Hagar in the Desert

Sebastiano Ricci

  • Hagar in the Desert 2
  • Hagar in the Desert 3
Basic information
ID
Ж-1858
Author
Sebastiano Ricci
Name
Hagar in the Desert
Date of creation
c.1690
Technique
oil painting
Material
canvas oil
Dimensions (height x width, cm)
137 x 104.4
Information about author
Author
Sebastiano Ricci
Artist's lifetime
1659–1734
Country
Italy
Biography
Sebastiano Ricci (1659–1734) was a prominent Venetian artist of the 18th century and the founder of Italian Rococo. The artist's creative path began in the workshop of Federico Cerebri in Venice. Subsequently, the Venetian artists Sebastiano Mazzoni and Federico Cervelli became Sebastiano Ricci's mentors. He continued his art education in Bologna under the guidance of Giovanni Gioseffo dal Sole, a master of decorative orientation who was influenced by Veronese. Relying on the achievements of the Bologna and Venice schools of painting, Sebastiano Ricci created his unique style, characterised by a combination of reality and fantasy, light and bright colour scheme, decorative richness, and dynamism. In Milan, he got acquainted with the works of Alessandro Magnasco, from whom he adopted an expressive manner of performance and a characteristic energetic brushstroke. On May 18, 1718, Sebastiano Ricci was admitted to the Royal Academy of Painting and Sculpture for the work "Triumph of Wisdom over Ignorance".
Object description
The "Hagar in the Desert" painting from the collection of Borys Voznytskyi Lviv National Art Gallery was inspired by the plot from the Holy Scriptures (Genesis 16. 1–16; 21. 9–21), the Jewish Torah (Book of Bereishit), and the Koran. Thus, according to the Old Testament legend, Abraham's barren wife, Sarah, gave her husband, the enslaved Egyptian Hagar, as a concubine to procreate. So, Hagar gave birth to Abraham's son, Ishmael. Fourteen years later, God sent Sarah her son Isaac, and she persuaded Abraham that the concubine with the child needed to be banished. Hagar desired to return to Egypt but got lost in the desert. When the water ran out, she wept in despair, preparing to die. God had mercy on her and sent the angel Gabriel, who guided the woman to the spring. Finally, Hagar and her son, who became the progenitor of the Arabs, settled in the desert of Paran. The Gallery's work is composed with rationally modelled dynamism and the coordination of figures in sharp baroque aspects with format diagonals. Of great importance are rhythmic echoes. The "active" diagonal line formed by Hagar's left hand and the angel's right hand resonates with Hagar's right hand, parallel to the diagonal. Meanwhile, the diagonal outlined by Hagar's tilted head and left shoulder and Ishmael's left hand resonates with the angel's left hand, parallel to the "passive" diagonal line. The location in the upper and lower segments of the intersection of the diagonals of the angel and baby Ishmael is symbolic. In the first case, it gives the impression of dominance in the composition, while in the second one – of maternal and angelic protection. The expression is enhanced by multidirectional movements deep into the picture space and towards the viewer, forming a "spatial baroque zigzag". The radiant range of silver-pearl, ash-blue, pink, and lilac colours, dominated by golden ochre (Hagar's robes) and red (the drapery wrapping the angel), indicates a close connection with Venetian art. The landscape background, as if "infused" with coolness and moisture, is painted with almost watercolour purity and lightness.
Legal regulation
Borys Voznytskyi Lviv National Art Gallery