Francesco Ruschi known as Rustichino (Rome, 1610 - Venice, c.1661) is a Italian painter . Raise Cavalier of Arpin and influenced by Caravage, it gained Venice about 1625 when it became one of the key characters of the artistic revival of the Venetian school.

Biography

Francesco Ruschi, painter born in Rome towards 1600 is formed by attending the “Torretta”, one of the workshops most active and appreciated of Rome of the beginning of the century under the direction of Giuseppe Cesari (Cavalier of Arpin) and influences it Caravage in the Roman formation of Ruschi is also an important component in the evolution of the artist. Francesco Ruschi leaves then to Venice in January 1629 as its marriage contract with Ludovica Lusi stipulates it. In Venice it reaches a prevalent position in the cultural life of the city by giving life to the first tests and the confirmation of the current neo-véronésien.
Ruschi makes use of the various lexical elements of the Veronese to give life, by its painting, with a universe with share, fragmented, emblematic where the architectural elements, the fabrics with folds, the faces sculptors exhibent clearly decorative intentions.
the work of Francesco Ruschi is a germ important from which in the Sixties, with the arrival in lagoon of Neapolitan the Luca Giordano, will be born the current one from the Tenebrosi . It will be then a naturalism with dark colors inspired with Ribera, more in agreement with these difficult years, which will find in the way traced by Francesco Ruschi a fertile ground. The century finishes with Sebastiano Ricci which, on the basis of the Tenebrosi recovers the suggestions of the Baroque émilien and Roman and establishes them on the heritage of the Véronèse in an alchemy which accompanies the change by the taste towards the Rococo.

Venice at the beginning of the 17th century century

It is the beginning of the decline and the République takes refuge in the Mythe and it is in this context that evolve/move of the artists like Padovanino, Francesco Ruschi , Pietro Liberi, Francesco Maffei, Giulio Carpioni, Luca Giordano or Sebastiano Ricci.

During this time Venetian painting, through the repertory of the traditional Mythology, expresses ethical and philosophical messages which exaltent Venice as ideal République. This cultural program corresponds to a stylistic revival of the Venetian painting enlized in a phase of creative lassitude. The artists of first half of the 17th century recover the traditions of typical color and atmosphere their predecessors of 16th. It is a return of the rebirth exactly at the time or the republic sets out for the way of its twilight. It is the time of Saraceni, of Varotari, known as Padovanino, of Carpioni, Frangipane, of Francesco Ruschi, Federico Cervelli, of Forabosco, Liberi and Maffei. The Histoire of art determines two lines specific sets of themes at that time: one which tightens towards subjects of pure entertainment, treated with a refined sensuality, and the other dedicated to a historical painting able to link with the pleasure of the glance that of the knowledge. Two main roads with the interlaced layouts are thus constituted in Venetian painting Baroque of first half of the 17th century: one inspired by the impassioned engagement of the Tintoret with its vast scenographic repertory essential to the painting of narration; the other inspired by the taste of the “decorativismo” borrowed from Véronèse.

The current néo-véronésien, for which the prevalent voice is that of Francesco Ruschi, is long in being affirmed compared to the world néo-tintoretien but ends up dominating the Venetian artistic scene.

Collections/Muses/Places of exposure

• MUSE of the Foundation Querini Stampalia - Venice.
• Collection Banque Populaire de Verona and Novara.
• Ca Venier - Frescos Stanza power station beyond foresteria will sinistra.
• Duomo de Aviano: " S. Bernardo which cures a aveugle"
• Church of San Pietro di Castello: “Virgin and Holy”
• Metropolitan Museum: “S. Orsola”
• Odessa Museum: “Allegory of the summer”

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