or in statue (dead or on the run), which bears an inscription with his crimes and a box with his bones. The inmates could be penitent (punished with various penalties and that by abjuring their mistakes they became reconciled) or relaxed (sentenced to death by stick, or at stake if they were repeat offenders). In the foreground are the soldiers of the faith and the donkeys who will carry those sentenced to death to the outskirts of the city to be executed by secular justice. In this group of soldiers in the lower central part of the painting, we find a male figure carrying a large drum widely used in this type of ceremony. The inmates could be penitent (punished with various penalties and that by abjuring their mistakes they became reconciled) or relaxed (sentenced to death by stick, or at stake if they were repeat offenders). In the foreground are the soldiers of the faith and the donkeys who will carry those sentenced to death to the outskirts of the city to be executed by secular justice. In this group of soldiers in the lower central part of the painting, we find a male figure carrying a large drum widely used in this type of ceremony. The inmates could be penitent (punished with various penalties and that by abjuring their mistakes they became reconciled) or relaxed (sentenced to death by stick, or at stake if they were repeat offenders). In the foreground are the soldiers of the faith and the donkeys who will carry those sentenced to death to the outskirts of the city to be executed by secular justice. In this group of soldiers in the lower central part of the painting, we find a male figure carrying a large drum widely used in this type of ceremony. More on this painting
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