Juan Andrés Ricci

Juan Andrés Ricci de Guevara , known as Brother Juan Rizi (* 1600 in Madrid , † 1681 in Montecassino ), was a Spanish Benedictine monk, painter, architect and writer of treatises. His style, which was developed in the first decades of the 17th century, is typical of naturalistic tenebrism .

His painting, which has changed little over time, is characterized by the intensity of its lightness, which is worked with light brushstrokes, and by the palette of dark colors with a predominance of brown and black - color of the Benedictine habit -, which is only occasionally enhanced by shades of red, which, according to Antonio Ponz, have been poorly preserved due to his habit of leaving the pictures “first hand”. As a learned painter with a theological background, Rizi always paid attention to the theological and conceptual messages of the contents of his pictures, which prompted him to invent or adopt new or little-used iconographic formulas, in particular trying to emphasize Mary's role as a mediator.

Although the bulk of his work consists of monastic paintings and series on religious subjects, mostly related to saints of the Benedictine order, he was also a valued portraitist, with Velázquez's influence in this order being appreciated, as can be seen from the attributed portrait of Don Tiburcio de Redín y Cruzat can be seen in the Prado or that of Brother Alonso de San Vítores in the Museum of Burgos , composed with an exquisite palette of warm, toasted colors.

A writer of writings on theological and artistic subjects, Rizi also cultivated architecture, theorizing about the Solomonic Pillar , and it is possible that he practiced sculpture at least occasionally, judging from a documentary note of the completion of a carved Christ for the hospital emanates from San Juan de Burgos.

Biography and work

His father, Antonio Ricci, born in Ancona , came to Spain in 1585 to work on the decoration of the El Escorial monastery under the direction of Federico Zuccari . After Zuccari was released a few months later, Antonio decided to stay in Spain, where he married Gabriela de Guevar, an orphan of the court gilder Gabriel de Chaves, in 1588 in the church of San Ginés in Madrid. He settled in Madrid and opened a painting workshop dedicated to making altarpieces, copies of works by the Bassano family and portraits. In this workshop he showed particular skills and became the portrait painter of Prince Philip IV. His eleven children were born in Madrid, all of them baptized in the parish of San Sebastián; Juan, the fourth, was baptized on December 28, 1600, and the youngest, Francisco, who was also to become a painter, on April 9, 1614.

Juan Rizi: St. Benedict

Education and first years of artistic activity

Juan probably began his apprenticeship as a painter from his father, although Antonio Palomino states that he was trained in the workshop of Juan Bautista Maíno , who, according to Pérez Sánchez, denies his work - a strict tenebrism applied with light brushstrokes that defines the works sometimes seems to be left unfinished. Also unknown is his cultural education in the broadest sense, including learning the Latin language, a necessary prerequisite for entry into the Benedictine order. His relationship with the circle of Italian intellectuals living at court, with whom his father, who together with Vicente Carducho promoted the St. Luke Academy in Madrid in 1606, remained in contact, may have served as an incentive for his early intellectual vocation. Some of the theoretical postulates that he would explain in his later works, such as the theological arguments to justify the art of painting as one of the artes liberales , the primacy of drawing as the union of the arts with their subordinates, geometry and anatomy, can be found similarly in Carducho's academic programs and writings.

In any case, Juan's participation in the Academy of Painters is confirmed by an incident in 1622 that could mark the end of the Academy itself. That year, some painters revoked the powers they had previously given to Vicente Carducho , Eugenio Cajés, Bartolomé González, Santiago Morán, and others to hold such meetings. Among those who revoked their consent, all of the “masters of painting residing in this court”, signed Pompeo Leoni , Juan de la Corte or Pedro Núñez del Valle and “Juan Andrés Rizi”, who in this way was already an independent painter in the first documentary news about him appeared after his baptism certificate.

