1 00:00:01,280 --> 00:00:04,000 Speaker 1: Welcome to Stuff You Missed in History Class, a production 2 00:00:04,120 --> 00:00:12,799 Speaker 1: of I Heart Radios How Stuff Works. Hello, and welcome 3 00:00:12,800 --> 00:00:16,919 Speaker 1: to the podcast. I'm Holly Fry and I'm Tracy B. Wilson. Tracy, 4 00:00:16,960 --> 00:00:19,520 Speaker 1: everybody knows that I waxed rapsodic all the time about 5 00:00:22,320 --> 00:00:25,279 Speaker 1: she is one of my very favorite artists. This is 6 00:00:25,320 --> 00:00:28,320 Speaker 1: not about her, but she's kind of loosely tied to it. 7 00:00:28,400 --> 00:00:31,400 Speaker 1: We haven't featured an artist biography in a minute, and 8 00:00:31,480 --> 00:00:33,320 Speaker 1: I love them. So today we're going to talk about 9 00:00:33,640 --> 00:00:36,640 Speaker 1: someone who was actually one of le Bron's influences, and 10 00:00:36,680 --> 00:00:39,600 Speaker 1: that is Rosalba Carriera, who had been on my list 11 00:00:39,640 --> 00:00:41,280 Speaker 1: for a bit, and then she also came up in 12 00:00:41,320 --> 00:00:44,519 Speaker 1: a discussion that Tracy and I were having recently. We 13 00:00:44,560 --> 00:00:46,760 Speaker 1: are also coming up on her birthday, so it kind 14 00:00:46,760 --> 00:00:48,720 Speaker 1: of seemed like a good time to talk about her 15 00:00:49,080 --> 00:00:52,760 Speaker 1: surprising level of success in the male dominated European art 16 00:00:52,800 --> 00:00:56,000 Speaker 1: world of the early seventeen hundreds. It's a little surprising 17 00:00:56,080 --> 00:00:58,320 Speaker 1: because most people don't really know about her unless they 18 00:00:58,320 --> 00:01:00,680 Speaker 1: study art history. She's not one of like the great 19 00:01:00,720 --> 00:01:02,640 Speaker 1: painters that you get the list of in a standard 20 00:01:02,760 --> 00:01:05,840 Speaker 1: art class um, and much of what we know about 21 00:01:05,840 --> 00:01:09,040 Speaker 1: the particulars of Cadeta's life come from her diary, which 22 00:01:09,080 --> 00:01:12,920 Speaker 1: was initially published in seventee. That was almost forty years 23 00:01:12,920 --> 00:01:15,840 Speaker 1: after she died, and since she was pretty clearly not 24 00:01:15,959 --> 00:01:19,240 Speaker 1: intending for that diary to be a published biography, her 25 00:01:19,280 --> 00:01:22,160 Speaker 1: life story has largely been pieced together through the notes 26 00:01:22,200 --> 00:01:24,520 Speaker 1: that she was taking in that diary on her daily life, 27 00:01:24,800 --> 00:01:27,759 Speaker 1: and some of those are fairly inconsistent in terms of 28 00:01:27,800 --> 00:01:31,240 Speaker 1: like how she listed her commissions and their status is 29 00:01:31,280 --> 00:01:33,880 Speaker 1: and their payments. So really it was like if you 30 00:01:33,920 --> 00:01:36,000 Speaker 1: have a checklist or some sort of journal where you 31 00:01:36,080 --> 00:01:38,679 Speaker 1: keep track of what's going on in your day. Imagine 32 00:01:38,680 --> 00:01:42,480 Speaker 1: if that got published as your life story, probably people 33 00:01:42,520 --> 00:01:46,200 Speaker 1: would think you or maybe disorganized or just inconsistent, but 34 00:01:46,240 --> 00:01:48,480 Speaker 1: I think most people are. For example, she had a 35 00:01:48,520 --> 00:01:51,880 Speaker 1: system of marking things, but it seemed to change and evolve, 36 00:01:51,960 --> 00:01:54,360 Speaker 1: and there are some notations that no one's really decided 37 00:01:54,440 --> 00:01:57,840 Speaker 1: yet exactly what they meant, whether they included like sitting time, 38 00:01:57,960 --> 00:02:00,320 Speaker 1: or it was like a system to denote what days 39 00:02:00,400 --> 00:02:04,080 Speaker 1: of the business transaction they were at, making it all 40 00:02:04,120 --> 00:02:07,160 Speaker 1: sort of tricky. And additionally, she did not keep any 41 00:02:07,160 --> 00:02:10,720 Speaker 1: sort of consistent diary after the late seventeen twenties kind 42 00:02:10,720 --> 00:02:13,520 Speaker 1: of fell off of that habit. So even what we 43 00:02:13,600 --> 00:02:15,840 Speaker 1: have is kind of a small section of her life. 44 00:02:16,440 --> 00:02:20,239 Speaker 1: But she was incredibly successful in her lifetime, but because 45 00:02:20,240 --> 00:02:22,160 Speaker 1: of the nature of her work and the art that 46 00:02:22,200 --> 00:02:24,959 Speaker 1: she did in her style of art, kind of falling 47 00:02:24,960 --> 00:02:27,519 Speaker 1: out of favor after her lifetime, all of which we 48 00:02:27,560 --> 00:02:30,119 Speaker 1: were going to talk about. Her story has largely been 49 00:02:30,120 --> 00:02:32,760 Speaker 1: forgotten outside of art history circles, so we're going to 50 00:02:32,840 --> 00:02:36,800 Speaker 1: give her a little love today. Rosalba Giovanna Carrietra was 51 00:02:36,880 --> 00:02:40,680 Speaker 1: born in Venice, Italy, on October seventh, sixteen seventy five. 52 00:02:41,000 --> 00:02:43,600 Speaker 1: Some sources list her birthdate as at the end of 53 00:02:43,639 --> 00:02:48,480 Speaker 1: sixteen seventy three. Her father, Andrea Carriatta, was a legal 54 00:02:48,520 --> 00:02:52,240 Speaker 1: clerk in the government, and her mother, Albat Floreste Carrierra, 55 00:02:52,400 --> 00:02:56,880 Speaker 1: was a lacemaker. Rosalba had two sisters. Her sister, Giovannah, 56 00:02:57,040 --> 00:02:59,160 Speaker 1: might have been born in sixteen seventy five, and that 57 00:02:59,280 --> 00:03:01,600 Speaker 1: could have contro beat it to this confusion on the 58 00:03:01,600 --> 00:03:05,840 Speaker 1: birth dates. Her youngest sister was and Zola Cecilia, who 59 00:03:05,880 --> 00:03:09,040 Speaker 1: was born in sixteen seventy seven. And Zola would later 60 00:03:09,200 --> 00:03:14,280 Speaker 1: marry the famed Venetian painter Giovanni Antonio Pellegrini. Yeah, and Zola. 61 00:03:14,360 --> 00:03:18,120 Speaker 1: You will sometimes see her name appear anglicized to Angela, 62 00:03:18,320 --> 00:03:20,440 Speaker 1: