Flora - Sebastiano Ricci (1712-1716) - Painting analysis

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[...] Flora - Sebastiano Ricci (1712-1716) - Painting analysis Flora is an oil on canvas painting, completed in 1712 by Sebastiano Ricci, exposed at the Blanton Museum. The subject is inspired by the myth of the Greek nymph Chloris who was raped by Zephyr, the god of the west wind. After her abduction the nymph married the god and became the Roman goddess of the spring and the flowering of plants: Flora. I. Main character Although the title of the painting is Flora, in the scene depicted she is still Chloris. [...]

[...] The use of oil paint helped the artist achieve the naturalistic play of light, the vivid expression and movement of the figures. Sebastiano Ricci was an Italian Painter of the Baroque school of Venice and among the first Venetian baroque painters to enjoy foreign patronage. IV. The work of Sebastiano Ricci Artists in Venice painted primarily in oils and pioneered the use of canvas, which was better suited to the humid climate of the city than previous techniques. Sebastiano Ricci was born in 1659, in Venice. [...]

[...] Indeed, the artist chose to represent the moment of maximum tension of the story, as Chloris is about to be hoisted into the air by Zephyr. The nymph's head is tilted to the side which allows the viewer to study her face thus making her peaceful expression discernible. Flora's relaxed posture and expression increase the dramatic suspense, the observer feels involved in the painting, and wants to warn or save the innocent victim. Both the impression of urgency and Chloris's vulnerability are reinforced by her ignorance of Zephyr and the viewer's gazes. [...]

[...] They are a sign of new beginnings and spring foretells the story. II. A sense of harmony Flora is unified by the principles of design; the forms and colours appear controlled and an impression of grace and composure emerges from this work. The composition of the painting is balanced as the figures are harmoniously related. There is a diagonal line from the lower left corner of the canvas to the upper right corner, dividing the painting in two parts. Above this diagonal the background is significantly darker. [...]

[...] A great number of copies have been excavated and scholars have concluded that it was a popular variant on Venus. The accuracy of human anatomy and the attention given to the representation of flowers conveys an overall impression of fidelity to natural appearance. However, the figure of Flora and the cupids in the forefront are idealized, they are characterised by sweetness of expression and serenity. - Bibliography Blanton Museum of Art, Blanton Museum of Art: 110 Favourites from the Collection, University of Texas Press, Gauvin Alexander Bailey, Pamela M. Jones, Franco Mormando, Thomas W. [...]