About his early life nothing is known except that he at the age of sixteen, already signs pointing his piety, a small treatise on the Conception of Mary wrote he to Pope Paul V . sent. In 1622 he worked as a painter in Madrid. Palomino alludes to two works that were created “before entering religion” for the monasteries of the Trinitarians and the Madrid Mercedarians , and both of which are considered lost. In the contract for the work in the latter monastery, signed on January 9, 1625 with the Grand Sacristan Diego del Peso, Rizi was over twenty-five years old, but was still subject to parental permission. With this contract, Rizi undertook to paint four canvases for the sacristy with the passion story of Christ "and other saints".

Juan Rizi: St. Benedict blesses the bread, around 1655

Benedictine monk in Montserrat, studies in Irache and Salamanca

On December 7, 1627 he entered the Benedictine order in the Montserrat monastery , where he made profession a year later . Although it was the most posh Catalan monastery, Montserrat was part of the Castilian Congregation of Saint Benedict the Royal in Valladolid and, like Rizi, half of the members were from Castile , which caused some conflict. After overcoming the selection procedure introduced by the Order, which limited the number of monks each monastery could send for university studies, he was sent to the Irache Monastery ( Navarra ) to study philosophy , where he stayed between 1634 and 1637, the year in which he was called to Montserrat to paint in the chapel of San Bernardo, which was adorned with grottoes like before his departure for Irache in the chapel of Santísimo. He later went to the Colegio de San Vicente in Salamanca , where he matriculated for the first time in the academic year 1638/1639 and stayed there until 1641. Antonio Palomino says that since he did not have a third of the 100 ducat annual pension required for admission to the university college, which was usually paid by the monasteries from which the students came, he would have a crucifix in two days painted, for which he received more money than was required for the recording.

While studying theology in Salamanca , he adorned the school's cloister, which was destroyed in the Napoleonic Wars , with paintings, and perhaps took courses in anatomy and dissection, his knowledge of which can be seen in the anatomical drawings with which he completed the treatise of the wise illustrated painting, although the main source of these drawings were the prints of the treatises of Andrea Vesalio and Juan Valverde de Hamusco.

1641: Prince Baltasar Carlos' drawing teacher

After the arrival of the Castilian monks, expelled from Montserrat in February in Madrid, in 1641, he himself moved from Salamanca to the court, to which he was called by the Count of Olivares to teach Prince Baltasar Carlos . He was not satisfied with the position, as he explained a few years later in a letter from Rome to the Duchess of Béjar .

During this short time at court he participated with Francisco Camilo, Alonso Cano and Diego Polo , among others, in the decoration of the theater hall in the old Alcazar and was able to make the attributed portrait of the English ambassador in Madrid, Sir Arthur Hopton, which is in the Meadows Museum in Dallas is kept and is the subject of a much discussed autograph .

Juan Rizi: Portrait of Fernán González , Señor de Castilla

1642–1648: Santo Domingo de Silos, the first surviving works

His stay in the monastery of Santo Domingo de Silos , where he was appointed preacher father in February 1642 and where he held the positions of preacher , confessor and caller, was frequently interrupted by trips to other monasteries of the order and to the diocese of Burgos were called out to participate in decoration work. The first departure, in September 1642, was due to an incident with the village doctor, with whom he had "some causes and words". He was therefore sent to San Frutos Priory in Duratón, a remote place dependent on silos, to which he returned a year later for a two-month stay.

In July 1643, if not before, he was back in Silos, where he was in charge of the novice's blood purity file ( limpieza de sangre ). Since there is an abundance of documents relating to his monastic life for these years, there is no news of his artistic activity until August 1645, when he was led by the Abbot of San Juan de Burgos, Diego de Silva, to an extensive decorative remodeling of the Klosters was appointed, where he was responsible for the main altarpiece and side pieces, as well as a number of paintings for the cloister and other rooms, the first documented works to be preserved. This will also be the starting point for a number of trips to the capital, Burgos, and perhaps Pamplona and Madrid in the years immediately before the end of the news of Brother Juan in August 1648.