so if you're ever looking anything up about them, that's 63 00:03:20,440 --> 00:03:24,120 Speaker 1: what's going on there. Uh and Roslabo most likely learned 64 00:03:24,200 --> 00:03:27,040 Speaker 1: lace making from her mother, but most of the information 65 00:03:27,040 --> 00:03:29,840 Speaker 1: that we have about this is pretty speculative. It is 66 00:03:29,880 --> 00:03:33,079 Speaker 1: certainly possible that she learned this trade. It's also possible 67 00:03:33,080 --> 00:03:36,080 Speaker 1: that her initial artistic efforts were making lace designs for 68 00:03:36,120 --> 00:03:38,720 Speaker 1: her mother, but we don't really know. We do know 69 00:03:38,760 --> 00:03:41,400 Speaker 1: that at some point she turned to visual art. She 70 00:03:41,520 --> 00:03:44,360 Speaker 1: might have been tutored by one or more of Venice's 71 00:03:44,480 --> 00:03:48,720 Speaker 1: prominent artists at the time. These included Antonio Lazari, the 72 00:03:48,880 --> 00:03:53,440 Speaker 1: engraver Dia Montini, and painter Antonio Bellestra. All of them 73 00:03:53,440 --> 00:03:56,160 Speaker 1: have come up as possible mentors, but it's not totally 74 00:03:56,200 --> 00:03:59,680 Speaker 1: clear whether she received formal instruction for many of them. 75 00:03:59,720 --> 00:04:03,800 Speaker 1: She's started to render portraits in miniature on snuff boxes, 76 00:04:03,880 --> 00:04:07,280 Speaker 1: which were popular with tourists in Venice. One of the 77 00:04:07,320 --> 00:04:10,680 Speaker 1: things that made her work in snuffbox portraits unique was 78 00:04:10,800 --> 00:04:13,920 Speaker 1: her use of ivory as a background rather than bellum 79 00:04:14,080 --> 00:04:17,560 Speaker 1: and using tempera as the painting medium. That use of 80 00:04:17,680 --> 00:04:21,840 Speaker 1: ivory eventually became commonplace and miniature portraiture, but she was 81 00:04:21,880 --> 00:04:24,719 Speaker 1: the first known to do this, and her first known 82 00:04:24,800 --> 00:04:27,600 Speaker 1: pastel portrait, which is something she came to be known for, 83 00:04:28,160 --> 00:04:31,280 Speaker 1: was begun most likely in sixte so she was already 84 00:04:31,279 --> 00:04:33,600 Speaker 1: in her twenties at that point, and it was a 85 00:04:33,680 --> 00:04:37,760 Speaker 1: rendering of the artist and art dealer Antonio Mariezanetti. In 86 00:04:37,880 --> 00:04:41,720 Speaker 1: nineteen fifteen. That is a significant jump, but come with us. 87 00:04:42,240 --> 00:04:46,320 Speaker 1: Austin Dobson wrote of Rosalba's choice to work in pastel's, 88 00:04:46,320 --> 00:04:49,520 Speaker 1: a medium that was not particularly popular, and he wrote, 89 00:04:49,560 --> 00:04:54,400 Speaker 1: quote in oil painting, the field was crowded with formidable competitors, 90 00:04:54,440 --> 00:04:57,719 Speaker 1: but the less popular pastel, with its brilliant contrasts and 91 00:04:57,800 --> 00:05:03,120 Speaker 1: silvery transparencies, it's of intins and velvety softness, offered special 92 00:05:03,160 --> 00:05:06,760 Speaker 1: facilities for the display of Rosalba's gifts as well as 93 00:05:06,800 --> 00:05:10,240 Speaker 1: the disguise of her deficiencies. So up to this point 94 00:05:10,279 --> 00:05:13,560 Speaker 1: pastel's were mostly used just for quick drawing studies or 95 00:05:13,760 --> 00:05:16,200 Speaker 1: preparatory sketches to lay out a work that was going 96 00:05:16,240 --> 00:05:19,440 Speaker 1: to later be rendered in oil. Her artwork was quickly 97 00:05:19,640 --> 00:05:22,640 Speaker 1: recognized as special. She was still young and pretty new 98 00:05:22,640 --> 00:05:25,160 Speaker 1: in the field, and within a very short time Rosalba 99 00:05:25,200 --> 00:05:29,480 Speaker 1: had become a member of Rome's prestigious Academia to St. Luca, 100 00:05:29,560 --> 00:05:32,080 Speaker 1: and that was an association that sought to govern, educate 101 00:05:32,160 --> 00:05:35,880 Speaker 1: and elevate the arts. Yeah, that was by some accounts 102 00:05:35,880 --> 00:05:38,760 Speaker 1: within a year of her released starting her art career, 103 00:05:38,800 --> 00:05:42,960 Speaker 1: so that's quite notable. And Kanyetta gained a significant enough 104 00:05:43,000 --> 00:05:46,800 Speaker 1: following that when nobles and royalties visited Venice, they were 105 00:05:46,839 --> 00:05:50,040 Speaker 1: sure to commission portraits, either in miniature or in larger 106 00:05:50,080 --> 00:05:54,520 Speaker 1: size throughout her early career. Her reputation rapidly spread throughout 107 00:05:54,560 --> 00:05:58,280 Speaker 1: Europe due to these tourist commissions. When the wealthy visitors 108 00:05:58,320 --> 00:06:01,440 Speaker 1: then brought their Kieta portraits back come, they showed them 109 00:06:01,440 --> 00:06:04,680 Speaker 1: off to their friends and thus expanded her audience, who 110 00:06:04,720 --> 00:06:07,279 Speaker 1: all hoped that they would eventually get their own Rosalba 111 00:06:07,320 --> 00:06:10,640 Speaker 1: portraits made. Among her commissions in her early career were 112 00:06:10,680 --> 00:06:13,919 Speaker 1: portraits of Maximilian the second of Bavaria and Frederick the 113 00:06:13,920 --> 00:06:19,159 Speaker 1: fourth of Denmark. In seventeen o eight, when Fernando Carlo Gonzaga, 114 00:06:19,560 --> 00:06:24,279 Speaker 1: Duke of Mantua and Montferrat died. Rosalba Carrierra assisted in 115 00:06:24,360 --> 00:06:27,880 Speaker 1: managing his art collection as it was distributed to new owners. 116 00:06:28,000 --> 00:06:30,279 Speaker 1: She cataloged the pieces that were involved and sent the 117 00:06:30,320 --> 00:06:33,880 Speaker 1: lists to buyers. She also copied one of the works 118 00:06:33,920 --> 00:06:37,160 Speaker 1: of painter Guido kang Yashi, which was in the Duke's collection. 