Illustrations
Salvator Rosa
Fig. 1a. Rosa, The Incredulity of St. Thomas Fig. 1b. Rosa, Detail of self-portrait in 1a. (c. 1639, Museo Civico, Viterbo)
Fig. 2a. Rosa, The Martyrdom of St. Bartholomew Fig. 2b. Rosa, Detail of possible (date uncertain, Harrach collection, Rohrau) self-portrait on far left in 2a.
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Fig. 3a. Rosa, Caricature of a Young Boy Defecating for Niccolò Simonelli (c. 1635-40, private collection)
Fig. 4. Rosa, St. Jerome (1639?, San Venanzio, Fabriano)
Fig. 3b. Rosa, verso of caricature in 3a.
Fig. 6. Rosa, Landscape with Travellers asking the Way (c. 1641, Denis Mahon collection, National Gallery, London)
Fig. 5. Ferdinando Gregori, eighteenth-century engraving after Rosa‟s Tityus (c. 1638-9, now lost)
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Fig. 7. Rosa, Seaport (Marina del Faro) (1641, Palazzo Fig. 8a. Rosa, Seaport (Marina del Porto) (1641, Pitti, Florence) Palazzo Pitti, Florence)
Fig. 9a. Rosa, Battle Scene (Battle Between the Turks and Christians) (1642, Palazzo Pitti, Florence)
Fig. 8b. Rosa, Detail of lower right register of 8a, with possible self-portrait.
Fig. 9b. Rosa, Detail of the self-portrait on far left in 9a.
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Fig. 10. Rosa, Self-Portrait as a Philosopher (early Fig. 11. Rosa, Lucrezia as Poetry (early 1640‟s, 1640‟s, National Gallery, London) Wadsworth Atheneum, Hartford)
Fig. 13. Rosa, Self-Portrait as a Soldier (mid- 1640‟s?, Palazzo Chigi-Saracini, Siena)
Fig. 12. Rosa, Self-Portrait as a Soldier (mid- 1640‟s?, Detroit Institute of Arts, Detroit)
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Fig. 15. Rosa, Self-Portrait as Pascariello (1640‟s?,
Fig. 14. Rosa, Self-Portrait as a Soldier (mid- private collection, UK) 1640‟s?, Palazzo Chigi-Saracini, Siena)
Fig. 16. Rosa (copy after?), Self-Portrait as an Artist (early-mid 1640‟s, Uffizi (Corridoio Fig. 17. Rosa (attributed), Penitent Magdalen (early Vasariano), Florence) 1640‟s?, Collezione Koelliker) 640
Fig. 18. Rosa, Music (1640‟s, Palazzo Barberini, Fig. 19. Rosa, Poetry (1640‟s, Palazzo Barberini, Rome) Rome)
Fig. 20. Rosa, Peace Burning the Arms of War (c. 1640-45, Palazzo Pitti, Florence) Fig. 21. Rosa, The Return of Astraea (Justice Among the Peasants) (c. 1640-45, Kunsthistorisches Museum, Vienna)
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Fig. 23a. Rosa, The Philosopher’s Grove (Diogenes Fig. 22. Rosa, The Philosopher Crates Throwing his Casting Away his Cup) (c. 1642-44, Palazzo Pitti, Money into the Sea (c. 1642-44, private collection) Florence)
Fig. 23c. Rosa, A three-quarter length man facing right, the upper half of the composition enclosed in Fig. 23b. Rosa, Detail of the likely an oval (drawing, Holkham (Norfolk), Lord self-portrait in 23a. Leicester collection; Mahoney, Drawings, no. 20.32)
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Fig. 25. Rosa, Two Friends in a Landscape Fig. 24. Rosa, A landscape with two seated persons (Allegorical Portrait of Salvator Rosa and Lorenzo and a dog in the foreground plus a ruined building Lippi) Drawing on verso of letter by Lorenzo Lippi on a hill in the middle distance (drawing, 1640‟s, (?) to Ascanio della Penna (1640‟s?, Albertina, Uffizi, Florence, 6533 Santarelli; Mahoney, Vienna) Drawings, no. 22.3)
Fig. 26. Rosa, Lo Spavento (The Fright) (1640‟s, Fig. 27. Rosa, An Allegory (drawing, 1640‟s, Uffizi, Palazzo Pitti, Florence) Florence, 6569 Santarelli; from Mahoney, Drawings, no. 28.9)
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Fig. 29. Rosa, Alexander and Diogenes (c. 1640-5, Collection of Lord Spencer, Althorp)
Fig. 28. Rosa, Fortune (1640‟s, formerly Gerini collection Florence; now in a private collection, UK)
