Angelica Kauffman

in Warsaw). Harmonious and powerful colours and the soft-brushed, multi-layered style of English portraitists, Sir Joshua Reynolds and Thomas Gainsborough, are typical for Kauffman's paintings. '' (1795), oil on canvas, 123.5 x 158.5 cm., Neue Pinakothek, Munich Kauffman was born at Chur in Graubünden, Switzerland. Her family moved to Morbegno in 1742, then to Como in Lombardy in 1752 at that time under Austrian rule. In 1757, she accompanied her father to Schwarzenberg in Vorarlberg/Austria, where her father was working for the local bishop. Her father, Joseph Johann Kauffmann (1707–1782), was a relatively poor man but a skilled Austrian muralist and painter, who was often travelling for his work. He trained Angelica and she worked as his assistant, moving through Switzerland, Austria, and Italy. Angelica, a child prodigy, rapidly acquired four languages from her mother, Cleophea Lutz (1717–1757): German, Italian, French and English. She also was a talented singer and showed talent as a musician. Angelica was forced to choose between opera and art. She quickly chose art as a Catholic priest told her that the opera was a dangerous place filled with "seedy people". By her twelfth year she had already become known as a painter, with bishops and nobles sitting for her. In 1757, her mother died and her father decided to move to Milan. Later visits to Italy of long duration followed. Kauffman and her family moved to Florence in June 1762, where the young artist first discovered the painting style that was coined Neoclassical painting. In October, 1762, she became an elected member of the Accademia delle Arti del Disegno and an honorary member of the Accademia Clementina di Bologna. Later in 1763, she visited Rome, returning again in 1764. From Rome, she passed to Bologna and Venice, everywhere feted for her talents and charm. Writing from Rome in August 1764 to his friend Franke, Winckelmann refers to her popularity; she was then painting his picture, a half-length; of which she also made an etching. She spoke Italian as well as German, he says, and expressed herself with facility in French and English – one result of the last-named accomplishment being that she became a popular portraitist for British visitors to Rome. "She may be styled beautiful," he adds, "and in singing may vie with our best virtuosi." In May 1765, she was elected to the Accademia di San Luca, submitting Allegory of Hope as her reception piece. That same month her work appeared in England in an exhibition of the Free Society of Artists. She moved to England shortly afterwards, and established herself as a leading artist. == Years in Great Britain ==

'' (1764), oil on canvas, 84 x 69 cm., Burghley House, Lincolnshire While in Venice, Kauffman was persuaded by Lady Wentworth, the wife of the British ambassador, to accompany her to London. Soon she lodged with a local surgeon's family, including Anne Home. Her first work displayed in London was the portrait of David Garrick, exhibited the year before her arrival in June, 1766. The rank of Lady Wentworth opened society to her, and she was well received, with the royal family especially showing her great favour. Her firmest friend, however, was Sir Joshua Reynolds. In his pocketbook, her name as "Miss Angelica" or "Miss Angel" appears frequently; and in 1766 he painted her, a compliment which she returned by her Portrait of Sir Joshua Reynolds. Another instance of her intimacy with Reynolds is to be found in her variation of Guercino's Et in Arcadia ego, a subject that Reynolds repeated a few years later in his portrait of Mrs Bouverie and Mrs Crewe. In 1767, Kauffman was seduced by an imposter going by the name Count Frederick de Horn, whom she married, but they separated the following year. It was probably owing to Reynolds's good offices that she was among the signatories to the petition to the King for the establishment of the Royal Academy. In its first catalogue of 