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The Representation of Philosophers in the Art of Salvator Rosa

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The Representation of Philosophers in the Art of Salvator Rosa Renaissance 2/2011 - 1 Helen Langdon 5he Representation of 9hilosophers in the $rt of Salvator Rosa Fi%' 1: Salvator Rosa, 5he 9hilosophers’ ?ood, c' 1641 – 63, @il on canvas, 147 A 221 c , Florence, 8alleria 9alatina, 9ala44o 9itti ;Lui%i Salerno, L’@pera co pleta di Salvator Rosa, Milan 1975, fi%' CCII=' In his Life of Salvator Rosa Filippo Baldinucci, who rian sources, yet astonishingly vital; he shows the an- knew the painter well, included this e ora!le de- cient philosophers as be%%ars, in torn and ra%%ed clo- scription " #$n overriding love and thirst for %lory cre- thing, !izarrely patched to%ether, and utterly a!sor- ated in hi , fro his early years, a passionate desire !ed in the world of the ind' 5he& have uch of the to appear in all his words and deeds a true philosoph- humour of Lucian’s dialo%ues, one of the ost popu- er. His thou%hts were always full of drea s of walking lar 17th century sources for lively descriptions of the !eneath the spacious porticoes of $thens in the co - ancient philosophers. pany of the ancient Stoics”'[1] Scenes fro the lives Ribera’s philosophers re ain, throu%hout of the ancient philosophers, rare subjects !efore the Rosa’s career, a constant presence in his art' In the 17th century, form a ajor part of Rosa’s production. 1640s he was court painter to the 7edici in Florence, In this essa& I shall concentrate primarily on those and here he encountered fresh sources of inspiration. fro Rosa’s final years, fro 1660 to his death in 5he ood of uch Florentine Seicento painting is 1673, when he responded to strains of conte porary witt& and irreverent, and when Rosa arrived in thought and feeling very different fro those which Florence 8iovanni da San 8iovanni’s decorations of had inspired him in his early career. the sum er apart ents of the 9ala44o 9itti had just $ !rief look at these early philosopher pain- !een co pleted' Here, in one fresco, !lind Ho er tot- tings, however, will serve to heighten this difference' ters forth fro 7ount 9arnassus, whilst on the oppos- Rosa was !orn in Naples in 1615, and trained in the ite wall Lorenzo, at the feet of 9lato, volu es of philo- studio of the Spanish artist Juseppe de Ribera, at pre- sophy piled up !eside him, enjoys the co pany of cisely the o ent, in the id 1630s, when the Spa- poets and scholars at the acade & of Care%%i.[2] nish artist was aking a specialit& of %alleries of half 5here is ore than a hint of ockery of Raphael’s length portraits of philosophers. Ribera’s are learned stately fresco of the School of $thens ;Ro e, Vatican, works, full of details culled fro classical and antiqua- Stanza della Se%natura= and Rosa picked up so e- (elen Langdon 5he Representation of 9hilosophers in the $rt of Salvator Rosa kunstteAte'de 2/2011 - 2 thing of 8iovanni da San 8iovanni’s li%ht hearted yet who throws himself into 7ongibello ;Etna= and learned tone. one into the sea, the first !ecause he could not 7ore important than the 7edici court was understand the ove ent of the tides, and the the world of the Florentine literary acade ies. Rosa neAt to seek out the origins of the volcanic himself founded an acade y, the $ccade ia dei 9er- fla es. Pytha%oras turns into a hundred beasts cossi, which attracted any of the ost !rilliant HIJ' Xenocrates is of arble, without sense, Florentine literary en, scholars, high churchmen and Dio%enes a do%, Epicurus an animal, De ocrit- scientists. Here Rosa nurtured his a !itions as satir- us a ad an who always laughs, Heraclitus ical poet as well as painter, and swiftly !eca e the desperate, and always weeping'[5] centre of the Florentine literary world, whose double laurels ade hi cele!rated' @f especial importance Bartoli encoura%es the intellectual to furnish his ind in this world were two writers whose works often read with knowled%e, with history, literature, and the sa&- like a rich source for Rosa’s icono%raphy, the 1esuit in%s of ancient sa%es. He was interested in Rosa and, scholar Daniello Bartoli, and the oral philosopher as we shall see, provided a !rilliant description of one 9a%anino 8audenzio' 5he& shared an interest in Dio- of his most unusual philosopher paintings. %enes Laertius’ Lives of the $ncient 9hilosophers, ;.rd 9a%anino 8audenzio %ives a contrary view' century $D= whose popularit& %rew in the 17th cen- In 1640 8audenzio had oved fro Barberini Ro e tury, and especially in the novel eccentricities of the to take up a post as professor of elo2uence at the Cynics and Stoics. In 1645 Bartoli published his i - universit& of 9isa3 his Del Se%uitar la :orte o no ensely successful 7an of Letters ;Uo o di Lettere=, preaches that the intellectual has a dut& fully to parti- whose fa e rapidly spread throughout Europe, and cipate in the world of the court'[6] Indeed 8auden- Gueen Christina of Sweden was to ask for a cop&'[3] 4io, s works illuminate the concerns of the Klite intel- 5he Florentine edition of this work was dedicated to lectual and courtly circles for which Rosa painted3 he Rosa, who in his letters eApresses his interest in Bar- was an i ensely prolific and successful author, who toli’s writings.