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Salvator Rosa , attrib. to
Italian, 1615 - 1673
Martyrdom of San Gennaro at the Solfatara near Pozzuoli (Martyrdom of St.Januarius at the sulphur mine near Pozzuoli), 17th century
Red chalk on laid paper
19.5 x 30.4 cm (sheet)
Achenbach Foundation for Graphic Arts 1963.24.84

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Artist Credit: all

Artist Biography: Born in Naples, Rosa trained there with a succession of artists including Francanzano (his brother-in-law), Giovanni Lanfranco, Jusepe de Ribera, and Aniello Falcone. Throughout his career these early influences colored his art, particularly the battle scenes which, derived from Falcone, formed a recurrent motif in Rosa's ccuvre. In 1635 Rosa traveled to Rome, the pilgrimage site for all European artists, taking up residence there in 1638. In Rome Rosa was exposed to a great diversity of styles, ranging from Caravaggesque realism to the emerging high baroque. He proved receptive to the stylistic novelties of other artists, such as Pieter van Laer, Herman van Swanevelt, Claude, and Poussin. However, Rosa's interpretation of his various subjects was always personal. At the invitation of the grand duke of Tuscany, Rosa moved to Florence in 1640, where he remained until 1649. In Florence, as in Rome, Rosa took part in the literary life of the city, founding the Accademia del Percossi, a sophisticated group of writers and performers.~ ~ Rosa returned permanently to Rome in 1649, there participating in the yearly public exhibitions held in the portico of the Pantheon. Rosa's major artistic accomplishment was the creation of a new landscape type. Focused on nature's rugged formations, his compositions are infused with a moodiness and emotional energy echoing his petulant personality. Rosa's influence was considerable, inspiring a long line of followers from Marco Ricci to Thomas Cole, peaking with the British adherents of romanticism.~~Reference: Wallace, Richard. The Etchings of Salvator Rosa. Princeton: 1979.~Leach, Mark C. and Richard Wallace. Italian masters of the Seventeenth Century. The Illustrated Bartsch, 45. New York: 1982, Abaris Books.See also: vol. 45 Commentary, ed.Bellini, Paolo and R. Wallace.~Bartsch, Adam. Le Peintre-graveur. v. 20. Wurzburg: 1921~Reed, Sue and Richard Wallace. Italian Etchers of the Renaissance and Baroque. Boston: 1989, Museum of Fine Arts.~Richard W. Wallace, "The Genius of Salvator Rosa", in Art Quarterly XLVII, December 1965, p. 473 sq. ~Richard W. Wallace, "Salvator Rosa's Democritus and L'Humane Fragilite", in The Art Bulletin, March 1968, p. 21 sq.~

Related Keywords
sulphur StJanuarius Pozzuoli near Solfatara the at Gennaro San of Martyrdom Arts Graphic Aniello attribution suggests Davis Bruce Student 18 p 25 Moir Alfred Prof ed cat exh 1978 Inspiration Christian Art Museum Barbara Santa Exhibitions exhibition note also see Falcone d n Harris Sutherland Ann H Definitely 1982 Nov Firenze Pitti Palazzo Chiarini Marco attributions Suggested mat file AFGA 1915 published privately York New 1871 1786 formed Masters Old Drawings Original George Rosa Salvator by January St Beheading as 143 Hellman 185 Achenbach S Moore Schiff Leo Mortimer Cogswell Green Joseph Provenance Europe Italy Drawing Landscape Religious paper laid chalk Red man standing behead who executioner foreground group including figures small number mine sulfur open an crater large Salvator Rosa Italian 5049161418950031 A002832 1963.24.84 AFGA