Large 17th Century Italian Oil on Canvas Ships Sea Painting "Marina delle torri"

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Large 17th Century Italian Oil on Canvas Ships Sea Painting "Marina delle torri"
1660

Price:$5,000

$6,500List Price

About the Item

A large 17th century Italian Baroque oil on canvas painting of ships, circle of Salvator Rosa (1615-1673), "Marina delle torri" translated as Marina of the Towers, circa 1670. The painting depicts ships in a cove or an estuary of a river in Tuscany, some ships are moored on the left and in the center. The painting of their elements, of the rigging and of their crews is precise. The right side of the scene is dominated by a ruined tower, connected at the bottom by an overpass to a classical circular building, with fluted columns on the perimeter, decorated with Ionic capitals. Another such painting is located in the Palatine Gallery in Florence, there is also a rendition of this scene at Corsham Court in England that came from the Capponi collections; a noble Florentine family with their roots dating back to the 13th century. This work whilst period is most likley from the circle of Rosa, the painting is very well executed on canvas & adhered to board, condition is very good indeed, the painting has just recently been professionally & lightly cleaned by an experienced trained conservator. The painting is housed in a gilt hardwood frame, this very attractive painting is ready to hang on your wall & grace your space. Painting at sight without frame 43.75" x 32" Provenance from the collection of a country house Rochester Kent Rosa was an Italian painter of the Baroque period, as well as a printmaker, poet and author of satires. He was active in Naples, Rome and Florence, and best known for his unconventional and romantic landscapes, as well as his rebellious nature. Rosa was indisputably a leader in that tendency towards the romantic and picturesque, called a proto-romantic. His landscapes avoided the idyllic and pastoral calm in the landscapes of Claude Lorrain (1600 – 1682) and Paul Bril (1554 – 1626), and created brooding, melancholic fantasies, awash in ruins and brigands. As a writer, Rosa was equally romantic in his descriptions and rebellious in his attitude towards convention. Rosa began his training in Naples, notably with his future brother-in-law, Francesco Francanzano (1612 – 1657), who trained under the influential Spanish painter, Jusepe de Ribera (1591 – 1652), who Rosa may have trained with as well. It is also said that Rosa may have trained with the Naples painter, Aniello Falcone (1600 – 1665), who was also an apprentice to Ribera. After a brief trip to Rome, he returned to Naples and began painting his wildly romantic landscapes, eventually returning to Rome after 1638 painting one of his only altarpieces, Incredulity of Thomas. Something of a Baroque polymath, Rosa pursued his talents in music, poetry, writing, etching and acting. He wrote and often acted in his own Satires, which in turn gained him the reputation of a rebel, pitting him against powerful people, such as the prominent Roman sculptor, Bernini (1598 – 1680). This partially drove him away from Rome to sanctuary in Florence, patronized by a Medici Cardinal; he started his Accademia dei Percossi, or Academy of the Stricken, were artists, playwrights and poets gathered, among them the poet-painter, Lorenzo Lippi (1606 – 1664). He then returned to Naples, where it is said he engaged in the Spanish revolt of Masaniello (1622 – 1647), with some works produced showing this influence. He finally returned to Rome around 1649, painting historical works such as, Democritus amid Tombs, Death of Socrates, Regulus in the Spiked Cask, Justice Quitting the Earth and the Wheel of Fortune. The latter satirical work raised a storm of controversy, from which Rosa, endeavoring at conciliation, published a description of its meaning, but was nearly arrested. It was about this time that Rosa wrote his satire named Babylon, under which name Rome was of course his target. Among the pictures of his last years were the admired Battlepiece and Saul and the Witch of Endor, a work painted in 40 days, full of longdrawn carnage, with ships burning in the offing; Pythagoras and the Fishermen; and the Oath of Catiline. His output in painting and satirical writing was large, and both respected and contested in its time. Rosa, the man, is romanticized in several fictional works, including novels and fully scored ballets.

Creation Year:
1660
Dimensions:
Height: 37.75 in (95.89 cm)Width: 49.5 in (125.73 cm)Depth: 2 in (5.08 cm)
Medium:
Oil,Canvas
Movement & Style:
Baroque
Circle Of:
Salvator Rosa (1615 - 1673, Italian)
Period:
1670-1679
Framing:
Frame Included
Framing Options Available
Condition:
Very good antique condition.
Gallery Location:
Portland, OR
Reference Number:
1stDibs: LU1366216581572

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