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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, by the Flemish artist J. Mil.

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 role models 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. Rose'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.

At first, the young artist had a hard time. 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 of cultural life in 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 he was no longer an unknown young artist, but a 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. The literary experience of the artist dates back to the Florentine period, who wrote several large poetic satires, which were soon illustrated with paintings (“Poetry”, National Gallery, Rome; “Lies”, Pitti Gallery, Florence; “Music”, National Gallery, Rome).

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 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.

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), “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 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 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 and His Disciples”, “Warrior Sitting on a Hill”, etc.

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Salvator Rosa(1615-1673) - Italian painter, engraver and poet, predecessor of romantic painting. He worked in Naples, Florence and Rome.

Rosa's work, 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 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 he quickly gained fame for his depictions 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 his gifts to the unworthy,” he alienated 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 Italian art is very significant. He had many followers. The tradition of the romantic landscape of 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 of the 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 the creative path of 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 historical museum, Brockhaus Encyclopedic Dictionary 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

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 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, he sent his son to the college of the Jesuit congregation Somasca between the cities of Bergamo and Milan. While within 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 further work. 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 a cherished dream to connect my 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 realism and naturalness 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 the early and late works of 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 a 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 wrote the famous painting “Allegory of Lies”, illustrating his own poem “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 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.

Salvator Rosa

http://art-line.co.ua/baroque/italian_baroque/

In 1615, a boy was born in the house of the surveyor and architect Vitantonio Rosa in the small town of Arenella near Naples. They named him Salvator. From the windows of the dilapidated Casaccio estate there was a wonderful view of Naples and the Vesuvius volcano. Around the village there were many places that enchanted with their beauty: the high rock of San Elmo, the fortress of Borgo di Arenella, built during the reign of Charles V, the hills of Vomero and Posilipo, the island of Capri, the coast of the Gulf of Naples with clear blue waters. All these images will later be fully reflected in the paintings of Salvator Rosa. From an early age, the future artist tried to capture the pictures of nature that excited him on small pieces of paper.

Noticing in their son a desire for knowledge, science and art, his parents decided to enroll him in the Jesuit College of the Somasca Congregation, located in Naples. There Salvator Rosa received a varied education: he studied classical literature, studied grammar, rhetoric, and logic. Among other things, he received a musical education, learned to play the harp, flute, guitar, and even tried to compose small musical works (the serenades-doncellas he wrote are known). Some serenades were so popular among the Neapolitans that they sang them day and night under the windows of their lovers.

After some time, Salvator Rosa leaves the college and returns to his hometown of Arenella, where he meets the local artist Francesco Fracanzano, a former student of the Spanish master of painting Jusepe Ribera, who was extremely popular in those days. Having seen Francesco’s paintings, Salvator makes several copies of them, for which he deserves praise from Fracanzano, who was able to discern the talent of a real artist in the young man and advised him to take up painting seriously.
From now on, Rosa draws a lot. In search of new images, he goes traveling through the Abruzzo mountains. At this time, landscapes appear with images of the valleys of Monte Sarkio with an extinct volcano, the grottoes of Palignano, the caves of Otranto, as well as the ruins of the ancient cities of Canusia and Brundisia, the ruins of the arch and the amphitheater of Benevento.

There, in the Abruzzi Mountains and Calabria, the young artist met vagabond robbers, among whom were those who had been expelled from the society of “respectable” people for their freedom-loving, bold thoughts. The appearance of these bandits shocked Salvator so much that he decided to capture them in his album. Their images were then used in the later compositions of the already mature master (here it is appropriate to recall the engraving from the Capricci suite, which shows the capture of a young man by robbers led by the chieftain), and were also reflected in paintings depicting battle scenes.

The trip was fruitful and significant for the development of the young painter’s landscape creativity. During his travels, he made many sketches of views of Italian nature.

