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63-454: Salvator Rosa (1615 – March 15, 1673) is best known today as an Italian Baroque painter , whose romanticized landscapes and history paintings , often set in dark and untamed nature, exerted considerable influence from the 17th century into the early 19th century. In his lifetime he was among the most famous painters, known for his flamboyant personality, and regarded as an accomplished poet, satirist, actor, musician, and printmaker, as well. He

126-504: A castrato in Brancaccio's employ killed the captain of the guard. The Vice-King ordered the bishop to stand trial and he obeyed; making arrangements to travel to Naples to give his account. But rather than travel to Naples he fled in a felucca towards Rome and upon arrival sought an audience with Pope Urban VIII to explain his side of the story. Urban agreed to defend the bishop and a furious Kingdom of Naples took custody of all

189-554: A Ripa in Rome, and St Longinus in St Peter's . He was also a fine sculptor of portrait busts. He had a workshop which trained sculptors such as Antonio Raggi and Ercole Ferrata . His main rival in sculpture was Alessandro Algardi . Melchiorre Caffà (1635–1667) was the pupil of Ferrata and executed ‘The ecstasy of Saint Catherine’ in S Catherina da Siena a Monte Magnapoli in Rome, before his early death. Filippo Parodi (1630–1702)

252-567: A cardinal, there were few who would publicly speak ill of Brancaccio, though they may have wanted to. He was restored to his bishopric where he remained until 1635 when yet another conflict with yet another Viceroy saw him resign. While in Naples he worked closely with cardinals Francesco Boncompagni and Ippolito Aldobrandini . He became Bishop of Viterbo in 1638; then he became cardinal-bishop of Sabina (1666–68), of Frascati (1668–71), and finally of Porto e Santa Rufina (1671–75). He attended

315-480: 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

378-468: A eulogy of Masaniello ) derides the folly of mercenary soldiers, who fight and perish while kings stay at home; the vile morals of kings and lords, their heresy and unbelief. In Babylon ofrece , Rosa represents himself as a fisherman, Tirreno, constantly unlucky in his net-hauls on the Euphrates; he converses with a native of the country, Ergasto. Babylon (Rome) is very severely treated, and Naples much

441-433: A handsome fortune. He was a significant etcher , with a highly popular and influential series of small prints of soldiers, and a number of larger and very ambitious subjects. Among his pupils were Evangelista Martinotti of Monferrato and his brother Francesco. Another pupil was Ascanio della Penna of Perugia. During Rosa's lifetime his work inspired followers such as Giovanni Ghisolfi , but his most lasting influence

504-663: A more classical approach. The principal painter of the Roman High Baroque, a period that spanned several papal reigns from 1623 to 1667, was Pietro da Cortona . His baroque manner is clearly evident in paintings that he executed for the Sacchetti family in the 1620s and the vault fresco in the Palazzo Barberini (finished 1639) in Rome. During the 1630s, Cortona had a debate at the Accademia di San Luca ,

567-460: A rebel gave rise to a popular legend—recounted in a biography of Rosa published in 1824 by Sydney, Lady Morgan —that Rosa lived with a gang of bandits and participated in the uprising in Naples against Spanish rule. Although these activities cannot be conveniently dovetailed into known dates of his career, in 1846 a famous romantic ballet about this story titled Catarina was produced in London by

630-456: A severe outbreak of the plague hit Naples, and Rosalvo, Salvator's brother, sister, brother-in-law and their children all died in the epidemic. Lucrezia survived however and returned to Rome alone. The following year their son Augusto was born. Near the end of his life, declining in health and anticipating death, Rosa married Lucrezia on March 4, 1673. On March 17 he died. An inventory of Rosa's house taken in 1673 shortly after his death, indicated

693-488: A storm of controversy among religious and civil authorities who perceived in it a satire directed at them. Rosa, endeavouring at conciliation, published a text in which he provided anodyne explanations for the painting's imagery; nonetheless he was nearly arrested. It was about this time that Rosa wrote his satire named Babylon . His criticisms of Roman art culture won him several enemies. An allegation arose that his published satires were not his own, but Rosa vehemently denied