In silos there are two paintings that are not signed or documented, but had to have been made in those years: The death of Santo Domingo de Silos , the altarpiece of the chapel installed in the cell of the saint until its vault collapsed in 1970 inhabited, is probably the first known work by Rizi's hand, since between 1642 and 1645 the so-called Celda del Paraiso (paradise cell) was renewed, possibly with the participation of Rizi himself in the architectural design and ds. Saint Dominic releasing the prisoners kept in the chapter house and previously in the door of the sacristy - an unusual work in the painter's production due to the size and compositional complexity given the large number of his figures. Rizi's personal style, his deep contrasts of light and shadow to delimit the heavenly and earthly spaces, the idealization of the faces of Christ and the Virgin Mary in contrast to the naturalistic treatment of the objects, is already fully developed in these works, in which he is also in the He was able to portray the figure of the reading monk himself, who turns his gaze to the viewer as a witness to the wonderful vision of which he bears witness and which Rizi - apart from the hagiographic reports - associate with the moment of the death of St. Dominic .

Painting for San Juan de Burgos

In August 1645, the abbot of Silos Pedro de Liendo authorized him to go to the monastery of San Juan de Burgos to paint some pictures and returned the following year to complete the sculpture of a crucified for the monastery hospital.

The order from Abbot Diego de Silva, which included a complete decorative redesign of the monastery, comprised the paintings of the main altarpiece dedicated to John the Baptist (Baptism of Jesus, Prison of St. John and Beheading of John the Baptist ), the altars in the nave of the church, a series of the life of Saint Benedict for the great dormitory and another of Benedictine saints for the cloister . Of all these extensive interventions, many of his paintings were scattered or destroyed after the unbundling processes of the 19th century, although Antonio Ponz already spoke of the poor state of preservation of a large part of them, according to the documented study by David García López only four have survived: the so-called San Benito and the poison cup from the church of San Lesmes in Burgos, the Virgin of Montserrat with a monk from the Bowes Museum in Barnard Castle ( Durham ) and two paintings from the Prado, which were originally placed against each other in two side altars: Saint Benedict blessing a loaf of bread and the writing San Gregorio, the latter is cataloged in the museum as an anonymous work.

To these four paintings should be added the portrait of Brother Alonso de San Vítores (Museum of Burgos), which, although it was painted years later (around 1658), comes from the library of the same San Juan monastery where he made his profession, who would later become Bishop of Almería , Orense and Zamora and who, as General of the Congregation of Valladolid, was responsible for the beautification of the monasteries of the Order and the protection of Rizi. The portrait, which Angulo and Pérez Sánchez believe is not free from Velazquez influences, is unanimously considered to be one of Rizi's masterpieces.

He did not last long in silos, where he had returned in May 1648. Before the end of the year he traveled to Pamplona, ​​where his bishop asked him to attend to matters concerning a brother of whom little is known.

Between 1649 and 1652 he must have spent a few months in the monastery of San Pedro de Cardeña, where he painted an equestrian painting of the Cid that has not survived on behalf of his abbot Juan Agüero , which later moved to Medina del Campo . Here, in the now-vanished monastery of San Bartolomé, one of the most modest of the order, which was dependent on Sahagún and only inhabited by three monks, he held the office of abbot. He mentioned this in his treatise on the painting of the wise, where he also included the design of the church front, which was carried out in those years.

There is no documentary evidence of Rizi's stay in San Millán de la Cogolla , where most of his works are kept in situ , but it is known that the Navarre painter Juan de Espinosa died in 1653 , leaving the paintings in the high cloister unfinished, their completion Rizi had commissioned. Possibly he was called to the monastery to paint in the same year, because at that time Brother Ambrosio Gómez was also elected abbot, under whose mandate, which was extended until 1657, the work on the main altarpiece, which was gilded between 1654 and 1656, was carried out.

