- New
St. Cecilia refusing to sacrifice to Jupiter
| Reference: | S48854 |
| Author | Francesco ROSA |
| Year: | 1670 ca. |
| Measures: | 375 x 225 mm |
€900.00
- New
| Reference: | S48854 |
| Author | Francesco ROSA |
| Year: | 1670 ca. |
| Measures: | 375 x 225 mm |
€900.00
Description
Etching, ca. 1670, lower left: Domini.s Inv. P. Romae; right: fran.s Rosa Rom.s Del. Scu.
Exemplar in the very rare first state of two, before the address of publisher Vincenzo Billy.
This engraving is a mirror image of Domenichino's painting in the church of S. Luigi dei Francesi in Rome.
Francesco Rosa was born in Rome on November 25, 1638. The main biographical information is obtained from the anonymous Vita di Francesco Rosa, added to Lione Pascoli's Vite de' pittori, scultori e architetti viventi, a source that has made it possible to clarify once and for all the misunderstandings regarding Rosa's biography and artistic production due to his overlap with the Genoese painter of the same name (Genoa, c. 1635-40 - Venice, 1710) and with the Neapolitan Pacecco de Rosa (Naples, 1607-1656). From the Vita pascoliana we learn how the young Francesco “until the age of twelve,” when he was orphaned of both parents, attended the Roman College, where he met Pier Filippo Bernini, son of the famous artist. After an initial training with the not otherwise known “Placido Palermitano,” Rosa entered the workshop of Giovanni Angelo Canini, through whom he developed his interest in classicist painting and approached engraving techniques.
Artistic opinion on the quality of Rosa's few etchings is negative. Bartsch, in addition to pointing out the erroneous moisture in two etchings, notes that these works are so naive as to rule out the possibility that Rosa was a painter. Also negative is the opinion expressed by Nagler in his Künstler-Lexikon.
Francesco Rosa shows affinities in subject matter with Annibale Carracci and Domenichino. He probably did not employ a professional printer, and the biting errors cited by Bartsch, which are evident in his works, suggest that he printed them himself. In two cases, however, his engravings had second printings: with the Parisian Bertrand Le Sieur and, with this Santa Cecilia, with Vincenzo Billy in Rome. Francesco Rosa's prints are quite rare; they are distinguished by their very personal style and show an attempt to translate into print the chiaroscuro effects typical of painting.
Magnificent proof, rich in contrast, printed on contemporary laid paper without watermark, trimmed to copperplate, in excellent condition. Very rare.
Bibliografia
P. Bellini, F. R., in The Illustrated Bartsch, XLVII, New York 1987, pp. 133-137; Le Blanc C., Manuel De L'amateur D'estampes, 3; Nagler G.K., Neues Allgemeines Künstler-Lexikon, 3.
Francesco ROSA (Roma 1638 - 1687)
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Francesco Rosa was born in Rome on November 25, 1638. The main biographical information is obtained from the anonymous Vita di Francesco Rosa, added to Lione Pascoli's Vite de' pittori, scultori e architetti viventi, a source that has made it possible to clarify once and for all the misunderstandings regarding Rosa's biography and artistic production due to his overlap with the Genoese painter of the same name (Genoa, c. 1635-40 - Venice, 1710) and with the Neapolitan Pacecco de Rosa (Naples, 1607-1656). From the Vita pascoliana we learn how the young Francesco “until the age of twelve,” when he was orphaned of both parents, attended the Roman College, where he met Pier Filippo Bernini, son of the famous artist. After an initial training with the not otherwise known “Placido Palermitano,” Rosa entered the workshop of Giovanni Angelo Canini, through whom he developed his interest in classicist painting and approached engraving techniques. To these same years dates his frequentation of the elder Nicolas Poussin, from whom he learned to compose erudite scenes of historical-literary subjects. In the mid-1760s Rosa's career took a significant turn thanks to the support of powerful patrons gravitating around the circuit of Fabio Chigi and Christina of Sweden, such as Cardinals Luigi Alessandro Omodei and Camillo Massimo. Rosa died in Rome on November 26, 1687, at the age of forty-nine, following a “malignant fever.”
Artistic opinion on the quality of Rosa's few etchings is negative. Bartsch, in addition to pointing out the erroneous moisture in two etchings, notes that these works are so naive as to rule out the possibility that Rosa was a painter. Also negative is the opinion expressed by Nagler in his Künstler-Lexikon.
Francesco Rosa shows affinities in subject matter with Annibale Carracci and Domenichino. He probably did not employ a professional printer, and the biting errors cited by Bartsch, which are evident in his works, suggest that he printed them himself. In two cases, however, his engravings had second printings: with the Parisian Bertrand Le Sieur and, with this Santa Cecilia, with Vincenzo Billy in Rome. Francesco Rosa's prints are quite rare; they are distinguished by their very personal style and show an attempt to translate into print the chiaroscuro effects typical of painting.
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Francesco ROSA (Roma 1638 - 1687)
|
Francesco Rosa was born in Rome on November 25, 1638. The main biographical information is obtained from the anonymous Vita di Francesco Rosa, added to Lione Pascoli's Vite de' pittori, scultori e architetti viventi, a source that has made it possible to clarify once and for all the misunderstandings regarding Rosa's biography and artistic production due to his overlap with the Genoese painter of the same name (Genoa, c. 1635-40 - Venice, 1710) and with the Neapolitan Pacecco de Rosa (Naples, 1607-1656). From the Vita pascoliana we learn how the young Francesco “until the age of twelve,” when he was orphaned of both parents, attended the Roman College, where he met Pier Filippo Bernini, son of the famous artist. After an initial training with the not otherwise known “Placido Palermitano,” Rosa entered the workshop of Giovanni Angelo Canini, through whom he developed his interest in classicist painting and approached engraving techniques. To these same years dates his frequentation of the elder Nicolas Poussin, from whom he learned to compose erudite scenes of historical-literary subjects. In the mid-1760s Rosa's career took a significant turn thanks to the support of powerful patrons gravitating around the circuit of Fabio Chigi and Christina of Sweden, such as Cardinals Luigi Alessandro Omodei and Camillo Massimo. Rosa died in Rome on November 26, 1687, at the age of forty-nine, following a “malignant fever.”
Artistic opinion on the quality of Rosa's few etchings is negative. Bartsch, in addition to pointing out the erroneous moisture in two etchings, notes that these works are so naive as to rule out the possibility that Rosa was a painter. Also negative is the opinion expressed by Nagler in his Künstler-Lexikon.
Francesco Rosa shows affinities in subject matter with Annibale Carracci and Domenichino. He probably did not employ a professional printer, and the biting errors cited by Bartsch, which are evident in his works, suggest that he printed them himself. In two cases, however, his engravings had second printings: with the Parisian Bertrand Le Sieur and, with this Santa Cecilia, with Vincenzo Billy in Rome. Francesco Rosa's prints are quite rare; they are distinguished by their very personal style and show an attempt to translate into print the chiaroscuro effects typical of painting.
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