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Biography

Salvator Rosa was raised in a monastery and was preparing to take holy orders, but soon felt drawn to art and began to study painting. His mentors were Fr. Francanzone, J. Ribera, and A. Falcone. In addition to these artists, the development of his talent was greatly facilitated by his writing sketches from life without any help. At the age of 18, he went on a journey through 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.

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 great diversity in the choice of subjects, a lot of originality in their interpretation. In paintings on historical themes, he knew how to combine the realism of the image with nobility lively composition and with a strong expression of the 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 Rose in this kind, especially worthy of attention: “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), “The Crucifixion” (in the Brunswick Museum), “Prometheus” (in the Hague Gallery), “Prodigal Son”, “Odysseus and Nausicaa” and “Democritus and Protagoras” (in the State Hermitage) and some others.

The portraits by Rosa are very characteristic and expressive, which suggests their similarity with the faces posing in front of him. In those landscapes that came out from under his brush during his stay in Florence, such as, for example, in the large seaside view located in the Colonna Gallery in Rome, painting connoisseurs see the influence of Claude Lorrain. In other paintings of this kind, a certain artificiality and lethargy are noticeable. But Rose is an excellent, completely original master, imbued with poetry when he depicts harsh mountains, wild gorges, dense forest thickets, especially when he paints on canvases of small size. There are many of his paintings in which the landscape plays minor role, and the main content consists of human figures - mostly the figures of soldiers and robbers. Such paintings can be seen in the Hermitage (“Soldiers Playing Dice”), in Vienna, Munich, The Hague and other galleries. Finally, Rose beautifully painted very complex paintings of battles, a wonderful example of which is in the Louvre Museum in Paris. Regarding the coloring of his paintings, it should be said that it is not distinguished by great brilliance at all, but is extremely pleasant in its warmth and consistency of chiaroscuro.

IN last years Throughout his life, Rosa was diligently engaged in engraving. In total, he executed 86 etchings of his own composition, many of which can be considered the best creatures artist and in good prints are very much appreciated by print lovers, such as, for example, “St. William the Hermit", "Plato"

Self-Portrait (Allegory of Silence)
National Gallery, London
As if warning, the artist looks at us over his shoulder with a sad and contemptuous expression on his face. In fact, the inscription on the sign he holds in his hands reads: “Be silent if what you want to say is not better than silence" The harsh meaning of this dark self-portrait is further enhanced by the artist's dark cloak and black hat, giving him an almost sinister appearance. It looms menacingly before us against the backdrop of a strange, horizonless sky. Rosa was strongly influenced by the harsh realism of Jusepe Ribera, who worked in Naples from 1616. Salvator Rosa (20.6.1615–15.3.1673) was born in the vicinity of Naples, in the village of Arenella. Rosa's father Vito Antonio was a builder or land surveyor, her mother Giulia Greco was the daughter of the artist Vito Greco and the sister of the painter Domenico Antonio Greco. Rosa was sent to the Jesuit college of the Somasca congregation in Naples, where he received good liberal arts education, studying classic literature, logic, rhetoric, history. From his youth he was interested in music, playing the harp, flute, guitar, and composing serenades. Salvator was actually self-taught, formed in the circle of masters of the Neapolitan school. At first he copied the works of Francesco Fracanzano, whose works were popular with customers and were even sent to the Spanish court. Then he studied in the workshop of Agnello Falcone, an excellent draftsman and battle painter.
Salvator Rosa developed in the Neapolitan environment not only as an artist, but also as a “freethinker.” The south of Italy was the birthplace of such outstanding personalities in the history of the country, like Giordano Bruno, Tommaso Campanella, Cesare Vanini. These brave men defended their people, suffering the oppression of foreigners, rebelled against the terror of the Inquisition during the period that intensified from the second half XVI century of the Counter-Reformation, dreamed of social equality of the people. Rosa's teachers, Agnello Falcone and Francesco Fracanzano, were among the followers of these “freethinkers”; both of them ended up in the ranks of the defenders of Tommaso Agnello, who led the uprising of the lower classes against the nobles (the trade and financial elite of the city) and the barons (large landowners). The heroes of Rosa's paintings will be the poor - fishermen, loaders, lazzaroni tramps, whom he saw hiding from the pursuit of the viceroy's troops, and sometimes engaging in battle with them and striking fear into the nobles with their unexpected attacks and robberies.