119 00:06:37,680 --> 00:06:40,400 Speaker 1: That is a study. Yeah, there's a lot of talk 120 00:06:40,480 --> 00:06:43,360 Speaker 1: of copies throughout her career, like she would make copies 121 00:06:43,360 --> 00:06:46,000 Speaker 1: of other people's work, people would copy her work. It 122 00:06:46,040 --> 00:06:48,839 Speaker 1: did not seem to have the same concern in terms 123 00:06:48,920 --> 00:06:52,960 Speaker 1: of legality or stealing of intellectual property that it does 124 00:06:53,000 --> 00:06:57,480 Speaker 1: at this point. On April first, seventeen nineteen, Rosalba's father died, 125 00:06:57,640 --> 00:07:00,200 Speaker 1: and this was of course a very difficult loss. The 126 00:07:00,279 --> 00:07:04,359 Speaker 1: Kadietta family was incredibly close, but it also, on the 127 00:07:04,440 --> 00:07:07,560 Speaker 1: upside opened up some avenues of opportunity because up to 128 00:07:07,600 --> 00:07:10,880 Speaker 1: that point Rosalba had stayed her entire life in Venice. 129 00:07:10,960 --> 00:07:13,880 Speaker 1: But once he passed, she felt free to travel for 130 00:07:13,880 --> 00:07:16,480 Speaker 1: the first time, which people wanted her to do, and 131 00:07:16,520 --> 00:07:19,240 Speaker 1: she was in her forties at that point. So in 132 00:07:19,320 --> 00:07:23,920 Speaker 1: seventeen twenty, Carrieta, who was encouraged by collector Pierre Krozatte 133 00:07:24,200 --> 00:07:27,840 Speaker 1: traveled to Paris. Kazatt had assured her that Paris would 134 00:07:27,840 --> 00:07:30,560 Speaker 1: just love her, and he was right. We really should 135 00:07:30,560 --> 00:07:34,320 Speaker 1: pause for a moment to acknowledge how influential and important 136 00:07:34,360 --> 00:07:37,680 Speaker 1: Crozatte was in the European art world at the time. 137 00:07:38,280 --> 00:07:41,200 Speaker 1: Over his lifetime, he amassed one of the most impressive 138 00:07:41,320 --> 00:07:45,240 Speaker 1: private art collections in history. In this collection, which was 139 00:07:45,360 --> 00:07:49,040 Speaker 1: augmented and further developed by his nephew after his death, 140 00:07:49,480 --> 00:07:52,960 Speaker 1: was acquired in its entirety by the State Hermitage Museum 141 00:07:53,000 --> 00:07:56,400 Speaker 1: in St. Petersburg, Russia, in seventeen seventy two, is part 142 00:07:56,400 --> 00:07:59,920 Speaker 1: of Catherine the greats private collection. This was one of 143 00:08:00,120 --> 00:08:04,480 Speaker 1: the biggest art acquisitions of its time. The entire collection 144 00:08:04,520 --> 00:08:07,760 Speaker 1: remains at the Hermitage to this day. So all of 145 00:08:07,760 --> 00:08:10,520 Speaker 1: that is to contextualize the fact that when Krozatte told 146 00:08:10,680 --> 00:08:14,040 Speaker 1: Rosalba Carrera that she should come to Paris as his 147 00:08:14,160 --> 00:08:16,840 Speaker 1: guest and it would be good for her career, that 148 00:08:16,960 --> 00:08:20,720 Speaker 1: advice was carrying considerable weights. And in just a moment 149 00:08:20,760 --> 00:08:23,360 Speaker 1: we will talk about this big Paris trip, which most 150 00:08:23,440 --> 00:08:27,800 Speaker 1: art historians note as an incredibly important event in Cardiata's life. 151 00:08:28,000 --> 00:08:30,040 Speaker 1: But first we're going to take a quick sponsor break. 152 00:08:37,960 --> 00:08:42,080 Speaker 1: When she traveled to Paris, Rosalba brought her entire remaining 153 00:08:42,080 --> 00:08:45,160 Speaker 1: family along for the ride. Her sister en Zola and 154 00:08:45,240 --> 00:08:49,439 Speaker 1: husband Giovanni Pellegrini accompanied her, Pellegrini having his own business 155 00:08:49,480 --> 00:08:51,680 Speaker 1: to conduct in Paris on a commission to paint a 156 00:08:51,720 --> 00:08:55,640 Speaker 1: bank ceiling. Her sister Giovanna had begun to assist her 157 00:08:55,679 --> 00:08:57,960 Speaker 1: in her work, and so she traveled with her and 158 00:08:58,000 --> 00:09:01,040 Speaker 1: her mother was also part of their traveling party. While 159 00:09:01,120 --> 00:09:05,040 Speaker 1: in France, or As, Albat painted several dozen commissions, including 160 00:09:05,040 --> 00:09:07,360 Speaker 1: one of Louis the fifteenth, who was still a child 161 00:09:07,400 --> 00:09:10,559 Speaker 1: of ten at the time. While Louis the fourteenth had 162 00:09:10,600 --> 00:09:14,240 Speaker 1: died five years earlier, Louis the fift wasn't actively ruling 163 00:09:14,320 --> 00:09:17,480 Speaker 1: yet due to his young age. This portrait features Louis 164 00:09:17,520 --> 00:09:19,880 Speaker 1: the fifteenth that a red coat with a blue sash 165 00:09:19,960 --> 00:09:22,880 Speaker 1: and a white lace shebaut surrounded by a mane of 166 00:09:22,960 --> 00:09:26,720 Speaker 1: curly hair. He has large brown eyes that become the 167 00:09:26,760 --> 00:09:30,200 Speaker 1: focal point of the portrait. There rendered in slightly sharper 168 00:09:30,240 --> 00:09:34,520 Speaker 1: detail than his other features. Yeah, there's an eyelash situation 169 00:09:34,559 --> 00:09:37,480 Speaker 1: going on in that painting that I love. Kenyata's trip 170 00:09:37,559 --> 00:09:40,480 Speaker 1: to Paris also resulted in her being invited to join 171 00:09:40,559 --> 00:09:43,559 Speaker 1: the French Royal Academy on the merit of that portrait 172 00:09:43,640 --> 00:09:46,839 Speaker 1: of Louis. Once the members of the Academy saw her 173 00:09:46,880 --> 00:09:49,800 Speaker 1: rendering of what they were calling the Dauphin. Again there's 174 00:09:49,800 --> 00:09:52,520 Speaker 1: that weird thing with him not quite being king yet 175 00:09:52,960 --> 00:09:57,199 Speaker 1: her acceptance was, according to her own diary, instant and unanimous, 176 00:09:57,200 --> 00:09:59,760 Speaker 1: and this was truly a moment of note, as women 177 00:09:59,800 --> 00:10:02,480 Speaker 1: were rarely admitted to the Academy, and I think on 178 00:10:02,520 --> 00:10:04,920 Speaker 1: previous occasions there had been a lot of voting involved. 