Розальба карьера

Розальба карьера
Розальба карьера
	Автопортрет, 1715
Рожденный	12 января 1673 г. ; Венеция
Умер	15 апреля 1757 г. (в возрасте 84 лет) ; Венеция
Национальность	Венецианский
Известен для	Портретная живопись
Движение	Рококо

Карьера Розальбы (12 яноги 1673 ^{[ 1 ]}^{[ 2 ]} - 15 апреля 1757 года) был итальянским художником -рококо . В свои молодые годы она специализировалась на портретных миниатюрах . Кэрриера позже станет известна своими пастельными портретами, помогая популяризировать среду в Европе восемнадцатого века. Ее помнят как одного из самых успешных женщин -художников любой эпохи. ^{[ 3 ]}

Биография

Карьера родилась в Венеции у Андреа Каррера, адвоката, и Альба Форест, которые практиковали вышивку и изготовление кружева . ^{[ 4 ]}^: 27–28 Со своей матерью и сестрами Розальба занималась изготовлением кружева и другими ремеслами. Ее причины создания собственной студии в качестве художника остаются неизвестными. Ранний биограф, Пьер-Жан Мариетт, предположил, что, когда кружевная промышленность начала колебаться, Кэрриера пришлось найти новое средство обеспечения себя и своей семьи. ^{[ 4 ]}^: 41

Популярность нюхания дала ей возможность. Carriera начала рисовать миниатюры для крышек от нюхательных ящиков и как независимых работ. Она была одной из первых художников, которые использовали слоновую кость вместо веллума в качестве поддержки миниатюр. ^{[ 4 ]}^: 50 Вскоре она также начала производить портреты в пастелью. Например, видные иностранные посетители Венеции, молодые сыновья дворянства в Гранд -Тур и дипломатов искали ее работу. ^{[ 5 ]} Портреты ее раннего периода включают в себя Максимилиан II из Баварии ; Фредерик IV из Дании ; «Художник и ее сестра Нанета» (Уффизи); и Август Стронг, король Польши и избиратель Саксонии , который приобрел большую коллекцию ее пастель. ^{[ 6 ]}

К 1700 году Карьера уже создала миниатюры, и к 1703 году она завершила свои первые пастельные портреты. ^{[ 7 ]} В 1704 году она стала академиком заслуги Римской академией Сан-Лука в заповеднике для художников, не являющихся ромами. ^{[ Цитация необходима ]}

Между 1720 по 1721 год Карриьера работала в Париже , где ее работа была во всем спросе. ^{[ 1 ]} Находясь в Париже, Carriera была гостем великого любителя и художественного коллекционера Пьера Крозата . Она нарисовала Ватто , всю королевскую власть и дворянство от короля и регента вниз, и была избрана членом Академии в результате аклаума. ^{[ 8 ]}^{[ 6 ]} Ее зять, художник Антонио Пеллегрини , замужем за ее сестрой Анжелой, также был в Париже в том же году. Пеллегрини был нанят Джоном Лоу , шотландским финансистом и авантюристом, чтобы нарисовать потолок нового здания Банка Гранд -Салл в новом банке. ^{[ Цитация необходима ]}

Carriera's other sister, Giovanna, and her mother, were members of her party in France. Both sisters, particularly Giovanna, helped her in painting the hundreds of portraits she was asked to execute. This was because she undertook a lot of work in order to support her family.^[9] Carriera's diary of these 18 months in Paris was later published by her devoted admirer, Antonio Zanetti, the Abbé Vianelli, in 1793. Her extensive correspondence has also been published.^[10]

In the short time she spent in Paris, Carriera's work contributed to forming the new aristocratic tastes of the court and by extension, the tastes of Parisians. No longer did art serve only the monarchy's needs. Her freedom, colorfulness and charms were injected into the Rococo style (which she was the face behind) which soon dominated the arts.^[9] Despite her triumph in Paris, she returned to her home on the Grand Canal in Venice in 1721. Carriera, with her sister Giovanna in tow, visited Modena, Parma, and Vienna, and was received with much enthusiasm by rulers and courts.^{[citation needed]}

