Maria Anna Angelika Kauffmann RA (30 October 1741 – 5 November 1807), usually known in English as Angelica Kauffman,[a] was an Austrian Neoclassical painter who had a successful career in London and Rome. She was one of the two female founding members of the Royal Academy in London in 1768.[1]
Kauffman was born at Chur in Graubünden, Switzerland, where her father was working for the local bishop but grew up in Schwarzenberg in Vorarlberg/Austria where her family originated. Her father, Joseph Johann Kauffmann,
was a relatively poor man but a skilled painter, who was often
traveling for his work. It was he who taught his precocious daughter.
Angelica, a child prodigy, rapidly acquired several languages from her
mother, Cleophea Lutz, read incessantly and showed talent as a musician,
but her greatest progress was in painting, and by her twelfth year she
had become a notability, with bishops and nobles being her sitters.
In 1754 her father took her to Milan. Later visits to Italy of long duration followed. She became a member of the Accademia di Belle Arti di Firenze in 1762.[2] 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.”
While in Venice, Kauffman was induced by Lady Wentworth, the wife of the British ambassador, to accompany her to London. One of the first pieces she completed in London was a portrait of David Garrick, exhibited in the year of her arrival at “Mr Moreing’s great room in Maiden Lane.”
The rank of Lady Wentworth opened society to her, and she was
everywhere well received, the royal family especially showing her great
favor. Her firmest friend, however, was Sir Joshua Reynolds.
In his pocket-book 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 which Reynolds repeated a few years later in his portrait of Mrs Bouverie and Mrs Crewe.
In 1767 Kauffman was seduced by an imposter going under the name
‘Count Horn’, whom she married, but they were separated the following
year.[3]
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 honor she shared with one other woman, Mary Moser); and she contributed the Interview of Hector and Andromache,
and three other classical compositions. She visited Ireland briefly in
1771, and undertook a number of portrait commissions, notably of Philip Tisdall, the Attorney General for Ireland, and his wife Mary. 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.[4]
Her friendship with Reynolds was criticized in 1775 by fellow Academician Nathaniel Hone in his satirical picture The Conjurer. This attacked the fashion for Italianate Renaissance
art, ridiculed Reynolds and included a nude caricature of Kauffman,
later painted out by Hone. The work was rejected by the Royal Academy.
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).[5]
In 1773 she was appointed by the Academy with others to decorate St Paul’s Cathedral, a scheme that was never carried out, and it was she who, with Biagio Rebecca, painted the Academy’s old lecture room at Somerset House.
While Kauffman produced many types of art, 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 the popularity that Kauffman enjoyed 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 the continent, 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 a 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 to acquire the necessary
skill to build a reputation as a successful history painter who was
admired by colleagues and eagerly sought by patrons.[6]
In 1781, after her first husband’s death (she had been long separated from him), she married Antonio Zucchi (1728–1795), a Venetian artist then resident in Britain. Shortly thereafter she retired to Rome, where she befriended, among others, Johann Wolfgang von Goethe, who said she worked harder and accomplished more than any artist he knew; yet, always restive, she wanted to do more[9] and lived for 25 years with much of her old prestige.
In 1782, Kauffman’s father died, as did her husband in 1795. 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 honored by 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.
The works of Angelica Kauffman have retained their reputation. By
1911, rooms decorated with her work were still to be seen in various
quarters. At Hampton Court was a portrait of the duchess of Brunswick; in the National Portrait Gallery, a self-portrait (NPG 430).[10] There were other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, in the Alte Pinakothek at Munich, in Kadriorg Palace, Tallinn (Estonia)[11] and in the Joanneum Alte Galerie at Graz. The Munich example was another portrait of herself;[12] 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 also well known by 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 (it).[13] The book was also the basis of a romance by Léon de Wailly (fr) (1838) and it prompted the novel contributed by Anne Isabella Thackeray to the Cornhill Magazine in 1875 entitled “Miss Angel”.[citation needed]
Kauffman is memorialized in Judy Chicago’s The Dinner Party.[14]
Art's Hers 