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Philipp Peter Roos (Rosa di Tivoli)By Philipp Peter Roos, Roman countryside with herdsXVII Century
XVII Century
$11,369.97
£8,492.33
€9,600
CA$15,600.04
A$17,430.45
CHF 9,118.06
MX$213,753.16
NOK 116,511.46
SEK 110,483.73
DKK 73,082.95
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About the Item
Philipp Peter Roos, known as Rosa da Tivoli (Sankt Goar, August 30, 1657 - Rome, January 17, 1706)
Pair of landscapes of the Roman countryside with catkins
(2) Oil on canvas, 22 x 30 cm
Framed, 34 x 41 cm
The son of German portrait and animal painter Johann Heinrich Roos, Philipp Peter Roos belonged to a line of painters and engravers active north of the Alps as early as the late 16th century. The artist, born Sankt Goar in 1657, received his earliest pictorial rudiments between Heidelberg and Frankfurt and came to Italy in 1677 on a scholarship bestowed on him by the Landgrave of Hesse on the condition that he return to work at his court following his training experience in the Peninsula. Disregarding the Landgrave's conditions, however, Ross never returned to Germany, settling first for a short time in Bologna, where he was the guest of the painter and collector Franz Goegel and got to know and appreciate the art of Guido Reni and Guercino, and then permanently in Rome. In the city, he studied under Giacinto Brandi, a painter responsible, in the second half of the 17th century, for the execution of a large number of Baroque-style altarpieces for churches in the Eternal City and adjacent towns, whose daughter Maria Isabella he married in 1681. In Rome, Roos had the opportunity to admire the works of Gaspar Dughet and Salvator Rosa, which were a great source of inspiration for him, especially regarding the first phase of his production. Around the mid-1780s, Roos bought a house near Tivoli, which earned him the nickname Rosa da Tivoli, by which he is often referred to in literary sources. In this small country proprety, often ironically referred to by contemporaries as Noah's Ark, Roos raised animals and painted them with a thoroughly innovative and particoalre technique characterized by the use of intense, sometimes almost coarse brush strokes and strong chiaroscuro contrast. Beginning in 1691, the German artist lived mainly in Rome, where he became a member of the Schildersbent, an association of painters, mainly Dutch and Flemish, that thrived for a century between about 1620 and 1720 and was famous for its Bacchic rituals and opposition to the Accademia di San Luca. In this area, Roos was known by the nickname Mercurius because of the speed and dexterity with which he executed his paintings. Although he may be considered one of the most prolific artists in seventeenth-century Rome, the German-born painter was able to maintain a high level of quality in all his works, being responsible for a number of pieces of very high caliber, including Cani da guardia alla selvaggina at the Musée Fesch in Ajaccio, Paesaggio con armenti at the Complesso della Pilotta in Parma, and Paesaggio con pastore e gregge at the Gemaeldegalerie in Kassel. Roos's work was able to impart a decisive change of direction to the landscape and animalistic genre in second-century Rome: figures such as Brandi, De Marchis, Locatelli, and Londonio clearly perceived his influence, inheriting the stylistic features of his art both technically and iconographically.
Most of the artist's works depict domestic animals, often accompanied by their herdsmen and immersed in the beautiful setting of the Roman countryside. Animals are generally painted in the foreground, dominating the scene in the vast majority of Roos' paintings. As art historianLuigi Salerno highlights, "the real protagonists of his painting are the animals, portrayed as individuals." His highly characterized painting can be said to be, at the same time, both landscape and animalistic.
In this beautiful pair of small Landscapes with herds, animals stand out against a lush bucolic landscape, which conceals one of the most mysterious and striking ancient architectures of the Urbe, the Cestia Pyramid: at the turn of the seventeenth and eighteenth centuries, the monument catalyzed the attention of various vedutisti, as also demonstrated by the canvases of Paolo Anesi and Giovanni Paolo Panini, in private collections and at the Museo Diocesano in Milan, respectively. The depiction of the great monuments of antiquity against the backdrop of agrarian scenes turns out to be relatively common in Roos's pictorial corpus, as can be inferred from works such as Landscape with Shepherds and Herds near Tivoli in the Civic Museum of Belluno or Landscape with Shepherds and Flock in the Pinacoteca Nazionale in Bologna. An open dichotomy is created in these types of works between the decadent splendor of ancient Rome and the bucolic, true beauty of the countryside surrounding the Eternal City.
- Creator:Philipp Peter Roos (Rosa di Tivoli) (1655 - 1706, German)
- Creation Year:XVII Century
- Dimensions:Height: 8.67 in (22 cm)Width: 11.82 in (30 cm)
- More Editions & Sizes:22x30Price: $11,370
- Medium:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639215787142
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