179 00:10:05,480 --> 00:10:09,040 Speaker 1: Carrera sent pastel to the Royal Academy in Paris as 180 00:10:09,080 --> 00:10:11,720 Speaker 1: part of her admittance as a member. It was called 181 00:10:11,960 --> 00:10:15,240 Speaker 1: Nymph de la Suite Dapolon. It's in the collection of 182 00:10:15,240 --> 00:10:18,560 Speaker 1: the Louver today. While she had been accepted based on 183 00:10:18,600 --> 00:10:21,040 Speaker 1: her portrait of Louis the fifteenth, she wanted to send 184 00:10:21,040 --> 00:10:24,240 Speaker 1: a different work, which she shipped later on from Venice, 185 00:10:24,400 --> 00:10:27,400 Speaker 1: and she wrote of this portrait quote, I have tried 186 00:10:27,440 --> 00:10:31,000 Speaker 1: to depict a young girl, knowing that to youth many 187 00:10:31,120 --> 00:10:34,560 Speaker 1: faults are forgiven. She also stands for a nymph of 188 00:10:34,640 --> 00:10:37,800 Speaker 1: Apollo's choir, who goes on her own part to offer 189 00:10:37,880 --> 00:10:41,240 Speaker 1: to the Academy of Paris a wreath of laurels, judging 190 00:10:41,360 --> 00:10:44,720 Speaker 1: that body alone worthy to wear it and to preside 191 00:10:44,760 --> 00:10:47,560 Speaker 1: over all the others. There were a number of reasons 192 00:10:47,600 --> 00:10:50,680 Speaker 1: that the timing was perfect for Rosalba to visit Paris. 193 00:10:51,480 --> 00:10:53,760 Speaker 1: One was that there was this new trend among the 194 00:10:53,800 --> 00:10:56,960 Speaker 1: aristocracy to buy their own Paris apartments rather than living 195 00:10:56,960 --> 00:11:00,360 Speaker 1: at Versailles. There was also a rising merchant class had 196 00:11:00,400 --> 00:11:04,040 Speaker 1: also found themselves suddenly having property, and they all needed 197 00:11:04,160 --> 00:11:06,520 Speaker 1: art to decorate those spaces. But of course the wall 198 00:11:06,559 --> 00:11:09,760 Speaker 1: space available in apartments was smaller than what they had 199 00:11:09,800 --> 00:11:13,280 Speaker 1: been used to uh Tracy and I Bendeversai. Those walls 200 00:11:13,280 --> 00:11:16,040 Speaker 1: are large and ready for big art, so in these 201 00:11:16,080 --> 00:11:20,079 Speaker 1: smaller spaces they needed appropriately sized artwork. So a portraitis 202 00:11:20,200 --> 00:11:22,640 Speaker 1: that was brought to the city and lauded by one 203 00:11:22,679 --> 00:11:25,319 Speaker 1: of the continent's most well known and well respected art 204 00:11:25,320 --> 00:11:30,000 Speaker 1: collectors was in high demand, indeed, thus her many many commissions. 205 00:11:30,400 --> 00:11:32,560 Speaker 1: The other factors had to do with the shift and 206 00:11:32,679 --> 00:11:37,600 Speaker 1: appreciation for pastelists and their work. Before this era, oil 207 00:11:37,679 --> 00:11:42,000 Speaker 1: painting had been far more popular Because production of plate 208 00:11:42,120 --> 00:11:46,840 Speaker 1: glass had had advanced significantly, delicate pastel works could be 209 00:11:46,840 --> 00:11:50,240 Speaker 1: preserved without fear that the powdery pigment would flake or 210 00:11:50,240 --> 00:11:53,640 Speaker 1: would fall away. For the backing that made larger portrait 211 00:11:53,679 --> 00:11:57,280 Speaker 1: pieces possible instead of just the miniatures that had started 212 00:11:57,520 --> 00:12:01,160 Speaker 1: carrier As career. And One other signific contributor was the 213 00:12:01,200 --> 00:12:05,520 Speaker 1: advancement in the production of pastel crayons. As pastel work 214 00:12:05,600 --> 00:12:08,199 Speaker 1: became more and more highly regarded, in part because of 215 00:12:08,280 --> 00:12:12,559 Speaker 1: Carerietta's skill and popularity, and industry of art suppliers rose 216 00:12:12,679 --> 00:12:15,840 Speaker 1: up to meet it. Crayon maker started producing more and 217 00:12:15,880 --> 00:12:19,160 Speaker 1: more colors, and artists could easily carry them to clients 218 00:12:19,240 --> 00:12:22,280 Speaker 1: homes to work. There was no drying time, and it 219 00:12:22,320 --> 00:12:24,760 Speaker 1: did not take up nearly as much space to invite 220 00:12:24,760 --> 00:12:27,720 Speaker 1: a pastel artist into your home to make your portrait 221 00:12:28,000 --> 00:12:30,360 Speaker 1: as it would have an oil painter who might require 222 00:12:30,400 --> 00:12:33,120 Speaker 1: a lot more sittings and also need to leave that 223 00:12:33,200 --> 00:12:36,319 Speaker 1: work in situ between those sittings, occupying a chunk of 224 00:12:36,360 --> 00:12:40,200 Speaker 1: your house. Despite her great success in France, though she 225 00:12:40,320 --> 00:12:43,040 Speaker 1: wanted to return to Venice after a year of being 226 00:12:43,040 --> 00:12:47,120 Speaker 1: the toast of Paris. This also coincided with a significant 227 00:12:47,200 --> 00:12:50,480 Speaker 1: financial crash in France that had been brewing for some 228 00:12:50,640 --> 00:12:54,720 Speaker 1: time under the regent, the Duke of Orleans. Rosalba Carrera 229 00:12:54,800 --> 00:12:58,240 Speaker 1: had ties to the Scottish economist John Law, who served 230 00:12:58,240 --> 00:13:01,120 Speaker 1: as controller of France's fine ances at the Duke of 231 00:13:01,240 --> 00:13:05,320 Speaker 1: Orleans appointment. Law had been responsible for the creation of 232 00:13:05,360 --> 00:13:08,920 Speaker 1: the financial disaster known as the Mississippi Bubble, which was 233 00:13:08,960 --> 00:13:12,200 Speaker 1: the catalyst for this whole crash. He ended up fleeing 234 00:13:12,320 --> 00:13:15,040 Speaker 1: Paris in the dead of night. Kitty at A sort 235 00:13:15,080 --> 00:13:18,199 Speaker 1: of captured Law's last few days in Paris in her journal, 236 00:13:18,559 --> 00:13:21,640 Speaker 1: describing days that involved meeting with him as the bank 237 00:13:21,679 --> 00:13:24,960 Speaker 1: notes that he had been issuing were completely devalued and 238 00:13:25,040 --> 00:13:27,360 Speaker 1: riots began in the city. There's one entry where she 239 00:13:27,400 --> 00:13:30,280 Speaker 1: just starts bad day. She had been working on a 240 00:13:30,280 --> 00:13:33,360 Speaker 1: commission for him, so she was pretty immediately adjacent to 241 00:13:33,360 --> 00:13:35,720 Speaker 1: the family as they were planning to leave, although she 242 00:13:35,800 --> 00:13:39,640 Speaker 1: really doesn't delve into the specifics of the economy in 243 00:13:39,720 --> 00:13:42,520 Speaker 1: her accounts of each day. But once he left, she 244 00:13:42,720 --> 00:13:44,679 Speaker 1: just kind of busied herself with all of the other 245 00:13:44,720 --> 00:13:46,679 Speaker 1: work that she had been hired to do. He as 246 00:13:46,760 --> 00:13:49,000 Speaker 1: much as they had been very entwined in each other's 247 00:13:49,040 --> 00:13:51,760 Speaker 1: lives up to that point. Once he's gone, she kind 248 00:13:51,760 --> 00:13:53,920 Speaker 1: of just wipes the slate clean on him and doesn't 249 00:13:53,960 --> 00:13:56,880 Speaker 1: really refer to him again. She had among her other 250 00:13:56,920 --> 00:14:00,600 Speaker 1: commissions a portrait of the artist Antoine Watteau, but also 251 00:14:00,679 --> 00:14:02,800 Speaker 1: work for a number of other nobles that she wasn't 252 00:14:02,920 --> 00:14:06,719 Speaker 1: really all that interested in. So in seventeen twenty one, 253 00:14:06,800 --> 00:14:09,360 Speaker 1: having made a nice bit of money and worked tirelessly 254 00:14:09,400 --> 00:14:12,360 Speaker 1: for more than a year, Rosalba returned home to Italy. 255 00:14:12,600 --> 00:14:17,320 Speaker 1: As a little historical trivia side note, Antoine Watteau is 256 00:14:17,320 --> 00:14:19,720 Speaker 1: where the name Watteau pleats come from, which, if you 257 00:14:19,760 --> 00:14:23,080 Speaker 1: look at pictures of dresses from this century and Marie 258 00:14:23,120 --> 00:14:26,320 Speaker 1: Antoinette dresses as well, those long pleates that start at 259 00:14:26,320 --> 00:14:28,400 Speaker 1: the back of the neck and and carry down in 260 00:14:28,440 --> 00:14:31,240 Speaker 1: a cascade, those are named after him because he painted 261 00:14:31,280 --> 00:14:35,680 Speaker 1: them so beautifully. In seventeen Rosalba went to Madenna, Italy, 262 00:14:36,080 --> 00:14:39,680 Speaker 1: and created several portraits of the Princess and Riquetta des Day, 263 00:14:40,080 --> 00:14:42,640 Speaker 1: as well as the rest of the duke's daughters. The 264 00:14:42,720 --> 00:14:45,520 Speaker 1: intent was that these portraits would be sent around a 265 00:14:45,600 --> 00:14:49,720 Speaker 1: potential marriage matches, which is a pretty common practice, and 266 00:14:49,840 --> 00:14:52,240 Speaker 1: Riquetto was one of the young women who was on 267 00:14:52,280 --> 00:14:55,480 Speaker 1: the short list of potential wives for Louis the fifteenth 268 00:14:55,480 --> 00:14:58,800 Speaker 1: of France, but Holly wasn't able to discern whether he 269 00:14:58,880 --> 00:15:01,080 Speaker 1: got one of these portrait it's and part of his 270 00:15:01,200 --> 00:15:05,120 Speaker 1: search for a suitable queen. And by the time Rosalba 271 00:15:05,160 --> 00:15:08,080 Speaker 1: returned home to Venice from Modena, she had a raft 272 00:15:08,080 --> 00:15:10,920 Speaker 1: of commissions waiting for her, ordered from all over Europe, 273 00:15:10,960 --> 00:15:13,280 Speaker 1: particularly in England. People had really fallen in love with 274 00:15:13,320 --> 00:15:15,960 Speaker 1: her work when she had become one of the wealthiest 275 00:15:16,000 --> 00:15:18,800 Speaker 1: and most successful artists of her time, working in a 276 00:15:18,840 --> 00:15:21,600 Speaker 1: medium that no one had been especially interested in before 277 00:15:21,640 --> 00:15:24,840 Speaker 1: she began creating portraits. One of the things that's interesting 278 00:15:24,880 --> 00:15:27,720 Speaker 1: is it in some cases people would send her portraits 279 00:15:27,760 --> 00:15:29,480 Speaker 1: that other artists had made of them and said like, 280 00:15:29,520 --> 00:15:32,600 Speaker 1: can you do a better version of this? Uh? And 281 00:15:32,680 --> 00:15:35,640 Speaker 1: she also had a constant list of people who wanted 282 00:15:35,680 --> 00:15:38,600 Speaker 1: to be taught by her. In seventeen thirty, she traveled 283 00:15:38,600 --> 00:15:41,920 Speaker 1: to Vienna and became a favorite of Charles the sixth 284 00:15:41,920 --> 00:15:46,600 Speaker 1: Holy Roman Emperor. Elizabeth Christine, who was the Empress, asked 285 00:15:46,600 --> 00:15:49,680 Speaker 1: her to teach her after the artist had completed her 286 00:15:49,720 --> 00:15:54,000 Speaker 1: portrait after Vienna, Carriaa returned once again to Venice, and 287 00:15:54,040 --> 00:15:56,600 Speaker 1: for the next several years her life was really a 288 00:15:56,640 --> 00:16:00,000 Speaker 1: steady stream of work. And then in seventeen thirty seven 289 00:16:00,200 --> 00:16:05,520 Speaker 1: everything changed when Rosalba's sister, Giovanna died on May nine. Giovanna, 290 00:16:05,560 --> 00:16:08,440 Speaker 1: as we mentioned, had assisted Rosalba in her studio and 291 00:16:08,480 --> 00:16:10,280 Speaker 1: the two of them were very close. They are often 292 00:16:10,320 --> 00:16:13,240 Speaker 1: referred to as best friends and confidants. They were so 293 00:16:13,280 --> 00:16:15,480 Speaker 1: close that in one of Kadrietta's self portraits that she 294 00:16:15,560 --> 00:16:18,920 Speaker 1: produced in seventeen fifteen, she had chosen to include a 295 00:16:18,920 --> 00:16:21,520 Speaker 1: portrait of her sister. She is holding that portrait in 296 00:16:21,600 --> 00:16:23,640 Speaker 1: her hands so that they're kind of together in this 297 00:16:23,720 --> 00:16:28,160 Speaker 1: self portrait. And then to add another tragedy. In seventeen 298 00:16:28,200 --> 00:16:31,520 Speaker 1: thirty eight, their mother, Alba, also died, and this combination 299 00:16:31,560 --> 00:16:34,360 Speaker 1: of grief as well as the loss of her trusted assistant, 300 00:16:34,720 --> 00:16:39,760 Speaker 1: really slowed Krietta's productivity significantly. By the seventeen forties, another 301 00:16:39,920 --> 00:16:43,760 Speaker 1: problem