K. Lorrain. “Morning” (copy), Pushkin Museum, Moscow
The “Harbors” series, which includes several compositions, is also interesting. Two of them – “Morning in the Harbor” (1640s) and “Evening in the Harbor” (1640s) – are exhibited in the Hermitage in St. Petersburg. The painting “Morning in the Harbor” was so successful that the artist repeated it twice. One copy is kept in the Alte Pinakothek in Munich, the other, with a slightly modified foreground, is in the Pushkin Museum in Moscow. The human figures were made, according to researchers, Flemish artist I. Milem.
Among other works, we can mention the paintings “Temple at Delphi” (Doria Pamphili Gallery, Rome), “The Enchanted Castle” (1664, National Gallery, London), “The Arrival of Ulysses at the Court of Lycomedes” (c. 1670, Hermitage, St. Petersburg ), “Christ on the way to Emmaus” (Hermitage, St. Petersburg), etc.
Claude Lorrain died in Rome at the age of eighty-two. His outstanding landscapes became a role model for many European artists of the 17th–19th centuries.
(1615–1673)
With his numerous talents, Salvator Rosa aroused admiration among his contemporaries and descendants. He was not only an outstanding painter, but also an excellent musician, poet, and actor. The famous German writer E. T. A. Hoffmann dedicated his story “Signor Formica” to the Italian artist in the 19th century. Rosa's work influenced not only world painting(especially its romantic direction), but also literature (W. Scott, W. Wadsworth, P. Shelley admired his landscapes).
Italian artist Salvator Rosa was born in the small town of Arenella near Naples. His father, a provincial architect, owned a small estate.
Little Salvator, taking walks around the city, could admire the delightful landscape. In the distance he saw the beautiful buildings of Naples, the island of Capri, the formidable Vesuvius, the San Elmo rock with the Borgo di Arenella fortress, which many years later he depicted in a number of his works. Everything that surrounded the artist from childhood was later reflected in his landscapes.
Little Salvator not only admired the beauty of the world, he tried to transfer what he saw onto paper (the pencil was the boy’s faithful companion during his walks).
Rosa's first teacher was his sister's husband, the artist Francesco Fracanzano, who was trained by the famous Jusepe de Ribera. It was Fracanzano who first noticed Salvator’s talent and predicted a great future for him.
In search of impressions, Rosa went on a journey through the Abruzzi Mountains. He was attracted by ancient ruins, wild rocks, deserted valleys, mysterious grottoes and caves. Human figures often appear in sketches made in these remote places. These are robbers, vagabonds, outcasts who settled in old abandoned cities, abandoned by the inhabitants a long time ago due to the threat of volcanic eruptions. The drawings created during his travels formed the basis for the emotional and romantically moving landscapes that Rosa painted when he returned home.
First time to a young artist it wasn't easy. Sometimes he did not have money to buy canvases, and he painted in oils on ordinary paper.
One day Rosa's work was noticed by a famous Italian artist‑monumentalist Giovanni Lanfranco.
He encouraged the aspiring painter and purchased several of his works. The praise inspired Salvator and gave him strength.
In the mid-1630s, leaving Naples, Rosa went to Rome, which at that time was the center cultural life Italy. Here the artist first became acquainted with the work of the great masters - Raphael, Michelangelo, Titian. His admiration was aroused by Claude Lorrain's paintings of sea harbors. Under the influence of Lorrain's art, Rosa's paintings appeared, showing ports with boats and figures of Italian fishermen.
S. Rose. " Seascape", Museum of San Marino, Naples
The artist's first stay in Rome did not last long. He soon fell ill and returned home to Naples. But a few years later, in 1639, Rosa again found himself in the Great City. But now it was no longer an unknown young artist, but famous painter, musician and actor. Rosa's biographers tell this story. At the annual Roman carnival, Salvator dressed up as a simple Neapolitan peasant, choosing the name Formica (ant). He entertained the audience with his beautiful singing, accompanying himself on the guitar.
When the artist took off his mask, the audience gasped in amazement. No one expected that under the mask of a simple peasant was hiding a famous painter from Naples. This episode gained more fans for Rose.
Soon the master opened a theater in a villa near Porta del Popolo, in which he staged performances. During one of these performances, he allowed himself to criticize the theater of the famous architect and sculptor Lorenzo Bernini, which operated on the territory of the Vatican, thereby making influential enemies who hired assassins to destroy the daring artist. Rosa had to leave Rome. He went to Florence, where he was invited by Cardinal Giovanni Carlo Medici. The artist lived in Florence for nine years. Famous Italian writers, scientists, philosophers, and musicians gathered in his house. Belongs to the Florentine period literary experience an artist who wrote several large poetic satires, which were soon illustrated with paintings (“Poetry”, National Gallery, Rome; “Lies”, Pitti Gallery, Florence; “Music”, National Gallery, Rome).
Rosa Salvator(20 June 1615 - 15 March 1673) Italian artist, engraver, poet and musician.
