Rural Scene Rosa Da Tivoli 600

The "Rural Scene" (oil painting on canvas, 90 x 113 cm without frame and 110 x 125 cm with coeval frame) as it hinges only on the presence of animals - an ox, a cow, two sheep and a goat - may constitute an exception in this specific vein, but it reflects the prevailing and constant practice of Philipp Peter Roos known as "Rosa da Tivoli" (Frankfurt am Main 1657 - Rome 1705), to whose hand the painting in question is to be assigned.

A judgment fully supported by the verifiable expression of the master's most peculiar qualities, both in terms of pictorial and inventiveness. In fact, the painting focuses on the preferred theme of Roos, framed as usual, against a landscape background with ancient ruins and the remains of an aqueduct, typical of the countryside around Rome, with an indirect inspiration from Tivoli. Town where the painter owned a country house, with various animals which, together with their shepherd and the caretaker of the house, are often the usual characters in his pastoral representations.

In which Philipp - in fact better known by his Italianised nickname of "Rosa da Tivoli" - performs compositions almost always based on the presence, rather than on people, of animals, usually sheep, goats and cows, which sometimes dominate the close-ups with a excessive emersion, so much so that it can be looming. A defect in which 'our' painting does not incur, as the exhibition meter of the animals is not excessive and appears happily absorbed by the degrading of the second floors up to the aforementioned landscape background, also thanks to the loose and full-bodied pictorial layout, implied by constructive contrasts chromatics and chiaroscuro passages.

Son and pupil of Johann Heinrich, also a famous and talented animal lover, specialized in pastoral scenes, Philipp moved to Rome at a very young age in 1677, quickly Italianizing himself, both socially and culturally; as the biographies dedicated to him by Pio and Pascoli also attest to. In 1681 he married a daughter of Giacinto Brandi, an emerging master of late seventeenth-century Roman painting, and whose pictorial imprint, essentially Baroque, is clearly reflected in the figurative and technical ways of Rosa da Tivoli, who enjoyed fervent success with the client Roman also aristocratic In Palazzo Taverna an entire hall is decorated only with at least fifty paintings by him.

On the prolific Roos family of painters, Hermann Jedding has edited an accurate volume, accompanied by a good illustrated repertoire (Johann Heinrich Roos. Werke einer Pfalzer Tiermalerfamilie in der Galerien Europas, V.P. von Zabern ed., Mainz 1998), of which Philipp Peter has a primary role together with the aforementioned progenitor.

The paintings and works of art published here are my exclusive property and therefore are always available to be viewed, by appointment, in my exhibition sites located in Sanremo and Brescia.

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Mr. Riccardo Moneghini
Art Historian