ROSALBA CARRIERA SPRING Black Chalk and Red

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ROSALBA CARRIERA 1673–1757 SPRING Black chalk and red chalk on blue paper 5 x 3 ¾ inches; 127 x 95 cm Inscribed on the verso: ‘Mr De Cireaux" On an early eighteenth-century wash-line mount Drawn c.1725 Only a dozen or so drawings by Rosalba Carriera survive, most of which are monochrome sketches recording her finished pastels, making this engaging sheet a particularly rare and attractive rediscovery. Rosalba was the greatest professional pastellist of the first half of the eighteenth century, she attracted a remarkable international clientele, corresponded with the foremost collectors and connoisseurs across Europe and her studio in Venice became a Grand Tour sight in and of itself. Whilst her exceptional virtuosity as a manipulator of pastel has been extensively discussed, her small, but important oeuvre of drawings has been largely overlooked.1 This expressive and exquisitely rendered black and red chalk drawing gives an indication of her graphic skill, as well the enduring influence of her relationships with the leading figures in early eighteenth-century France. Rosalba Carriera was born in Venice, the precise nature of her training remains obscure, although she almost certainly had contact with the great Roman painter Benedetto Luti, who was also a pioneering pastellist. Initially working as a miniaturist, Rosalba achieved considerable fame being elected to the Accademia di san Luca in Rome in 1705 as a ‘pittrice e miniatrice veneziana’, her reception piece was a miniature on ivory. From 1708 she began to work increasingly in pastel, this shift may have been prompted by the British diplomat, Christian Cole and it is notable that her portraits were particularly sought after by British visitors to the city. From early in her career, Rosalba was in touch with leading Parisian dealers and collectors; she corresponded with both Pierre-Jean Mariette and Pierre Crozat, travelling to France in 1720 where she was admitted to the Académie de Peinture et de Sculpture and prepared a portrait of Jean-Antoine Watteau. Rosalba evidently absorbed ideas from Watteau and perhaps his influence can be seen in her incisive use of red and black chalk in this delicate drawing. The drawing shows a beautiful young woman with flowers in her lap and her right hand holding a single bloom, in type, she follows Rosalba’s pastel personifications of Spring, 1 Francis Russell, ‘Drawings by Rosalba’, The Burlington Magazine, March 1997, vol.139, no.1128, pp.196-198. whilst the design varies from any known iteration. Made in the 1720s this unusually complete sheet does not directly relate to any known pastel by Rosalba raising the question of its purpose, as, unlike Rosalba’s other surviving drawings, it appears not to be a ricordi. The contemporary inscription on the verso possibly refers to a French patron, although no similar name appears in Rosalba’s Paris diary, we know that on her return to Venice she regularly sent works to France. It is perhaps suggestive that this drawing remains on its original French eighteenth-century mount. Rosalba Carriera Spring Pastel 9 ½ x 7 ½ inches; 240 x 190 mm The State Hermitage Museum, St Petersburg Rosalba Carriera Self-portrait as ‘Winter’ Pastel 9 ½ x 7 ½ inches; 240 x 190 mm Bpk / Staatliche Kunstsammlungen Dresden .

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Rosalba Carriera Venice 1744” (London, Sotheby’S, 5.VII.1976, Lot 77, ↙ £2350

Neil Jeffares, Dictionary of pastellists before 1800 Online edition CARRIERA, Rosalba J.21.0628 La duchesse [?marquise] de LA Venice 1673–1757 VRILLIÈRE [née Françoise de Mailly (1688– NB: This is the Named sitters part of article. To return 1742)], pstl, Carriera, Diari, .X.1720, 4.I.1721 to the Essay follow this hyperlink. J.21.06295 ~repl., Carriera, Diari, 26.XI.1720 (requested abbé de Broglie; unclear if Pastels – Named Sitters L–Z exectuted) J.21.0617 Sig.ra Giovanni Francesco LABIA, née J.21.0629 ~repl., Carriera, Diari, 11.II.1721 (comm. Maria Civran, pstl (Zanetti; inv p.m. c.1766, pour Mme de Caylus, 10 louis) “donna Maria Labia, che il Zanetti chiamava ‘il J.21.0632 John LAW of Lauriston (1671–1729), ritratto più bello fatto da Rosalba, e che, financier, Carriera, Diari, .XI.1720. Lit.: Jeffares morendo, lasciò al. sig. Oisterrich, ispettore 2020f della Galleria di Pittura di S.M. il Re di J.21.06325 =?pstl, 60x45 (the subject’s nephew, Prussia’”; Matthias Oesterreich, son of William Law, John Law de Lauriston Galerieinspektor). Lit.: Schepkowski 2009, p. (1719–1797), chevalier de Saint-Louis, 165, n.613 n.r. brigadier d’infanterie, commandant des troupes J.21.06242 Il conte Livio LANTIERI (1672–1738), J.21.0618 =?La contessa LABIA, dame vénitienne, françaises dans l’Inde, Paris, 1794; inv. p.,m. sacerdote e collezionista, m/u (olim Gorizia, pstl ([Eugène] Piot; Paris, Drouot, 31.III.1856, 1802; desc.: PC 2020). Lit.: John Philip Wood, castello di Rifembergo; palazzo Levetzow Lot 3, b/i; Piot; Paris, Pillet, 25–30.IV.1864, The antient and modern state of the parish of Lantieri c.1900).
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The Life and Work of Rosalba Carriera (1673-1757) the Queen of Pastel

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Women Artists in History: a Junior High School Unit

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Rosalba Carriera: a Journey Through a Pastel Portrait

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I conti Lantieri di Gorizia committenti di Rosalba Carriera e Francesco Pavona Gloria Tronkar Ci si propone qui di tracciare un resoconto so quel mezzo – polvere colorata, cui baste- delle novità che sono emerse nel corso del- rebbe un soffio per dissolversi- la pittrice le mie ricognizioni sul territorio goriziano, coglie, assieme alla grazia che lo sfiora, an- che riguardano sia il versante dell’opera che la transitorietà del sembiante: nel modo d’arte che quello delle fonti documentarie, più leggero, Rosalba suggerisce che la real- suo imprescindibile complemento1. L’o- tà di ogni individuo, la realtà di ogni volto riginario intento fu quello di indagare gli sono effimere”2. eventi che portarono la celebre pastellista Per questa famiglia nobiliare la pittri- veneziana Rosalba Carriera nel territorio ce realizzò diversi ritratti, alcuni dei qua- della Contea di Gorizia nel 1728 e di re- li andarono perduti durante le guerre che stituire il quadro storico e culturale in cui sconvolsero la zona. Testimonianza di tale l’artista si mosse, gli incontri, gli affetti e committenza è stata rinvenuta attraverso i risvolti che si originarono da quel breve gli inventari delle quadrerie settecentesche viaggio. del castello di Rifembergo, conservati negli La pittrice, che giunse nella piccola pro- archivi della famiglia, che riescono, seppu- vincia dell’Impero nella speranza di ritrarre re in modo parziale, a restituire un vivace Carlo VI, realizzò, invece, i ritratti di alcu- barbaglio del quadro culturale dell’epoca. ni alti dignitari che viaggiavano al seguito A questa esperienza si lega poi quella del dell’imperatore, dei dipinti si persero le pastellista di origine udinese, ma cosmpo- tracce e tutt’ora non è stato possibile identi- lita per vocazione, Francesco Pavona, spes- ficarli.
INTRODUCTION CHAPTER 1 Young John

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Carriera's Journal

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