Then transferred to paintings, these landscapes are unusually realistic, alive, and natural. It seems as if nature only fell asleep for a moment. It seems that in a second everything will come to life, a light breeze will blow, the trees will sway, the birds will chirp. Rosa's landscapes contain enormous power and special expression. The figures of people and buildings, being part of a single whole, harmoniously combine with pictures of nature.

Salvator Rosa's first exhibition took place in Naples. One of those who noticed and appreciated the work of the young artist was the famous master of monumental painting Giovanni Lanfranco, who bought several landscapes for himself at the exhibition.

In the mid-30s. XVII century Salvator Rosa moves to Rome, the capital of world fine art, where Baroque and Classicism reign. It was in Rome that Rosa became acquainted with the work of such major masters of painting as Michelangelo, Raphael, Titian, Claude Lorrain. Their style of writing largely influenced the development of Rosa’s creative method and artistic and visual technique. This is most noticeable in paintings with seascapes. Thus, “Seaport” was written in the best traditions of C. Lorrain. However, the young artist goes further than the teacher. His landscape is natural and concrete: the ideal, rather even abstract, images of Lorrain are replaced here by the figures of ordinary fishermen from Naples.

A few months later, Rosa, seriously ill, leaves the lush and beautiful capital of Italy. He returned back only in 1639. In the summer of this year, a carnival was held in Rome, at which Rosa acted as a traveling actor under the guise of Coviello (a plebeian who had not accepted his fate). And if other Coviello tried their best to be as much like real peasants as possible, then Rosa played his mask perfectly, composing an entire performance and showing a young man singing and playing the guitar, cheerful, not discouraged under any circumstances and life’s hardships. The carnival action took place in Piazza Navona. Salvator Rosa with a small group of actors rode out in a cart richly decorated with flowers and green branches. Rose's success was enormous. After the carnival ended, everyone took off their masks. Imagine the surprise of those around him when it was discovered that under the guise of a peasant was none other than Salvator Rosa.

After this, Rosa decided to take up acting. Not far from Porta del Popolo, in one of the empty villas, he opens his own theater. The content of the plays staged under the direction of Rosa is not known to art critics and historians. However, there are facts that speak for themselves: after the premiere of the play, in which the actors ridiculed the court theater under the direction of the then famous architect and sculptor Lorenzo Bernini, someone hired assassins for Rosa. They lay in wait for him near his house. Fortunately, the assassination attempt did not take place - the young man survived. However, due to these circumstances, he was forced to leave Rome again.

Having responded to the invitation of Cardinal Giovanni Carlo Medici, Rosa goes to Florence. Here the artist creates the famous “Self-Portrait”.

The canvas is distinguished by its unique execution. The young man presented in the portrait seems somewhat angular. However, one senses ebullient energy, extraordinary willpower and determination in him. In the painting, a young man leans on a board with an inscription in Latin: “Avt tace, Avt Loqver meliora silentio” (“Either be silent, or say what is better than silence”). This inscription sounds like the through-thought of the entire work of art and at the same time as the credo of the young man depicted on the canvas (and therefore the painter himself).

The artist masterfully masters the play of light and shadow. The expressiveness of the image is achieved precisely by the shadow effect, sharply and sometimes even unexpectedly turning into light spots.

It is no coincidence that the figure of a young man is located against the background of the evening sky: the image of a proud, independent young man in dark clothes stands out against a light background, and therefore becomes closer and more understandable to the viewer.
Rosa’s famous satires were created in the same vein, among which a special place is occupied by “Poetry”, “Music”, “Envy”, “War”, “Painting”, which became a kind of anthem of the young writer and artist. Here the author says that painters, being servants of one of the sisters of art - artistic and visual creativity, should be well versed in history, ethnography, and exact sciences. Rose's style in poetry, as well as in painting, manifested itself in its entirety. His poems are energetic, impetuous, emotional and in some places too rude and harsh. They are a kind of opposition to the cutesy and artificially theatrical manner of constructing and sounding poetic forms that developed at that time in literature.

