Rosalba Carriera was born in Venice in 1675. Her father held an office under government, which occupied his whole time; but he, as well as his father, had been a painter. He loved art, and encouraged his child in her early fancies. Her first childish work was at point de Venise lace. She seemed to care little for the ordinary amusements of young people, but passed her leisure time in drawing. She tried to copy one of her father’s designs for the head of a sonnet. A student of art, who chanced to see this piece of work, showed it to his master, who instantly perceived the genius of the child artist; and, foreseeing the excellence to which she would attain, and wishing to encourage her to persevere, gave her other designs to copy.
Rosalba was desolate when this friend left Venice; but a Venetian banker, who had noticed her proficiency, lent her some heads in pastel of Baroche. These studies vastly improved her; and her father, then satisfied of his daughter’s possession of rare talents, consented that she should take lessons from Antonio Nazari, who was eminent as a pastel-painter. The cavalier Diamantini, distinguished for the freshness of his pencil, also gave her instruction.
Her most valuable knowledge of the technical part of painting, which gave her the mastery and command of her art that marked her productions, was acquired under the tuition of Antonio Balestra. Finally, she obtained from her kinsman, Antonio Pellegrini, a knowledge of the details of miniature-painting, to which the advice of a lady friend first directed her, and in which branch she acquired rare skill. She would willingly have pursued this, but the weakness of her sight compelled her to abandon it, and take to pastel-painting, in which she obtained the greatest celebrity—attaining, Zanetti says, the highest grade of perfection.
Her miniatures were noted particularly for severe accuracy of drawing, united with rare softness and delicacy of touch; they had the perfection of proportion, and the brilliancy and warmth of coloring for which her pastels were remarkable. Her tints were blended with great tenderness; her heads had a lovely expression of truth and nature.
Her talents met with due appreciation and honor while yet in their bloom of promise. She was celebrated in her native city as the “companion of the muse of painting,” and “the ornament of her sex and of the Venetian school.” Zanetti speaks of her with high praise in his “Storia della Pittura Veneziana.” Works evincing her extraordinary ability were shown at most of the courts of Europe. She was invited to Paris and Vienna to practice her profession there, and was elected to membership in the academies of Paris, Bologna, and Rome. Her miniature and pastel paintings were sent to the institutions which conferred this honor upon her. The King of Denmark came to Venice, and, having heard of Rosalba, expressed a curiosity to see her. After consulting Balestra, she presented to her royal visitor some portraits of Venetian ladies of rank whom he had admired, receiving from his majesty in return a very costly diamond. She also played and sang for his amusement with her two sisters, one of whom performed on the violin.
She was invited by royalty to paint the Emperor Charles and the imperial court; also the King of France. The Grand-Duke of Tuscany placed her portrait in his gallery; it is painted in pastel, with one of her sisters. The style is noble and sustained; the expression is true, and the flesh-tints are so admirable, the face seems scarcely to want a soul. Augustus III., King of Poland, was her special patron; and in Modena she painted portraits of the reigning family.
None of these, or similar honors, had power to turn her head nor to corrupt her heart. Although a daughter of Venice, then the most luxurious and licentious city in Europe, the deep seriousness, and even enthusiastic melancholy of her character—dispositions that find expression in many of her works—kept her aloof from contact with vice, and her moral purity and worth were as conspicuous and as universally recognized as her genius. Her own house at Venice was adorned with portraits and original compositions. This valuable collection she sold at a high price to the King of Poland, who placed them in a special cabinet of his palace in Dresden.
In the bloom of her career and her fame, Rosalba accompanied her brother-in-law Pellegrini to France. She remained a year at the house of M. Crozat. Two portraits of the king were done by her in pastel, and one in miniature, besides a victoire for a snuff-box which his majesty gave to Madame de Ventadour.
Several groups and demi-figures, designed by Pellegrini and executed by Rosalba, are preserved in Paris, with many heads in pastel done for Crozat. Many of her symbolical pictures—such as the Muses, Sciences, Seasons, etc.—were purchased by English travelers. Her crayon-drawings were distinguished by softness and life-like freshness. She became a member of the Paris Academy in October, 1720. Her tableau de reception was a Muse in pastel. The connoisseurs esteemed her portraits for their perfect likeness, delicacy of touch, wonderful lightness, peculiar grace, and admirable coloring and expression. They were unrivaled of their kind.
An anecdote has been mentioned of a lady of rank who wished to study painting under Rosalba, but knew she could not be prevailed on to take pupils. The lady presented herself in the disguise of a maid-servant, and desired employment at the house of the distinguished paintress. Rosalba was pleased with her appearance, and at once engaged her services. While faithfully performing her tasks, the lady incessantly watched the proceedings of the artist; and, by dint of careful observation, succeeded in learning much of the art. Rosalba noticed the extraordinary quickness of her maid in these matters; and, willing to give to native talent all the aid in her power, invited the girl to observe her while painting, and gave her valuable instruction. The secret was at last discovered. The lady became afterward an artist so skillful in miniatures, that she received an appointment from a German prince as painter at his court.