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756-488: A teaching-collection of music entitled Solfeggiamenti et ricercari a due voci ( Solfèges and ricercari for two voices – Lodovico Grignani, Rome, 1642) to him. The frontispiece gives him as "CARD. FRANCESCO MARIA / BRANCACCIO. / VESCOVO DI VITERBO" ("Cardinal Francesco Maria Brancaccio, bishop of Viterbo ") and in the appendices is a canon in two voices "Cavato dalle lettere vocali del nome, e cognome / DELL'EMINENTISSIMO E REVERENDISSIMO / CARDINALE BRANCACCIO" ("Based on

819-589: A time when artists were often highly constrained by patrons, Rosa had a plucky streak of independence, which celebrated the special role of the artist. "Our wealth must consist in things of the spirit, and in contenting ourselves with sipping, while others gorge themselves in prosperity". He refused to paint on commission or to agree on a price beforehand, and he chose his own subjects. In his own words, he painted "...purely for my own satisfaction. I need to be transported by enthusiasm and I can only employ my brushes when I am in ecstasy." Rosa's influence on romanticism in

882-409: A treatment dominated by the landscape element. He also produced battle scenes, allegories , scenes of witchcraft, and many self portraits. However, he is most highly regarded for his very original landscapes, depicting "sublime" nature: often wild and hostile, at times rendering the people that populated them as marginal in the greater realm of nature. They were prototypes of the romantic landscape and

945-424: A very severe castigator of all ranks and conditions of men, not sparing the highest, and as a champion of the poor and down-trodden, and of moral virtue and Catholic faith. The satire on Music exposes the insolence and profligacy of musicians, and the shame of courts and churches in encouraging them. Poetry dwells on the pedantry, imitativeness, adulation, affectation and indecency of poets—also their poverty, and

1008-522: Is considered an innovative and significant landscape painter and a progenitor of the romantic movement. Rosa was born in Arenella , at that time in the outskirts of Naples , on either June 20 or July 21, 1615. His mother was Giulia Greca Rosa, a member of one of the Greek families of Sicily. His father, Vito Antonio de Rosa, a land surveyor, urged his son to become a lawyer or a priest, and entered him into

1071-790: The Council of Trent (1545–63), in which the Roman Catholic Church answered many questions of internal reform raised by both Protestants and by those who had remained inside the Catholic Church, addressed the representational arts in a short and somewhat oblique passage in its decrees. This was subsequently interpreted and expounded by clerical authors such as Molanus , the Flemish theologian, who demanded that paintings and sculptures in church contexts should depict their subjects clearly and powerfully, and with decorum, without

1134-543: The Portrait of Lucrezia Paolini was hanging in a prominent location in the home, and one of the few paintings in his possession when he died. 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 Lorrain . 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

1197-773: The Villa Borghese in Rome illustrates how he could precisely capture in white marble the dramatic moment when Daphne, fleeing the pursuing sun god, realizes she is metamorphosing into a laurel tree. This ability to make expressive dramatic narratives in sculpture can also be seen in his Ecstasy of Saint Teresa (1645–52), created for the Cornaro Chapel in Santa Maria della Vittoria , the Blessed Ludovica Albertoni in San Francesco

1260-567: The papal conclaves of 1644 , 1655 , 1667 and 1669 , which elected popes Innocent X , Alexander VII , Clement IX and Clement X respectively. During his time in Rome he formed the Biblioteca Brancacciana (which later moved to Naples and became that city's first public library – it is now part of the National Library of Naples ) and housed the artist Salvator Rosa . In 1642 Giovanni Gentile dedicated

1323-465: The 18th century, and he was better known in England and France than most Italian Baroque painters. Rosa has been described as "unorthodox and extravagant", a "perpetual rebel", "The Anti-Claude", and a proto- Romantic . He had a great influence on Romanticism, becoming a cult-like figure in the late 18th and early 19th centuries, and myths and legends grew around his life, to the point that his real life

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1386-529: The Carracci carried out the fresco decorations in the Palazzo Fava . There followed a succession of important altarpieces in which the critical lessons of such artists as Correggio , Titian , and Veronese are progressively developed and integrated by Annibale within a unifying concept of naturalistic illusionism, based, in particular, upon an unmannered design that is given optical verisimilitude through

