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Premium MICHELE ROCCA (Parma, 1671 - Venice, 1751)
Bacchanal with ny…
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MICHELE ROCCA (Parma, 1671 - Venice, 1751)
Bacchanal with ny…
See original version (Italian)
Lot no. 40
Description
MICHELE ROCCA
(Parma, 1671 - Venice, 1751)
Bacchanal with nymph, satyr and cupids
Oil on canvas, 37.2X47 cm
Provenance:
Rome, Rosa collection
Milan, private collection
Bibliography:
G. Sestieri, Michele Rocca, in Quaderni di Emblema 2, Miscellanea, 2, 1973, pp. 83-96, fig. 80
G. Sestieri, Repertorio della pittura romana della fine del Seicento e del Settecento, Turin 1994, I, pp. 159-161 (cited as Idillio musicale già della collezione Rosa)
G. Sestieri, Michele Rocca e la pittura rococò a Roma, Milan 2004, p. 218, fig. 34A
The rediscovery of Michele Rocca was due to Hermann Voss who dedicated two articles in 1921 and 1924 highlighting the artist's rocaille prerogatives, but it was thanks to Giancarlo Sestieri's studies that his personality took on due prominence. In fact, the 1973 essay coincided with the painter's collecting fortune and his presence on the international market with the most important London galleries such as Heim, Hazlitt and Colnaghi proposing Rocca as a prominent exponent of 18th century Italian art. As we know, Rocca was born in Parma in 1666 and learnt the rudiments of the trade from the Theatine painter Filippo Maria Galletti, but according to Nicola Pio he reached Rome very young, around 1682, to attend Ciro Ferri's workshop. That said, the artist achieved success early on and was appreciated by a circle of admirers, including Cardinal Pietro Ottoboni. His production, in fact, counts mainly canvases with mythological subjects destined for cultured and refined collectors, with figures in sinuous, elegant poses, characterised by a glazed quality of the surfaces, in which memories of Correggio and Parmigianino are reinterpreted through the Arcadian culture in vogue. The outcome is therefore extraordinarily seductive and not at all monotonous from a creative point of view, highlighting a literary culture and a coherent interpretation of the Renaissance tradition.
The work is accompanied by a written communication by Mina Gregori.
Reference bibliography:
H. Voss, Michele Rocca, ein vergessener italienischer Rococo-maler, in Zeitschrift für Bildende Kunst 32, 192, pp. 69-75
C. Enggass, R. Enggass, Nicola Pio, le vite di pittori, scultori et architetti, Rome 1977, ad vocem
N. Roio, Michele Rocca un pittore emiliano a Roma tra Barocco e Rocococo, in Antichità viva 2, 1993, pp. 42-48
N. Roio, Michele Rocca un pittore emiliano a Roma tra Barocco e Rocococo, in Antichità viva 4, 1994, pp. 9-15
E. Debenedetti, C. Pergoli Campanelli, Un punto su Michele Rocca, in Roma il Tempio del vero gusto. La pittura del Settecento romano e la sua diffusione a Venezia e a Napoli, conference proceedings edited by E. Borsellino and V. Casale, Florence 2001, pp. 59-66
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