salvator rosa ne demek?

Salvator Rosa (1615-1673) bugün en çok, romantikleştirilmiş manzaraları ve genellikle karanlık ve evcilleşmemiş doğada geçen tarih resimleri, 17. yüzyıldan 19. yüzyılın başlarına kadar önemli bir etki yaratan bir İtalyan Barok ressamı olarak bilinir. Hayatı boyunca en ünlü ressamlar arasında yer almış, ¹ gösterişli kişiliği ile tanınan ve aynı zamanda başarılı bir şair, hicivci, oyuncu, müzisyen ve matbaacı olarak kabul edilmiştir. Napoli, Roma ve Floransa'da aktifti ve zaman zaman şehirler arasında taşınmak zorunda kaldı, çünkü kostik hicivleri ona günün sanatsal ve entelektüel çevrelerinde düşman kazandı. ² Bir tarih ressamı olarak, diğer sanatçılar tarafından nadiren ele alınan İncil, mitoloji ve filozofların yaşamlarından genellikle belirsiz ve ezoterik konular seçti. Ayrıca savaş sahneleri, alegoriler, büyücülük sahneleri ve birçok otoportre üretti. Bununla birlikte, "yüce" doğayı betimleyen orijinal manzaraları için en çok saygı görmektedir: genellikle vahşi ve düşmanca, zaman zaman onları dolduran insanları doğanın daha büyük aleminde marjinal olarak gösterir. Bunlar, Claude Lorrain'in "pitoresk" klasik görüşlerinin ve romantik manzara prototiplerinin tam antiteziydi. Bazı eleştirmenler, bir ressam olarak teknik becerilerinin ve işçiliğinin her zaman onun gerçekten yenilikçi ve orijinal vizyonlarına eşit olmadığını belirtti. ³ Bununla birlikte, bu kısmen, gençliğinde (1630'larda) maddi kazanç peşinde koşarak aceleyle ürettiği çok sayıda tuval, Rosa'nın sonraki yıllarında nefret ettiği ve kendisinden uzaklaştığı tablolar ve ayrıca ölümünden sonra özlenen resimlerden kaynaklanmaktadır. atfedilen resimler. ⁴

Salvator Rosa (en)'nın kariyeri Roma'da kaldığı süre boyunca yükseldi, ancak eğitimini Napoli'de Falcone'den, İspanyol Jusepe de Ribera'dan (İspanyol sanatı bölümünde tartışılacak) ve Pugliese Francesco Fracanzano (en)'dan aldı. Rosa, alegoriler, tarihler, portreler, büyücülük sahneleri ve manzara ressamıydı. İkincisi, en iyi tanındığı türdür. Çağdaş kaynaklara göre, Napoli'deyken Lanfranco, Rosa'nın yeteneğini fark etti ve ona kariyerini ilerletmek için Roma'ya taşınmasını tavsiye etti. Rosa 1635'te gitti ama sıtmaya yakalandı ve Napoli'ye dönmek zorunda kaldı. 1639'da papalık şehrine döndü ve ilk kamu görevi olan Viterbo'daki Santo Tommaso Kilisesi için tasarlanan Incredulity of St. Thomas altar resmini aldı. Patronu, koruyucusu olan Kardinal Francesco Maria Brancaccio (en)'ydi. Yine de, Brancacci'nin etkisine rağmen, 1639 Karnavalı sırasında Rosa, iyi bağlantıları olan ve kaçmak zorunda kalan Bernini'yi hicveder. d'Este dükleri için çalışmak üzere Ferrara'ya ve ardından Floransa'ya (1640'ta) gitti, burada Medici'nin himayesinden zevk aldı, 1649'da Roma'ya döndü ve hayatının geri kalanını bir ziyaret için kurtarmak dışında burada geçirdi. 1647'de Napoli'ye

Rosa'nın manzaralarının çoğu çalkantılı ve aynı zamanda şiirseldir. Carracci, Nicolas Poussin ve Claude Lorrain tarafından yapılan klasik manzaraların antitezi. Örneğin, Grotto and Cascades (1639-1640; Florence, Palazzo Pitti), ön planda çeşitli yaygın türlerin işgal ettiği karanlık bir mağara mağarası sunar. Uzakta, çoğunlukla altın tonlarında işlenmiş ve baştan sona bitkilerle bezenmiş kayalık bir manzara görülüyor. Güneşli manzara ve çeşitli şelaleleri, sıcak ve nemli bir iklime işaret ediyor. Rosa'nın betimlediği bereketli doğası, ön plandaki uğursuz alanla belirgin bir tezat oluşturuyor. Rosa'nın tarzı, 19. yüzyıla dayanan sanatsal bir hareket olan Romantizmin gelişimine ilham verdi.

Kaynakça

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Footnotes

1. Jaffé, Hans L. C., editor. 1967. 20,000 Years of World Painting. Harry N. Abrams, Inc., Publishers. New York. 418 pp. [page 228] ↩

2. Italian painter | erişimtarihi = 28 Ekim 2020 | dil = İngilizce | çalışma = Encyclopedia Britannica | arşivurl = https://web.archive.org/web/20150905113056/https://www.britannica.com/biography/Salvator-Rosa | arşivtarihi = 5 Eylül 2015}} ↩

3. Venturi, Lionello and Rosabianca Skira-Venturi. 1952. Italian Painting: From Caracaggio to Modigliani. Editions D'Art Albert Skira, Geneva, Switzerland. 174 pp. [pages 67 & 85 ] ↩

4. Langelon, Helen, (with Xavier F. Salomon and Caterina Volpi). 2010. Salvator Rosa. Dulwich Picture Gallery and Kimbell Art Museum in association with Paul Holberton Publishing, London. 240 pp. ↩

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