Italian school of the 18th century. Circle of SEBASTIANO RICCI (Belluno, 1659 - Venice, May 15, 1734). "David with the head of Goliath." Oil on canvas

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OLD MASTERS & SCULPTURE - Day 2

By Setdart Auction House

Jun 1, 2021

Set Reminder 2021-06-01 09:45:00 2021-06-01 09:45:00 America/New_York Bidsquare Bidsquare : OLD MASTERS & SCULPTURE - Day 2 https://www.bidsquare.com/auctions/setdart-auction-house/old-masters-sculpture---day-2-6999
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• Lot Description
  Italian school of the 18th century. Circle of SEBASTIANO RICCI (Belluno, 1659 - Venice, May 15, 1734). "David with the head of Goliath." Oil on canvas. Relined. Measurements: 70 x 60 cm. The biblical account tells that Goliath came out of the Philistine camp and loudly challenged Israel to present a man to fight with him in hand-to-hand combat, the outcome of which would determine which army would become the servant of the other. No Israelite soldier was brave enough to accept such a challenge (Samuel 17:1-11, 16). However, a little shepherd boy named David, from the tribe of Judah, met his challenge. Goliath, preceded by his armor-bearer, advanced, invoking evil against David by his gods. To this, David replied, "You come to me with a sword and with a spear and with a javelin, but I come to you with the name of the LORD of hosts" (Sam.17:45). When David threw a stone at him with his sling, it sank into his forehead and Goliath fell to the ground. David then stood over Goliath and with the giant's sword cut off his head. (Sam.l 17:26, 41-53). David then took the Philistine's head and brought it to Jerusalem, and put his weapons in his tent (Sam. 17:54). The transcendental theme that he dealt with through these works is in essence that of humility and intelligence defeating pride and physical strength. Therefore, the biblical passage is an allegory of the ancient struggle between humility and pride. In the work that concerns us, close to the circle of Sebastiano Ricci, the expression of the young David, who contemplates the head of his enemy with a certain compassion, without winning eagerness, is striking. The artist does not portray a triumphant David but a humble young man, dressed in simple clothes but endowed with a somewhat ideal classical beauty. For the rest, everything in the work seems to derive from the influence of the master, even the composition itself, of great simplicity and clarity, typically baroque, although it is reduced to the young man and the head.
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