Forest landscape
One day, Giovanni Lanfranco noticed Rosa's paintings on display. famous master monumental baroque painting, who worked in Naples. He even bought several of his works. In 1635 Salvator Rosa left hometown and moved to Rome, where his eventful life began. From 1640 to 1649 he lived in Florence, and then throughout the subsequent period (1649–1673) in Rome.
In Rome, Rosa found a wealthy patron in the person of a certain Girolamo Mercuri, a Neapolitan, majordomo to Cardinal Brancacci of Viterbo. The Cardinal, noticing the artist's talent, took him from the house of Mercury. For the residence of the Archbishop of Viterbo, Rosa created an altarpiece in the Church of San Sisto.

Having left Rome for some time, Salvator Rosa nevertheless continued to exhibit his works at the Roman exhibition of members of the Virtuosi of the Pantheon congregation (created in 1543), held annually on August 29, in honor of the Day of St. John the Baptist (San Giovanni Decolato) in the courtyard of the Church of San Bartolomeo dei Padri Bergamaschi. In 1639, Rosa's painting Titius achieved great success at this exhibition. Much later, in the 1650s, Salvator Rosa would once again amaze the Roman public on the Feast of San Giovanni Decolato. His painting Fortuna (1658–1659) will become a scandalous sensation, for which they will try to bring the artist to trial by the Inquisition.

"Allegory of Fortune" ca. 1658-59
Getty Museum. Los Angeles Only the intervention of Cardinal Chigi will save him from prison. Rose depicted the goddess of Fate distributing coins from a cornucopia, gems, books that go to pigs, a bull, a donkey, sheep, a ram (at her feet lies a palette, therefore, this is an allegory of a bad painter), and not at all to worthy people. Fortuna's face resembled a public woman, to whom a noble clergyman was attracted. This was a bold hint at the injustice of distributing honors to people who are unworthy, but who earn success through flattery, deceit, and sycophancy.

Rosa's landscapes and poems carry an echo of the Neapolitan poetic tradition; they seem a little rough compared to the melodic and sweet style of the Neapolitan poet, Rosa's contemporary J.B. Marino, who gained fame at European courts, or the landscapes of Nicolas Poussin with their ennobled and ideally calm nature. The imagery of Rosa’s poetry is far from the descriptions of the “gardens of bliss” in Marino’s lyrics. Also, the artist’s landscape painting, in which his rich imagination is subtly combined with field observations, gives rise to a completely different emotional feeling than the landscapes of Poussin’s Roman Campania. This is a special emotional feeling in XIX century will be called a “romantic” perception of nature.

Figures of wanderers or warriors among mountain gorges, travelers on the road, fishermen, loaders, card players on the sea coast evoke associations on the canvases of Salvator Rosa not with literary images, as in the paintings of Claude Lorrain, who loved to place, as on stage, among the scenes in the form of trees or architectural buildings, figures of characters from the works of Virgil, Ovid, from the Old Testament. Nature, extraordinary and mysterious, always dominates Rose’s landscapes.

An Angel appears to Hagar and Ishmael in the Desert.
The success of his landscapes with his clients, apparently, was partly a burden for Salvator Rosa. In the satire “Painting” he wrote with sarcasm: “With grave amazement... I reflect on the fact that almost every artist loses his talent when he begins to gain success, because he sees how he is honored and the things he painted easily find a place for themselves... Therefore, he no longer bothers himself with excessive work and, completely lazy, happily turns into a donkey.” However, the artist became the creator of true masterpieces landscape painting XVII century. One of his most poetic early landscapes is the canvas “Old Bridge” (c. 1640).

"Landscape with a Destroyed Bridge" ca. 1640.
Oil on canvas 106X127 cm.
Palazzo Pitti, Florence.
In Rome, Salvator Rosa turned to painting battle scenes.

The battle of Christians with the Turks. 1650s In his large panoramic compositions, he placed the scene of a frantic battle of warriors in the foreground, and the background consisted of mountains, ruins of temples, towers, and palaces. In the satire “War” (1647), the artist expressed his attitude to the uprising: “Look at the high courage with which the fisherman, despicable, barefoot, a worm, received so many rights in one day! Look at this high soul in the lowly one, who, in order to save his homeland... plunged the highest heads into nothing... Aren't ancient values ​​renewed if today the despised fisherman gives an example to the kings..." Drawings by Salvator Rosa depicting figures of horsemen, fragments have been preserved battle scenes. The corpus of his drawings as a whole is not very large, although he is considered a prolific draftsman among the Baroque masters.