Rizi's intervention in the Monastery of San Millán de Yuso with the lost paintings in the upper cloister dedicated to the life of San Millán was extended to different rooms but was particularly focused on the church, where he was next to the paintings on the main altar and its sides was also responsible for the paintings on three other altars, which are distributed over the nave. The most ambitious works were intended for the high altar, above which two large canvases of San Millán in the Battle of Simancas and the Assumption of the Blessed Virgin Mary , the invocation of the temple to her son in an unusual iconography, partly from one of the prints by Wierix was copied by Jerónimo Nadal for the Evangelicae historiae imagines , accompanied in his elevation to heaven.

The central canvas on which San Millán goes into battle on a galloping horse (or perhaps even better on a unicorn ) moves away from his usual monastic motifs, which have always been much more static. But its inadequacies in creating a truly dynamic effect are offset by its rich baroque coloring with loose and lively brushstrokes. The theme depicted, once interpreted as the miraculous intervention of San Millán in the battle of Hacinas, could more likely reflect the legendary intervention of the saint in the battle of Simancas in support of the Castilian army of Count Fernán González. In it, the monks of San Millán de la Cogolla established the so-called Vows of San Millán, a falsification of documents from around 1143, according to which Count Fernán González had granted the monastery certain rights over some Castilian localities in gratitude for the miraculous intervention of the saint on which the economic survival of the monastery was based.

Juan Rizi: Aemilianus of Cogolla (San Millan)

The paintings in the presbytery are completed with the monumental figures of Saints Peter and Paul , doors for the reliquary cabinets and four canvases with saints on the side altars, which are connected in a studied symmetry to the main altar : Saints Gertrude and Oria, a professed nun of the Monastery, on the side of the letter and the Saints Ildefons and Dominik von Silos on the side of the Gospel , all four received the mystical visions of Christ and the Virgin Mary, with the characteristic outbursts of glory from Rizi and his same "somewhat sad" sense of color, like that Jovellanos who visited the monastery in 1795.

Spread over the entire nave and now partially dismembered, he also painted the altarpieces of the Rosary , Saint Dominic of Silos and Saint Benedict, each with two canvases, the first being (The Virgin and the Souls in Purgatory , St. Benedict and San Miguel Florentino, who received the rosaries from the hands of Jesus Christ and the Virgin) was distinguished by its greater compositional effort and that of St. Benedict and the military orders with its iconography, in which the Benedictine order appeared again connected with the tasks of the reconquest. Interesting and for similar reasons are also the four imaginary portraits of famous patron of the monastery, which were painted for the Hall of Kings: Count Fernan Gonzalez, the kings of Navarre García I . and Sancho el Mayor and Emperor Alfonso VII .

Finally, in the stairwell of the sacristy, there was a large work of art up to seven meters high with the name St. Benedict and the Benedictine family tree. It was a work of great merit, praised by Jovellanos and Ceán Bermúdez for the diversity and variety of their heads. The canvas, which was badly damaged by the abandonment of the monastery after its dissolution in 1835, was considered lost in 1909, but a fragment of about 3 × 3 meters with the figures of St. Benedict and St. Millán accompanied by some abbots was found the monasteries of Suso and Yuso found and restored in the same monastery, heads that could be considered authentic portraits, if not the historical figures they represent, with a number on the miter by which they could be identified.

Painting for the Transcorum of Burgos Cathedral

The payments to "Father Juan de Rice" for six images of saints for the sides of the transept of Burgos Cathedral are documented between 1656 and 1659, which are among his most important saints and which, because of their location in a public place, were among his best known. Isidoro Bosarte, who like Antonio Ponz Rizi accused of leaving his works unfinished, wrote about them on his artistic journey to various cities in Spain in 1804, where "it is known that he went to great lengths to please this holy church". Even Theophile Gautier , another famous traveler who was attracted to the paintings that came his opinion of the Carthusian painter Diego de Leiva, strongly attracted, and he dedicated the picture "of strong action," a sonnet l of the martyrdom of H . Céntola, wrongly interpreted as the martyrdom of St. Casilda .

