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Piano-Notenblätter von Salvator Rosa auf Zen Virtual Piano entdecken. During the Carnival of 1639, Salvator Rosa, already a famous artist and a popular comic actor, rashly satirized the architect and sculptor Gian Lorenzo Bernini and made a powerful enemy. The Accademia dei Percossi, a literary, musical and artistic circle, met at his own house, and there his flamboyant personality found room to act. An artist who risked a powerful man's anger for a laugh, and who gathered friends at home, comes across as someone who needed an audience as much as a canvas. His father, a land surveyor named Vito Antonio de Rosa, wanted him to become a lawyer or a priest and placed him in the convent of the Somaschi Fathers. Salvator preferred the arts and secretly learned painting from his maternal uncle, Paolo Greco. His father died when he was seventeen. His mother was left destitute with at least five children, and Salvator was suddenly head of a household that depended on him. A teenager who lost his father and became the family's provider suggests that art was a livelihood for him early on, and not only a calling. He took up painting in Naples, where José de Ribera was an influence; in 1635 he travelled to Rome to study, and malaria struck him soon after. Naples saw him painting battles and seascapes in large numbers, and there he built his own landscape manner: untamed nature, peopled by shepherds, sailors, soldiers or bandits and shot through with romantic poetry. Battle pictures and wild scenery within one career hint at a painter drawn to scenes of action and danger. In Rome his friends included Pietro Testa and Claude Lorrain. For a carnival play there he wrote a masque and acted in it, playing a character who bustled around the city handing out satirical prescriptions for bodily ills and, more pointedly, mental ones. Rugged scenery and prescriptions for the mind show a man whose humor and his painting drew on a love of the unruly. He refused to paint on commission or settle a price beforehand and chose his own subjects; in his own words, he painted "purely for my own satisfaction. I need to be transported by enthusiasm and I can only employ my brushes when I am in ecstasy." Rosa pursued many arts besides painting, among them music, poetry, writing, etching and acting, and in 1660 he began etching and completed a number of successful prints; his satires were published after his death, in 1710. A man who set his own subjects and spread his energy across so many arts suggests an independence that went well beyond a single craft.
Piano-Notenblätter von Salvator Rosa auf Zen Virtual Piano entdecken.
During the Carnival of 1639, Salvator Rosa, already a famous artist and a popular comic actor, rashly satirized the architect and sculptor Gian Lorenzo Bernini and made a powerful enemy. The Accademia dei Percossi, a literary, musical and artistic circle, met at his own house, and there his flamboyant personality found room to act. An artist who risked a powerful man's anger for a laugh, and who gathered friends at home, comes across as someone who needed an audience as much as a canvas.
His father, a land surveyor named Vito Antonio de Rosa, wanted him to become a lawyer or a priest and placed him in the convent of the Somaschi Fathers. Salvator preferred the arts and secretly learned painting from his maternal uncle, Paolo Greco. His father died when he was seventeen. His mother was left destitute with at least five children, and Salvator was suddenly head of a household that depended on him. A teenager who lost his father and became the family's provider suggests that art was a livelihood for him early on, and not only a calling.
He took up painting in Naples, where José de Ribera was an influence; in 1635 he travelled to Rome to study, and malaria struck him soon after. Naples saw him painting battles and seascapes in large numbers, and there he built his own landscape manner: untamed nature, peopled by shepherds, sailors, soldiers or bandits and shot through with romantic poetry. Battle pictures and wild scenery within one career hint at a painter drawn to scenes of action and danger. In Rome his friends included Pietro Testa and Claude Lorrain. For a carnival play there he wrote a masque and acted in it, playing a character who bustled around the city handing out satirical prescriptions for bodily ills and, more pointedly, mental ones. Rugged scenery and prescriptions for the mind show a man whose humor and his painting drew on a love of the unruly.
He refused to paint on commission or settle a price beforehand and chose his own subjects; in his own words, he painted "purely for my own satisfaction. I need to be transported by enthusiasm and I can only employ my brushes when I am in ecstasy." Rosa pursued many arts besides painting, among them music, poetry, writing, etching and acting, and in 1660 he began etching and completed a number of successful prints; his satires were published after his death, in 1710. A man who set his own subjects and spread his energy across so many arts suggests an independence that went well beyond a single craft.
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