In 1730, Carriera made a long journey to the royal court in Vienna, Austria. While there, Holy Emperor Charles VI became her benefactor and was fully committed to supporting her work. The Emperor amassed a large collection of more than 150 of her pastels. In return, the empress worked underneath her and received formal artistic training.^[8] The works she executed there were later to form the basis of the large collection in the Alte Meister Gallery in Dresden.^{[citation needed]}

After her sister Giovanna's death in 1738, Carriera fell into a deep depression which was not aided by the loss of her vision (which might have been damaged by miniature painting in her youth) some years later. She underwent two unsuccessful cataract surgeries but ended up losing her vision completely.^[11] She outlived all her family, spending her last years in a small house in the Dorsoduro district of Venice, where she died at the age of 84.^[12]

Training

Carriera's mother taught her the art of lace making. Her training as a portraitist remains undocumented. It is possible that she studied with Antonio Lazzari, Federico Benecovich, and Giuseppe Diamantini.^[1] She may also have been associated with Antonio Balestra, whose work she copied.^[1] There is speculation that the French painter Jean Steve encouraged her to make miniatures on ivory for the lids of snuffboxes,^[8] and that she received instruction in oil technique from Diamantini.^[13]

Carriera shared her talents with her sisters Giovana and Angela and later in life had female students such as Marianna Carlevarijs, Margherita Terzi, and Felicità Sartori.^[14]

Influence

Carriera's influence would spread widely among many. In 1720 she provided King Louis XV with a portrait that completed the transition from the previously accepted style of the court. It was a shift between what looked powerful and a decorative style with international appeal.^[9] She revolutionized the world of technology by binding colored chalk into sticks, which led to the development of a much wider range of prepared colors. This expanded the availability and the usefulness of the pastel medium.^[9]

Although negatively dubbed ‘The Rococo’ by Maurice Quai, a follower of the neoclassicist Jacques-Louis David,^[8] Carriera played an important role in popularizing the style in France and later England, where King George III was a major collector of her work.^{[citation needed]}

Despite her renown and contribution to an established manner, Carriera is "often treated as an exception, a rarity as a woman artist"^[14] and very often ignored. When the Rococo went out of fashion, Carriera's name and her impact was dismissed and that had very much to do with gender as well.^{[citation needed]} Sir Joshua Reynolds owned several of her pastels.

Works

Carriera was the first female painter to initiate a new style in the art community.^[15] The Rococo style emphasized the use of pastel colors; spontaneous brush strokes, dancing lights, subtle surface tonalities and a soft, elegant and charming approach to subject matter. She was known for dragging the sides of white chalk across an under-drawing of darker tones to capture the shimmering texture of lace and satin. She was also able to highlight facial features and the soft cascades of powdered hair.^[9] Because of her, artists created work in the style for nearly a century.^{[citation needed]}

Carriera had many patrons who were interested in her work. Her earliest known pastel portrait depicts the collector Anton Maria Zanetti (1700) who procured many works by the artist and promoted her to other collectors when he travelled throughout Europe. Joseph Smith was another one of her admirers and he too collected a great amount of her works. King George III later purchased these pieces in 1762. That collection contained one of many of her self-portraits.^[16]

Her best-known self-portrait is one she contributed to the Medici collection of self-portraits at the Uffizi Gallery in Florence. This piece was different because she veered away from idealizing herself, as was a custom of the era. Instead, she was brusque and honest in her representation, featuring a larger nose, thin lips and a deep dimple in her chin. She holds a portrait of her sister and assistant Giovanna, whom she was very close to.^[16]

Her self-portrait work diverges from typical expectations of women artists of the time by aiming for an unvarnished appearance. One such example is Self-Portrait as an Old Woman (1746), whose mismatched eyes hint at the eye problems which plagued her in later life.^[17]

Carriera was not just a portrait painter, even though that was her subject matter of choice due to her profession. She also created a few allegorical pieces, including ‘The Four Seasons’, ‘The Four Elements’ and ‘The Four Continents’. These allegories were represented by beautiful, nymph like and barely clothed women holding symbols that referenced the meaning of the piece.^[8]

Gallery

Self-portrait
Self-portrait
Self-Portrait
Self Portrait as Winter
Maria Theresa
Caterina Sagredo Barbarigo
Felicità Sartori in Turkish costume
Summer
Young Girl Holding a Monkey
Summer
Antoine Watteau
French Consul Le Blond
Philip Wharton, 1st Duke of Wharton
Africa
Louis XV of France
Gustavus Hamilton, 2nd Viscount Boyne
Gentleman in Red
Cardinal Melchior de Polignac
Horace Walpole