Fragment of an engraving from the Rose collection
His drawings include “The Rider on a Fallen Horse”, “Saint George Slaying the Dragon”, and the engraving “Jason and the Dragon” (made for the canvas of the same name based on a scene from Ovid’s “Metamorphoses”). And sometimes the images of his drawings are full of lyricism (“Apollo and Daphne”), keen observation (“Lute Player under a Tree”, “Two Figures in a Landscape”, “Fisherman”).

Allegory of lies
Two outstanding works by Salvator Rosa were created in Florence - the already mentioned “Self-Portrait” (circa 1648) and Allegory of Lies (1640s). They allow us to judge his attitude in the period 1640–1649, his difficult relationship with a world full of theatrical props and not sincerity. Rose often painted his reflection in the mirror. In the painting “Allegory of Lies” the artist looks older than in the London “Self-Portrait”.

“Self-portrait” Oil on canvas, 99 x 79 cm.
Metropolitan Museum of Art. NY. In Florence it was written " Portrait of a man"(1640s). Apparently, this is also a self-portrait, in which Rosa captured himself in the costume of Pascariello, one of his favorite commedia dell'arte characters. Researchers of his work also see similarities with the artist in the image of the ancient mathematician, designer and philosopher Arkita, who is depicted holding a mechanical dove that he designed (“Arkita, philosopher from Tarentum”).
Among the portraits of Salvator Rosa, it is worth noting the “Portrait of a Man” (1640s), which depicts a low-class man, a tramp or a peasant.

"Portrait of a Man" 1640s
Oil on canvas, 78 x 65 cm.
State Hermitage Museum. Saint Petersburg. With his rags and a bandage on his head, he resembles robbers, whose figures the artist liked to introduce into his landscapes (“Robbers in the Cave”). Convincingly conveyed female character and in “Portrait of Lucretia,” the artist’s beloved. Rosa remained close to the Florentine Lucrezia until the end of his days, calling her very respectfully “Signora Lucrezia” in his letters.

Lukreciya.
During his stay in Florence, and then in Rome, Rosa created works in the genre of the so-called “diableries” or “stregonerie” (from Italian - stregonerie), that is, scenes of witchcraft and devilry.

"Demons and the Hermit."

Witches at their Incantations ("Sabbath of Witches") Appeal to similar plots depicting witches, tools of witchcraft (old books, astronomical instruments, symbolic objects) was widespread in European painting XVII century (“Human frailty”, 1657; “Self-portrait with a skull, 1656–1675”). In the first painting, a seated woman with a child on her lap is an allegory of motherhood. The child writes on a scroll, but his pen is guided by the hand of death, which is personified by a winged, creepy skeleton.

“Human fragility” Oil on canvas, 199 x 134 cm.
Fitzwilliam Museum, Cambridge. Herma, crowned with a wreath of cypress branches (the tree of cemeteries and sorrows), an obelisk (symbol of memory), a crystal sphere on which a woman sits (symbol of the fate of life), an owl (bird of the night), another baby standing in a cradle, lighting the end of the yarn at the tip a spinning wheel (a symbol of the frailty of life, already predetermined for a baby in the cradle), two knives (an emblem of forced separation), an inscription on a scroll ("conception is a sin, birth is torment, life is tedious work, death is a fatal inevitability") from a famous poem, lines which in the canzone he sent to the artist J.B. Ricciardi; Rose's signature on the blade of the knife (an allegory of separation from his early deceased son) - this entire complex set of symbols reveals the deep tragedy of his experiences.

"Democritus in Meditation" c. 1650
Oil on canvas, 344 x 214 cm.
State Museum of Art. Copenhagen

« Seascape with towers"after 1645
Oil on canvas, 102 x 127 cm.
Palatine Gallery (Palazzo Pitti), Florence.
In Florence, Salvator Rosa continues to create battle scenes and paint landscapes (Landscape with Mercury and a Woodcutter, ca. 1650; “Landscape with Apollo and the Sibyl of Cumae” (1650s), “Landscape with the Sermon of John the Baptist,” 1660s).

