By Salvator Rosa, School Of The Late Seventeenth Century,marina With Fishermen

by Salvator Rosa, School of the late seventeenth century

Marina with fishermen

Oil on canvas, cm 100 x 126

with frame, cm 111 x 136 

Exemplified on the homonymous canvas by Salvator Rosa (1615-1673), now conserved at the Palatine Gallery of Palazzo Pitti, the work features a sunset Marina with boats, fishermen, and ruins of a castle. The Florentine painting, coming from Ricciardi’s house, was executed during the Florentine period of the Rose for Cardinal Giancarlo de Medici The canvas is a pendant for another painting, also kept at Palazzo Pitti, depicting The Bridge; the two paintings were made by the painter immediately after 1640 and are still linked to a style of painting that shows a new refinement in the tonal rendering of the landscape he immediately acquired in Rome and reconciled with his own natural tendency towards a type of composition varied and picturesque, very similar to the Gulf View of the Estense Gallery of Modena and other paintings of Modena that year. There are some copies of paintings that attest to his celebrity, among the most characteristic of Rosa’s youthful production, such as the copy of the painting kept at Corsham Court. 

Pupil in his native land of Fracanzano, Jusepe de Ribera and Aniello Falcone, Rosa moved to Rome in 1635 thanks to the protection of Cardinal Brancacci where she met the children and the work of Peter van Laer and Cerquozzi who had an innovative attitude towards nature in opposition to the heavy and academic Roman Baroque. The years 1639-1640 dates back to a change in the classicist sense of his style, under the influence of Claude Lorrain, Nicolas Poussin and Pietro Testa, evident in the conception of the landscape, which is however compatible with the sensitivity of the artist for the rendering of the picturesque aspects of nature. He soon renounced that pictorial language of the Scuola dei Bamboccianti, to enter the workshop of the painter Jusepe de Ribera, called the Spaniard faithful continuation of Caravaggio’s luminism, creator of a dramatic and gloomy painting, rich in bright chiaroscuro effects.

Rosa’s works masterfully render the tension between creation and the human element, whose material smallness and impotence towards nature are highlighted, elements that also emerge in the pair of paintings analyzed here, where the human figure becomes minute in front of the majestic landscape. 

The object is in good condition

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