The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection . to the daughter of this prince. A letter to Rosalba from M. Crozat on AugustII, 1721, announces the death of Watteau: Wehave lost our poor M. Watteau. He ended his dayswith his pencil in his hand. His friends are aboutto publish a discourse on his life and works. Theygive due homage to the portrait of him which youpainted in Paris only a little time before his picture is alluded to in the Diary, on Febru-ary nth: I undertook to paint for M. Crozat theportrai
The art of the Dresden gallery; notes and observations upon the old and modern masters and paintings in the royal collection . to the daughter of this prince. A letter to Rosalba from M. Crozat on AugustII, 1721, announces the death of Watteau: Wehave lost our poor M. Watteau. He ended his dayswith his pencil in his hand. His friends are aboutto publish a discourse on his life and works. Theygive due homage to the portrait of him which youpainted in Paris only a little time before his picture is alluded to in the Diary, on Febru-ary nth: I undertook to paint for M. Crozat theportrait of M. Watteau in pastel. Watteau wasmuch interested in the work of Rosalba Carriera,and a letter from his friend, Vleughels, to this lady,in 1719, has the following clause: An excellentman, M. Watteau, of whom without doubt you haveheard, has the greatest desire to know you, and tohave a piece of your handiwork: in return will sendyou one of his. . He is my friend; he liveswith me, and he asks me to present his most humblerespect and his hopes of a favourable apparently agreed to the proposition, and. ROSALBA CARRIERA. —*lOUIS XV. (paSTEl) f»astel5 an& /iDiniatures 169 Watteau had his wishes granted, for in her diaryfor 1721 (when she was in Paris), she wrote: Inthe morning I paid a visit to M. Watteau. Among the earhest entries in the Journal, onJune 17, 1720, we find a note: Made an agree-ment with M. Aran, to finish for him an Apolloand Daphne. In the miniature room. No. 3 cor-responds to this description. In 1720, while Rosalba was in Paris, she wasreceived into the Royal Academy of Painting andSculpture, having been made an Academician ofSan Luca in Rome in 1705, and in Bologna also in1720, on her way to Paris. When she visitedVienna in 1735 the Empress of Germany, Amelie,did her the honour of becoming her pupil. Herportrait may be seen here in pastel. No. 20. Thetones are very delicate. A little gratified worldly streak displays itselfwhen Rosalba writ
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