  About the Artwork
  
  
  Known for his rebellious, fiercely independent personality as for his brooding, wild landscapes, Salvator Rosa trained as a painter in Naples and worked for extended periods of time in Florence at the Medici court. A talented musician and playwright, Rosa also gained fame for his acerbic satires, some of which attacked contemporary artists and earned him powerful enemies, including the sculptor and architect Gian Lorenzo Bernini. Rosa was fascinated by the darker impulses of human nature, and he captured his own gaunt features and intense demeanor in a series of striking self-portraits. In this likeness — painted in the 1650s when Rosa was living in Rome — the artist stares down the viewer with a smoldering, almost angry expression that fully lives up to his tempestuous reputation.
  
  
  Title
  Self-Portrait
  
  
  Artwork Date
  1650s
  
  Artist
  Salvator Rosa
  
  
  
  Life Dates
  1615-1673
  
  
  
  
  Nationality
  
  
  
  Please note:
  Definitions for nationality may vary significantly, depending on chronology and world events.
  Some definitions include:
  Belonging to a people having a common origin based on a geography and/or descent and/or tradition and/or culture and/or religion and/or language, or sharing membership in a legally defined nation.
  
  
  
  Italian
  
  
  
  Culture
  
  
  
  Please note:
  Cultures may be defined by the language, customs, religious beliefs, social norms, and material traits of a group.
  
  
  
  
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  Medium
  Oil on canvas
  
  
  Dimensions
  Unframed: 28 3/8 × 24 5/8 inches (72 × 62.5 cm)
  Framed: 37 × 32 1/8 × 3 inches (94 × 81.6 × 7.6 cm)
  
  
  Classification
  Paintings
  
  
  Department
  European Painting
  
  
  Credit
  Founders Society Purchase, John and Rhoda Lord Family Fund
  
  
  
  Accession Number
  
  
  
  This unique number is assigned to an individual artwork as part of the cataloguing process at the time of entry into the permanent collection.
  Most frequently, accession numbers begin with the year in which the artwork entered the museum’s holdings.
  For example, 2008.3 refers to the year of acquisition and notes that it was the 3rd of that year. The DIA has a few additional systems—no longer assigned—that identify specific donors or museum patronage groups.
  
  
  
  66.191
  
  
  Copyright
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