Salvator Rosa


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Salvator Rosa:

see Rosa, SalvatorRosa, Salvator
, 1615–73, Italian baroque painter, etcher, and poet of the Neapolitan school. In 1635, Rosa went to Rome, where he established his reputation with his painting Prometheus (Corsini Palace, Rome). He satirized the great Roman sculptor and architect G.
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.

Rosa, Salvator

(sälvätōr` rô`zä), 1615–73, Italian baroque painter, etcher, and poet of the Neapolitan school. In 1635, Rosa went to Rome, where he established his reputation with his painting Prometheus (Corsini Palace, Rome). He satirized the great Roman sculptor and architect G. L. BerniniBernini, Giovanni Lorenzo or Gianlorenzo
, 1598–1680, Italian sculptor and architect, b. Naples. He was the dominant figure of the Italian baroque.
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 and moved to Florence in 1640 to avoid Bernini's wrath and to work for the Medici family, painting, writing poems and satires, composing music, and acting. He returned permanently to Rome in 1649. Rosa is best known for his spirited battle pieces painted in the style of Falcone, for his marines, and especially for his landscapes. His large historical works are considered less successful. His landscapes are usually desolate scenes, painted in a tempestuous manner. His works are in many major European museums; a self-portrait is in the Metropolitan Museum. He began etching in 1660 and produced over 100 fine plates. Several of his satiric poems are well known.

Bibliography

See E. W. Manwaring, Italian Landscape (1925, repr. 1965).

Rosa, Salvator

 

Born June 20 or July 21, 1615, in Arenel-la, Campania; died Mar. 15, 1673, in Rome. Italian painter, engraver, and poet.

Rosa worked in Naples, Florence, and Rome. His art, which contained a distinctive romantic protest against existing social norms, opposed the academic direction of the Italian baroque. Many of his paintings and etchings are devoted to religious and mythological themes, for example, Astraea Bids Farewell to the Peasants (Historical Museum of Art, Vienna). Particularly well known are Rosa’s scenes of cavalry skirmishes and views of wild coastal regions. The artist’s works are distinguished by sharp contrasts of light and shadow. Rosa employed free brush-strokes and favored a gloomy leaden brown palette.

In his poetry, which included seven satires written in terza rima, Rosa used complex allegories and whimsically dramatic images, which caustically ridiculed contemporary trends in Italian literature and castigated the vices of the ruling classes. In the satire War the author sympathetically described the anti-feudal uprising in Naples of the urban lower classes led by Ma-saniello.

REFERENCES

Sal’vator Roza: 1615–73. (Album. Preface by T. Znamerovskaia.) Moscow, 1972.
Limentani, U. Bibliographia delta vita e delle opere di Salvator Rosa. [Florence, 1955.]
Carbone, A. Salvator Rosa: Vita ed opera. Naples, 1968.
References in periodicals archive ?
Whilst Ann Radcliffe never travelled further than the Lake District and the Rhineland, Horace Walpole, whose father Sir Robert owned two landscapes by Salvator Rosa, explored their locations, crossing the Alps to do so.
But Patty shows conclusively that Rosa's rise is not only to be attributed to the emergence of a Romantic aesthetic of the sublime, but above all to the impact of The Life and Times of Salvator Rosa, by the Irish nationalist Lady Morgan.
"To achieve a striking atmosphere, Turner learned how the master painter Salvator Rosa depicted hostile mountain scenery with small, lonely figures, surrounded by claustrophobic shadows.
The exhibition runs until June 5 and on April 21 there is a 45-minute tour of the Salvator Rosa Exhibition.
Ruisdael was not one of the group of Dutch artists who wandered south to Rome and stayed there until they came to be resented by such local artists as Salvator Rosa. Like Dou and Rembrandt he found Holland big enough for him.
The concert was organised by Opera North and Compton Verney House to correspond with the exhibition of 17th century 'wild landscapes' by Salvator Rosa.
Also running at the venue is a show of work by Neopolitan, 17th-century artist Salvator Rosa, called Wild Landscapes.
Salvator Rosa's, Witches at their Incanta-tions was as dark and foreboding as the skies outside and Rembrandt's Adoration of the Shepherds shone with the jolting brilliance of the forked lightning that threatened to strike the roof the gallery.
Some of this reinterpretation has already begun, in recent work on what Luigi Salerno once controversially dubbed 'il dissenso nella pittura', dissent in the art world of the 1640s and 1650s--a phenomenon he associated with artists such as Castiglione, Andrea di Leone, Pietro Testa, Salvator Rosa, and Niccolo Tornioli.
A private view was held at Compton Verney of two newexhibitions - Only Make-Believe: Ways of Playing and Salvator Rosa: Wild Landscapes.
Art historian Dr Helen Langdon also explores the style and myths that surround Salvator Rosa's art in a talk called Beauty and Terror: The Art of Salvator Rosa, at Compton Verney on March 31.
It is curious that the Italy the northerners recorded was so unlike the wild and gloomy renderings of their innovative Italian contemporary, Salvator Rosa, who strongly resented their intrusion.