Legacy

Carriera was best known for her innovative approach to pastels, which had previously been used for informal drawings and preparatory sketches. She was also credited with pastel as a medium for serious portraiture that redefined the Rococo manner.^[18]

Rosalba Carriera is a character in the novel The Laws of Time (2019) by Andrea Perego.^[19]

References

^ Jump up to: ^a ^b ^c ^d Jeffares, Neil. "Rosalba Carriera" (PDF). Dictionary of pastellists before 1800.
^ "Rosalba Carriera". finestresullarte.info. Archived from the original on 9 July 2014.
^ "Rosalba Carriera | National Museum of Women in the Arts". nmwa.org. Retrieved 6 March 2017.
^ Jump up to: ^a ^b ^c Oberer, Angela (2020). Life and Work of Rosalba Carriera. Amsterdam University Press. ISBN 9789048541409.
^ Rosalba Carriera by Bernardina Sani, Umberto Allemandi & co. Ed. (1988), as reviewed by Francis Russell, The Burlington Magazine (1989) p857
^ Jump up to: ^a ^b The New International Encyclopedia
^ Heller, Nancy G. (2003). Women Artists. New York: Abbeville Press. p. 55.
^ Jump up to: ^a ^b ^c ^d ^e "Rosalba Carriera facts, information, pictures | Encyclopedia.com articles about Rosalba Carriera". www.encyclopedia.com. Retrieved 6 March 2017.
^ Jump up to: ^a ^b ^c ^d ^e Chadwick, Whitney (2012). Women, Art and Society. London: Thames & Hudson. ISBN 9780500204054.
^ Rosalba Carriera: lettere, diari, frammenti by Bernardina Sani, Leo S. Olschski ed., Firenze (1985), as reviewed by Francis Haskell in The Burlington Magazine 1987. p122-123
^ Dabbs, Julia K. "Vision and Insight: Portraits of the Aged Woman Artist, 1600–1800." ARCADE. Stanford, 31 May 2012.
^ Mehler, Ursula (2006). Rosalba Carriera, 1673-1757: die Bildnismalerin des 18. Jahrhunderts [Rosalba Carriera, 1673-1757: Portrait Painter of the 18th Century] (in German). Königstein im Taunus: Ortensia Koenigstein. p. 31. ISBN 978-3-00016-194-0.
^ Hobbes, James R. (1849). Picture collector's manual adapted to the professional man, and the amateur. T&W Boone, 29 Bond Street. p. 74.
^ Jump up to: ^a ^b Parker, Pollock, Rozsika, Grisielda (2013). Old Mistresses: Women, Art & Ideology. I.B. Tauris.{{cite book}}: CS1 maint: multiple names: authors list (link)
^ Great women artists. Phaidon Press. 2019. p. 89. ISBN 978-0714878775.
^ Jump up to: ^a ^b Russo, Kathleen. "Carriera, Rosalba". Europe, 1450 to 1789: Encyclopedia of the Early Modern World. Gale – via Encyclopedia.com.
^ Frances Borzello, Seeing Ourselves: Women's Self-Portraiture 1998
^ «Пастельный шедевр обнародован в Институте ...» Эдчадвик. Свободная библиотека. Birmingham Post & Mail Ltd. 4 февраля 2010 года.
^ Перугини, Луиза. «Андреа Перего -« Законы времени »(на итальянском языке)» . SBS Итальянский . Получено 4 мая 2022 года .