Their subject was chosen because they were saints whose relics were in the cathedral along with a saint from Burgos, Saint Julian, Bishop of Cuenca , and two saints of universal piety: Saint Anthony of Padua and Francis of Assisi who received the stigmata , were treated in unusual ways, emphasizing in them the emotional aspects of the mystical trance to create works of a spirituality that Jonathan Brown described as moving. The intense effects of the chiaroscuro still dominate, but a new sense of color is added, especially with the magnificently dressed figures of saints.

Juan Rizi: Mass of St. Benedict

Painting for the San Martín Monastery in Madrid

The inventory of the assets of the now-vanished monastery of San Martín in Madrid, which was carried out in August 1809 on the basis of the exclusion orders ordered by José I , contained 72 paintings by Rizi.

Thirty-three of them, dedicated to the life of St. Benedict , were installed in the cloister, along with another twenty-one portraits of famous men of the Order and three other portraits of St. Benedict that were inventoried outside the previous series, perhaps because of their different sizes. More were in the passage from the cloister to the sacristy (six from the life of Saint Domingo de Silos, which were supposed to be for Ponz by José Jiménez Donoso), in the chapter house, in the library and in the refectory , where the large painting of the castle of Emmaus hung . However, it is not known at what point in his career Rizi was able to tackle such a large complex, and whether he did it all at once or in stages. Ignoring the possible contacts he had with this monastery, the most primitive of the order in Madrid, before leaving for Montserrat, he may have left some paintings there in 1641, when he was serving as master for Prince Balthasar Karl , and it can be assumed that he resided there again between 1659 - a year in which he can be shown to have painted the main altarpiece of the Convent of Our Lady of Sopetrán (again the Assumption of Jesus Christ and the Coronation of the Virgin Mary), and August 1662 when he said he arrived in Rome. It must have been during these years that he was in contact with the Duchess of Béjar , as her chaplain and drawing teacher and that of her children, and he was responsible for the writing of The Mage Painting and another of his treatises which are still in Spain were written: the image of God and the creatures, the drawings of which he had given his pupil Gaspar de Zúñiga so that he could etch them for the printing press , a project that was interrupted by Zúñiga's departure to India as a servant of the Marquis of Mancera.

The collection of paintings in the Monastery of San Martín, which had shrunk somewhat after the Napoleonic wars and its church was destroyed, was finally dispersed after its release in 1835 when the monks suffered a second exclaustration, and very few paintings are still considered today to recognize coming from her. It is likely that the series of paintings in the cloister included the two scenes from the life of Saint Benedict owned by the Archbishop of Madrid, kept in the modern parish of San Martín and now in the Monastery of San Plácido: Saint Benedict and the Barbarian Galla and St. Benedict and the sickle wonder; and the same set includes The Last Supper of St. Benedict and St. Benedict, which after passing through the Trinity Museum are in the possession of the Prado , all works of rapid execution and pronounced predominance of gray, which even combine the effects of chiaroscuro highlight the advanced point in time through the use of artificial light in the canvas of the Lord's Supper.

This series could also include San Benito, who blessed the children Mauro and Plácido, who came to the Prado from the Beruete collection, in which a self-portrait of the painter can be seen in the figure of the monk accompanying San Benito according to Father Sarmiento, a guest of the monastery years later. It was tradition there that "there is no head that is not a portrait of a monk, a layman or a servant of the house" and that Rizi had painted a missing canvas on the monk who witnessed the death of St. Benedict and explained this by a signature in the manner already used by Greek artists, which Rizi, who did not sign any of his paintings, could use on more than one occasion.

The same origin, although not part of the same series because of its size and greater involvement and richness of color, has the great mass of St. Benedict of the Academy of San Fernando, his most ambitious work for many critics.