1449-608: The Christ'. His use of light and shadow was emulated by the Caravaggisti , the followers of Caravaggio, such as Orazio Gentileschi (1563–1639), Artemisia Gentileschi (1592-1652/3), Mattia Preti , Carlo Saraceni and Bartolomeo Manfredi . Annibale Carracci (1560–1609) came from Bologna where, with his brothers Agostino Carracci (1557–1602) and Ludovico Carracci (1555–1619), he set up an influential studio or academy to train painters. Amongst their various joint commissions,

1512-524: The French sculptor Pierre Puget , Bernardo Strozzi and Giovanni Benedetto Castiglione . Another Italian city which had a vibrant Baroque movement was Milan . The city hosted numerous formidable artists, architects and painters of that period, such as Caravaggio. Gian Lorenzo Bernini (1598–1680) was the leading sculptor of his day and the favorite artist of several popes and their relatives, who gave him important commissions. His ‘Apollo and Daphne’ in

1575-647: The Origin of Our Ideas of the Sublime and Beautiful (1757), Edmund Burke designated Salvator Rosa as the "painter of the Sublime". Horace Walpole , Sir Joshua Reynolds , and Percy Bysshe Shelley wrote highly of his paintings. "His name came to be a kind of code word for the qualities most appreciated by the romantics.....savage sublimity, terror, grandeur, astonishment, and pleasing horror" A number of accounts of Rosa's life were published purporting to be biographies, often including fictionalized anecdotes. Salvator Rosa

1638-634: The academically conventional history canvases often restrained his rebellious streak. He generally avoided the idyllic and pastoral calm country-sides of Claude Lorrain and Paul Bril in his landscapes, and created brooding, melancholic fantasies, awash in ruins and brigands. By the eighteenth century, the contrasts between Rosa and the "sublime" landscape, and artists such as Claude and the "picturesque" landscape, were much remarked upon. A 1748 poem by James Thompson, "The Castle of Indolence", illustrated this: "Whate'er Lorraine light touched with softening hue/ Or savage Rosa dashed, or learned Poussin drew". In

1701-579: The age of seventeen, his father died; his mother was destitute with at least five children and Salvator found himself without financial support and the head of a household looking to him for support. He continued apprenticeship with Falcone, helping him complete his battlepiece canvases. In that studio, it is said that Giovanni Lanfranco took notice of his work, and advised him to relocate to Rome, where he stayed from 1634 until 1636. Returning to Naples, he began painting haunting landscapes, overgrown with vegetation, or jagged beaches, mountains, and caves. Rosa

1764-514: 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 activity also gained him powerful enemies among patrons and artists, including Bernini himself, in Rome. Around 1640, he accepted an invitation from Giovanni Carlo de' Medici to relocate to Florence, where he stayed until 1649. Once there, Rosa sponsored

1827-677: The charges. It may be possible that literary friends in Florence and Volterra coached him about the topic of his satires, while the compositions of which remained nonetheless his own. To confute his detractors he wrote the last of the series, entitled Envy . Among the pictures of his last years were the Saul and the Witch of Endor and Battlepiece now in the Musée du Louvre , the latter painted in 40 days, full of longdrawn carnage, with ships burning in

1890-645: The choreographer Jules Perrot and composer Cesare Pugni . He returned to stay in Rome in 1649. Here he increasingly focused on large-scale paintings, tackling themes and stories unusual for seventeenth-century painters. These included Democritus amid the Tombs , The Death of Socrates , The Death of Regulus (these two are now in England), Justice Quitting the Earth and the Allegory of Fortune . This last work raised

1953-664: The church grew less and less tolerant of the practice. At times Rosa's prominent reputation and relationships to powerful patrons helped to shield him from the Inquisition . At other times, the situation left him vulnerable to the many rivals and enemies he made through his satires and ostentatious character. In 1656, feeling pressure in Rome from the poet Agostino Favoriti and his close ally Fabio Chigi, recently elected Pope Alexander VII , Rosa sent Lucrezia and their son Rosalvo to stay in Naples with his family. Soon after she arrived,

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2016-500: The church of the Gesu and Andrea Pozzo 's nave vault (1691-4) in Sant'Ignazio , both in Rome. Luca Giordano 1634-1705 was born in Naples and was so prodigious in his output of paintings that he was known as ‘Luca fa presto’ (Luke fast work) Important Venetian painters included Sebastiano Ricci (1659–1734) and Giovanni Battista Piazzetta (1683–1754) but the greatest baroque exponent

