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| Salvator Rosa Studies of kneeling figures before 1673 drawing Metropolitan Museum of Art, New York |
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| Salvator Rosa Study for Raising of Lazarus before 1673 drawing Metropolitan Museum of Art, New York |
"Despite living three hundred years before the Romantic movement, Rosa – poet, satirist, composer, etcher, and painter – epitomized the Romantic rebel. He refused to paint on commission or to agree on a price beforehand, and he chose his own subjects. He painted in order 'to be carried away by the transports of enthusiasm and use my brushes only when I feel myself rapt.' Rosa studied in Naples, where Jusepe Ribera's realism influenced him. Encouraged by Giovanni Lanfranco, Rosa went to Rome in 1635. A bout with malaria drove him back to Naples, but he returned in 1639, resolving 'to have his name on everybody's lips.' His amateur theatrical group lampooned the sculptor Gianlorenzo Bernini, prompting Rosa's quick departure. In Florence he enjoyed Medici patronage and founded the Accademia dei Percossi (Academy of the Afflicted), a crossroads for literati and artists. Rosa considered his innovative, rugged landscapes as mere recreation; in his mind only religious or historical subjects constituted High Art. In 1649 he settled in Rome to work toward success as a history painter."
– from curatorial notes at the Getty Museum
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| Salvator Rosa Study for a figure lifted from a grave or pit before 1673 drawing Metropolitan Museum of Art, New York |
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| Salvator Rosa Five figures in fantastic costumes with two dogs before 1673 drawing Metropolitan Museum of Art, New York |
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| Salvator Rosa St Paul the Hermit before 1673 drawing Metropolitan Museum of Art, New York |
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| Salvator Rosa Two standing soldiers and six other figures before 1673 drawing Metropolitan Museum of Art, New York |
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| attributed to Salvator Rosa Figure studies of seated and standing men before 1673 drawing Metropolitan Museum of Art, New York |
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| Francesco Allegrini Standing male figure with cloak and staff before 1663 drawing Metropolitan Museum of Art, New York |
"Francesco Allegrini was one of the artists working in the wider orbit of Pietro da Cortona. Active chiefly in Rome, Gubbio, and Liguria, he is known above all as a painter of decorative Cortonesque frescoes (which are less incisive and forceful than those by the master), of altar paintings, and of easel paintings with battle scenes. His masterpiece is the ceiling with the story of Dido in the Palazzo Pamphilij, Rome, done in the early 1650s for Innocent X Pamphilij. Allegrini was the son of Flaminio, one of the closest followers of the Cavaliere d'Arpino, whose influence continued to be felt also throughout the oeuvre of Francesco. There has been much confusion in the literature between father and son Allegrini. . . . Baldinucci, who was Allegrini's contemporary and his earliest biographer, calls him a pupil of Cavaliere d'Arpino (who died when Francesco was sixteen), states that he was born in 1624 as the son of a certain Flaminio, and reports that, among others, he sent many works with small figures to Cardinal Mazarin in Paris. The name of Allegrini is especially familiar to drawing specialists. A great number of his small and lively pen drawings with figure scenes survive. Some of them are studies for extant frescoes."
– Marcel Roethlisberger, published in Master Drawings (Autumn 1987)
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| Francesco Allegrini Flying Angels before 1663 drawing Metropolitan Museum of Art, New York |
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| attributed to Francesco Allegrini Two standing male figures in antique military costume before 1663 drawing Metropolitan Museum of Art, New York |
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| attributed to Francesco Allegrini Two falling figures and two standing figures before 1663 drawing Metropolitan Museum of Art, New York |
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| attributed to Francesco Allegrini Landscape with figures for The Silver Age before 1663 drawing Metropolitan Museum of Art, New York |
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| attributed to Francesco Allegrini Group of five allegorical figures before 1663 drawing Metropolitan Museum of Art, New York |
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| attributed to Francesco Allegrini Group of figures from Michelangelo's Last Judgment before 1663 drawing Metropolitan Museum of Art, New York |
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| attributed to Francesco Allegrini Figure studies before 1663 drawing Metropolitan Museum of Art, New York |