ROCCA, Michele - b. 1666 Parma, d. ~1751 Venezia - WGA

ROCCA, Michele

(b. 1666 Parma, d. ~1751 Venezia)

Michele Rocca (Michele da Parma), Italian painter. In 1682 Rocca journeyed to Rome, where he was a pupil of Ciro Ferri, returning for further study to Parma, where he concentrated on pictures by Correggio. He was documented as being in Parma in 1687 but had returned to Rome by 1695, when he executed the altar of St Francis Receiving the Stigmata for S Paolino alla Regola (in situ). In 1698 he received payment for an altarpiece of the Penitent Magdalene for S Maria Maddalena, Rome (in situ).

In 1710 Rocca was elected to the Congregazione dei Virtuosi al Pantheon, and in approximately the same year he executed two of his best-known paintings: the Toilet of Venus (Providence, Rhode Island School of Design Museum of Art) and the Finding of Moses (University of Chicago, Smart Museum of Art). These are among the finest of the small-scale, semi-precious cabinet pictures of mythological and hagiographical subjects that dominate Rocca’s oeuvre and gained for him the reputation of being a petit maître in early 18th-century Rome. Their decorative rarity, luminous pigmentation and rich painterly effects betray the fundamentally sensual nature of Rocca’s style and clearly suggest that his artistic vision was in some ways more closely aligned with the emerging French Rococo than with the neo-Baroque style of his contemporary Roman colleagues.

David and Bathsheba
David and Bathsheba by

David and Bathsheba

The painting illustrates a biblical passage from the second book of Samuel. King David (looking down from the roof of his palace) fell in love with the beautiful Bathsheba when he saw her bathing and had her brought to him for a lovers’ tryst. Soon afterward he sent her husband Uriah to his death, treacherously ordering him to be set in the forefront of the battle, and then married Bathsheba himself. God punished the couple with the death of their first son.

The painting is typical of Michele Rocca’s work and indicate that his painting, although grounded in the Baroque tradition, resonated more with the emerging French Rococo movement. The size of the composition and its decorative appeal are also characteristic of Rocca’s small-scale cabinet pictures of mythological and biblical scenes that gave him his reputation as a small master in eighteenth-century Rome.

Satyr Crowned by a Nymph
Satyr Crowned by a Nymph by

Satyr Crowned by a Nymph

The Continence of Scipio
The Continence of Scipio by

The Continence of Scipio

This painting is a sketch for a larger composition.

The Triumph of Venus
The Triumph of Venus by

The Triumph of Venus

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