John the baptist preaching in the wilderness.
At the end of the 1640s and in the 1650s, classicist tendencies intensified in the work of Salvator Rosa. He is trying to master the techniques of “high style” painting, turning to subjects from ancient history and mythology, to biblical themes. However, it is difficult for the artist to achieve a rejection of the genre interpretation of staffage, so the didactics with which the moral meaning of the plots is presented sometimes looks rude. This applies to such paintings as “The Calling of Cincinnatus”, “Grove of Philosophers” (Landscape with Three Philosophers),

The philosophers wood “Hagar and Ishmael in the Wilderness,” written before moving to Rome. Turning to the historical genre, to the stylistics of the “high style” was contrary to the artist’s talent, so he was not always able to achieve the desired success and recognition along this path.
In 1660 Salvator Rosa moved to Rome.
More and more often, Salvator Rosa turns to stories from ancient history and mythology, carrying ethical and moral meaning (“ Prodigal son" and "Astraea leaves the earth", 1660s). The ideas of Stoicism are especially clearly expressed in the latter. The heroes of Rose's works are Diogenes, the Greek Cynic philosopher; Saint Paul the Eremite, hermit, Christian saint, the first of the hermits of Egypt to choose a solitary life for the sake of reflection; Democritus, the greatest ancient logician, predecessor of Aristotle.

Odysseus and Nausicaa

Democritus and Protagoras Rosa tries to philosophically comprehend history in the paintings “The Death of Atilius Regulus” and “The Conspiracy of Catiline”, and the engravings “Belisarius” and “Laomidont”. He turns to images legendary history(“Saul at the Witch of Endor”), creates his series of etchings “Capricci” (1656) and, finally, writes his famous canvas “Prometheus”, full of deep thoughts about the retribution for virtue and the injustice of the world.

Prometheus The painting “The Dream of Aeneas” is closely related to Roman themes.

"The Dream of Aeneas" NY. Metropolitan. Rose puts a philosophical moralistic meaning into the canvas historical genre"Alexander the Great and Diogenes". The poor Stoic philosopher who dared to say to the greatest of the generals: “Stand back and don’t block the sun for me!” looks like an eccentric old man who entered into a conversation with a powerful warrior.

"The Prodigal Son" 1651-55
Oil on canvas, 254 x 201 cm.
State Hermitage Museum. Saint Petersburg.
The canvas The Prodigal Son is one of the artist’s masterpieces. In this work, Salvator Rosa appears as one of the most obvious and original heirs of Caravaggism, which during this period was already gradually losing its position.
IN later years Salvator Rosa created many drawings in his life. Among them are caricatures of people who visited his house, romanticized images of himself, influxes of fantasy - reproductions of figures from the Capricci series, often transferred to paintings. After 1664, Rosa no longer turned to engraving due to his sharply deteriorating eyesight.
In 1668, at the next exhibition on the day of San Giovanni Decolato, Salvator Rosa exhibited the painting The Spirit of Samuel, called to Saul by the Sorceress of Endor. Dramatic plot in the painting of the “high” genre, it acquired a satirical, almost farcical interpretation in the artist’s interpretation.

“The appearance of the shadow of the prophet Samuel to King Saul” 1668
Oil on canvas, 275 x 191 cm.
Louvre. Paris. Salvatore Rosa died on March 15, 1673 in Rome from dropsy. Before his death, the artist married his mistress Lucretia, with whom he lived for many years and raised two sons.

"Lucretia as poetry" 1640-1641
Oil on canvas 1,040 x 910 cm.
Wadsworth Atheneum Art Museum. HartfordMajor Italian Baroque master Salvator Rosa rendered significant influence for development Italian painting. Under the influence of his art, the talent of Magnasco, Ricci and a number of other masters was formed. The art of Salvatore Rosa also inspired painters romantic era.

"Pythagoras and the Fisherman" 1662
Oil on canvas, 132 x 188 cm.
National Museum. Berlin

"Rocky landscape with hunter and warrior" c. 1670
Oil on canvas, 142 x 192 cm.
Louvre. Paris

Landscape with Mercury and the Dishonest Woodman

86.

"Heroic Battle" 1652-64
Oil on canvas, 214 x 351 cm.
Louvre. Paris

An angel leads St. Peter out

Diogenes throwing away his drinking cup.1651

“Jason bewitches the dragon” version 2

"Evening Landscape" 1640-43
Oil on canvas, 99 x 151 cm.
Private collection

"River Landscape with Apollo and Sibyl" c. 1655
Oil on canvas, 174 x 259 cm.
Royal collection. Windsor

"Jason Bewitches the Dragon" ca. 1665-1670
Museum fine arts. Montreal

“Warrior” Oil on canvas
University Gallery, Siena

“Portrait of a Philosopher” Oil on canvas, 119 x 93 cm.
Private collection

"Pythagoras comes out of underworld» 1662
Kimbel Art Museum, Texas Fort Worth

"Diogenes Casting away his Cup" 1650s
Oil on canvas, 219 x 148 cm.
Private collection