1769, she appears with "R.A." after her name (an honour she shared with one other woman, Mary Moser); and she contributed the Interview of Hector and Andromache, and three other classical compositions. She spent several months in Ireland in 1771, as a guest of the Lord Lieutenant of Ireland, Viscount Townshend, and undertook a number of portrait commissions there. Her notable Irish portraits include those of Philip Tisdall, the Attorney General for Ireland, and his wife Mary, who acted as her patron, and of Henry Loftus, 1st Earl of Ely and his family, including his niece Dorothea Monroe, the most admired Irish beauty of her time. It appears that among her circle of friends was Jean-Paul Marat, then living in London and practising medicine, with whom she may have had an affair. painting The Conjuror (1775), satirizing Sir Joshua Reynolds and alluding to a romance with the younger Angelica Kauffman. Her friendship with Reynolds was criticized in 1775 by fellow Academician Nathaniel Hone, who courted controversy in 1775 with his satirical picture The Conjurer. It was seen to attack the fashion for Italian Renaissance art and to ridicule Sir Joshua Reynolds, leading the Royal Academy to reject the painting. It also originally included a nude caricature of Kauffman in the top left corner, which he painted out after she complained to the academy. The combination of a little girl and an old man has also been seen as symbolic of Kauffman and Reynolds's closeness, age difference, and rumoured affair. From 1769 until 1782, Kauffman was an annual exhibitor with the Royal Academy, sending sometimes as many as seven pictures, generally on classical or allegoric subjects. One of the most notable was Leonardo expiring in the Arms of Francis the First (1778). In 1773, she was appointed by the Academy with others to decorate St Paul's Cathedral, a scheme that was never carried out, and, later, with Biagio Rebecca, painted the ceiling of the Academy's Council Room at Somerset House. The work she created here between 1778 and 1780 are perhaps her greatest and most recognizable: a series of paintings, titled The Elements of Art, depicting Invention, Design, Composition, and Coloring. Kauffman's allegorical paintings represent the principles of academic art theory. Giuseppe Marc'Antonio Baretti, known as Joseph in England, celebrated the series of paintings as "executed with all that grace, elegance and accuracy which distinguish the best productions of this Extraordinary lady." The Council Room, members of the academy, and depictions of Kauffman's Design and Composition can be seen in Henry Singleton's painting, The Royal Academicians in General Assembly (1795). ==History painting==

'' (1783), oil on canvas, 83.2 x 114.3 cm. Metropolitan Museum of Art, New York '' (1782), oil on canvas, 82.6 x 112.4 cm., Metropolitan Museum of Art, New York While Kauffman produced portraits, and self-portraits, she identified herself primarily as a history painter, an unusual designation for a woman artist in the 18th century. History painting was considered the most elite and lucrative category in academic painting during this time period and, under the direction of Sir Joshua Reynolds, the Royal Academy made a strong effort to promote it to a native audience more interested in commissioning and buying portraits and landscapes. Despite Kauffman's popularity in British society and her success there as an artist, she was disappointed by the relative apathy of the British towards history painting. Ultimately, she left Britain for Rome, where history painting was better established, held in higher esteem and patronized. History painting, as defined in academic art theory, was classified as the most elevated category. Its subject matter was the representation of human actions based on themes from history, mythology, literature, and scripture. This required extensive learning in biblical and Classical literature, knowledge of art theory and