罗莎出生在阿雷内拉，在郊区当时那不勒斯，无论是6月20日或七月21日，1615年他的母亲朱利亚Greca酒店罗莎，西西里岛的希腊家族之一的成员。他的父亲，维托安东尼奥·罗萨，土地测量师，敦促他的儿子成为一名律师或牧师，并进入他进入修道院Somaschi父亲。然而，萨尔瓦托表现出对艺术的偏好和他的舅舅保罗·格雷科学习绘画暗暗工作。他很快转移自己弟弟在法律的指导弗朗切斯科Fracanzano，的学生里贝拉，后来要么Aniello法尔科内， 当代的多梅尼科GARGIULO，或里贝拉。一些消息来源声称，他花费了时间与流寇生活。在十七岁的时候，父亲就去世了; 他的母亲是穷困潦倒，至少有五个孩子和萨尔瓦托发现自己没有财政支持，一个家庭的希望他支持的头部。

 他继续学徒法尔科内，帮助他完成他battlepiece画布。在这个工作室，据说兰弗兰科了他的工作的通知，并劝他搬迁到罗马，在那里他从1634年至1636年留了下来。

回到那不勒斯，他开始画山水萦绕，长满了植被，或锯齿状的海滩，山脉，和洞穴。罗莎是最早画“浪漫”的景观，为的场面特别的转风景如画的同牧羊人，强盗，水手，士兵人居住，经常动荡和坚固的场景。这些早期的风景画是通过私人经销商廉价出售。

他于1638年至1639年，他被安置枢机主教回到罗马弗朗西斯玛丽亚Brancaccio，维泰博的主教。对于基耶萨圣母莫提维泰博，罗莎画了他的第一次和他的几个祭坛之一，托马斯的怀疑。

虽然罗莎曾在画一个浅显的天才，他追求各种各样的艺术：音乐，诗歌，写作，蚀刻，和演戏。在罗马，他结识了彼得特斯塔和克劳德·洛兰。在一个罗马狂欢节发挥，他写道，并在面膜，其中他的性格忙碌着分发罗马讽刺处方身体的疾病，更具体，心灵的作用。在服装，他猛烈抨击了行动的闹剧喜剧的Trastevere的指导下贝尔尼尼。

虽然他的剧本是成功的，这项活动也为他赢得了顾客和艺术家之间的强大的敌人，包括贝尔尼尼自己，在罗马。到1639年底，他不得不搬迁到佛罗伦萨，在那里他呆了八年。在某种程度上，他被一个枢机主教邀请吉安卡罗德美第奇。[ 澄清需要 ]一旦出现，罗莎赞助诗人，剧作家，和画家，所谓的工作室的组合，美发学院代Percossi（科学院灾区）。佛罗伦萨的刚性艺术环境，他介绍了他的野生景观的画布; 而有影响力的，他纠集几个真正的学生。另一位画家诗人，洛伦佐里皮，与罗莎共享红衣主教的热情好客和朋友同一个圆。里皮鼓励他以诗继续伊尔Malmantile Racquistato。他同时也结识了乌戈和朱利奥·玛菲，并安置与他们的Volterra，在那里他写了四讽刺音乐，诗歌，绘画和战争。大约在同一时间他在画自己的肖像，现在国家美术馆，伦敦。

 Rosa的最持久的影响是内画浪漫和美丽如画的传统的后期发展。作为威特科尔状态，正是在他的风景画，而不是他宏大的历史或宗教剧，罗莎真正表达了他的创新能力最生动。罗莎自己可能已经驳回了他们作为轻浮随想曲相比，他的其他题材，但这些传统学术往往画布克制他的叛逆连胜。一般来说，在山水，他避免了田园诗般的田园平静地区农村克劳德·洛兰和保罗艳，创造了沉思，忧郁的幻想，在废墟和强盗泛滥。到18世纪，如克劳德·罗萨和艺术家之间的反差时被多说。一个1748首诗由詹姆斯·汤普森，“懒惰的城堡”，说明这一点：“Whate'er洛林光与感动软化色相/或野蛮罗莎虚线，或学习普桑画了。” 他影响加斯帕德Dughet的景观风格。

最近的展览特纳的作品，在马德里的普拉多博物馆，指出影响罗莎对特纳，在他的风景画。事实上据报道，特纳自觉地想与罗莎的工作。相关的Rosa的工作，在伦敦举办的另一个展览会达利奇画廊在2010年，强调Rosa的画和主题的陌生感，显示出他对热情“土匪，旷野和魔术。 

