La Menzogna, in detail, Salvator Rosa, 1650.
After growing disgusted with comedy of his day along with the actor’s and audience thereof, he swore to a friend he was no longer having anything to do with it. During the early 1660’s Rosa’s work changed drastically. He began to focus on the then contemporary tragedies, as well as edifying biblical themes, and mythological ones in a correspondingly sober style. He utilized fewer colors, those of which were muted, and his art, save for a few, contained fewer figures.