Andres Rossi (Madrid, 1771 - Seville, 1849) was a Spanish artist. He worked as a painter, draughtsman, print maker, sculptor and writer in Madrid and Seville.[1][2][3]
Biography
Jose Andres Rossi was born in Madrid.[4] His surname appears as Rossi, Rosi, Roszi, Roso or Rosso in different texts. The fact that he signed with a double "s" suggests an Italian ancestry (though it was often subsequently changed to "Rosi" in the inscriptions of many of his prints).[5]
Rossi wrote to King Ferdinand VII twice asking to be considered for a position as a Court painter. His request was ignored both times.[3]
In Seville he taught Fine Arts in addition to pursuing his own career as an artist;[8] In 1814 he was named "Lieutenant Director of Painting" in the Royal Academy of the Three Noble Arts (now known as the Royal Academy of Fine Arts), where he also lectured.[9] Rossi trained artists such as Juan Pérez de Villamayor when he arrived in Seville in 1825.[10] In 1829 his role as Lieutenant Director was re-confirmed. In 1835 was asked to join a commission to catalogue art pieces that would be used to create a new museum in Seville along with Juan de Astorga and José Domínguez Becquer, among others.[11][12]
In 1841, by order of Queen Isabell II (then under Espartero's regency), he also carried out an inventory of paintings from the Academy of the Three Noble Arts.[13] In 1845 he joined the sculpture department in the same academy, along with Juan de Astorga and Jose Maria Gutierrez.[14]
Work
Andres Rossi was a distinguished print maker. His work is generally centred around biblical, military and classical themes, though he was also inspired by other current affairs of the time in prints such as Justice executed on Pedro Piñero aka El Maragato.[15]
His patriotic feelings during the Peninsular War are reflected in prints such as Atrocious murders of Spaniards in 'Prado de Madrid.[16]
His print named Cornelia at the Duke's feet can be found in the Museo del Prado, where his print, Allegory of painting, was also shown as part of an exhibition named Spanish drawings from the Hamburger Kunsthalle: Cano, Murillo and Goya.[17][18]
His print named Lady drawing, an exceptional theme as the arts were very restricted to women at the time, can be found at the Museum of Romanticism in Madrid.[19]
In addition to his prints, two of his oil paintings have been preserved; a still life, signed "Andrés Rossi, the Spaniard" and a religious altarpiece which can be found in the church of El Santo Ángel in Seville.[3][20]
In 1820 he started writing a treaty which he titled; Spirit of Perspective or Elementary Treaty of Perspective for Artists. The original document is kept in the Museum of Romanticism in Madrid.[3]
Furthermore, his contribution to sculpture has also been recorded; the sculpture of Saint Veronica from the El Valle brotherhood paso in Seville has been attributed to him. It was carved in 1815. The original drawing can be found in the Museum of Romanticism in Madrid. The Three Marys from the same pasoare attributed to Juan Bautista Patroni.[3][21][22][23][24]
Rossi, along with Francisco Alcántara and Antonio Rodríguez, presented the Sancha publishing house with series of illustrations for the publication of Cervantes' Persiles and Sigismunda. However, their offer was rejected and José Antonio Ximeno y Carrera's designs were used instead.[25]
In 1830 he took part in the renovation of the Alcázar of Seville gardens where he painted mythological scenes in the gallery. The paintings represented scenes from Virgil's Aeneid and Theseus in front of the labyrinth.
He also took part in the renovation of the Museum square as the art director. This renovation was carried out to celebrate the Queen's wedding.[26][27]
Adornment of the museum square to celebrate the wedding of Isabella II (1846) museum square, Seville.[26]
References
^Reyero, Carlos (2015-09-29). Monarquía y romanticismo: el hechizo de la imagen regia, 1829-1873. Siglo XXI de España Editores, 2015. ISBN9788432317644.
^ abcdefghIbáñez Álvarez, José (2010). "Espíritu de la perspectiva o Tratado elemental de perspectiva práctica para los artistas por Andrés Rossi (Madrid, 1781-Sevilla, 1849)". Universidad de Granada.
^Moreno Mendoza, Arsenio (1991). Museo de Bellas Artes de Sevilla. Ediciones Gever.
^"Archivo español de arte". Instituto Diego Velázquez. 56. 1983.
^"Concurso para los premios de pintura"(PDF). Historia y Alegoría: Los concursos de pintura de la Academia (1753-1808). Real Academia de Bellas Artes de San Fernando. 1799. pp. 218–221.
^Boletín de la Sociedad Española de Excursiones. 24. 1916. {{cite journal}}: Missing or empty |title= (help)
^Hidalgo, Dionisio (1857). Boletin bibliografico espanol. Ser. 2.1857 u.d.T: El bibliografo espanol y estrangero, Volumen 1;Volumen 5. Librería europea.
^Govea y Agreda, José (1816). "Fiestas reales con que celebró la muy N. y muy L. Ciudad de Sevilla la venida de su augusta reyna y señora doña María Isabel Francisca y de la serenísima infanta doña María Francisca de Asis de Braganza". Imprenta Real y Mayor.
^"El escultor Juan de Astorga". Diputación Provincial, Sevilla (Volume 44 of Publicaciones de la Excelentísima Diputación Provincial de Sevilla y del Instituto de Estudios Sevillanos / Sección Arte / Arte Hispalense: Publicaciones de la Excma. Diputación Provincial de Sevilla y del Instituto de Estudios Sevillanos). 1986.
^ abPérez de Guzmán, Juan. "El dos de mayo de 1808 en Madrid: Relación histórica documentada mandada publicar de orden del Excmo. Señor Conde de Peñalver, alcalde presidente de su excmo. Ayuntamiento, y por acuerdo de la Comisión organizadora del primer centenario de su gloriosa efeméride, Volumen 2". Establecimiento Tipográfico Sucesores de Rivadeneyra.