arose that further stunted her work. She started to 302 00:16:43,800 --> 00:16:47,080 Speaker 1: have some trouble in her vision. By seventeen forty five 303 00:16:47,160 --> 00:16:50,000 Speaker 1: or seventeen forty six. At the end of the decade, 304 00:16:50,080 --> 00:16:53,360 Speaker 1: she had surgery to try to correct her cataracts. This 305 00:16:53,560 --> 00:16:57,240 Speaker 1: was probably what's called couching, and that involves surgically depressing 306 00:16:57,280 --> 00:16:59,720 Speaker 1: the opaque lens to the bottom of the eye to 307 00:16:59,800 --> 00:17:02,960 Speaker 1: let the light in. Around the time that carrier I 308 00:17:03,080 --> 00:17:06,439 Speaker 1: had her surgery, a French physician named Jacques Davielle was 309 00:17:06,480 --> 00:17:10,240 Speaker 1: experimenting with cataract extraction, but it's not likely that she 310 00:17:10,280 --> 00:17:14,240 Speaker 1: had this new procedure. Some accounts suggest that the surgery 311 00:17:14,480 --> 00:17:17,760 Speaker 1: was what caused her total blindness, but it's more likely 312 00:17:17,760 --> 00:17:21,960 Speaker 1: that the couching didn't affect any permanent fix. After the surgery, 313 00:17:22,160 --> 00:17:26,240 Speaker 1: she had written to a friend that she seemed quite hopeful. Regardless, 314 00:17:26,440 --> 00:17:28,840 Speaker 1: any improvement that she might have had in her vision 315 00:17:29,240 --> 00:17:32,560 Speaker 1: was pretty short lived, and within a few years her 316 00:17:32,720 --> 00:17:37,320 Speaker 1: renowned and successful career had ended because she was completely blind. Yeah, 317 00:17:37,359 --> 00:17:40,480 Speaker 1: couching is one of those procedures that actually still happens 318 00:17:40,520 --> 00:17:43,680 Speaker 1: today in less advanced countries. It's not the best way 319 00:17:43,720 --> 00:17:46,080 Speaker 1: to deal with cataracts, but it is sort of fascinating 320 00:17:46,119 --> 00:17:49,359 Speaker 1: if you're into eye science. And during this late period 321 00:17:49,440 --> 00:17:51,520 Speaker 1: of her work in the seventeen forties, while her site 322 00:17:51,560 --> 00:17:54,120 Speaker 1: was failing, Rosalba produced what is believed to have been 323 00:17:54,160 --> 00:17:57,919 Speaker 1: her last self portrait, and this portrait is UH fifty 324 00:17:57,920 --> 00:18:01,000 Speaker 1: six point seven by FORTI was about twenty two by 325 00:18:01,040 --> 00:18:03,440 Speaker 1: eighteen inches to give you a sense of the size 326 00:18:03,440 --> 00:18:05,399 Speaker 1: of the portrait she was doing. It's rendered on buff 327 00:18:05,440 --> 00:18:08,440 Speaker 1: paper and in it she has aged and the tone 328 00:18:08,440 --> 00:18:10,600 Speaker 1: of the pieces quite casual. She actually made this for 329 00:18:10,640 --> 00:18:13,280 Speaker 1: a friend. But what's interesting is that even though her 330 00:18:13,280 --> 00:18:16,560 Speaker 1: eyesight was going, her technique remains as striking as ever. 331 00:18:17,520 --> 00:18:20,760 Speaker 1: She rendered the lace and jewelry really beautifully through the 332 00:18:20,760 --> 00:18:23,720 Speaker 1: careful use of texture to mimic detail. Her work is 333 00:18:23,720 --> 00:18:26,000 Speaker 1: one of those things that when you get right up 334 00:18:26,000 --> 00:18:28,800 Speaker 1: to it, it just looks like a bunch of strokes, 335 00:18:28,840 --> 00:18:30,720 Speaker 1: and then you just take one step back and everything 336 00:18:30,760 --> 00:18:33,600 Speaker 1: kind of snaps into a really beautiful focus with some 337 00:18:33,680 --> 00:18:36,119 Speaker 1: softness to a lot of the pieces. And she was 338 00:18:36,160 --> 00:18:39,960 Speaker 1: still just as good, even really struggling with her eyesight 339 00:18:40,040 --> 00:18:42,199 Speaker 1: as she had been earlier in her life. And the 340 00:18:42,280 --> 00:18:44,960 Speaker 1: years that followed, Rose Alba lived in her home in 341 00:18:45,080 --> 00:18:48,439 Speaker 1: Venice with her surviving sister, who had been widowed. She 342 00:18:48,560 --> 00:18:51,720 Speaker 1: dictated her correspondence to her friends and had news and 343 00:18:51,800 --> 00:18:54,639 Speaker 1: literature read to her, but she was unwilling to go 344 00:18:54,680 --> 00:18:58,399 Speaker 1: out very often. In December of seventeen fifty six, she 345 00:18:58,480 --> 00:19:01,320 Speaker 1: made out her will, leaving everything she had to her 346 00:19:01,359 --> 00:19:04,840 Speaker 1: sister and a few other relatives. And Rosalba died on 347 00:19:04,920 --> 00:19:08,080 Speaker 1: April fifteen, seventeen fifty seven, in Venice, at the age 348 00:19:08,080 --> 00:19:11,480 Speaker 1: of eighty one. She was buried next to her sister Giovanna, 349 00:19:11,560 --> 00:19:14,280 Speaker 1: in the church of San Vito and San Modesto. She 350 00:19:14,440 --> 00:19:18,240 Speaker 1: had popularized pastel portraiture to a point where she was 351 00:19:18,280 --> 00:19:21,240 Speaker 1: one of the most copied artists of all time, and 352 00:19:21,280 --> 00:19:24,680 Speaker 1: in a way, the timing of her passing was fortuitous. 