Fig. 30. Rosa, The Temptation of St. Anthony (mid-1640‟s, Palazzo Pitti, Florence) Fig. 31. Rosa, Moral Philosophy (c. 1643-5, Palazzo Enzelberg a Campan, Caldaro (Bolzano))
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Fig. 33. Rosa, Ponte Rotto (c. 1645-8, Palazzo Pitti, Florence)
Fig. 32. Rosa, Cincinnatus called from the Plough (c. 1640-5, Collection of Lord Spencer, Althorp)
Fig. 34. Rosa, La Menzogna (c. 1645-48, Palazzo Fig. 35. Rosa, Seated Philosopher with a Book Pitti, Florence) (Allegory of Study or Portrait of a Poet) (1640‟s?, John and Mable Ringling Museum of Art, Sarasota, Florida)
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Fig. 37. Rosa, Pan and Syrinx (second half of 1640‟s, private collection, Caldaro (Bolzano))
Fig. 36. Rosa, Marina delle Torri (c. 1645-8,
Palazzo Pitti, Florence)
Fig. 38. Rosa, Democritus and Heraclitus (c. 1646, Kunsthistorisches Museum, Vienna) Fig. 39a. Rosa, preparatory drawing for the Democritus and Heraclitus (Haarlem, Teylers Museum E9)
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Fig. 39b. Rosa, Detail of 39a.
Fig. 40. Rosa, Arion on the Dolphin (c. 1648, private collection, Milan)
Fig. 39c. Rosa, Detail of 39a.
Fig. 41. Rosa, Scene of Witchcraft (c. 1646, National Gallery, London)
Fig. 42. Rosa, Caricature of Reginaldo
Sgambati (1640‟s?, drawing)
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Fig. 43. Rosa, Prometheus (mid-late 1640‟s?, Galleria Nazionale d‟Arte Antica, Palazzo Corsini, Rome) Fig. 44. Rosa, Philosopher Contemplating a Skull (1640‟s, Christ Church Picture Gallery, Oxford)
Fig. 45. Rosa, Three small male figures crawling up the nose of a bearded man (1640‟s?, drawing, Paris, Fig. 46a. Rosa, Allegory of Vanity (Sotheby‟s, F. Lugt Collection, 176 (Mahoney, Drawings, no. present location unknown) 10.9) 648
Fig. 46b. Rosa, Allegory of Vanity (1640‟s?, formerly the Paul Frantz Marcou collection; recently sold on the Paris art market)
Fig. 47. Rosa, Allegory of Vanity (1640‟s, Teylers Museum, Haarlem)
Fig. 48. Rosa, Singing Skull (1640‟s?, harpsichord lid, Collection of Major David Gordon, Haddo House, Aberdeenshire)
Fig. 49. Rosa, Allegory of Fate (1640‟s, Teylers Fig. 50. Rosa, Study of Skulls (1640‟s?, drawing) Museum, Haarlem)
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Fig. 51. Rosa, Allegory of Painting Begging for Charity (mid-1640‟s?, Royal Collection, Fig. 52. Rosa, A Satire on Painting Windsor Castle, 6124, from Mahoney, (Staatliche Graphische Sammlung, Munich, Drawings, no. 24.5) 34923 recto, from Mahoney, Drawings, 25.20)
Fig. 53. Rosa, Bacchanal (1640‟s-early 1650‟s, Christie‟s Images, formerly Di Castro collection, Fig. 54. Rosa, The Parable of St. Matthew Rome) (1651, Museo di Capodimonte, Naples) 650
Fig. 56. Rosa, Head of a Man with a Turban (early Fig. 55. Rosa (attributed), Self-Portrait 1650‟s?, Denis Mahon collection, London) (1650‟s?, Musèe des Beaux-Arts, Strasburg)
Fig. 57. Rosa, Portrait of a Man (Portrait of a Fig. 58. Rosa, Portrait Head (early 1650‟s?, Bandit) (early 1650‟s?, Hermitage, St. Petersburg) Grassi Studio, New York)
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Fig. 60. Rosa, Heroic Battle Scene (1652, Louvre, Paris) Fig. 59. Rosa, The Death of Socrates (early 1650‟s, private collection)
Fig. 61. Rosa, Diogenes Casting away the Bowl Fig. 62. Rosa, Democritus in Meditation (1651, Statens Museum for Kunst, Copenhagen) (1651-2, Copenhagen, Statens Museum for Kunst) 652
Fig. 63. Rosa, Vanitas of the Arts (c. 1652?, Alte Pinakothek, Bayerische Staatsgemäldesammlungen, Munich)
Fig. 64. Rosa, Portrait of a Poet-Philosopher for Giovanbattista Ricciardi (c. 1656?, New York, Metropolitan Museum of Art)
Fig. 65. Rosa, detail of 64.