practical training that included the study of anatomy from the male nude. Most women were denied access to such training, especially the opportunity to draw from nude models; yet Kauffman managed to cross the gender boundary. She studied works from artists including Titian, Raphael, Correggio, Domenichino, and Guido Reni, and learned to depict male anatomy through copying drawings, engravings and plaster casts. This can be seen in depictions of Kauffman, such as her painting titled Design and a portrait by Nathaniel Dance. The male figures in her artworks are seen as being more feminine than most painters would choose to display, which may be a result of her lack of formal training in male anatomy. == Later years in Rome ==

, West Yorkshire In 1781, after her first husband's death (she had long been separated from him), she married Antonio Zucchi (1726–1795), a Venetian artist then resident in England. Shortly afterwards, she retired to Rome, where she befriended, among others, Johann Wolfgang von Goethe; yet, always restive, she wanted to do more and lived for another 25 years with much of her old prestige intact. In 1782, Kauffman's father died, as did her husband in 1795. In 1794, she painted, Self-Portrait Hesitating Between Painting and Music, in which she emphasises the difficult choice she had faced in choosing painting as her sole career, in dedication to her mother's death. She continued at intervals to contribute to the Royal Academy in London, her last exhibit being in 1797. After this, she produced little, and in 1807 she died in Rome, being honoured with a splendid funeral under the direction of Canova. The entire Academy of St Luke, with numerous ecclesiastics and virtuosi, followed her to her tomb in Sant'Andrea delle Fratte, and, as at the burial of Raphael, two of her best pictures were carried in procession. == Legacy ==

By the time of her death she had made herself what she considered to be a renowned artist. This explains why her funeral was directed by the well-known Neoclassical sculptor Antonio Canova. Canova designed her funeral based on the funeral of the Renaissance master Raphael. By 1911, rooms decorated with her work were still to be seen in various places. At Hampton Court was a portrait of the duchess of Brunswick; in the National Portrait Gallery, a self-portrait (NPG 430). There were other pictures by her in Paris, at Dresden, in the Hermitage at St Petersburg, in the Alte Pinakothek at Munich, in Kadriorg Palace, Tallinn (Estonia) and in the Joanneum Alte Galerie at Graz. The Munich example was another portrait of herself, and there was a third in the Uffizi at Florence. A few of her works in private collections were exhibited among the Old Masters at Burlington House. Kauffman is well known for the numerous engravings from her designs by Schiavonetti, Francesco Bartolozzi and others. Those by Bartolozzi especially found considerable favour with collectors. Charles Willson Peale (1741–1827), artist, patriot, and founder of a major American art dynasty, named several of his children after notable European artists, including a daughter, Angelica Kauffman Peale. A biography of Kauffman was published in 1810 by Giovanni Gherardo De Rossi. The book was the basis of a romance by Léon de Wailly (1838), and it prompted the novel contributed by Anne Isabella Thackeray to the Cornhill Magazine in 1875 entitled Miss Angel. The English novelist Miranda Miller published a 2020 novel entitled Angelica, Paintress of Minds, which purports to be an autobiography written during Kauffman's last days in Rome. The Historical Novel Society says of the book: "Kauffmann is presented as hard-working, loyal, kind, sometimes susceptible but more determined than she thinks she is." From September 2018 to August 2019, the Royal Academy hosted an exhibition by Sarah Pickstone, An Allegory of Painting, which paid homage to works by Kauffman that the Academy had commissioned. Pickstone's The