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Salvator Rosa As “Amico Vero”: the Role of Friendship in the Making of a Free Artist

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Salvator Rosa As “Amico Vero”: the Role of Friendship in the Making of a Free Artist SALVATOR ROSA AS “AMICO VERO”: THE ROLE OF FRIENDSHIP IN THE MAKING OF A FREE ARTIST by Alexandra Carol Hoare A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Art University of Toronto © Copyright by Alexandra Hoare 2010 Library and Archives Bibliothèque et Canada Archives Canada Published Heritage Direction du Branch Patrimoine de l'édition 395 Wellington Street 395, rue Wellington Ottawa ON K1A 0N4 Ottawa ON K1A 0N4 Canada Canada Your file Votre référence ISBN: 978-0-494-97104-8 Our file Notre référence ISBN: 978-0-494-97104-8 NOTICE: AVIS: The author has granted a non- L'auteur a accordé une licence non exclusive exclusive license allowing Library and permettant à la Bibliothèque et Archives Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par télécommunication ou par l'Internet, prêter, telecommunication or on the Internet, distribuer et vendre des thèses partout dans le loan, distrbute and sell theses monde, à des fins commerciales ou autres, sur worldwide, for commercial or non- support microforme, papier, électronique et/ou commercial purposes, in microform, autres formats. paper, electronic and/or any other formats. The author retains copyright L'auteur conserve la propriété du droit d'auteur ownership and moral rights in this et des droits moraux qui protege cette thèse. Ni thesis. Neither the thesis nor la thèse ni des extraits substantiels de celle-ci substantial extracts from it may be ne doivent être imprimés ou autrement printed or otherwise reproduced reproduits sans son autorisation. without the author's permission. In compliance with the Canadian Conformément à la loi canadienne sur la Privacy Act some supporting forms protection de la vie privée, quelques may have been removed from this formulaires secondaires ont été enlevés de thesis. cette thèse. While these forms may be included Bien que ces formulaires aient inclus dans in the document page count, their la pagination, il n'y aura aucun contenu removal does not represent any loss manquant. of content from the thesis. Salvator Rosa as “Amico vero”: The Role of Friendship in the Making of a Free Artist Alexandra Carol Hoare Doctor of Philosophy, History of Art Department of Art University of Toronto 2010 Abstract The seventeenth-century Neapolitan painter and satirist Salvator Rosa (1615-1673), long regarded as a harbinger of the ideals of professional independence that characterize the artists of the Romantic era, is here returned to the social circumstances of his own time. This dissertation argues that Rosa‟s personal and professional identity of autonomy and his pursuit of an original, distinctive persona were facilitated by male friendship. A key component of the philosophical ideal to which Rosa and his friends subscribed, friendship is defined by a standard of egalitarianism that permits its practitioners to be at once dependent and independent. In his adoption and cultivation of the rituals and discourses of friendship – especially academic friendship – Rosa found a strategy for navigating the obligatorily socially-delineated parameters of self-fashioning in seicento Florence and Rome. Friendship permeated the most vital elements of Rosa‟s career: his early theatrical practice in Rome, his private academy in Florence, and his business tactics as a painter and printmaker in Rome. This dissertation aims to open up an area of insight into Rosa as both unique among and representative of his contemporaries, and to expand upon the existing scholarly knowledge of an artist on the cusp of an important development in the history of the visual artist‟s identity. ii Acknowledgements This project owes its genesis first and foremost to my supervisor, Philip Sohm, who encouraged me to take a second look at Salvator Rosa. His work – in particular, his interest in art biography and his careful analysis of early-modern language – has also exerted a profound influence on my own, and I continually endeavour to emulate it in its nuance and lucidity. I am especially grateful for his direction, his generosity, and his patient review of the onerous drafts of my chapters. I also wish to express my gratitude and considerable debt to Evonne Levy for showing me a different way of thinking about autonomy and friendship, and for supporting my project throughout its long development. The final product was greatly improved by her meticulous reading of the text and suggestions for editing. My work has also profited significantly from the advice, encouragement and expertise of Alexander Nagel, Helen Langdon, Wendy Roworth, Caterina Volpi, and Luigi Spezzaferro, whose