Fig. 67. Rosa, detail of 64.
Fig. 66. Rosa, detail of 64.
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Fig. 68. Rosa, detail of 64. Fig. 69. Rosa, detail of 64. Tear visible on the left- hand cheek; a possible second tear in the right-side tear-duct.
Fig. 71. Rosa, detail of 64.
Fig. 70. Rosa, detail of 64.
Fig. 72. Rosa, detail of 64. Fig. 73. Rosa, detail of 64.
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Fig. 74. Rosa, Study for a self-portrait: a man leaning on his elbows contemplating a rectangular object resting on a skull (drawing, Teylers Museum, Haarlem, E31; Mahoney, Drawings, no. 49.1)
Fig. 75. Rosa, Study for a Self-portrait: a wreathed figure, seen three-quarter length and seated facing right, leans upon his elbow and holds a skull in his lap (drawing, South African National Gallery, Cape Town; Mahoney, Drawings, no. 49.2)
Fig. 77. Rosa, Study for a self-portrait (drawing, Fig. 76. Rosa, Study for a self-portrait (drawing, Louvre, Paris, 9730 verso; Mahoney, Drawings, no. Louvre, Paris, 9730 recto; Mahoney, Drawings, no. 49.3) 49.3)
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Fig. 78. Rosa, Study for a Self-Portrait (drawing, Fig. 79. Rosa, A seated woman writing on a skull Uffizi, Florence, 12093F; Mahoney, Drawings, no. (drawing, Uffizi 2222F recto; Mahoney, Drawings, 49.4) no. 49.5)
Fig. 81. Rosa, A contemplative female figure seated by a block on which is a book and a skull (drawing, Fig. 80. Rosa, A man with long hair seated on a Uffizi 899 Esp.; Mahoney, Drawings, no. 24.15) rock beneath a tree and contemplating a skull (or perhaps a sphere) that he holds in his lap (drawing,
Uffizi, Florence, 2230F; Mahoney, Drawings, no.
24.8) 656
Fig. 82. Rosa, A man facing left with his head lowered (drawing, Uffizi 890; Mahoney, Drawings, no. 10.2) Fig. 83. Rosa, Young poet with a crown of leaves, seated beneath a tree writing (drawing, Toronto, AGO; Mahoney, Drawings, no. 25.1)
Fig. 84. Rosa, A Poet Seated Beneath a Tree with a Fig. 85. Rosa, Seated Poet with a Book (drawing) Putto (drawing, 1640‟s, Statens Museum for Kunst, Copenhagen; Mahoney, Drawings, no. 25.21)
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Fig. 87. Rosa (copy after?), Portrait of the Artist’s
Fig. 86. Rosa, Portrait of Lucrezia (c. 1656?, Rome, Son Rosalvo (c. 1656?, Palazzo Barberini, Rome) Palazzo Barberini)
Fig. 88. Rosa, Bandits on a Rocky Coast (1656, Metropolitan Museum of Art, New York)
Fig. 89. Rosa, Philosopher in Meditation (c. 1656, private collection, Rome) 658
Fig. 90a. Rosa, Frontispiece to the Figurine Fig. 90b. Rosa, Figurine (“Invenzione”) series (etching, 1656-8) (etching, 1656-58)
Fig. 91. Rosa, Figurine (etching, 1656-58) Fig. 92. Rosa, Figurine (etching, 1656-58) 659
Fig. 93. Rosa, Figurine (etching, 1656-58) Fig. 94. Rosa, Figurine (etching, 1656-58)
Fig. 95. Rosa, Figurine (etching, 1656-58) Fig. 96. Rosa, St. Philip Baptizing the Eunuch (c. 1657, Chrysler Museum, Norfolk) 660
