Who painted Studies for Saint Michael Defeating the Rebel Angels?

Studies for Saint Michael Defeating the Rebel Angels was painted by Nicolò Ricciolini in 1730.

Where can I see Studies for Saint Michael Defeating the Rebel Angels?

Studies for Saint Michael Defeating the Rebel Angels is held by National Gallery of Art.

What movement is Studies for Saint Michael Defeating the Rebel Angels?

Studies for Saint Michael Defeating the Rebel Angels is associated with Baroque.

Artwork

Studies for Saint Michael Defeating the Rebel Angels

Nicolò Ricciolini , 1730

Studies for Saint Michael Defeating the Rebel Angels is a chalk drawing by the Baroque artist Nicolò Ricciolini. It dates from 1730 and is held in the collection of the National Gallery of Art.

About this work

Overview

Created in 1730, this study by Nicolò Ricciolini explores the dramatic encounter of Saint Michael with the fallen angels. Executed on laid paper, the work combines pen, brown ink and colored washes to map out the composition that would later inform a larger religious painting.

Subject & Meaning

The drawing captures the archangel Michael in the act of subduing rebellious celestial beings. Central to the scene is Michael, sword raised, standing over defeated foes, embodying triumph of order over chaos within a theological narrative of good versus evil.

Technique & Style

Ricciolini employed a base of black chalk, over which he traced figures with pen and brown ink. Subsequent washes of brown, blue and purple add tonal depth, while the varied line weight conveys movement and tension. The layered approach highlights both structural planning and expressive gesture.

History & Provenance

The piece originates from the early 18th‑century Italian workshop of Ricciolini, intended as a preparatory study for a larger altarpiece. Its survival on paper suggests it was retained as a reference by the artist or his studio, later entering a private collection before being catalogued by the museum.

Context

During the Baroque period, dramatic celestial battles were a common motif, reflecting Counter‑Reformation emphasis on divine authority. Ricciolini’s study aligns with contemporary practices of using detailed sketches to resolve complex compositions before committing to oil on canvas.