Ресурсы

Проконсультируйтесь с биографиями чувствительности, с переводом ее дневника (Париж. 1865), фон Хоершельманн (Лейпциг, 1908) и Маламани (Милан, 1910).
Эльза Хониг Файн ставит Розальбу Карриеру в контекст с другими женщинами -художниками в области женщин и искусства: история женщин -художников и скульпторов от эпохи Возрождения до 20 -го века (London & Montclair, 1978).
Sensier's (высоко аннотированная) версия ее журнала «Двух лет» в Париже (1720–1721) доступна из двух источников в режиме онлайн на французском языке:
- Журнал Розальбы Карриеры во время ее пребывания в Париже в 1720 и 1721 годах / опубликован в Итальянском Винелли; Trad., Annoted и Augm. Биографии и неопубликованных документов о художниках и любителях времени, Альфред Сенсер: J. Techener (Paris) 1865
- Rosalba Fraireri, Alfred Sensier, Journalba Senri и Péjour Carranter Carranti в Париже в 1720 году: Publies en Englishnothns: Publié en Barge & France от Vianelli. Переведите анноту и август. Биогро биогр. et de документы внутри бывшего художника и Les Woman alling 1865, Nethercher

Внешние ссылки

СМИ, связанные с Розальбой Карьера в Wikimedia Commons

Нил Джеффрес, словарь пастеллетов до 1800 года, онлайн -издание
Анна Клейнманские файлы исследований на Розальба Карриера , Английские переводы корреспонденции и дневник Розальбы Карриеры в коллекции Frick/Frick Art справочника библиотеки.

[:4-1] Jump up to: ^a ^b ^c ^d Jeffares, Neil. "Rosalba Carriera" (PDF). Dictionary of pastellists before 1800.

[2] "Rosalba Carriera". finestresullarte.info. Archived from the original on 9 July 2014.

[3] "Rosalba Carriera | National Museum of Women in the Arts". nmwa.org. Retrieved 6 March 2017.

[:3-4] Jump up to: ^a ^b ^c Oberer, Angela (2020). Life and Work of Rosalba Carriera. Amsterdam University Press. ISBN 9789048541409.

[5] Rosalba Carriera by Bernardina Sani, Umberto Allemandi & co. Ed. (1988), as reviewed by Francis Russell, The Burlington Magazine (1989) p857

[ReferenceA-6] Jump up to: ^a ^b The New International Encyclopedia

[7] Heller, Nancy G. (2003). Women Artists. New York: Abbeville Press. p. 55.

[:0-8] Jump up to: ^a ^b ^c ^d ^e "Rosalba Carriera facts, information, pictures | Encyclopedia.com articles about Rosalba Carriera". www.encyclopedia.com. Retrieved 6 March 2017.

[:1-9] Jump up to: ^a ^b ^c ^d ^e Chadwick, Whitney (2012). Women, Art and Society. London: Thames & Hudson. ISBN 9780500204054.

[10] Rosalba Carriera: lettere, diari, frammenti by Bernardina Sani, Leo S. Olschski ed., Firenze (1985), as reviewed by Francis Haskell in The Burlington Magazine 1987. p122-123

[11] Dabbs, Julia K. "Vision and Insight: Portraits of the Aged Woman Artist, 1600–1800." ARCADE. Stanford, 31 May 2012.

[12] Mehler, Ursula (2006). Rosalba Carriera, 1673-1757: die Bildnismalerin des 18. Jahrhunderts [Rosalba Carriera, 1673-1757: Portrait Painter of the 18th Century] (in German). Königstein im Taunus: Ortensia Koenigstein. p. 31. ISBN 978-3-00016-194-0.

[13] Hobbes, James R. (1849). Picture collector's manual adapted to the professional man, and the amateur. T&W Boone, 29 Bond Street. p. 74.

[:2-14] Jump up to: ^a ^b Parker, Pollock, Rozsika, Grisielda (2013). Old Mistresses: Women, Art & Ideology. I.B. Tauris.{{cite book}}: CS1 maint: multiple names: authors list (link)

[Phaidon_Editors-15] Great women artists. Phaidon Press. 2019. p. 89. ISBN 978-0714878775.

[Russo-16] Jump up to: ^a ^b Russo, Kathleen. "Carriera, Rosalba". Europe, 1450 to 1789: Encyclopedia of the Early Modern World. Gale – via Encyclopedia.com.

[17] Frances Borzello, Seeing Ourselves: Women's Self-Portraiture 1998

[18] «Пастельный шедевр обнародован в Институте ...» Эдчадвик. Свободная библиотека. Birmingham Post & Mail Ltd. 4 февраля 2010 года.

[Perugini-2016-19] Перугини, Луиза. «Андреа Перего -« Законы времени »(на итальянском языке)» . SBS Итальянский . Получено 4 мая 2022 года .

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