2079-502: The convent of the Somaschi Fathers . Yet Salvator showed a preference for the arts and secretly worked with his maternal uncle Paolo Greco to learn about painting. He soon transferred himself to the tutelage of his brother-in-law Francesco Fracanzano , a pupil of Ribera , and afterward to either Aniello Falcone , a contemporary of Domenico Gargiulo , or to Ribera. Some sources claim he spent time living with roving bandits. At

2142-531: The first of his few altarpieces, the Incredulity of Thomas . In 1640, Rosa met Lucrezia Paolini ( c.  1620 –1696) in Florence. Lucrezia was a married woman, whose husband had left the city and abandoned her soon after their marriage, never to return. She served as a model for Rosa on occasion, and was likely the model for the allegory of Music ( c.  1641 ). Rosa and Lucrezia soon became dedicated and lifelong companions. Their first son Rosalvo

2205-529: The late 18th and early 19th centuries was profound. Art historians have described him as a "cult figure", who "inaugurated the romantic landscape", an initiator of the "cult" of the sublime landscape. One of the earliest manifestations of the romantic movement to emerge in the early 18th century was the English landscape garden , and the paintings of Rosa, as well as Claude Lorrain and Nicolas Poussin were key inspirations and models. William Kent , who originated

2268-583: The manipulation of pure, saturated colors and the atmospheric effects of light and shadow. Two of his famous paintings are ‘The Assumption of the Virgin Mary’ and ‘A Holy Woman at the Tomb of Christ’. In the 1590s he went to Rome to decorate the gallery in the Palazzo Farnese . This ceiling became highly influential on the development of painting during the seventeenth century. Its exuberance and colour

2331-454: The messages in a painting. Baroque painters such as Cortona, Giovan Battista Gaulli and Ciro Ferri continued to flourish alongside the classical trend represented by painters such as Sacchi and Nicolas Poussin , but even a classicising painter like Sacchi's pupil Carlo Maratta was influenced in his use of colour by the Baroque. In the 1672, Gian Pietro Bellori 's ‘Lives of the artists’

2394-418: The naturalized garden was known to be a great admirer of Rosa and went so far as to plant dead trees in his gardens to achieve Salvator Rosa effects. One historian noted "An extraordinary amount of Rosa's fame and influence in England seems to have rested on verbal and literary transmission, and had an impact that extended far beyond the borderline of purely pictorial concerns." In A Philosophical Enquiry into

2457-481: The neglect with which they were treated; and there is a very vigorous sortie against oppressive governors and aristocrats. Tasso 's glory is upheld; Dante is spoken of as obsolete, and Ariosto as corrupting. Painting inveighs against the pictorial treatment of squalid subjects, such as beggars, against the ignorance and lewdness of painters, and their tricks of trade, and the gross indecorum of painting sprawling half-naked saints of both sexes. War (which contains

2520-836: The nineteenth century; when his Monks Fishing was displayed in Dulwich in 1843 it was criticized by John Ruskin as telling "unmitigated falsehoods" and containing "laws of nature set at open defiance". Since the 1970s, Rosa's work has received renewed attention from scholars. including museum exhibitions, a catalog raisonné , catalogs of his drawings, the publication of his letters, biographical works, and other volumes ranging from paperback picture books to scholarly monographs. Cesareo (1892) and Cartelli (1899) wrote books taking account of Rosa's satires. The satires, though considerably spread abroad during his lifetime, were not published until 1719. They are all in terza rima , written without much literary correctness, but spirited. Rosa here appears as

2583-514: The offing; Polycrates and the Fishermen ; and the Oath of Catiline ( Palazzo Pitti ). While occupied with a series of satirical portraits, to be closed by one of himself, Rosa was assailed by dropsy . He died a half year later. His tomb is in Santa Maria degli Angeli e dei Martiri , where a portrait of him has been set up. Salvator Rosa, after struggles of his early youth, had successfully earned