Fig. 97. Rosa, Umana Fragilitas (c. 1657-8, Fitzwilliam Museum, Cambridge) Fig. 98. Rosa, Allegory of Fortune (1659, J. Paul Getty Museum, Malibu)
Fig. 100. Rosa, Joseph Interpreting Dreams Fig. 99. Rosa, The “Genius” of Salvator (c. 1657-60, Palazzo Altieri, Rome) Rosa (etching, c. 1660-64) 661
Fig. 101. Rosa, Christ among the Doctors
(1660‟s, Museo di Capodimonte, Naples) Fig. 102. Rosa, St. John the Baptist Preaching in a Landscape (1660‟s, Galleria Colonna, Rome)
Fig. 103. Rosa, Christ Saving Peter from Fig. 104. Rosa, St. Paul the Hermit (c. 1661, the Waves (c. 1661?, Florence, S. Felice) Brera, Milan) 662
Fig. 105. Rosa, Jonah Preaching to the Ninevites (1661, Statens Museum for Kunst, Copenhagen) Fig. 106. Rosa, Madonna del Suffraggio (1661-2, formerly Brera, Milan)
Fig. 108a. Giovan Battista Ricciardi, Letter to
Fig. 107. Rosa, Democritus in Meditation Rosa, August 1661, recto (private collection, (etching, 1661-2) Parma)
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Fig. 108b. Rosa, Presumed drawing for a “Judgment of Paris,” verso of Ricciardi‟s letter in Fig. 108a.
Fig. 109. Rosa, Alexander and Diogenes (etching, c. 1662)
Fig. 111. Rosa, Pythagoras and the Fishermen (1662, Staatliche Museen, Berlin)
Fig. 110. Rosa, The Academy of Plato (etching, 1662) 664
Fig. 112. Rosa, Pythagoras Emerging from the Fig. 113. Rosa, The Martyrdom of Atilius Regulus (etching, 1662) Underworld (1662, Kimbell Art Museum, Fort Worth)
Fig. 114. Rosa, The Rescue of the Infant Fig. 115. Rosa, Alexander in the Studio of Oedipus (etching, c. 1663) Apelles (etching, 1662)
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Fig. 117. Rosa, Phryne and Xenocrates (1662-3, private collection)
Fig. 116. Rosa, The Fall of the Giants (etching, c. 1663)
Fig. 118. Rosa, Job and his Comforters Fig. 119. Rosa, Christ Casting out Devils (c. 1663, Uffizi (Corridoio Vasariano) (c. 1662, private collection, Rome)
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Fig. 120. Rosa, The Crucifixion of Polycrates (after 1662, Art Institute of Chicago)
Fig. 121. Rosa, The Conspiracy of Catiline (1663, Casa Martelli, Florence)
Fig. 123. Rosa, Mercury and Argus (c. 1664, private Fig. 122. Rosa, Democritus and Protagoras (or The collection, Rome) Calling of Protagoras to Philosophy) (1664, Hermitage, St. Petersburg) 667
Fig. 124. Rosa, Sketch for a Portrait (?); a man seated with a book in front of an easel with a portrait (Leipzig, Museum der bildenden Künste, 8764 (formerly 7457.25.41A); Stoltzenburg „Genie der Zeichnung‟ cat. 248; Mahoney, Drawings, no. 82.11)
Fig. 125. Rosa, Jonah and the Whale (c. 1665,
Sotheby‟s)
Fig. 126. Rosa, Pan and Pindar (1666, Palazzo Fig. 127. Rosa, The Death of Empedocles (late Chigi, Ariccia) 1660‟s, Lord Somers collection, Hampshire) 668
Fig. 128. Rosa, Philosopher in Meditation (late Fig. 129. Rosa (spuriously attributed), Vanitas 1660‟s, Fondazione Horak, Piacenza) (late 1660‟s ?, private collection, Naples)
Fig. 130. Rosa, Saint Torpè (1670, Museo d‟Arte, Pisa)