Salvatore Rosa. self-portrait
The biography of the Italian artist Salvatore Rosa is very unusual. It seemed that fate specially prepared for him unexpected adventures and endowed him with the character of a rebel, and this, in turn, could not but affect his creative activity. He did not immediately become interested in painting, he was looking for himself in the spiritual, in music and acting. Rosa was born in Italy on June 20, 1615, at a time when progressive Baroque was developing in art and an intense struggle was being waged against mannerism.
The poor family of the future artist lived near Naples. His father, Antonio Vito de Rosa, was a simple land surveyor, and in order for the boy to receive a good education, he gave his son to the college of the Jesuit congregation Somasca between the cities of Bergamo and Milan. Being in the walls of the monastic Order, the boy Salvatoriello, accustomed to entertainment and games in the fresh air, felt uncomfortable and bored. However, the knowledge that he received from spiritual mentors was useful to him in his future work. Among the subjects studied by Rosa were: Italian literature, Holy Scripture, the history of Antiquity and rebellious Latin. The college became Father Salvatore's only hope to give his son a good education and pull him out of poverty.
The desire to receive a spiritual dignity grew into a cherished dream to connect his life with art. Therefore, Rosa began to take music lessons, and only after - painting. The first teachers of the young man were Francanzone, his brother-in-law, and the great Ribera. In addition to the lessons, Salvatore developed his talent by writing small sketches on his own.
The painting of the young artist was distinguished by the realism and naturalness of not only the plots, but also the colors. His palette was dominated by ocher browns and muted tones. The characters had moods and facial expressions that were understandable to the layman, without embellishment and grotesque. Even his self-portrait (1640), the master depicted "modestly" and "understandably", following the direction of the Neapolitan school of painting.
As you know, Salvatore Rosa was a rebel and had a wayward character. The temperament of his nature set the tone for his works. Especially the artist succeeded in painting battles, stories with vagabonds and bandits. Moreover, both the early and late works of the painter had a lead-red touch of ocher and the Caravaggio method of applying contrasting shades - the play of shadows and light (“Jason Subduing the Dragon”, “The Choice of Diogenes”, “Alexander and Diogenes”).
Jason subduing the dragon. 1665-70
Choice of Diogenes. 1650
In 1636, the artist decides to become an actor, just at the time when all of Rome already knows about Salvatore as a talented artist. And here he succeeded. He opened his face during the performance, tearing off the mask of Coviello, whom he played, and later founded his own theater near the port del Popolo. As a constant fighter with the existing authorities, Rosa was harassed and became the object of surveillance by assassins scurrying around the theater. During this period, he wrote the famous painting “Allegory of Lies”, illustrating his own versification “I remove my blush and paint from my face.” The picture is painted in unusual dry colors with a "patina" of emerald paint.
Allegory of lies. 1640
A talented painter, poet and actor - Salvatore - had many friends in the world of art and literature. In the works, diaries and letters of travelers, the name of the great artist is often mentioned. Fueled by her own restless nature and good company, Rosa creates stories on various topics - diverse, different from each other. These are mythical and biblical subjects, landscapes (“Forest landscape with three philosophers”) and portraits. The technique in which he writes is not bright, but it gives peace and sets the right mood for the viewer.
Forest landscape with three philosophers.
To create romantic stories, Rosa pushed, among other things, love for a woman. His lover for many years was Lucrezia, who gave the artist two sons. Only before his death, Salvatore married a woman, thereby fulfilling his duty on earth, giving continuation to the family and himself in his canvases.
Death overtook the master in March 1673 in Rome. The work of Salvatore Rosa has become a school for future, no less eminent, artists.