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2646-478: The painter protests that he would never condescend to do any of the lascivious work in painting so shamefully in vogue. All drawings are undated: pen, ink, and wash; or pen, ink, wash, and chalk on paper All prints are etchings , or etchings with drypoint A number of biographies and fictionalizations of the life of Rosa exist: Italian Baroque painter During the Counter Reformation ,

2709-403: The painting academy in Rome, with Andrea Sacchi , a painter with classicising trends, about the perceived differences between their painting styles. The argument essentially concerned the number of figures in a painting and was couched in literary terms, with Cortona arguing for an ‘ epic ’ approach with an abundance of figures and Sacchi making the case for ‘ tragedy ’ with fewer figures to convey

2772-623: The poem Il Malmantile racquistato . He was well acquainted also with Ugo and Giulio Maffei , and was housed with them in Volterra , where he wrote four satires Music , Poetry , Painting , and War . About the same time he painted Philosophy , now in the National Gallery , London. A passage in one of his satires suggests that he sympathized with the 1647 insurrection led by Masaniello —whose portrait he painted, though probably not from life. Rosa's tempestuous art and reputation as

2835-451: The same. Envy (the last of the satires, and generally accounted the best) represents Rosa dreaming that, as he is about to inscribe in all modesty his name upon the threshold of the temple of glory, the goddess or fiend of Envy obstructs him, and a long interchange of reciprocal objurgations ensues. Here occurs the highly charged portrait of the chief Roman detractor of Salvator (we are not aware that he has ever been identified by name); and

2898-481: The seedier side of life (such as dirty feet) was in marked contrast to the usual trend of the time which was to idealise the religious or classical figure by treating it with the decorum considered appropriate to its status. He used tenebrism and stark contrasts between partially lit figures and dark backgrounds to dramatic effect. Some of his famous paintings are 'The Calling of St. Mathew', 'St. Thomas', 'The Conversion of St. Paul', 'The Entombment', and 'The Crowning of

2961-647: The stylistic airs of Mannerism . Two of the leading figures in the emergence of Baroque painting in Italy were Michelangelo Merisi da Caravaggio and Annibale Carracci . Caravaggio (1571–1610), born and trained in Milan , stands as one of the most original and influential contributors to late sixteenth century and early seventeenth century European painting. Controversially, he not only painted figures, even those of classical or religious themes, in contemporary clothing, or as ordinary living men and women, but his inclusion of

3024-460: The throne room at the Royal Palace of Madrid . An important centre of Italian Baroque painting was Genoa . Many, even from abroad, came to the city to gain Baroque artistic experience, and later went to Venice, Florence , Rome or other important Baroque centres. Prolonged visits to the town were made by artists from other parts of Italy and other countries, including Velázquez , Van Dyck ,

3087-536: The very antithesis of the "picturesque" classical views of Claude Lorrain . Some critics have noted that his technical skills and craftsmanship as a painter were not always equal to his truly innovative and original visions. This is in part due to a large number of canvases he hastily produced in his youth (1630s) in pursuit of financial gain, paintings that Rosa himself came to loathe and distance himself from in his later years, as well as posthumously misattributed paintings. Many of his peopled landscapes ended up abroad by

3150-521: The wealth and assets of Brancaccio's bishopric. Pope Urban absolved Brancaccio of any crime and ordered that he be returned to Capaccio but the Viceroy in Naples opposed it and urged the pope to send him elsewhere. The Pope, in need of more cardinals loyal to the Barberini cause, instead kept Brancaccio in Rome and he was elevated to the rank of cardinal in his consistory of 28 November 1633. Now as

3213-795: The work of artist such as John Martin , who studied Rosa's work in his formative years, A recent exhibit of William Turner 's work, at the Prado museum in Madrid, notes the influence Rosa had on Turner's landscapes. Rosa's influence can also be seen in American art of the period. Thomas Cole counted Rosa among his heroes, and his impact has been identified in the work of artists such as Washington Allston , George Caleb Bingham , Thomas Moran , William Sidney Mount , John Trumbull , Benjamin West and other American artist. Rosa's reputation and influence waned in

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3276-655: Was Gianbattista Tiepolo (1696–1770). He is renowned for his light palette of colours used with fluid brush strokes, and it is his frescoes rather than his canvases that exhibit these techniques most effectively. His works include frescoes at the Palazzo Labia and the Scuola Grande dei Carmini in Venice , Villa Valmarana at Vicenza , Villa Pisani at Stra , works at the Würzburg Residence and

