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Sheet of Satirical Studies (Amorini Riding Phalli), c. 1650s. Creator: Salvator Rosa (Italian
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Sheet of Satirical Studies (Amorini Riding Phalli), c. 1650s. Creator: Salvator Rosa (Italian
Sheet of Satirical Studies (Amorini Riding Phalli), c. 1650s. This outrageous and comical sheet stands out as one of the few existing examples of Rosas representation of bawdy material. While Rosa was not interested in lewd imagery for vulgaritys sake, he certainly enjoyed intellectual jokes that advertised his erudite knowledge. The grotesque face at the right, and the cupids that ride the almost-elephantine phalli at center reference Classical and Renaissance motifs. Heads composed of objects-particularly the famous Testa di Cazzi (" head of penises" )-were frequently used as decoration on Renaissance maiolica ceramics. This kind of imagery- like the museums witchcraft paintings-would have been understood by 17th-century audiences as more than just grotesquerie. The exaggerated and lampooning qualities of this drawing both reference and parody these famous artistic traditions, showing how Rosa frequently used satirical humor to establish his identity as a sharp and sophisticated artist
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Media ID 19639569
© Heritage Art/Heritage Images
1615 1673 Pen And Brown Ink Salvator Rosa Salvator Rosa Italian Wash
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This print showcases a fascinating and rare piece of art by Salvator Rosa, titled "Sheet of Satirical Studies (Amorini Riding Phalli), c. 1650s". Known for his intellectual humor and erudite knowledge, Rosa delves into bawdy material in this outrageous and comical sheet. While not aiming for vulgarity's sake, Rosa incorporates lewd imagery to create intellectual jokes that highlight his artistic prowess. The grotesque face on the right side and the cupids riding almost-elephantine phalli at the center draw inspiration from Classical and Renaissance motifs. In particular, Renaissance maiolica ceramics often featured heads composed of objects like the famous Testa di Cazzi ("head of penises") as decorative elements. However, these images go beyond mere grotesquerie; they hold deeper meaning understood by 17th-century audiences. Just like witchcraft paintings displayed in museums during that time period, this drawing parodies famous artistic traditions while referencing them. It exemplifies how Rosa frequently employed satirical humor to establish himself as a sharp and sophisticated artist. This print captures the essence of Rosa's unique approach to artistry through satire. Its inclusion in Heritage Art/Heritage Images collection allows us to appreciate both its historical significance and its ability to provoke thought even today.
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