(1615-06-20 ) , was brought up in a monastery and was preparing to take holy orders, but soon felt an irresistible attraction to art and began to study music first, and then painting. His tutors in the latter were at first his brother-in-law, Fr. Francanzone, a student of X. Ribera, then Ribera himself and, finally, the battle painter Aniello Falcone. In addition to these artists, the development of R.'s talent was greatly facilitated by writing sketches from nature without anyone's help. At eighteen years of age, he set off wandering around Apulia and Calabria, fell into the hands of the robbers there and lived for some time among them, studying their types and customs, after which he worked in Naples.Creation
Belonging in the direction of talent to the naturalists of the Neapolitan school of painting, having some affinity with his teachers, Ribera and Falcone, Rosa nevertheless showed, with a great variety in the choice of subjects, a lot of originality in their interpretation. In paintings on historical themes, he was able to combine the realism of the image with the nobility of a lively composition and with a strong expression of an idea. The best of these paintings is considered to be "The Conspiracy of Catiline" (in the gallery of the Pitti Palace, in Florence). Among other works of Rosa in this genus, especially worthy of attention are: “The Angel and Tobias” and “The Appearance of the Shadow of Samuel to Saul” (in the Louvre Museum, in Paris), “Jonah in Nineveh” and “Cadmus and Minerva” (in the Copenhagen Gallery), "Crucifixion" (in the Braunschweig Museum), "Prometheus" (in the Hague Gallery), "Prodigal Son", "Odysseus and Nausicaa" and "Democritus and Protagoras" (in the State Hermitage) and some others.
Rosa's portraits are very characteristic and expressive, which suggests their resemblance to the faces posed in front of him. In those landscapes that came out from under his brush during his stay in Florence, as, for example, in a large seaside view located in the Colonna Gallery in Rome, painting connoisseurs see the influence of Claude Lorrain. In other paintings of this kind, some artificiality and lethargy are noticeable. But Rosa is an excellent, completely original master, imbued with poetry, when she depicts harsh mountains, wild gorges, dense forest thickets, especially when she writes on canvases of small size. There are quite a few of his paintings in which the landscape plays a secondary role, and the main content is made up of human figures - for the most part the figures of soldiers and robbers. Such paintings can be seen in the Imperial Hermitage ("Soldiers playing dice"), in Vienna, Munich, The Hague and other galleries. Finally, Rosa painted very complex pictures of battles beautifully, of which there is a wonderful example in the Louvre Museum, in Paris. Regarding the color of R., I must say that he is generally not distinguished by great brilliance, but is extremely pleasant in its warmth and in the consistency of chiaroscuro.
Rosa Salvator(June 20, 1615 – March 15, 1673) Italian painter, engraver, poet and musician.
Rose was born in Renelle, near Naples, was brought up in a monastery and was preparing to take holy orders, but soon Salvator felt an irresistible attraction to art and began to study first music, and then painting. Mentors were first his brother-in-law, Fr. Francanzone, a student of X. Ribera, then Ribera himself and, finally, the battle painter Agnello Falcone. In addition to these artists, the development of talent salvator largely contributed to the writing of sketches from nature without anyone's help. Eighteen years old Salvator started wandering around Apulia and Calabria, fell into the hands of the local robbers and lived for some time among them, studying their types and customs, after which he worked in Naples. In 1634 he moved to Rome, where, thanks to two paintings: "The Transience of Human Life" and "The Goddess of Happiness, Wasting Her Gifts on the Unworthy", he gained fame. From 1650 to 1660 Rosa Salvator worked in Florence, at the court of the Grand Duke J.-K. Medici, from time to time visiting Rome. Belonging in the direction of the naturalists of the Neapolitan school of painting, having some affinity with his teachers, Ribera and Falcone, Salvator with a large selection of subjects, he made an original interpretation. In historical paintings, he was able to combine the realism of the image with the nobility of a lively composition. In the landscapes that came out from under the brush salvator during his stay in Florence, connoisseurs of painting see the influence Claude Lorrain . Salvator is an excellent, completely original master, imbued with poetry, when he depicts harsh mountains, wild gorges, dense forest thickets, especially on canvases of small size. there are paintings in which the landscape plays a secondary role, and the main content is human figures, whether it be the figure of a soldier or a robber. In the last years of his life Salvator diligently engaged in engraving. In total, he executed 86 etchings of his own composition, many of which can be ranked among the best creations of the artist and, in good prints, are very much appreciated by print lovers.
