Who painted The Ecstasy of Saint Francis [recto]?

The Ecstasy of Saint Francis [recto] was painted by Sebastiano Ricci in 1713.

Where can I see The Ecstasy of Saint Francis [recto]?

The Ecstasy of Saint Francis [recto] is held by National Gallery of Art.

What movement is The Ecstasy of Saint Francis [recto]?

The Ecstasy of Saint Francis [recto] is associated with Baroque.

Artwork

The Ecstasy of Saint Francis [recto]

Sebastiano Ricci , 1713

The Ecstasy of Saint Francis [recto] is an ink drawing by the Baroque artist Sebastiano Ricci. It dates from 1713 and is held in the collection of the National Gallery of Art.

About this work

Overview

Sebastiano Ricci’s drawing titled The Ecstasy of Saint Francis, executed in 1713, is rendered with pen and brown ink complemented by a brown wash on laid paper. The work, classified as a drawing, presents a celestial gathering of figures rendered in fluid, sketchy lines that convey a sense of movement and immediacy.

Subject & Meaning

At the composition’s center, a figure with outstretched arms appears to be the focal point of an ecstatic vision, surrounded by other robed beings, some bearing wings. The arrangement suggests a spiritual ascent or divine revelation, echoing the narrative of Saint Francis’s mystical experience.

Technique & Style

Ricci employs loose, rapid strokes of ink to outline the figures, while a brown wash builds tonal depth, creating contrast between the darker contours and a lighter background. The gestural handling and dynamic composition align with the dramatic vigor characteristic of early 18th‑century Baroque drawing.

History & Provenance

Created in 1713, the drawing is attributed to Ricci, a prominent Venetian painter of the late Baroque period. Its provenance traces to private collections before entering its current institutional setting, though specific ownership details remain limited.

Context

The work reflects the Baroque fascination with theatricality and emotional intensity, employing visual devices that heighten the sense of divine intervention. Ricci’s treatment of the ecstatic scene parallels contemporary religious artworks that sought to engage viewers through vivid, kinetic representation.