The painting was among those selected by Francisco de Goya and Mariano Salvador Maella in 1810 to be sent to the Napoleon Museum in Paris , where it was relocated in 1813 and returned to Spain in 1818 for immediate entry into the Academy's collection . His work, which is usually called the last mass of St. Benedict is understood, on the contrary, the first mass of St. To be Benedict, when, according to a theologically controversial tradition but defended by the Spanish Benedictine monks, he uttered the words of consecration (This is my body), the Host answered him with the words engraved on the painting: INMO TUUM BENEDICTE .

1662–1681: Rome and Montecassino

From November 1662 he stayed in Rome . He made the trip there "to see if he could let the mystery of the Immaculate Conception define itself". Palomino says that Pope Alexander VII . admired him for his two apostolates in Italy and that he was honored with a diocese at the end of his life.

The reason for the trip was in fact Brother Juan's intention, with the support of the Dukes of Béjar, to obtain the Diocese of Salonica or the Abbey of Montelíbano, where he proposed that the church be dedicated to the Virgin of Montserrat. Disappointed with these expectations, he decided to return to Spain, but first, “not to return without mercy”, he asked the Pope to be appointed Preacher General of his Order in Spain, an office which he had indeed achieved by a letter dated May 27th. Received October 1663.

In Rome he wrote the Epitome architecturae de ordine salomonico integro , a font in Latin with 15 illustrative, large-format pages, which he sent to the Pope (kept in the Vatican Library , Fondo Chigi), with a proposal for the reform of Bernini's canopy in St. Peter's Basilica , to which he applied the new architectural order he had invented: the whole or complete Solomonic order. Another copy of the epitome must have been sent to Christina of Sweden , to whom it was dedicated. It contained portraits of the Pope and the Queen, who sat on a cloud and set their feet with a feather and a lance on the firmament.

In another project from the same years he proposed a redesign of the Piazza della Rotonda and combined his interest in the Solomonic Column , preserved in the remains of the Solomonic Temple in Jerusalem , with his constant concern for the dogmatic definition of the Immaculate Conception. The apparently only sketchy project was concluded with a speech entitled Immaculatae Conceptionis, in the most elaborate drawing a fountain with some naked horsewomen around a base with the portrait and the coat of arms of Alexander VII. The fountain project was not carried out, but, as it is clear from his own words, Rizi could have been responsible for leveling and paving the square by removing the steps between the square and the temple.

For reasons unknown, he did not return to Spain after receiving the post of General Preacher, but, on the contrary, came into contact with the Congregation of Cassinia . In January 1665 he was still in Rome, where he admired and drew a comet on Epiphany, speculated about its theological significance and examined the millennial prophecies of Joachim von Fiore , Johannes von Capistrano and Enea Silvio Piccolomini . It is possible that he immediately joined the Montecassino Abbey , where he decorated the Chapel of the Blessed Sacrament, which was destroyed in World War II. But this stay was interrupted at least in the first moments, by some resettlements, because in 1666 he painted in the village of Trevi nel Lazio ( Frosinone ), and in 1668 he signed in the city of L'Aquila , which was then the Kingdom of Naples was one, a hieroglyph to in honor of Charles II .

The eight pictures he painted for the Chapel of Saints Cosmas and Damian in the main church in Trevi nel Lazio are interesting for several reasons. Two are particularly noteworthy for their iconography: the one in the vault, which is very badly damaged and depicts an allegory of the Holy Trinity , to which the chapel was previously dedicated in the form of three female figures around a crucifix . The picture is a variation of a drawing showing the treatise on scholastic theology in manuscript 539 in the Montecassino library; in addition the canvas in the attic of the altarpiece: Christ and the Mother of God, holding the chalice with the host and the dove of the Holy Spirit, with the depicted virgin dressed like the female figures of the Trinitarian allegory. Both iconographies, which are completely original and are intended to emphasize the role of Mary as co-redeemer, can be found in the same way in some drawings of Brother John's Castilian manuscripts, where they are defined as creations of the “Theologia Mistica”. The six remaining elongated pictures with figures of saints are more conventional, whereby above all the persistence of the painter's characteristic chiaroscuro formulas, which are completely alien to what was done in Italy at the time, and the appearance of quick, unfinished works warm colors.

