ROSA DA TIVOLI - IMPORTANT AND IMPOSING "PASTORAL SCENE" - Philip Roos known as ROSA DA TIVOLI (Sankt Goar 1655 - Rome 1706) - museum work

PASTORAL SCENE - Philip Roos known as ROSA DA TIVOLI (Sankt Goar 1655 - Rome 1706) Important oil on canvas within a large gilded and carved wooden frame of the period. The work, recently restored by Dr. Marilena Gamberini of Imola, has been subjected to radiographic investigation with multimedia reconstruction. The current pictorial rendition (dating back to the second half of the 17th century) reveals, in some underlying parts, an older rendition (a few decades earlier) on the theme of still life. The bucolic composition is of great pictorial significance, typical of the compositional modes of which Philip Roos, known as Rosa da Tivoli (Frankfurt 1655 - Rome 1718), together with Brandi, is considered a leading figure. High school Rome - second half of the 17th century website: www.palazzodelbuonsignore.com Measurements: Height 130.0 cm Width 180.0 cm. Philipp Peter Roos, known as Rosa da Tivoli (Sankt Goar, August 30, 1657 – Rome, January 17, 1706), was a German painter of the Baroque period. He belonged to a family of German painters and engravers: his father was Johann Heinrich Roos, the most important German animal painter of the 17th century. He arrived in Italy in 1677 with a scholarship from the Landgrave of Hesse, on the condition that he return to his court. However, disregarding the Landgrave's conditions, he never returned to Germany. He studied in Rome with Giacinto Brandi, whose daughter Maria Isabella he married in 1681, after embracing the Catholic faith. In 1684-1685 he bought a house near Tivoli, which earned him the nickname Rosa da Tivoli. Roos raised the animals he painted in this ramshackle house, which was therefore called Noah's Ark. From 1691 he lived mainly in Rome, where he became a member of the Schildersbent with the nickname Mercurius, for the speed with which he executed his paintings and for the ease with which he painted. This speed of execution was particularly useful to him: in fact, often without money, he painted one or two paintings which he had his servant sell at any price in order to pay the inn bill. He lived a dissolute life and died in poverty. Most of his works depict domestic animals with their herdsmen in the Roman countryside. The animals are generally painted in the foreground and dominate the scene, while the landscape can be glimpsed below. Roos applies his paint thickly, rendering the coats, position, and movements of each species with great talent. In the years around 1680 the artist generally portrayed small groups of animals (sheep and goats, often led by a ram with curved horns), with shepherds on the side in rough clothes, near the animals. In the distance wild valleys alternated with steep walls illuminated by a yellow-brown light; the distant mountains were rendered with shades of blue. Ancient ruins were often painted in the background. Around the 1690s, Roos mainly painted landscapes and transformed natural landscape motifs into unusual and moving visions. Although this artist generally painted landscapes and animals, he was nevertheless capable of creating more complex compositions, as evidenced by the drawing "Deposition from the Cross" now at the Jean Paul Getty Museum. Roos's style reflected his working method. It was in fact characterized by the use of intense, sometimes almost coarse brushstrokes and by a strong contrast between light and shadow. Website: www.palazzodelbuonsignore.com