Salvator Rosa is an Italian painter, engraver, poet and musician.
Born in Renelle, near Naples, on June 20, 1615 (16150620), he was brought up in a monastery and was preparing to take the priesthood, but soon felt an irresistible attraction to art and began to study music first, and then painting. His tutors in the latter were at first his brother-in-law, Fr. Francanzone, a student of X. Ribera, then Ribera himself and, finally, the battle painter Aniello Falcone. In addition to these artists, the development of R.'s talent was greatly facilitated by writing sketches from nature without anyone's help. At eighteen years of age, he set off wandering around Apulia and Calabria, fell into the hands of the robbers there and lived for some time among them, studying their types and customs, after which he worked in Naples.
In 1634 he moved to Rome, where he did not hesitate to become famous for his depictions of characteristic, full of life scenes from the life of shepherds, soldiers and bandits, but, thanks to his satyrs and, in particular, two paintings: “The transience of human life” and “Goddess of happiness, wasting his gifts to the unworthy,” so revolted Roman society that he had to retire to Naples. When Masaniello's revolution broke out there, he took part in it. From 1650 to 1660 worked in Florence, at the court of the Grand Duke J.-K. Medici, from time to time visiting Rome. Finally, he again settled in this city, where he died on March 15, 1673.
Belonging in the direction of talent to the naturalists of the Neapolitan school of painting, having some affinity with his teachers, Ribera and Falcone, Rosa nevertheless showed, with a great variety in the choice of subjects, a lot of originality in their interpretation. In paintings on historical themes, he was able to combine the realism of the image with the nobility of a lively composition and with a strong expression of an idea. The best of these paintings is considered to be "The Conspiracy of Catiline" (in the gallery of the Pitti Palace, in Florence). Among other works of Rosa in this genus, especially worthy of attention are: “The Angel and Tobias” and “The Appearance of the Shadow of Samuel to Saul” (in the Louvre Museum, in Paris), “Jonah in Nineveh” and “Cadmus and Minerva” (in the Copenhagen Gallery), "Crucifixion" (in the Braunschweig Museum), "Prometheus" (in the Hague Gallery), "Prodigal Son", "Odysseus and Nausicaa" and "Democritus and Protagoras" (in the State Hermitage) and some others.
Rosa's portraits are very characteristic and expressive, which suggests their resemblance to the faces posed in front of him. In those landscapes that came out from under his brush during his stay in Florence, as, for example, in the large seaside view located in the Colonna Gallery in Rome, connoisseurs of painting see the influence of Claude Lorrain. In other paintings of this kind, some artificiality and lethargy are noticeable. But Rosa is an excellent, completely original master, imbued with poetry, when she depicts harsh mountains, wild gorges, dense forest thickets, especially when she paints on canvases of small size. There are quite a few of his paintings in which the landscape plays a secondary role, and the main content is made up of human figures - for the most part the figures of soldiers and robbers. Such paintings can be seen in the Imperial Hermitage ("Soldiers playing dice"), in Vienna, Munich, The Hague and other galleries. Finally, Rosa painted very complex pictures of battles beautifully, of which there is a wonderful example in the Louvre Museum, in Paris. Regarding the color of R., I must say that he is generally not distinguished by great brilliance, but is extremely pleasant in its warmth and in the consistency of chiaroscuro.
In the last years of his life, Rosa diligently engaged in engraving. In total, he executed 86 etchings of his own composition, many of which can be ranked among the best creations of the artist and in good prints are very much appreciated by lovers of prints, such, for example, “St. Wilhelm the Hermit", "Plato and His Disciples", "The Warrior Sitting on the Hill", etc.
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