罗萨尔巴·卡列拉Carriera, Rosalba

画家罗萨尔巴·卡列拉（rosalba carriera）是18世纪意大利著名的女肖像画家。她出生在威尼斯，并在这里修业和从事肖像画创作。罗萨尔巴·卡列拉曾应邀去巴黎等地作画，接触到当时欧洲盛行的洛可可式的肖像艺术，并受到一定的影响。她的作品几乎限于半身胸像，而全身像或群像创作从未涉及。

中文名罗萨尔巴·卡列拉
外文名Carriera, Rosalba
性别男
国籍意大利
出生地威尼斯
出生日期1673年1月12日
逝世日期1757年4月15日
职业画家

传记

出生在威尼斯有两个姐妹,Rosalba Carriera突出,极大地欣赏意大利的肖像画家洛可可。她的家人是中下层的威尼斯,还是个孩子的时候,她开始了她的艺术生涯花边模式为她的母亲,谁是从事贸易。1700年,她已经创建微型和1703年,她完成了她的第一个蜡笔肖像画。其他人声称她收到最初的指令在石油技术从威尼斯画家朱塞佩Diamantini

女性肖像与面具,(基金会Cariplo).

作为鼻烟开始流行,Carriera开始绘画微型的盖子鼻烟壶,是第一个画家使用象牙为这个目的。渐渐地,这个工作演变成整个画画,她率先独家使用柔和的。著名的外国游客到威尼斯贵族的儿子游和外交官例如,宣称要被她的画。她早期的肖像包括的马克西米利安二世巴伐利亚;丹麦的弗雷德里克四世;12最美丽的威尼斯法庭女士;“艺术家和她的妹妹Naneta”(乌菲兹);和8月萨克森的强大她获得了大量的彩笔。

到1721年,在Carriera第一次去巴黎肖像,她也有很大的需求。而在巴黎,作为客人的业余和艺术品收藏家,皮埃尔Crozat。她画的华托式的,所有的皇室和贵族王和丽晶向下,当选的一员学院以鼓掌方式。她的姐夫,画家安东尼奥Pellegrini,嫁给了她的妹妹安琪拉,还在巴黎。本赛季是受雇于约翰·劳英国金融家和冒险家,描绘宏伟的大厅的天花板在法律上的新银行大楼。

Carriera其他妹妹,乔凡娜和她的母亲,在法国是政党的成员。两姐妹,尤其是乔凡娜,帮助她在画的画像,她被要求执行。Carriera日记的18个月在巴黎后来发表了她忠实的崇拜者,安东尼奥·扎内蒂1793年,阿贝Vianelli。她广泛的通信也被出版。她回到威尼斯在1721年访问了摩德纳,帕尔玛,维也纳,被统治者和法院收到了热情得多。

在以后的生活中,Carriera的法院做了一次长途旅行波兰。她后来有执行工作形成的大量的基础Altemeister画廊在德累斯顿。1705年,她做了一个“Accademico di merito”罗马学院迪圣卢卡,一个标题为非罗马保留画家。

仍然非常受欢迎,需求量很大,实际上,她的家人的工薪族),Carriera回到威尼斯。她的肖像是高度精炼和奉承,几乎总是bust-length组成的姿势,与身体,头轻微转向面对观众。Carriera代表纹理与图案有不同寻常的能力,忠实地重建面料,黄金编织花边、皮草、珠宝、头发和皮肤show-casing豪华,物质生活方式的丰富和有影响力的顾客。她的自画像作品发散的典型的女性艺术家的预期时间瞄准一个质朴的外观。这样的一个例子是自画像作为一个老女人(c.1746)不匹配的眼睛暗示眼睛困扰她的问题在以后的生活。

的最后几年Carriera的漫长的一生是悲惨的,她的视线,这可能是受到小油画在她的青年,完全抛弃了她,她去了盲目的。她经历了两次白内障操作。她比她所有的家人,她最后年的一所小房子里Dorsoduro威尼斯地区,在那里她逝世,享年84岁。

遗产

在普利多的地方,Padstow,康沃尔郡Carriera,都有一个迷人的肖像的汉弗莱普利多,典型的贵族的儿子见他“游”的一封情书从Carriera西特被认为是隐藏在框架。她有很多男性朋友和许多贵族崇拜者的人才。

English Introduction

Biography

Born in Venice with two sisters, Rosalba Carriera was a prominent and greatly admired portrait artist of the Italian Rococo. Her family was from the lower-middle-class in Venice, and as a child, she began her artistic career by making lace-patterns for her mother, who was engaged in that trade. By 1700 she was already creating miniatures and by 1703 she completed her first pastel portraits.^[3] Others claim that she received initial instruction in oil technique from the Venetian painter Giuseppe Diamantini.

Female Portrait with Mask, (Fondazione Cariplo).

As snuff-taking became popular, Carriera began painting miniatures for the lids of snuff-boxes, and was the first painter to use ivoryfor this purpose. Gradually, this work evolved into portrait-painting, for which she pioneered the exclusive use of pastel. Prominent foreign visitors to Venice, young sons of the nobility on the grand tour and diplomats for example, clamored to be painted by her. The portraits of her early period include those of Maximilian II of Bavaria;Frederick IV of Denmark; the 12 most beautiful Venetian court ladies; the "Artist and her Sister Naneta" (Uffizi); and August the Strong of Saxony, who acquired a large collection of her pastels.

By 1721, during Carriera's first trip to Paris, portraits by her were in great demand. While in Paris, as a guest of the great amateur and art collector, Pierre Crozat. She painted Watteau, all the royalty and nobility from the King and Regent downwards, and was elected a member of the Academy by acclamation.Her brother-in-law, the painterAntonio Pellegrini, married to her sister Angela, was also in Paris that year. Pellegrini was employed by John Law, a British financier and adventurer, to paint the ceiling of the Grand Salle in Law's new Bank building.

Carriera's other sister, Giovanna, and her mother, were members of the party in France. Both sisters, particularly Giovanna, helped her in painting the hundreds of portraits she was asked to execute. 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.She returned to Venice in 1721, visited Modena, Parma, and Vienna, and was received with much enthusiasm by rulers and courts.

In later life, Carriera made a long journey to the court of the Poland. The works she executed there were later to form the basis of the large collection in the Altemeister Gallery in Dresden. In 1705, she was made an 'Accademico di merito' by the Roman Accademia di San Luca, a title reserved for non-Roman painters.

Still immensely popular and in great demand (and, in effect, the wage-earner of her family), Carriera returned to Venice. Her portraits were highly refined and flattering, almost always consisting of a bust-length pose, with the body turned slightly away and the head turned to face the viewer. Carriera had an unusual ability to represent textures and patterns, faithfully re-creating fabrics, gold braid, lace, furs, jewels, hair and skin and show-casing the sumptuous, material life-style of her rich and influential patrons. 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 (c.1746), whose mismatched eyes hint at the eye problems which plagued her in later life.

The last years of Carriera's long life were tragic, as her sight, which might have been damaged by miniature-painting in her youth, deserted her completely, and she went blind. She endured two unsuccessful cataract operations. She outlived all her family, spending her last years in a little house in the Dorsoduro district of Venice, where she died at the age of 84.

Legacy

In Prideaux Place, Padstow, Cornwall, there is a charming portrait by Carriera of Humphrey Prideaux, the archetypal gentry son pictured on his "Grand Tour," in which a love-letter from Carriera to the sitter is reputed to have been hidden behind the frame. She had many male friends and many aristocratic admirers of her talent.

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信息统计与维护

美术百科参考资料

1、Rosalba Carriera