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Angelica Kauffmann (1741) Options
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Angelica Kauffmann (1741)

Swiss-born painter Angelica Kauffman studied art in Italy as a child. She was a protégée of Joshua Reynolds, who took her to London in 1766. Two years later, Reynolds became the first president of the Royal Academy and Kauffman one of the founding members. She became known for her decorative work and her portraits of female sitters. Returning to Italy, she flourished in artistic and literary circles. In 1775, how did a fellow member of the Royal Academy ridicule her and Reynolds in a painting? More...
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Angelica Kauffmann (1741)
Swiss-born painter Angelica Kauffman studied art in Italy as a child. She was a protégée of Joshua Reynolds, who took her to London in 1766. Two years later, Reynolds became the first president of the Royal Academy and Kauffman one of the founding members. She became known for her decorative work and her portraits of female sitters. Returning to Italy, she flourished in artistic and literary circles.
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Angelica Kauffmann (1741)
Swiss-born painter Angelica Kauffman studied art in Italy as a child. She was a protégée of Joshua Reynolds, who took her to London in 1766. Two years later, Reynolds became the first president of the Royal Academy and Kauffman one of the founding members. She became known for her decorative work and her portraits of female sitters. Returning to Italy, she flourished in artistic and literary circles.
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Kauffmann, Angelica
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Angelica Kauffmann
Angelica Kauffman
Angelica Kauffmann by Angelica Kauffmann.jpg
Self-portrait by Angelica Kauffman
Birth name Maria Anna Angelika
Born 30 October 1741
Chur, Graubünden, Switzerland
Died 5 November 1807
Rome, Papal States
Nationality Austrian
Field Painting
Movement Neoclassicism

Maria Anna Angelika/Angelica Katharina Kauffman (30 October 1741 – 5 November 1807) was a Swiss-Austrian Neoclassical painter. Kauffman (not Kauffmann) is the preferred spelling of her name; it is the form she herself used most in signing her correspondence, documents and paintings.[1]
Life
Early years

Kauffman was born at Chur in Graubünden, Switzerland, but grew up in Schwarzenberg in Vorarlberg/Austria where her family originated. Her father, Joseph Johann Kauffman, 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 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 for her sitters.

In 1754 her father took her to Milan. Later visits to Italy of long duration followed. 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.”
Years in Great Britain
Troilus and Cressida, Act V, Scene II (1789), one of her many Shakespeare tableaux. Engraved in 1795 for an edition of Shakespeare by the Boydell Shakespeare Gallery.

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.

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 catalog 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.

with my pleasure
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