insights into Rosa and the social experience of the artist opened up new vistas for me. Both of my external readers, Elizabeth Cropper and Nicholas Terpstra, cast fresh light on many issues and offered invaluable suggestions for future study. I am extremely grateful for their participation and their contributions in the final stages of my degree. The archival research for this dissertation would not have been possible without the generous financial support of the Department of Art and the School of Graduate Studies at the University of Toronto, travel funding from the Italian Embassy in Ottawa for study in Rome at the British School in 2006, a grant from the Fondazione Lemmermann in Rome in 2007-8, and a fellowship at the Fondazione Longhi in Florence in 2007-8. I am particularly indebted to the Fondazione Longhi for the opportunities they offered for travel to exhibitions and for gaining access to private collections throughout Italy. The support of the Italian Art Society, who funded my travel iii to the 2008 CAA conference in Dallas, and an invitation to participate in the 2009 international convegno on Rosa hosted by the Biblioteca Hertziana in Rome also allowed me to share my research and receive helpful feedback during the critical final stages of research and writing. This project has thrown into sharp relief the value of friendship in my own life, and I am sincerely appreciative for the assistance and support of friends and colleagues at the University of Toronto and elsewhere, especially Betsy Purvis who selflessly and patiently helped me with the long, laborious translation of Rosa‟s letters and endured many a moment of frustrated angst with sympathy and encouragement. Sarah Guérin, Carolina Mangone, Rose Logie, Elena Napolitano, Heather Diack, Christine Kralik, Rebekah Carson, Therese Forgacs and John Gagné are among the many who also offered much-needed moral support during periods of self-doubt, and acted collectively as an obliging sounding-board for ideas. Eve Straussman-Pflanzer kindly introduced me to the Archivio di Stato in Florence, and Marco Simone Bolzoni helped me to navigate the Gabinetto dei Disegni at the Uffizi; both offered moments of sanity during the long, hot days of writing and researching at the Kunsthistorisches Institut and the Biblioteca Nazionale. I reserve a special gratitude, however, for the support of my parents and my brother. Without their unfailing encouragement, tolerance and patience I would never have finished what I started. It is to them that I dedicate this text. iv Table of Contents Abstract ii Acknowledgements iii Table of Contents v List of Illustrations viii Prologue: An Introduction to Rosa as a Friend 1 Rosa and his Friends: A Cast of Characters 29 Chapter I The Self Performed: Reputation and Sociality in the Making of Rosa‟s Identity, and the Crafting of an Academic Ritual 40 I.1 Self-Performance as a Strategy of Celebrity 41 I.2 Acting all‟Improvviso: The Individuality and Interdependency of the Performed Self 48 I.3 Rosa as Coviello and Pascariello: The Performance and the Mask as Modes of Self- Fashioning 49 I.4 “Stage-Fighting” with Bernini: A Turning Point in the Crafting of an Antagonistic Persona 67 I.5 Concluding Thoughts 74 Chapter II Rosa and the Accademia dei Percossi: Academia as the Enterprise of Friendship 76 II.1 A Tale of Two Cities: Florence as a City of Court and Academy 77 II.2 Rosa as Virtuoso: Academic Friendship and the Making of Rosa‟s Identity as a “Painter-Philosopher” 82 The Members of the Percossi and their Influence 83 II.3 The Accademia dei Percossi as a “Place Apart”: The Ideal of Academia as Refuge, Retreat and Rebellion 99 Rome is not Florence: Rosa‟s Nostalgia for the Percossi 101 Reconciling Rebellion with Conformity: The Function of the Private Conversazione 104 The Imagery of Philosophical Salvation: The Academy and Villa as Utopia 109 Solitude in Friendship 121 II.4 The Percossi as a Place of Friends 129 Academia and Amicitia: A Historical Context for the Percossi 131 The Friendly Activities of the Percossi 135 Theatrical Performance: “The Play‟s the Thing” 136 The Symposium – A Fare of Friends, Food, Verse and Inspiration 142 Conversation and Poetic Recital 144 II.5 Percossi: What‟s in a Name? 147 II.6 Friendship in the Academy and Flattery at Court: An Allegorical Discourse in Two Paintings by Rosa and Lorenzo Lippi 159 II.7 Concluding Thoughts 174 v Chapter III Words and Gestures: Writing and Speaking as the Rituals of Friendship 177 III.1 Rosa‟s Letters as Social Documents 177 The Letter as the Self and the Friend 180 “Amico Vero”: Friendship and Sincerity in the Making of an Epistolary Identity of Autonomy 185 III.2 The Letters of Rosa‟s Friends 190 Ricciardi 190 Florentine Friends 194 III.3 The Panegyric Poetry of Friendship
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