353 00:19:24,880 --> 00:19:27,280 Speaker 1: She did not live quite long enough to see the 354 00:19:27,359 --> 00:19:30,199 Speaker 1: rococo frills that were so much of a part of 355 00:19:30,200 --> 00:19:33,159 Speaker 1: her work fall out of favor. But the timing of 356 00:19:33,200 --> 00:19:36,440 Speaker 1: her death, which took places the early seeds of neo 357 00:19:36,480 --> 00:19:40,160 Speaker 1: Classicism were being sown, they contributed to her name falling 358 00:19:40,160 --> 00:19:43,680 Speaker 1: out of the public eye and to relative obscurity, especially 359 00:19:43,720 --> 00:19:47,480 Speaker 1: compared to some of her male counterparts. Still, she has 360 00:19:47,560 --> 00:19:50,960 Speaker 1: continued to delight art historians even in recent years, and 361 00:19:51,040 --> 00:19:53,440 Speaker 1: we're going to talk about that after we take another 362 00:19:53,520 --> 00:20:04,840 Speaker 1: quick sponsor break. One of the things that gives Rosalbaccaria's 363 00:20:04,880 --> 00:20:08,600 Speaker 1: work It's Ethereal Beauty, also added a dimension of danger 364 00:20:08,720 --> 00:20:13,320 Speaker 1: to shipping her pieces around to their various destinations. Pastels are, 365 00:20:13,400 --> 00:20:15,760 Speaker 1: of course, just sticks of pigment and a filler that 366 00:20:15,800 --> 00:20:18,719 Speaker 1: makes them opaque that retained their crayon shape through some 367 00:20:18,760 --> 00:20:22,920 Speaker 1: sort of binding medium. Pastel works don't require drying time, 368 00:20:23,000 --> 00:20:26,439 Speaker 1: but they can be easily smudged or distorted, and often 369 00:20:26,560 --> 00:20:30,199 Speaker 1: in letters or diary notes, Cardieta mentioned concerns about her 370 00:20:30,240 --> 00:20:34,400 Speaker 1: portraits making it to their recipients. Intact, Rosalba was so 371 00:20:34,560 --> 00:20:37,400 Speaker 1: concerned about the safety of her works that she even 372 00:20:37,440 --> 00:20:40,919 Speaker 1: included little good luck charms when she shipped them in. 373 00:20:42,000 --> 00:20:45,000 Speaker 1: One of these was discovered by the Royal Collection Trust, 374 00:20:45,080 --> 00:20:48,200 Speaker 1: and that's the organization that's tasked with the management and 375 00:20:48,240 --> 00:20:52,119 Speaker 1: care of the British Royal Art collection and residences. In 376 00:20:52,200 --> 00:20:56,280 Speaker 1: seventeen sixty two, George the Third purchased the entire collection 377 00:20:56,320 --> 00:20:59,359 Speaker 1: of Joseph Smith, who was a British art agent and 378 00:20:59,440 --> 00:21:04,160 Speaker 1: collector who lived in Venice. During Carrierra's career, she produced 379 00:21:04,200 --> 00:21:08,600 Speaker 1: several works for Smith over the years, including Uppersonification of Winter, 380 00:21:08,880 --> 00:21:12,960 Speaker 1: which Carrierrat produced in the seventeen twenties, and this piece 381 00:21:13,000 --> 00:21:15,800 Speaker 1: of work features a young woman with dark hair wrapped 382 00:21:15,840 --> 00:21:18,399 Speaker 1: in a fur lined cloak, and the cloak is falling 383 00:21:18,480 --> 00:21:20,680 Speaker 1: off of one shoulder, so her shoulder and her neck 384 00:21:20,720 --> 00:21:23,680 Speaker 1: are exposed, and her faces at an angle, and it's 385 00:21:23,720 --> 00:21:26,240 Speaker 1: quite striking, and it is rendered on blue paper, although 386 00:21:26,280 --> 00:21:29,000 Speaker 1: you really can't see very much actual blue through the pastel, 387 00:21:29,720 --> 00:21:32,520 Speaker 1: and the young woman looks just luminous. The softness of 388 00:21:32,520 --> 00:21:35,760 Speaker 1: the pastel's make her skin look utterly velvety and also 389 00:21:35,800 --> 00:21:38,720 Speaker 1: sort of glowy, while details like the ribbons in her 390 00:21:38,720 --> 00:21:42,119 Speaker 1: her hair and her earring look sharper in contrast with 391 00:21:42,200 --> 00:21:45,520 Speaker 1: glints of light on them. And Joseph Smith described this 392 00:21:45,600 --> 00:21:48,520 Speaker 1: work in his list of his collection as quote the 393 00:21:48,560 --> 00:21:53,120 Speaker 1: most excellent this Virtuosa ever painted. A conservator working with 394 00:21:53,160 --> 00:21:56,919 Speaker 1: this artwork discovered a tiny card tucked in between the 395 00:21:57,000 --> 00:22:00,359 Speaker 1: arts wooden frame and the canvas liner. This is a 396 00:22:00,400 --> 00:22:04,160 Speaker 1: small card four point three by three point three centimeters 397 00:22:04,200 --> 00:22:07,119 Speaker 1: and it features the three Magi, which was a topic 398 00:22:07,200 --> 00:22:10,440 Speaker 1: that Carriero was very fond of. And this card wasn't 399 00:22:10,440 --> 00:22:14,119 Speaker 1: exactly a surprise. There is plenty of documentation that Resolva 400 00:22:14,480 --> 00:22:17,320 Speaker 1: placed images of the magi into parcels with her works. 401 00:22:17,320 --> 00:22:20,400 Speaker 1: When she shipped them, she would tell associates that all 402 00:22:20,440 --> 00:22:23,000 Speaker 1: of her works that traveled with their little saints that 403 00:22:23,160 --> 00:22:27,480 Speaker 1: Sentini in Italian always got to their destinations safe and sound. 404 00:22:27,880 --> 00:22:31,440 Speaker 1: As the conservator worked with this piece extra carefully because 405 00:22:31,440 --> 00:22:34,840 Speaker 1: of the fragile nature of pastels, they noticed the small 406 00:22:34,920 --> 00:22:38,440 Speaker 1: piece of paper and it was immediately recognized as one 407 00:22:38,440 --> 00:22:43,000 Speaker 1: of carrier's good luck Sanserini cards. And because pastel's continue 408 00:22:43,040 --> 00:22:46,200 Speaker 1: to be a topic of conservation discussions in the modern era, 409 00:22:46,400 --> 00:22:49,480 Speaker 1: and because often the bases used for older pastel aren't 410 00:22:49,880 --> 00:22:53,159 Speaker 1: are fragile themselves, so like the paperbackings, there are not 411 00:22:53,320 --> 00:22:57,320 Speaker 1: a huge number of special exhibits featuring pastels that were 412 00:22:57,320 --> 00:23:00,960 Speaker 1: made during Resolva's time, including hers. The lack of varnish 413 00:23:01,119 --> 00:23:03,720 Speaker 1: like you wouldn't varnish a pastel, means that fading is 414 00:23:03,720 --> 00:23:06,439 Speaker 1: a real concern for some of them, and exposure to 415 00:23:06,520 --> 00:23:09,560 Speaker 1: light has to be carefully managed, so that also contributes 416 00:23:09,600 --> 00:23:12,960 Speaker 1: to the difficulty of shipping pieces for special exhibitions. But 417 00:23:13,119 --> 00:23:15,879 Speaker 1: the good news is that because she was so popular 418 00:23:16,000 --> 00:23:19,359 Speaker 1: and prolific during her time, and her work was collected 419 00:23:19,480 --> 00:23:23,040 Speaker 1: so avidly throughout Europe. You can find ros Alba carrier 420 00:23:23,119 --> 00:23:26,080 Speaker 1: As works and many museums throughout the world, as well 421 00:23:26,119 --> 00:23:29,320 Speaker 1: as checking out her work online. We already mentioned the 422 00:23:29,400 --> 00:23:33,440 Speaker 1: Heritage Museum in St. Petersburg, Russia and the Louver in Paris, 423 00:23:33,520 --> 00:23:35,520 Speaker 1: and her work is also in the collections at the 424 00:23:35,600 --> 00:23:39,199 Speaker 1: National Gallery of Ireland, the met in New York, the 425 00:23:39,280 --> 00:23:42,480 Speaker 1: Museum of Fine Arts Boston, and the Harvard Art Museums. 