在当艺术家们常常深受食客受时间限制，罗莎有独立的勇敢连胜，庆祝艺术家的特殊作用。“我们的财富必须包含在精神的东西，并与呷contenting自己，而别人峡谷繁荣自己”。他拒绝画上佣金或事先就价格达成一致，他选择了自己的主题。在他自己的话说，他画的“...纯粹是为了我自己的满意度。我需要用热情运输和我只能使用我的画笔，当我在狂喜。” 这狂暴的精神成为了英国浪漫主义的宠儿。

 Rosa was born in A Rennella, on the outskirts of Naples at that time, either in June 20th or July the 21st 1615, his mother Julia Greca Hotel Rosa, a member of the family of the Greek Sicily. His father, Vitoantonio Rosa, a land surveyor, urged his son to become a lawyer or a priest, and entered his father into the monastery of Somaschi. However, Salvatore showed on the art of preference and his uncle Paul Greco to study painting work secretly. He quickly transferred his younger brother in law to the guidance of Francesco Fracanzano, a student of Bella, who later either Aniello,   contemporary GARGIULO,   or in. Some sources said, he spent time with bandits life.   at the age of seventeen, his father died; his mother is poor, at least five children and Salvatore found themselves without financial support, a family that he would support the head. He continued to apprentice Falcone to help him finish his battlepiece canvas. In this studio, it was said that Franco had informed him of his work and advised him to move to Rome, where he stayed from 1634 to 1636.

Back in Naples, he began to paint landscapes haunting, overgrown with vegetation, or jagged beaches, mountains, and caves. Rosa was the first to draw a "romantic" landscape, especially for scenes of picturesque landscapes with shepherds, bandits, sailors, soldiers living, often turbulent and rugged scenes. These early paintings were sold cheaply through private dealers.

He is from 1638 to 1639, he was placed back to cardinal Roman Francis Maria Brancaccio, Wei Taibo bishop. For Chiesa San Muemotiviterbo, one of his first painting Rosa and his altar, Thomas suspicion.

Although Rosa had to draw a simple genius, his pursuit of a variety of Arts: music, poetry, writing, acting and etching. In Rome, he met Peter Testa and Claude Loran. Played in a carnival in Rome, he wrote, and in the face of the mask, in which his character was busy distributing the prescription of Rome satire to the body of the disease, more specifically, the role of the soul. In the costume, he slammed the action of slapstick comedy under the guidance of Trastevere Bernini.

Although his script was successful, the event also earned him a formidable foe between the customer and the artist, including Bernini himself, in Rome. By the end of 1639, he had to move to Florence, where he stayed for eight years. To some extent, he was invited to a cardinal Giancarlo de medici. [clarification needed] once it appeared, Rosa sponsored a combination of poets, playwrights, and painters, called studio, hair salons on behalf of Percossi (Academy of disaster area). Rigid art environment in Florence, he introduced his wild landscape canvas; and influential, he gathered a few real students. Another painter poet, Lorenzo Lippi, and cardinal Rosa shared hospitality and friends with a circle. Lippi encouraged him to continue the poem IL Malmantile Racquistato. He also met Giulio Maffei and Hugo, and placed with their Volterra, where he wrote four Satirical Poetry, music, painting and war. Around the same time he was painting his own portrait, now The National Gallery, london.Rosa's most enduring influence is in romantic and picturesque traditional late development. As victor Cole state, it is in his landscapes, rather than his grand historical or religious drama, Rosa truly expressed his most vivid creative ability. Rosa himself may have been rejected as compared to their frivolous capriccio, his other theme, but the traditional academic canvas from his rebellious streak often. Generally speaking, in the landscape, he avoided the idyllic pastoral calm area of rural Claude Loran and Paul Yan, creating a pensive, melancholy fantasy, in the ruins and the proliferation of bandits. By eighteenth Century, when the contrast between Claude Rosa and the artist was often said. A 1748 poem by James Thompson, "lazy Castle", illustrate this point: "Whate'er Lorraine light and / or wild Rosa moved softening hue dotted line, or learning Poussin painted."  he influenced the landscape style of Gaspard Dughet.

A recent exhibition of the works of Turner, of the Prado Museum in Madrid, pointed out that the impact of Rosa Turner, in his landscape painting. In fact, according to repor 

When artists are often deeply patrons of time limitation, Rosa is independent of the brave wins, celebrate the artist's special role. "Our wealth must be included in the spirit of things, and take their own contenting, while others own prosperity canyon". He refused to draw a commission or agreed on the price in advance, and he chose his subject. In his own words, he painted "purely for my own satisfaction.". I need to transport with passion and I can only use my brush when I am in ecstasy." [7] this violent spirit has become the darling of British romanticism.