Rizi stayed in the Abbey of Montecassino until his death on November 29, 1681.

There, according to his Castilian biographer, he led a life dedicated to the Virgin Mary, devoted himself to long fasts and penance, slept with the window open and celebrated mass early in the morning while devoting himself to artistic and intellectual activity. There he wrote ten books , usually in Latin with glossaries in different languages, bound in eight codices which are kept in the monastery library; three are commentaries on Scripture, ranging from Genesis to the Book of Psalms , two deal with dogmatic and moral theology, with commentaries on the Summa Theologica of Thomas Aquinas ; another, also called Scholastic Theology, is divided into a treatise on the Trinity and a Biblical glossary, the other two being devoted to mathematics (Mathematicarum elementum) and architecture, with a copy of the epitome dedicated to the Duchess of Béjar, grouped with other writings in Spanish devoted to the same lady on various subjects, from aspects of rhetoric to an explanation of the liturgy of mass.

Illustrated with drawings, partly based on the Liber Chronicarum by the German humanist Hartmann Schedel from the Liber Chronicarum published in Nuremberg in 1493 with woodcuts by Michael Wolgemut and Wilhelm Pleydenwurff , Rizi's main motif lies in the relationship between theology and painting, based on the conviction that precisely the Painting is able to show the invisible and to repeat the work of creation in the image and likeness of God.

bibliography

• Pérez Sánchez, Alfonso E., Consejo Superior de Investigaciones Científicas (Spain): Historia de la pintura española: escuela madrileña del segundo tercio del siglo XVII . Instituto Diego Velázquez, Madrid 1983, ISBN 84-00-05636-1 .
• Brown, Jonathan, 1939-: El Edad de oro de la pintura en Espãna . 2nd ed. NEREA, Madrid 1991, ISBN 84-86763-48-7 .
• Parroquia de San Sebastian (Madrid, Spain). Archivo .: Parroquia madrileña de San Sebastián: algunos personajes de su archivo . Caparrós Editores, Madrid 1995, ISBN 84-87943-39-X .
• Martínez de Aguirre, Javier, Éditeur scientifique. Poza Yagüe, Marta, Éditeur scientifique .: Alfonso VI y el arte de su época . Publicaciones universidad complutense de Madrid, 2011, OCLC 800613563 .
• Ricci, Juan Andrés, 1600–1681., Gil-Díez Usandizaga, Ignacio., Instituto de Estudios Riojanos .: El pintor Fray Juan Andrés Rizi, 1600–1681: las ordenes religiosas y el arte en la Rioja . Instituto de Estudios Riojanos, Logroño 2002, ISBN 84-95747-45-6 .
• Marías, Fernando, 1949–, Pereda, Felipe, 1968-: La pintura sabia . Antonio Pareja, Toledo 2002, ISBN 84-95453-26-6 .
• Palomino de Castro y Velasco, Antonio, 1655–1726 .: El museo pictórico y escala óptica: tomo 3, [el parnasso espanol pintoresco laureado] . M. Aguilar, Madrid 1988, ISBN 84-03-88005-7 .
• Pérez Sánchez, Alfonso E .: Pintura barroca en España (1600-1750) . Cátedra, Madrid 1992, ISBN 84-376-0994-1 .