Salvator Rosa remained in Florence until 1654. His house, according to the recollections of his contemporaries, was the place where the most famous people constantly gathered: the poet R. Giambatisti, the painter and writer F. Baldinucci, the scientist E. Torricelli, professor at the University of Pisa G.B. Ricciardi.
One of the central ideas in Baroque art was “to teach the viewer or reader unobtrusively, to teach through beauty.” Following this unspoken rule, artists created canvases, when looking at which the viewer had very specific associations, evoking images of literary heroes. And vice versa, according to the writers of the Baroque period, a poetic work should be such that, after reading it, picturesque, bright and colorful pictures appear before the reader’s eyes.

The work of Salvator Rosa is the initial stage of the formation and development of a new pictorial form - landscape painting. Works constructed in this way combine elements that actually exist in everyday life and those that are fictional.

In 1649, Salvator Rosa left Florence and went to Rome, where he settled on Monte Pincio, located in Piazza della Trinita del Monte. From the windows of the house there was a wonderful view of St. Peter's Cathedral and the Quirinal Hill. Next door to Rose lived the famous artists of those days, Nicolas Poussin and Claude Lorrain, and not far from the painter’s house was the Villa Medici.

Since the appearance of Salvator Rosa in Florence, the residents of Monte Pincio Street have been divided into two camps. One group was led by an ascetic-looking young man, Nicolas Poussin. Another, which included famous musicians, singers and poets, was led by Rosa.

Salvator Rosa turned one of the rooms of his house into a workshop. Its walls were decorated with the artist’s original works. The master constantly worked, creating canvases of various contents: on religious, mythological and historical themes. His credo was constant work, improvement of technology. He told everyone that “star fever” (as our contemporaries would say now) can destroy even the strongest and brightest talent. Therefore, even after fame and universal recognition have come to the master, it is necessary to continue to work on oneself and one’s works.

In the late period of his work, Salvator Rosa often turned to biblical and ancient subjects. For the artist here it turns out to be most important to convey the very spirit of that time and its features. The master is trying, as it were, to revive, to bring back to life everything that existed long before those whose lives served as the source of fabulously beautiful and instructive stories.

These are the fairly well-known paintings “Justice Descending to the Shepherds” (1651), “Odysseus and Nausicaa”, “Democritus and Protagoras” (1664), “The Prodigal Son”.

The painting “Justice Descending to the Shepherds” was painted based on the famous plot of Ovid’s “Metamorphoses”. On the canvas, the viewer sees the goddess Justice, giving the shepherds a sword and scales of justice. The main idea of the painting can be defined as follows: true justice is possible only among ordinary people.

“Odysseus and Nausicaa”, “Democritus and Protagoras” were written by Salvator Rosa after arriving from Venice, where he became acquainted with the paintings of Venetian painters (including Paolo Veronese, in whose best traditions the above works were created).

In the film “The Prodigal Son,” the plot, in comparison with the Gospel parable, turns out to be somewhat simplified and mundane. Thus, the hero is presented as a simple Neapolitan peasant. There is no magnificent surroundings here either: the prodigal son turns to God surrounded by rams and a cow. The huge size of the canvas depicting a slightly modified scene evokes a feeling of mockery and sarcasm about what is considered good taste in society. Rosa appears here as a successor of the ideas of realism, the formation of which begins with the work of Michelangelo da Caravaggio.

In 1656, Salvator Rosa began work on a cycle consisting of 72 engravings, called “Capricci”. The images depicted on these sheets are peasants, robbers, tramps, soldiers. Some details of the engravings are characteristic of Rosa's early work. This suggests that, quite possibly, the cycle included sketches made in childhood, as well as during a trip to the Abruzzi Mountains and Calabria.

The great master of painting, poet, wonderful actor and director of dramatic performances passed away in 1673.