[4] 5he !ook is a passionate defence of eAperimented with any %enres and wrote on any the intellectual life, and of the *o& which the stud& of the es, a on%st the poetry, philosophy, theolo%y, letters !rings to hu ankind' Bartoli does, however, history, political science, and eulo%ies in !oth Latin !elieve that this stud& ust !e undertaken in solitude, and Italian. He wrote histories of !oth patristic and far fro the corruption of the court, and his heroes Ro an philosophy, and la ented the do inance of are the early philosophers, Socrates, Dio%enes, $ristotle in the universities, reco ending that 9lato, Crates, and 9ytha%oras; the elancholic headings of the Stoics and the 9ytha%oreans should also !e stud- any of his chapters, the ?ise 7an Ill, the ?ise 7an ied' His %round !reaking history of Ro an philosophy in 9rison, the ?ise 7an in FAile, the ?ise 7an in argued for a new ethod of study, in which not only 9overt&, conve& his %loo a!out the place of the liter- the thought of the ancients should !e studied, !ut ary an in conte porary societ&' His writings are rich also their lives and deeds, and the historical conteAts in echoes of Seneca and anecdotes fro Dio%enes in which the& worked, and he encoura%ed an interest Laertius, and he describes with co ic relish the !est in the lives of the philosophers %enerally.[7] $s in the loved antics of those ancient philosophers who had writings of Bartoli, the& spring to vivid life in his prose so spectacularly resisted the lures of worldly success and !oth a& have encoura%ed painters to take up and wealth. similar the es. @ne of 8audenzio’s first works had !een a small treatise on the transmigration of souls, ?onder at the ancient philosophers HIJ' @ne the De 9ytha%orea animarum transmigratione ;1640), who throws his riches into the sea, akin% in which he paid ho a%e to 8alileo3 there followed himself a !e%%ar, in order not to avoid povert& the Della pere%rina4ione filosofica ;1643), where he H'''J, one who lives in a !arrel, like a do% in its discusses the le%ends and superstitions which had kennel, rather than an in his residence' @ne accumulated around the earliest philosophers. Both (elen Langdon 5he Representation of 9hilosophers in the $rt of Salvator Rosa kunstteAte'de 2/2011 - . these works were acco panied with letters in their Stoics, cultivate wisdo in seclusion, sug%ests the praise b& the French libertin writer 8a!riel NaudK, and the e which so fascinated Bartoli and Gaudenzio and the& are very uch in his spirit' In 1648 8audenzio other Florentine literary en, and Rosa’s pair of paint- added a co entary on the poet 8iovan Battista in%s preserved the at osphere of de!ate' 5o so e 7arino’s La 8alleria, entitled La 8alleria dell’Inclito the Cynics see ed eAe plars of virtue, and Bartoli 7arino ;5he 8allery of the Illustrious 7arino=, which called Dio%enes and Crates #relics of the 8olden includes uch discussion of ancient philosophers, $%e)[11] while to others the& were vain and ridiculous $rchimedes, Xenocrates, 9lato, $ristotle, and their !uffoons. In 5raiano Boccalini’s I Ra%%ua%li di heirs in the odern world' In the sa e year, his 9arnaso :rates hum!ly refuses to inherit Dio%enes’ Nuovo 9oe a in Sonnetti, a collection of poe s ad- Chair of 9rivate 5ranquillity,[12] in order to avoid the dressed to the earliest of philosophers, 5hales, 9&- violent perturbations of a !ition, whilst in $ntonio tha%oras and F pedocles was published' La 8alleria Santacroce’s La Secretaria di $pollo he stands ac- dell’Inclito 7arino concludes with a poe addressed cused of overweening and sha eless pride'[13] Rosa to Salvator Rosa, who he praises as the %reat li%ht himself wrote a Lucianic dialo%ue on Crates, in which of Painting, who with his brushes creates a universe, the philosopher is initially accused of folly, !ut Rosa, in a series of trite stanzas eAtolling the si ple life, co es down overwhelmingly on the side of the Cynic, as Bartoli had done !efore him' It is easy to i a%ine Rosa reading this poe at the 9ercossi as he dis- played his paintings.[14] In the 9hilosopher’s ?ood the figures are enga%ed in lively discussion, like the e !ers of the 9ercossi, and perhaps the philosoph- er standing on the left, with lon% !lack hair, is a self portrait3 the painting see s a light hearted tribute to Raphael’s School of $thens' 5he Crates too is humor- ous, and the philosopher appears ore ridiculous than no!le' Dressed in so !re !lack, he scatters a Fi%' 2: Salvator Rosa, :rates throwing his Riches into the Sea, c' shower of %old fro !oth hands, encircled !& a %roup 1641 " 1643, @il on canvas, 16- A 216 c , Skipton, Boughton (all' ;(elen Langdon, Salvator Rosa - Dulwich 9icture 8aller&, London of co ically characterised sailors and scantily clad 2010, fi%' 12)' swim ers who lun%e forwards to scra!!le and dive of earth, sea and sk&'[8] Rosa spent a lot of time in for the coins.
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