Web links

Commons : Juan Ricci  - collection of images, videos and audio files

• Biography in the Prado Museum's online encyclopedia
• The emblematic vision of San Millán in Ricci's painting
• Official website of the San Millán de Yuso Monastery

Individual evidence

1. ↑ García López , pp. 27-38.
2. ↑ Fernández García , pp. 185–186.
3. ^ Pérez Sánchez , p. 242.
4. ↑ ^{a b} García López , p. 44.
5. ↑ ^{a b} Palomino , p. 336.
6. ^ Marías, Fernando y Pereda, Felipe , p. 26.
7. ↑ The monastery was destroyed by French troops during the War of Independence, but nothing of Rizi's paintings has survived.
8. ↑ García López , p. 89. Since Rizi is not included in the list of Castilian monks who were expelled from Montserrat in 1641, it was thought that he would have been expelled before the other monks. Indeed, during the events of 1640, Rizi was in Salamanca, as recorded in the university's enrollment books, and from there he was called directly to Madrid.
9. ↑ Palomino , p. 335.
10. ↑ García López , pp. 117–118.
11. ^ Marías, Fernando y Pereda, Felipe , p. 18.
12. ^ Marías, Fernando y Pereda, Felipe , p. 29.
13. ↑ Salort (1999) , p. 2
14. ↑ García López , p. 127.
15. ↑ García López , pp. 133-134.
16. ↑ García López , p. 136.
17. ↑ García López , pp. 137–142.
18. ↑ Angulo-Pérez Sánchez , pages 270 and 286.
19. ↑ García López , pp. 142–151.
20. ↑ García López , p. 154.
21. ↑ Angulo-Pérez Sánchez , p. 283.
22. ↑ García López , p. 159.
23. ↑ García López , p. 162.
24. ^ Gutiérrez Pastor , p. 46.
25. ↑ Tormo y Monzó , Part II, pp. 9-10.
26. ↑ García López , p. 164.
27. ↑ ^{a b} Angulo-Pérez Sánchez , p. 296.
28. ↑ Página web del monasterio de San Millán de Yuso, Descubierto un nuevo cuadro de Rizi
29. ↑ García López , p. 171.
30. ↑ García López , p. 172.
31. ↑ García López , p. 182.
32. ↑ García López , pp. 177–179: "Rizi no aparece citado en el Libro del Consejo del monasterio, pero la dedicatoria del Tratado de la pintura sabia a Teresa Sarmiento con el título de duquesa de Béjar, que empezó a ostentar in 1660, permite afirmar que en estos años, para los que falta documentación, residía en Madrid. Para entonces existía en la corte un segundo monasterio benedictino, the dedicado precisamente a la Virgen de Montserrat , que había acogido a los monjes expulsados ​​de Cataluña; pero en él, a diferencia de lo que sucede con el monasterio de San Martín, las fuentes no mencionan ninguna pintura de Rizi. "
33. ↑ Marías, Fernando y Pereda, Felipe , pp. 34–35.
34. ↑ Angulo-Pérez Sánchez , pp. 281 and 291–294.
35. ↑ García López , p. 180.
36. ↑ Pérez Sánchez , p. 243.
37. ↑ García López , p. 186.
38. ↑ Angulo-Pérez Sánchez , p. 293.
39. ↑ Angulo-Pérez Sánchez , page 270.
40. ↑ Salort (2000) , page 95-96.
41. ^ García López , page 331.
42. ↑ Salort (1999) , pp. 3-4.
43. ↑ Salort (2000) , p. 102.
44. ^ García López , page 335.
45. ↑ Salort (2000) , pp. 100-101.
46. ^ Marías, Fernando y Pereda, Felipe , 39.
47. ↑ Salort (2000) , S. 105th
48. ↑ Salort (2000) , p. 103.
49. ↑ Pereda, Felipe , “Pictura est lingua angelorum: Fray Juan Andrés Rizi, una teoría teológica del arte”, pp. 54–55.
50. ↑ Salort (1999) , pp 6-10: "Los seis lienzos rest antes representan a San Carlos Borromeo, San José con el Niño en brazos, San Pedro, San Pablo, San Antonio de Padua y San Francisco ."
51. ↑ Salort (2000) , pp. 105-115.
52. ↑ García López , p. 348.
53. ↑ Salort (2000) , S. 104th
54. ↑ García López , p. 351.
55. ↑ García López , pp. 351–355.