Angelica Kauffmann

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Kauffmann, Angelica

(äng-gā`lēkä kouf`män), 1741–1807, Swiss neoclassical painter and graphic artist. From her youth she was known for her artistic, musical, and linguistic abilities. She went to England, where she enjoyed success as a fashionable portrait painter and decorator. A protégée of Sir Joshua Reynolds, Kauffman was one of the original members of the Royal Academy. She often decorated houses designed by the AdamAdam, Robert
, 1728–92, and James Adam,
1730–94, Scottish architects, brothers. They designed important public and private buildings in England and Scotland and numerous interiors, pieces of furniture, and decorative objects.
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 brothers. After her marriage in 1781 to the Venetian painter Antonio Zucchi, she lived in Italy, where she flourished in artistic and literary circles. Reynolds, Winckelmann, Goethe, and Garrick commissioned her to paint their portraits. Representative works include Religion (National Gall., London); Self-Portrait (Staatliche Museen, Berlin); and the etchings of L'Allegra and La Pensierosa. The British Museum has a collection of her drawings and prints.

Bibliography

See study by Lady Victoria Manners and G. C. Williamson (1924).

Kauffmann, Angelica

 

Born Oct. 30, 1741, in Cur, Switzerland; died Nov. 5, 1807, in Rome. German painter and graphic artist. Representative of classicism.

Kauffmann lived in Italy from 1742 to 1757 and in London from 1766 to 1781. She returned to Italy in 1782 and lived there until her death. Kauffmann painted portraits (portrait of J. W. von Goethe, 1787, Goethe National Museum, Weimar) and sentimental scenes based on mythological, religious, historical, and literary themes (The Farewell of Abelard and Heloise, Hermitage, Leningrad).

REFERENCE

Smidt-Dörrenberg, I. Angelika Kauffmann. [Vienna] 1968.
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Writers, scholars and famous artists such as the painter Angelika Kauffmann visited the Humboldt home, as did Wilhelm's brother Alexander.
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Thus, resistance to neoclassical constructions of femininity and masculinity are found not only within the works of artists like Angelika Kauffmann and Elise Hahn or those of the Jena Romantics, but also in Goethe's writings.
The exhibition in Bregenz provided a broad overview of Kauffman's oeuvre while the simultaneous exhibition at the new Angelika Kauffmann Museum in Schwarzenberg focused on the artist's relationship to this Austrian village in the Bregenz Forest where her father was born.
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