Rose born in Renella, near Naples, was raised 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. The mentors were 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, talent development Salvator This was greatly facilitated by his writing sketches from life without any help. Eighteen years old Salvator set off to wander 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: "Transience" human life" and "Goddess of happiness, squandering her gifts on the unworthy," gained fame. From 1650 to 1660. Rosa Salvator worked in Florence, at the court of Grand Duke J.-C. 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 knew how to combine realism with nobility lively composition. In landscapes that came out from under the brush Salvator during his stay in Florence, art connoisseurs 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 small canvases. there are paintings in which the landscape plays minor role, and the main content consists of human figures, be it the figure of a soldier or a robber. IN recent years your life Salvator I was diligently 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.
| Salvator Rosa | |
|---|---|
| Italian Salvator Rosa | |
| Self-portrait, |
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| Date of birth | June 20(1615-06-20 ) |
| Place of birth | |
| Date of death | March 15(1673-03-15 ) (57 years old) |
| Place of death | |
| Country | |
| Genre |
history painting scenery |
| Media files on Wikimedia Commons | |
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 the paintings on historical topics he knew how 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 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 a secondary 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 the last years of his life, Rosa was diligently engaged in engraving. In total, he executed 86 etchings of his own composition, many of which can be considered among the best creations of the artist and, in good prints, are highly valued by print lovers, such as, for example, “St. William the Hermit", "Plato"
Salvator Rosa(1615-1673) - Italian painter, engraver and poet, predecessor romantic painting. He worked in Naples, Florence and Rome.
Rosa's creativity, imbued with elements of a kind of romantic protest against existing social norms, opposed the academic movement in the Italian Baroque. Paintings and etchings by Salvatore Rosa - a religious and mythological composition ("Astraea bids farewell to the peasants", Kunsthistorisches Museum, Vienna), as well as scenes of cavalry battles and views of wild coastal areas that made him famous - are distinguished by sharp light and shadow contrasts; Rosa's paintings are characterized by a free brushwork style and a gloomy, brownish-leaden coloring.
Born in Renella, near Naples, on June 20, 1615, he was raised in a monastery and was preparing to take holy orders, but soon felt an irresistible attraction to art and began to study first music and then painting. His mentors in the latter were 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 his writing sketches from life without anyone's help. At the age of eighteen, he set out to wander 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.
In 1634 he moved to Rome, where he was not slow to gain fame for his images of characteristic, full of life scenes from the life of shepherds, soldiers and bandits, but, thanks to his satires and especially two paintings: “The Transience of Human Life” and “The Goddess of Happiness, Wasting Her Gifts on the Unworthy,” he antagonized Roman society to such an extent that he had to retire to Naples. When Masaniello's revolution broke out there, he participated in it. From 1650 to 1660 worked in Florence, at the court of Grand Duke J.-C. Medici, from time to time visiting Rome. Finally, he settled again in this city, where he died on March 15, 1673.
The influence of Salvator Rosa on contemporary history italian art very significant. He had many followers. Tradition romantic landscape Salvator Rosa was continued in the works of M. Ricci and A. Magnasco. Then, in the 18th and early 19th centuries, S. Rosa's influence extended beyond Italy. Artists romantic era saw in him their predecessor, perceiving with delight not only the painting, but also the personality of Rose. In the 20th century, the art of S. Rosa was understood in all its complexity and inconsistency, which constituted the originality of creative path this extraordinary master.
Based on materials: Wikipedia, Encyclopedia of World Art - Vilnius, UAB “Bestiary”, 2008, Large illustrated encyclopedia “Masters of World Painting” St. Petersburg, LLC “SZKEO”, 2011, Information portal Art Planet Small Bay - art and history museum, Encyclopedic Dictionary Brockhaus and Efron (1890-1907), 82 vols. and 4 additional vol. - M.: Terra, 2001. - 40,726 pp., “Popular art encyclopedia." Ed. Polevoy V.M.; M.: Publishing house " Soviet encyclopedia", 1986 Dolgopolov I.V. Masters and masterpieces: In 3 volumes. - M: fine arts 1987. - T. 3.
In accordance with Article 1282 of the Civil Code of the Russian Federation, the works of this author have passed into the public domain
Rosa Salvatore (1615–1673)
Italian painter, graphic artist, poet and musician. Born in the small town of Arnella near Naples in the family of a land surveyor. From childhood he was sent to be raised in the college of the Jesuit congregation of Somaska. Study of Latin, Holy Scripture, Italian literature, ancient history at the Jesuit College helped Salvatore Rosa in the future, when he became a painter. He studied painting with his brother-in-law, the artist F. Fracanziano, as well as with his uncle, the artist A. D. Greco, possibly visited the studio of H. Ribera, and was acquainted with the famous Neapolitan battle painter A. Falcone, one of the early masters of this genre.