Heraclitus and Democritus

Self-portrait of Salvator Rosa

"Jason Bewitches the Dragon"

Democritus

Being a master of the 17th century, Salvator Rosa in his work was able to deeply reveal one of the main features of Baroque aesthetics - the synthesis of the tragic and the comic. In satires and on canvases, he spoke about the picture of the true “theater of life” of his era, made readers and spectators feel the depth of his dramatic gift and the inherent subtle irony in assessing the imperfections of life.
Based on the book by E.D. Fedotova “Salvator Rosa” (series “Masters of Painting. Foreign artists") http://www.art-catalog.ru/article.php?id_article=568

Salvatore Rosa. Self-portrait

Biography Italian artist Salvatore Rosa is quite unusual. It seemed that fate had specially prepared unexpected adventures for him and endowed him with the character of a rebel, and this, in turn, could not help but affect his creative activity. He did not immediately become interested in painting; he sought 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 there was an intense struggle against mannerism.

The poor family of the future artist lived near Naples. The father, Antonio Vito de Rosa, was a simple land surveyor and in order for the boy to receive a good education, gave his son to the college of the Jesuit congregation of Somasca between the cities of Bergamo and Milan. While within the walls of the monastic Order, the boy Salvatoriello, accustomed to entertainment and games on fresh air, felt uncomfortable and bored. However, the knowledge that he received from spiritual mentors was useful to him in further creativity. Among the subjects Rose studied were: Italian literature, Holy Scripture, ancient history and naughty Latin. The college became Salvatore's father's only hope to give his son a good education and lift him out of poverty.

The desire to receive holy orders grew into cherished dream connect your life with art. Therefore, Rosa began to take music lessons, and only after that, painting. The young man's first teachers were Francanzone, his brother-in-law, and the great Ribera. In addition to lessons, Salvatore developed his talent by independently writing small sketches.
Painting young artist was distinguished by the realism and naturalness of not only the plots, but also the colors. His palette was dominated by ocher-brown colors and muted tones. The characters had moods and facial expressions that were understandable to the average person, without embellishment or grotesquery. The master even depicted his self-portrait (1640) “modestly” and “clearly,” 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. The artist was especially good at paintings of battles and scenes with vagabonds and bandits. Moreover, both early and late works The painter had a leaden-red touch of ocher and the Caravadzhin technique of applying contrasting shades - a play of shadows and light (“Jason pacifying the dragon”, “The Choice of Diogenes”, “Alexander and Diogenes”).

Jason taming the dragon. 1665-70

Diogenes' choice. 1650

In 1636, the artist decided to become an actor, just at the time when all of Rome already knew about Salvatore as a talented artist. And here he succeeded. He revealed his face during the performance, tearing off the mask of Coviello, whom he played, and later founded his own theater near Port del Popolo. Being a constant fighter against the existing government, Rosa was persecuted and became an object of surveillance by hired killers scurrying around the theater. During this period he writes famous painting“Allegory of Lies”, illustrating his own versification “I take off my blush and paints from my face.” The painting is painted in unusual dry tones with a “patina” of emerald paint.

An allegory of lies. 1640

A talented painter, poet and actor, Salvatore, had many friends in the world of art and literature. The name of the great artist is often mentioned in the works, diaries and letters of travelers. Fueled by her own restless character 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 particularly bright, but it gives peace and sets the right mood for the viewer.

Forest landscape with three philosophers.

Rose was motivated, among other things, to create romantic stories by her love for a woman. His beloved long years There was Lucretia, who gave the artist two sons. Only before his death did Salvatore marry a woman, thereby fulfilling his duty on earth, giving continuation of the family and himself in his canvases.

Death overtook the master in March 1673 in Rome. The work of Salvatore Rosa became a school for future, no less eminent, artists.

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Rosa Salvator

    When interpreting a birth horoscope, the best method is to begin the analysis with its common features, moving on to the details based on them. This is the usual plan of progression - from a general analysis of the horoscope and its structure, to a description of various character traits.

    The twelve zodiac signs are grouped based on general characteristics. The first way is to unite according to their nature, their basis. Such a combination is called grouping by elements. There are four elements - Fire, Earth, Air, Water.

    The distribution of planets in a horoscope by element is determined by basis of personality its owner and in this case it is like that...

