Rose of Derbent A special place among the Decembrists who found themselves in Dagestan was occupied by Alexander Bestuzhev-Marlinsky. He could have avoided arrest, but he said to himself: “If you managed to rebel, you will also be able to keep an answer!” Whistling cheerfully, he appeared at the palace and reported: “Alexander Bestuzhev has arrived!”

Rosa Luxemburg from Tsudahar On September 5, 1924, two senior officials of the regional committee of the Komsomol, Efendiev and Tsimonenko, came to the secretary of the party cell, Idrisov, from Makhachkala in Tsudahara. Rosa Luxemburg-Tsudaharskaya It so happened that on that day Idrisov’s daughter was born. Her

Sea rose So, Isis (aka the Muse) appears, emerges from the water. At least against the background of water, in connection with water. Here, by the way, is also from “Eugene Onegin”: How often has the affectionate muse sweetened my mute path with the magic of a secret story! How often on the rocks of the Caucasus She is Lenora,

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 court artist to Giovanni Carlo de' Medici, the future cardinal. An exponent of pre-romantic tendencies in Italian Baroque painting, Rose in paintings on biblical and mythological themes (“The Prodigal Son”, State Hermitage Museum, St. Petersburg; “The Dream of Aeneas”, Metropolitan Museum), graphics (etching “The Game of Tritons”), cavalry scenes fights (“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, and 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 artist embodies the fighter for republican virtues 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.

Salvator Rosa was an Italian painter, engraver, poet and musician.

Born in Renella, near Naples, on June 20, 1615 (16150620), 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: “Transience human life” and “The goddess of happiness, squandering her gifts on the unworthy,” 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.

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 the nobility of an animated 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), "The Prodigal Son", "Odysseus and Nausicaa" and "Democritus and Protagoras" (in 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, deep forest thickets, especially when he paints on small canvases. 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 Imperial 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 R., it must be said that it is not at all distinguished by great brilliance, 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 completed 86 etchings of his own composition, many of which can be considered among the artist’s best creations and, in good prints, are highly valued by print lovers, such as, for example, “St. William the Hermit”, “Plato and His Disciples”, “Warrior Sitting on a Hill”, etc.

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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: “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 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 the realism of the image with the nobility of an animated 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 a secondary role, and the main content is made up of human figures, be it the figure of a soldier or a robber. In the last years of his life Salvator hard at work engraving. In total, he executed 86 etchings of his own composition, many of which can be considered among the artist’s best creations and, in good prints, are highly valued by print lovers.