1615-1673 Italian Salvator Rosa Galleries Salvatore Rosa (1615 - March 15, 1673) was an Italian Baroque painter, poet and printmaker, active in Naples, Rome and Florence. As a painter, he is best known as an "unorthodox and extravagant" and a "perpetual rebel" proto-Romantic. His life and writings were equally colorful. He continued apprenticeship with Falcone, helping him complete his battlepiece canvases. In that studio, it is said that Lanfranco took notice of his work, and advised him to relocate to Rome, where he stayed from 1634-6. Returning to Naples, he began painting haunting landscapes, overgrown with vegetation, or jagged beaches, mountains, and caves. Rosa was among the first to paint "romantic" landscapes, with a special turn for scenes of picturesque often turbulent and rugged scenes peopled with shepherds, brigands, seamen, soldiers. These early landscapes were sold cheaply through private dealers. This class of paintings peculiarly suited him. He returned to Rome in 1638-39, where he was housed by Cardinal Francesco Maria Brancaccio, bishop of Viterbo. For the Chiesa Santa Maria della Morte in Viterbo, Rosa painted his first and one of his few altarpieces with an Incredulity of Thomas. While Rosa had a facile genius at painting, he pursued a wide variety of arts: music, poetry, writing, etching, and acting. In Rome, he befriended Pietro Testa and Claude Lorraine. During a Roman carnival play he wrote and acted in a masque, in which his character bustled about Rome distributing satirical prescriptions for diseases of the body and more particularly of the mind. In costume, he inveighed against the farcical comedies acted in the Trastevere under the direction of Bernini. While his plays were successful, this also gained him powerful enemies among patrons and artists, including Bernini himself, in Rome. By late 1639, he had had to relocate to Florence, where he stayed for 8 years. He had been in part, invited by a Cardinal Giancarlo de Medici. Once there, Rosa sponsored a combination of studio and salon of poets, playwrights, and painters --the so called Accademia dei Percossi ("Academy of the Stricken"). To the rigid art milieu of Florence, he introduced his canvases of wild landscapes; while influential, he gathered few true pupils. Another painter poet, Lorenzo Lippi, shared with Rosa the hospitality of the cardinal and the same circle of friends. Lippi encouraged him to proceed with the poem Il Malmantile Racquistato. He was well acquainted also with Ugo and Giulio Maffei, and housed with them in Volterra, where he wrote four satires Music, Poetry, Painting and War. About the same time he painted his own portrait, now in the National Gallery, London.  Related Paintings of Salvator Rosa :. | Jason Charming the Dragon, | Odysseus and Nausicaa | Landscape with Tobit and the angel | The Ruined Bridge | Jason Charming the Dragon |
Related Artists:
Emil Lindgren
painted Interior med musicerande kvinnor vid pianot in 1893
Jose Clemente Orozco
Mexican 1883-1949 Jose Clemente Orozco Gallery Jose Clemente Orozco (November 23, 1883 ?C September 7, 1949) was a Mexican social realist painter, who specialized in bold murals that established the Mexican Mural Renaissance together with murals by Diego Rivera, David Siqueiros, and others. Orozco was the most complex of the Mexican muralists, fond of the theme of human suffering, but less realistic and more fascinated by machines than Rivera. Mostly influenced by Symbolism, he was also a genre painter and lithographer. Between 1922 and 1948, Orozco painted murals in Mexico City, Orizaba, Claremont, California, New York City, Hanover, New Hampshire, Guadalajara, Jalisco, and Jiquilpan, Michoac??n. His drawings and paintings are exhibited by the Carrillo Gil Museum in Mexico City, and the Orozco Workshop-Museum in Guadalajara. Jos?? Clemente Orozco was born in Zapotl??n el Grande (now Ciudad Guzm??n), Jalisco to Rosa de Flores Orozco. He married Margarita Valladares, and had three children. In a childhood accident, Orozco lost his left hand while playing with gunpowder. Jos?? Guadalupe Posada, a satirical illustrator whose engravings about Mexican culture and politics challenged Mexicans to think differently about post-revolutionary Mexico, worked in full view of the public in shop windows located on the way Orozco went to school. In his autobiography, Orozco confesses, "I would stop [on my way to and from school] and spend a few enchanted minutes in watching [Posada]?? This was the push that first set my imagination in motion and impelled me to cover paper with my earliest little figures; this was my awakening to the existence of the art of painting." (Orozco, 1962) He goes to say that watching Posado's engraving decorated gave him his introduction to the use of color. After attending school for Agriculture and Architecture, Orozco studied art at the San Carlos Academy. With Diego Rivera, he was a leader of the artist movement known as Mexican Muralism. An important distinction he had from Rivera was his critical view of the Mexican Revolution. While Diego was a bold, optimistic figure, touting the glory of the revolution, Orozco was less comfortable with the bloody toll the social movement was taking. Orozco is known as one of the "Big Three" muralists along with Diego Rivera and David Alfaro Siqueiros. All three artists, as well as the painter Rufino Tamayo, experimented with fresco on large walls, and elevated the art of the mural.
BOSSCHAERT, Ambrosius the Elder
Dutch Baroque Era Painter, 1573-1621 Painter and dealer. He left Antwerp with his parents c. 1587 because as Protestants they were vulnerable to religious persecution; the family moved to Middelburg, where in 1593 Ambrosius became a member of the Guild of St Luke, of which he served as Dean on several occasions (1597, 1598, 1603, 1604, 1612 and 1613). In 1604 he married Maria van der Ast, the sister of Balthasar van der Ast who later became his pupil and possible collaborator. Bosschaert bought a house in Middelburg in 1611. There are flower-pieces by Bosschaert that are signed (with a monogram) and dated between 1605 and 1621, though there were two periods of artistic inactivity, in 1611-13 and 1615-16, when he was probably more active as a dealer in the art of both Dutch and foreign artists (e.g. Veronese and Georg Flegel). He was recorded in Bergen-op-Zoom in 1615 and became a citizen of Utrecht in 1616, where his name appears in the register of the Utrecht Guild of St Luke for the same year. In 1619 he was involved in a court case in Breda, where he lived from that year. He died during a journey to The Hague.