Elements

    Expressed element of earth . Like most Earth signs, you are efficient, concrete and not overly emotional. You judge a tree by its fruit. Your ideas may change, your words may disappear, but your actions and their consequences are visible and remain. Try to express your sensitivity, even if it shows your vulnerability. Emotions, energy and communication cannot be neglected; a particular action is meaningless unless it is aligned with your heart, your intellect, or your passion.

    Presence Water element indicates high sensitivity and exaltation through feelings. Heart and emotions are yours driving forces, you can't do anything unless you feel an emotional impulse (in fact, the word "feeling" is fundamental to your character). You must love to understand and feel to take action. This can be harmful due to your vulnerability and it is necessary to learn to fight for your emotional stability.

    The twelve zodiac signs are also divided into three groups of qualities from four signs. Each group contains signs that have certain common qualities. Each group has its own way of expressing itself in life. Cardinal signs make a transition from one to another; overcoming, conquest, and elimination are associated with them. Fixed signs carry out embodiment, concentration, appropriation. Mutable signs prepare the transition to something else and carry out adaptation, change, assumption.

    The distribution of planets in a horoscope by quality determines way of expressing personality its owner, and in this case it is...

Qualities

    Cardinal quality is dominant and indicates a predisposition to action, impulse, the ability to undertake: You are energetic in carrying out the plans you have in mind, getting things moving and creating them. This is the most important aspect, which instills enthusiasm and adrenaline in you, without which you can quickly get tired. You are assertive and individualistic (perhaps too much?). You allow others to strengthen and improve the structures that you have painstakingly built.

    Mutable (changeable) quality most emphasized in your natal chart, indicating an emerging symbol that tends to be curious and thirsty for new experiences and development. You are a lively and flexible person who prefers to respond quickly to circumstances. But do not confuse mobility with atomization and agitation; this is the danger of such a configuration. Personal defense doesn't matter as long as you don't get bored. You optimize and change your plans, things and surroundings in a fast way.

Your planetary (synthetic) sign - three or more characters

Salvator Rosa. Structure (components) of energy

Main characteristics

Motivation: self-foundation, will, source of motivation, center

Salvator Rosa

Sun in Gemini
You are sensitive, talkative and inquisitive. Change tendencies and inner restlessness can hinder the achievement of goals. Diversity is the best thing for you in life. You love to make friends, are eloquent, love to read and have many hobbies. Ingenuity and desire for new things are yours strong point, but you should use your abilities and communication skills correctly so as not to waste them.

Emotions: sensitivity, receptivity, impressionability

Salvator Rosa

Moon in Aries
You easily accept new ideas, experiencing experience as a way of self-realization. You often change your mood, get ignited easily and quickly, and then just as quickly forget the reason for your anger. Sometimes you express a tendency - I come first. You are also prone to bouts of irritability and headaches. It seems to people that you maintain some kind of emotional distance when communicating with them. You have well-developed senses, and you often use them consciously for your own benefit. If you are interested in something, you can be very kind and sympathetic, but if you do not feel inner inspiration, you become indifferent and faceless. Your feelings are controlled by the ego. You have a quick reaction. You trust your senses and react instantly without thinking. This highlights your impulsiveness and tendency to trust your feelings rather than your reason. You despise authority and don't like being given advice. You shine in all situations that require the ability to make quick decisions. You are original, inventive, have a restless mind, but are not very resilient. In many situations, you take the initiative and demonstrate self-confidence. You try to dominate others emotionally and take advantage of authority because you perform much better as a leader than as a subordinate. You are an ambitious and sociable person with a pioneering spirit.

Intelligence: mind, reason, mind, speech, communication

Salvator Rosa

Mercury in Gemini
You are multifaceted, completely devoid of prejudice and tireless in your quest to know the truth. You have a surprisingly large vocabulary, you love to learn and you easily and skillfully communicate with people. mutual language. Very sensitive nervous system forms the basis of your active mind. You are spiritual, talkative, charming, and interested in current events. You think at lightning speed and gesticulate frequently. Try to control your need for change and news, because this can lead to superficiality and reduce fundamentality.

Harmony: measure, conjugation, sympathy, coherence, values

Salvator Rosa

Venus in Cancer
You are an idealist and poet by nature, enjoying the beauty of life. You may be prone to excessive pleasures, but rarely waste your energy. You are vulnerable, but you try to cover it up with constant employment or pretend that you don’t care about it. You love home and take a lot of care of it. Financial and family security are important to you great importance. You are gentle, compassionate, love to serve people and have charm. Your reactions are instinctive and emotional. Your relationship with your partner is more maternal than loving. Do you want your partner to express his feelings openly?