19th-century Italian sculptor generally credited, along with Rodin (Rodin, Auguste), with introducing the technique of Impressionism into sculpture. Rosso's work has been much studied since World War II by sculptors interested in its free, delicate modeling and subtle, evocative forms.

From his youth, Rosso rejected the strictures of academic art; in 1884 he was expelled from the Brera Academy for his rebellious influence on fellow students. Like the Impressionist painters of his time, he sought to capture in his work the subtle features of everyday modern life and the immediate, elusive sensations of light and movement. As in the work of the painters and also that of his fellow sculptor Rodin, explicit detail is usually subordinated to texture, suggestion, and effect; the features of his portraits emerge in shimmer and shadow (e.g., “Lady with a Veil”; 1893).

Rosso's success grew steadily after his first major exhibition, at the Exposition Universelle in Paris in 1889. His early friendship with Rodin deteriorated in later years over the issue of originality, each claiming credit for the innovations exploited by both. His influence on the Italian Futurists and on Constantin Brancusi was marked. Rosso's social consciousness is evident in such portrayals of the mundane as “Impression of an Omnibus” (1883–84; destroyed).