Rainbow reinterpreted Kauffman's Colour, with Belvedere a response to Kauffman's Design. The Angelika Kauffmann Museum in Schwarzenberg (Vorarlberg, Austria) The Angelika Kauffmann Museum in Schwarzenberg, Vorarlberg (Austria) was established in 2007. This location is in the same area that her father called home. The annually changing exhibitions focus on different aspects and themes of her artistic work. In the 2019 exhibition Angelika Kauffmann – Unknown Treasures from Vorarlberg Private Collections, many of her paintings were shown to the public for the first time, as a large proportion of her oeuvre is owned by private collectors. The museum is housed in the so-called "Kleberhaus", an old farmhouse (1556) in the typical architectural style of the region. == Galleries ==

History painting File:Angelica Kaufmann - Penelope at her Loom.jpg|Penelope at Her Loom (1764), oil on canvas, Brighton Pavilion File:Angelica Kauffmann (1741-1807) - Vortigern, King of Britain, Enamoured with Rowena at the Banquet of Hengist, the Saxon General - 872183 - National Trust.jpg|Vortigern and Rowena (1770), Saltram House File:Penelope Waken by Eurykleia (1772), oil on canvas, dimensions unknown, Vorarlberger Landesmuseum, Bregenz.jpg|Penelope Waken by Eurykleia (1772), oil on canvas, dimensions unknown, vorarlberg museum, Bregenz File:Angelica Kauffmann, Ariadne Abandoned by Theseus, 1774.jpg|Ariadne Abandoned by Theseus (1774), oil on canvas, 63.8 x 90.9 cm., Museum of Fine Arts, Houston File:Angelica Kauffman - Zeuxis Selecting Models for His Painting of Helen of Troy.jpg|Zeuxis Selecting Models for His Painting of Helen of Troy (), oil on canvas, dimensions unknown, Annmary Brown Memorial Library, Brown University, Rhode Island File:Angelica Kauffman - El juicio de Paris.jpg|The Judgment of Paris (), oil on canvas, 80 x 100.9 cm., Museo de Arte de Ponce, Puerto Rico File:Die verlassene Ariadne - Angelika Kauffman (SK Dresden Gal.-Nr. 2183).jpg|Ariadne left by Theseus (before 1782), oil on canvas, 88 x 70.5 cm., Gemäldegalerie Alte Meister, Dresden File:Pliny the Younger and his Mother at Misenum, 79 A.D., by Angelica Kauffmann, English, 1785, oil on canvas - Princeton University Art Museum - DSC06494.jpg|Pliny the Younger and His Mother at Miseno (1785), oil on canvas, 103 x 127.5 cm., Princeton University Art Museum, New Jersey File:Kauffmann_Cornelia_mater_Gracchorum.jpg|Cornelia, Mother of the Gracchi, Pointing to her Children as Her Treasures (1785), oil on canvas, 101.6 x 127 cm., Virginia Museum of Fine Arts File:Kauffmann Circe.jpg|Circe Enticing Ulysses (1786), oil on canvas, dimension and collection unknown File:Angelica Kauffmann - Virgil reading the ‚Aeneid‘ to Augustus and Octavia (Hermitage).jpg|Virgil reading the Aeneid to Augustus and Octavia (1788), oil on canvas, 123 x 159 cm, Hermitage Museum, Saint Petersburg File:Scene from (Kauffmann).jpg|Valentine Rescues Silvia from The Two Gentlemen of Verona (1789), oil on canvas, 61 3/4 in. x 87 in. (156.8 cm x 221 cm), Davis Museum at Wellesley College, Massachusetts File:Angelica Kauffmann - Erato, the Muse of Lyric Poetry with a Putto.jpg|Erato, the Muse of Lyric Poetry with a Putto or Sappho Inspired by Love (date unknown), oil on canvas, 111.8 x: 94 cm., private collection File:Angelica Kauffmann - Venus Induces Helen to Fall in Love with Paris - WGA12099.jpg|Venus Induces Helen to Fall in Love with Paris (1790), oil on canvas, 102 x 127.5 cm., Hermitage Museum, Saint Petersburg File:Agrippina trauert über der Urne des Germanicus, Angelika Kauffmann (1793), Kunstpalast Düsseldorf.jpg|Agrippina Mourns the Urn of Germanicus (1793), oil on canvas, Museum Kunstpalast, Düsseldorf File:Kauffmann Holy Family with an angel.jpg|Holy Family with an angel, before 1807, Museum of John Paul II Collection Portraits File:Johann Joachim Winckelmann (Angelika Kaufmann).jpg|Portrait of Winckelmann (1764), oil on canvas File:Lady Georgiana Spencer, Henrietta Spencer and George