Diogenes' Choice, 1650s
Private collection
Jason taming the dragon, 1640s
Museum fine arts, Montreal
Self-portrait
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 no 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. Rosa's famous "violent manner" was even evident in his poetic landscapes. It was this quality that became especially important for romantic landscape painters of the late 18th and early 19th centuries. Rosa was not only a painter, but also a graphic artist, poet, musician and actor.
The work of this talented painter is associated with the traditions of the Neapolitan school. The name of Salvatore Rosa is surrounded by legends, as he was distinguished by his rebellious disposition, courage, and great picturesque temperament. He was not only a painter and engraver, but also a poet, musician, actor, and the passion of his nature was evident in everything. The artist’s painterly talent was realized in landscape, portrait, battle scenes, paintings of the historical genre.
He worked in Naples (until 1635), Rome and Florence (1640–1648) as the court painter of Giovanni Carlo Medici, the future cardinal. An exponent of pre-romantic tendencies in Italian Baroque painting, Rose in paintings on biblical and mythological themes (“ Prodigal son”, State Hermitage Museum, Saint Petersburg; “The Dream of Aeneas”, Metropolitan Museum of Art), graphics (etching “Game of Tritons”), scenes of cavalry battles (“Combat”, pen drawing, Museum of Fine Arts, Leipzig), “stormy” landscapes with views of wild, sometimes fantastic areas ( “Forest Landscape with Three Philosophers”, Art Gallery, Dresden; “Landscape with a Bridge”, Pitti Gallery, Florence) glorifies the escape of man into the bosom of nature, opposes the generally accepted norms of academic art of the 17th century. The expressive, gloomy atmosphere of Rosa’s works is created with the help of sharp light and shadow contrasts, a free style of writing, and a gloomy, brownish-leaden coloring.
The “Self-Portrait” (London, National Gallery) dates back to his time in Florence. Rose is depicted wearing a cloak draped over her shoulder. The romanticization of the image is emphasized by the somewhat theatrical attire, but the artist managed to convey the passion of nature, her vulnerability, and the irony that comes through in her gaze. The Latin inscription on the portrait: “Be silent, if what you want to say is not better than silence“- expresses the state of the artist, who apparently experienced deep disappointment from contact with injustice. The theme of “Self-Portrait” is continued by the painting “Allegory of Lies” (Florence, Pitti). Perhaps the model for the image of the man who took off the tragic mask and pointed at it was Rose himself.
This is an example of an allegory that has deep moral overtones, which expresses thoughts about the artist’s work and his position in society. It is possible that Rosa also depicted himself in the painting “Portrait of a Bandit” (St. Petersburg, Hermitage), which is a work mentioned in 17th-century sources. The image of this man is full of liveliness and wit, and his clothes are reminiscent of the costume of Pascariello, the hero of the commedia dell'arte mask.
In 1649, Salvatore Rosa moved to Rome, seeking to free himself from court service. He refuses offers to work at the courts of Austria, Sweden and France. With witty satires, the artist irritates those on whom rich orders depend. His canvas “Fortune” (London, Marlborough Gallery) depicting animals, in the images of which influential people recognized themselves, almost brought the wrath of the artist to the pope himself.
The circle of Salvatore Rosa’s ill-wishers has increased, as evidenced by the artist’s satirical painting “Envy.” After a quarrel with the venerable Lorenzo Bernini and others famous painters the artist, despite his acquired fame, was refused admission to the Roman Academy of St. Luke. In this regard, Salvatore Rosa founded the “Academy of the Hurt” (Academia degli percossi). Its members and frequent guests Roses became famous artists, poets, musicians, scientists. Among them were the mathematician Torricelli, the composer Cesti, and the philologists Carlo Dati and Valerio Chimentelli.
Ancient history and mythology still allow the artist Salvatore Rosa to put forward ethical issues that concern him in his works. In the canvas “Democritus and Protagoras” (St. Petersburg, Hermitage) Rose talks about wisdom common man, which amazed the great philosopher, who made him his student. The film “Odysseus and Nausicaa” (ibid.) is about the nobility of the act of the ancient princess who helped the shipwrecked Odysseus. Ideal image the fighter for republican virtues is embodied by the artist in the painting “The Conspiracy of Catiline” (Florence, private collection), and in the painting “Saul at the Sorceress of Endor” (Paris, Louvre) biblical story It is intended, not without grotesquerie, to debunk the lofty ideas about a bad ruler.
In the 1660s, Rosa copied his paintings, sometimes creating independent historical and allegorical compositions (the allegory “The Genius of Salvator Rosa”). Back in 1656, the artist became interested in the technique of etching and executed the “Capricci” series. As in his paintings, its heroes are tramps, soldiers, bandits, shepherds. They are depicted either in real situations or in theatrical poses and look either as life-like characters or as actors from costume scenes. In them, Rosa’s inherent fantasy and ability to figuratively synthesize everything that struck his imagination in reality are especially clearly visible.
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. The great master of the Italian Baroque, 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 of the Romantic era.