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, in Tsudahar, two senior officials of the regional committee of the Komsomol, Efendiev and Tsimonenko, came to the secretary of the party cell, Idrisov, from Makhachkala. 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 (“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 and 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 a 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 other 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.

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 nature 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 hard at work 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.

Salvatore Rosa. Self-portrait

The biography of the Italian artist Salvatore Rosa is very 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 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.
The young artist’s paintings were distinguished by the realistic and natural nature of not only the subjects, 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 for many 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.

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. 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 the famous Italian monumental artist 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 he was hiding 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 artist who wrote several large poetic satires, which were soon illustrated paintings(“Poetry”, National Gallery, Rome; “Lies”, Pitti Gallery, Florence; “Music”, National Gallery, Rome).