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Artists' biographies : Francesco RUSCHI

Francesco  RUSCHI

Date of birth: 1610

Date of death: 1661

Nationality : Francesco  RUSCHI

Francesco says Ruschi Rustichino (Rome, 1610 - Venice, c.1661) was an Italian painter. Student rider Arpin and influenced by Caravaggio, he won Venice about 1625 where he became one of the key figures of the artistic revival of the Venetian school. Ruschi Francesco, a painter born in Rome in the early seventeenth century, is formed by attending the "Torretta", a workshop and appreciated the most active of Rome in the new century under the direction of Giuseppe Cesari (Cavaliere d'Arpino) and the influence of Caravaggio, in the formation of Roman Ruschi, is also an important component in the evolution of the artist. Francesco Ruschi then moved to Venice in January 1629 as stipulated in her marriage contract with Ludovica Lusi. In Venice he achieved a predominant position in the cultural life of the city by giving life to the first test and confirmation of the neo-véronésien. Ruschi uses different tokens of Veronese to give life, for his painting, a world apart, fragmented, where the iconic architectural elements, pleated fabrics, faces statutory exhibit decorative intentions clear. The work of Francesco Ruschi is a major germ from which in the 1660s, and with the arrival in the lagoon of the Neapolitan Luca Giordano, born of the current Tenebrosi. This will be a naturalism to dark shades inspired Ribera, more in line with those difficult years, which will find in the footsteps of Francesco Ruschi fertile ground. The century ends with Sebastiano Ricci, starting from Tenebrosi retrieves suggestions and Roman Baroque Emilian and locates on the legacy of Veronese in an alchemy that accompanies the change in taste to the rococo. This is the beginning of the decline and the Republic takes refuge in the myth and what is in this context evolve as artists Padovanino, Ruschi Francesco, Pietro Liberi, Francesco Maffei, Giulio Carpioni, Luca Giordano or Sebastiano Ricci. In this period of Venetian painting, through the repertoire of classical mythology, expressing ethical and philosophical messages that exalt Venice as the ideal republic. This cultural program is a stylistic revival of Venetian painting stuck in a phase of creative fatigue. The artists of the first half of the seventeenth century recover the traditions of color and atmosphere typical of their predecessors in the sixteenth. It is a return of rebirth exactly when the republic is moving towards its twilight. It's time to Saraceni, of Varotari, said the Padovanino of Carpioni, Frangipane Francesco Ruschi, Federico Cervelli, of Forabosco, Liberi and Maffei. The art history determines two thematic lines specific to that time: one that tends toward pure entertainment matters, treated with refined sensuality and the other devoted to a historical painting that can unite the pleasure of view that knowledge. Traced to two main tracks are so entwined itself in Venetian Baroque painting of the first half of the seventeenth century: one inspired by the passionate commitment of Tintoretto with his vast repertoire scenographic essential narrative painting, the other inspired taste "decorativismo" borrowed from Veronese. The neo-véronésien, for which the predominant voice is that of Francesco Ruschi, slow to assert themselves against the world neo-tintoretien but eventually dominate the Venetian art scene.


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