Viscount Althorp by Angelika Kauffmann.jpg|Lady Georgiana Spencer, Henrietta Spencer and George Viscount Althorp (), oil on canvas, 113.6 x 144.8 cm., private collection File:JoshuaReynoldsByAngelicaKauffman.jpg|Sir Joshua Reynolds (1767), oil on canvas, 127 x 101.5 cm., National Trust, Saltram House File:Angelica Kauffmann - Portrait of a Woman as a Vestal Virgin - WGA12100.jpg|Portrait of a Woman as a Vestal Virgin (1770s), oil on canvas, 60 x 41 cm., Thyssen-Bornemisza Museum, Madrid File:Angelica Kauffman - The Family of the Earl of Gower (1772).jpg|The Family of the Earl of Gower (1772), oil on canvas, 150.4 x 208.2 cm., National Museum of Women in the Arts, Washington, D.C. File:Kauffmann, Angelica - Portrait of Eleanor, Countess of Lauderdale - Google Art Project.jpg|Portrait of Eleanor, Countess of Lauderdale (c. 1780), oil on canvas, 76.2 x 63.5 mm., Museum of Fine Arts, Houston File:Angelica Kauffmann - Portrait of Sarah Harrop (Mrs. Bates) as a Muse - Google Art Project.jpg|Portrait of Sarah Harrop (Mrs. Bates) as a Muse (1780–81), oil on canvas, 142 x 121 cm., Princeton University Art Museum, New Jersey File:Angelica Kaufmann Antonio Zucchi.jpg|Antonio Zucchi [Kauffman's husband] (1781), oil on canvas, 76 x 63 cm., private collection File:Painting of the family of Ferdinando IV (Angelica Kauffmann, 1782).jpg|Portrait of Ferdinand IV of Naples, and his Family (1783), oil on canvas, 310 x 426 cm., Museo di Capodimonte, Naples File:Kauffmann - Henryk Lubomirski.jpg|Prince Henry Lubomirski As Amor (1786), oil on canvas, Borys Voznytsky Lviv National Art Gallery, Ukraine File:Baronne de Krüdener par Angelika Kauffmann.jpg|Baroness of Krüdener and Her Son Paul (1787), oil on canvas, dimensions unknown, Musée du Louvre-Lens File:Der junge Goethe, gemalt von Angelica Kauffmann 1787.JPG|Goethe [at 38 years] (1787), oil on canvas, 64 x 52 cm., Goethe-Nationalmuseum, Weimar File:Ellis Cornelia Knight, by Angelica Kauffmann.jpg|Ellis Cornelia Knight (1793), oil on canvas, 96 x 80 cm., Manchester Art Gallery File:Anna von Escher van Muralt (Angelica Kauffmann).jpg|Anna von Escher van Muralt (c. 1800), oil on canvas, 110 x 86 cm., Museo del Prado, Madrid File:Portrait of Ludwig, Crown Prince of Bavaria.png|Portrait of Ludwig, Crown Prince of Bavaria (1807), oil on canvas, 224.6 x 146.8 cm., Neue Pinakothek, Munich Miscellaneous File:Believed to be a satire of Swiss painter Angelika Kauffmann (1741–1807).jpg|''The Paintress of Macaroni's'', believed to be a satire of Kauffman. London: Printed for Carington Bowles, 13 April 1772. File:Angelica Kauffman, April 1809, The European Magazine and London Review.jpg|From The European Magazine and London Review File:Angelica Kauffman Self-Portrait as Imitatio 1771.jpg|Self-Portrait as Imitatio (1771), pencil File:Goethe Iphigenia in Tauris 1803.jpg|Scene from the 1802 première in Weimar of Goethe's Iphigenia in Tauris, with Goethe himself as Orestes in the centre. File:Peter Kaufmann Angelika Kauffmann 1808 Neue Pinakothek-1.jpg|The Painter Angelika Kauffmann (1808), by Johann Peter Kauffmann, marble, 66,9 x 35,2 x 35 cm., Neue Pinakothek, Munich File:Portrait of Emma Hamilton MET DP819694.jpg|Portrait of Emma Hamilton (1791), Metropolitan Museum of Art, New York File:Angelica Kauffman - Design for a Fan - B1975.3.1237 - Yale Center for British Art.jpg|Design for a Fan (1775), Yale Center for British Art == Exhibitions ==

• Retrospektive Angelika Kauffmann (270 works, c. 450 ill. ), Düsseldorf, Kunstmuseum (15 November 1998 – 24 January 1999); München, Haus der Kunst (5 February – 18 April 1999); Chur, Bündner Kunstmuseum (8 May – 11 July 1999). • Angelica Kauffman: Unknown Treasures from Vorarlberg Private Collections, concurrent exhibitions at the Vorarlberg Museum (June 15 – October 6, 2019) and the Angelika Kauffmann Museum, Schwarzenberg, Austria (June 16 – November 3, 2019). • Angelica Kauffman, Royal Academy, London, 1 March – 30 June 2024 ==References==