3339-499: Was active in Naples , Rome , and Florence , where on occasion he was compelled to move between cities, as his caustic satire earned him enemies in the artistic and intellectual circles of the day. As a history painter , he often selected obscure and esoteric subjects from the Bible, mythology, and the lives of philosophers, that were seldom addressed by other artists. He rarely painted the common religious subjects, unless they allowed

3402-557: 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. 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

3465-589: Was an Italian Catholic cardinal . Brancaccio was born on 15 April 1592, the son of Baron Muzio II Brancaccio, governor of Apulia and Zenobia in the Kingdom of Naples . He was educated by the Jesuits in Naples . He was ordained there as a priest in 1619 and was rose through local ecclesiastic ranks until 1627 when he became Bishop of Capaccio which was then within the Kingdom of Naples. On 8 Sep 1627, he

3528-671: Was an important sculptor from Genoa. Francesco Queirolo executed several sculptures for the Cappella Sansevero in Naples including the technically demanding ‘Deception unmasked’ (after 1750). Giacomo Serpotta was the outstanding Sicilian Baroque sculptor and known particularly for his stucco figures and decorations in several oratories in Palermo . Francesco Maria Brancaccio Francesco Maria Brancaccio (15 April 1592, in Canneto , near Bari – 9 January 1675)

3591-459: Was born in August 1641, probably in Volterra , and another son, Augusto, was born in 1657. Records show at least four more children were born and placed with foundling hospitals between 1641 and 1657, giving some indication of their poor financial condition in those years. The custom of unmarried couples living together was not uncommon in the early years of the 17th century, but as the decades passed

3654-425: Was consecrated bishop by Cosimo de Torres , Cardinal-Priest of San Pancrazio , with Giuseppe Acquaviva , Titular Archbishop of Thebae , and Francesco Nappi (bishop) , Bishop of Polignano , serving as co-consecrators. While a bishop, he came into conflict with the local foot guards with whom he had a disagreement about local ecclesiastic jurisdiction . When the disagreement was elevated to armed conflict,

3717-518: Was on the later development of romantic and sublime landscape traditions within painting. Eighteenth-century artists influenced by Rosa include Alessandro Magnasco , Andrea Locatelli , Giovanni Paolo Panini and Marco Ricci . As Wittkower states, it is in his landscapes, not his grand historical or religious dramas, that Rosa truly expresses his innovative abilities most graphically. Rosa himself dismissed his early landscapes as frivolous capricci in comparison to his history paintings and later work, but

3780-445: Was picked up on by later Baroque painters while the classicising aspects of its design (disegno) influenced painters who followed the more classical cannon. Other influential painters during this early period who influenced the development of Baroque painting included Peter Paul Rubens , Giovanni Lanfranco , Artemesia Gentileschi and Guercino , whilst artists such as Guido Reni and Domenico Zampieri known as Domenichino, pursued

3843-446: Was published. This promoted classical idealism in art so artists of this trend were included (so was Caravaggio) but some of the leading artists of the seventeenth century were omitted such as Cortona, the sculptor Gianlorenzo Bernini and the architect Francesco Borromini . Monumental ceiling frescoes mainly date to the latter part of the seventeenth century. Some were dramatically illusionistic such as Gaulli's nave fresco (1674-9) in

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3906-432: Was scarcely distinguished from the bandits and outsiders that roamed the wild and thundery landscapes he painted. By the mid 19th century however, with the rise of realism and Impressionism , his work fell from favor and received very little attention. A renewed interest in his paintings emerged in the late 20th century, and although he is not ranked among the very greatest of the Baroque painters by art historians today, he

3969-467: Was the subject of an opera by Antônio Carlos Gomes , a ballet Catarina or La Fille du Bandit , and Franz Liszt included an arrangement of a song by Giovanni Bononcini , in his suite Annees de pelerinage , Deuxieme annee: Italie , (S.161) No. 3, Canzonetta del Salvator Rosa . Rosa and his tempestuous spirit became the darling of British Romantics such as Henry Fuseli , John Hamilton Mortimer , and Alexander Runciman . His influence can be seen in

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