426 00:23:43,080 --> 00:23:45,440 Speaker 1: The trick is making sure the work is on display 427 00:23:45,480 --> 00:23:49,480 Speaker 1: before you go, because pastels require really careful preservations, so 428 00:23:49,560 --> 00:23:53,120 Speaker 1: they're not always on display for the public. Uh. Yeah, 429 00:23:53,240 --> 00:23:55,600 Speaker 1: they're particularly beautiful, but it's one of those things where 430 00:23:55,600 --> 00:23:59,119 Speaker 1: even like the vibration of moving it from spot to 431 00:23:59,160 --> 00:24:02,560 Speaker 1: spot can affect how it looks, which makes them all 432 00:24:02,560 --> 00:24:05,000 Speaker 1: the more special in my opinion. So I have a 433 00:24:05,000 --> 00:24:07,480 Speaker 1: little bit of listener mail. Uh this is from our 434 00:24:07,520 --> 00:24:10,119 Speaker 1: listener Melissa, and she writes, Hi, Tracy and Holly, I 435 00:24:10,119 --> 00:24:13,119 Speaker 1: absolutely love your podcast. I'm a scientist by training, but 436 00:24:13,160 --> 00:24:16,320 Speaker 1: absolutely love learning about everything. I'd probably still be in 437 00:24:16,440 --> 00:24:18,960 Speaker 1: university taking courses if I didn't have bills to pay, 438 00:24:19,160 --> 00:24:21,960 Speaker 1: which may explain why I chose to teach at a University. 439 00:24:22,000 --> 00:24:23,639 Speaker 1: Thank you so much, by the way, for being an 440 00:24:23,720 --> 00:24:27,119 Speaker 1: educator from us. Recently, my dad was cleaning out my 441 00:24:27,160 --> 00:24:29,560 Speaker 1: great aunt's home after she passed away. She was a 442 00:24:29,600 --> 00:24:31,800 Speaker 1: career woman who worked for the New Yorker. She was 443 00:24:31,880 --> 00:24:35,000 Speaker 1: quite the collector and amateur historian. One of the fines 444 00:24:35,080 --> 00:24:38,520 Speaker 1: that had me exclaiming, much to my dad's confusion, Hollywood Love. 445 00:24:38,600 --> 00:24:41,240 Speaker 1: This was a trio of Prince by Charles Adams of 446 00:24:41,240 --> 00:24:43,880 Speaker 1: the Adams Family. I quickly had to explain my love 447 00:24:43,880 --> 00:24:45,639 Speaker 1: for the podcast and reminded him that one of my 448 00:24:45,720 --> 00:24:48,280 Speaker 1: Christmas gift requests last year was to attend the live 449 00:24:48,320 --> 00:24:50,919 Speaker 1: show in Seattle on safety coffins. He may or may 450 00:24:50,960 --> 00:24:53,640 Speaker 1: not have thought I was a bit too enthusiastic. Anyway, 451 00:24:53,640 --> 00:24:55,560 Speaker 1: I have attached a quick picture I managed to grab 452 00:24:55,680 --> 00:24:58,000 Speaker 1: the Prince before they were included in a pile of 453 00:24:58,000 --> 00:25:01,199 Speaker 1: items being set to be assessed, restored and raimed. She 454 00:25:01,280 --> 00:25:05,000 Speaker 1: also gives us a fun suggestion, and then she sends 455 00:25:05,200 --> 00:25:07,320 Speaker 1: best to you both and will continue to eagerly listen 456 00:25:07,359 --> 00:25:09,920 Speaker 1: to every podcast on your show. She also attached a 457 00:25:09,920 --> 00:25:14,680 Speaker 1: photo of her katzuzu, which is pretty great because here's 458 00:25:14,800 --> 00:25:17,639 Speaker 1: another secret, HOLLI trivia thing. We used to have a 459 00:25:17,680 --> 00:25:21,480 Speaker 1: cat named ze Su. I almost named her Zuzu. And anyway, 460 00:25:22,240 --> 00:25:24,920 Speaker 1: thank you so much, Melissa. Uh, I love that. It's 461 00:25:25,040 --> 00:25:27,560 Speaker 1: it's to my heart sort of Charles Adams season now 462 00:25:27,560 --> 00:25:30,199 Speaker 1: that we're into fall, and even though his work was 463 00:25:30,240 --> 00:25:32,680 Speaker 1: going on throughout the year, because the Adams family is 464 00:25:32,720 --> 00:25:35,639 Speaker 1: a little bit um, you know, creepy and cookie. I 465 00:25:35,680 --> 00:25:39,440 Speaker 1: think of them as especially fondly at Halloween time. Uh, 466 00:25:39,480 --> 00:25:41,680 Speaker 1: and I think we're already for some Charles Adams fun. 467 00:25:42,400 --> 00:25:44,080 Speaker 1: So if you would like to write to us, you 468 00:25:44,119 --> 00:25:46,080 Speaker 1: can do so at History Podcast at how stof works 469 00:25:46,080 --> 00:25:49,040 Speaker 1: dot com. You can also find us pretty much everywhere 470 00:25:49,080 --> 00:25:51,920 Speaker 1: on social media as Missed in History, and you should 471 00:25:51,960 --> 00:25:54,320 Speaker 1: visit our website that is Missed in History dot com, 472 00:25:54,359 --> 00:25:56,320 Speaker 1: where you will find every episode of the show ever, 473 00:25:56,400 --> 00:25:58,680 Speaker 1: including uh show notes for any of the ones that 474 00:25:58,720 --> 00:26:00,600 Speaker 1: Tracy and I have worked on. If you would like 475 00:26:00,640 --> 00:26:02,520 Speaker 1: to subscribe to the podcast, we would like you to 476 00:26:02,560 --> 00:26:04,080 Speaker 1: do that as well. You can do that on the 477 00:26:04,119 --> 00:26:06,800 Speaker 1: I Heart Radio app, at Apple Podcasts, or wherever it 478 00:26:06,880 --> 00:26:14,200 Speaker 1: is that you listen. Stuff you Missed in History Class 479 00:26:14,240 --> 00:26:16,920 Speaker 1: is a production of I Heart Radios. How Stuff Works 480 00:26:16,920 --> 00:26:19,399 Speaker 1: For more podcasts. For my heart Radio, visit the i 481 00:26:19,440 --> 00:26:22,560 Speaker 1: heart Radio app, Apple podcasts, or wherever you listen to 482 00:26:22,600 --> 00:26:23,399 Speaker 1: your favorite shows.