Description
The subject originates in the Gospel of John 7:53-8:11, where Pharisees bring a woman accused of adultery to Christ, attempting to trick him into disobeying the Old Testament precept that she be stoned. In response, Christ interrupted his writing on the ground, stating: "Let anyone among you who is without sin be the first to throw a stone at her." The Pharisees, unable to retort, gradually disperse, and Christ eventually sends the woman away with an admonition not to sin again. The subject was popular in 18th-century Venice, partly because magnanimity was an important value, celebrated in visual, musical, and literary culture. The showy, exotic subject and the public presentation of an openly sexualized woman also enjoyed popularity in 18th-century Venetian painting. This work is a copy of the picture at the Minneapolis Institute of Arts, perhaps by a student (and certainly not by Ricci himself)
Provenance
Miner K. Kellogg; Mrs. Liberty E. Holden, Cleveland; Holden Collection (1916 ); Miner K. Kellogg; Mrs. Liberty E. Holden, Cleveland. Holden Collection, 1916.
Accession Number
1916.785
Medium
oil on canvas
Dimensions
Framed: 54.6 x 64.8 x 8.9 cm (21 1/2 x 25 1/2 x 3 1/2 in.); Unframed: 34.6 x 43.5 cm (13 5/8 x 17 1/8 in.)
Classification
Painting
Credit Line
Holden Collection
Tags
Painting Baroque (1600–1750) Oil Painting Canvas Italian
Background & Context
Background Story
Sebastiano Ricci (1659-1734) was a Venetian painter known for the light, decorative manner that makes him one of the most accomplished painters of the late Baroque and early Rococo. Christ and the Woman Taken in Adultery from the mid 1700s depicts the biblical episode in which Christ prevents the stoning of a woman taken in adultery in the light, decorative manner that distinguishes Ricci's best work from the more dramatic Baroque manner of his predecessors. The mid 1700s date (possibly a later copy or version of Ricci's composition) places this in the period when Ricci's decorative manner was influencing the development of early Rococo.
Cultural Impact
Christ and the Woman Taken in Adultery is important in the context of Venetian painting because it demonstrates the light, decorative manner that Ricci developed from the Venetian tradition and transmitted to the early Rococo. Ricci's light, decorative manner represents the transition from the dramatic Baroque of the 17th century to the decorative Rococo of the 18th century, and his influence on the development of Venetian Rococo painting was profound.
Why It Matters
Christ and the Woman Taken in Adultery is Ricci's light Venetian transition from Baroque to Rococo: the biblical episode rendered in the decorative manner that bridges the dramatic Baroque and the light Rococo. The mid 1700s painting demonstrates the transition in Venetian painting from the dramatic 17th century to the decorative 18th century.