All the oil paintings of Angelica Kauffmann

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ID	Image	Painting(From A to Z)	Details
59455		A Sleeping Nymph Watched by a Shepherd	A Sleeping Nymph Watched by a Shepherd , about 1780, Angelica Kauffman V&A Museum no. 23-1886
82872		Abschied Abelards von Heloise	1780 Medium Oil on canvas cyf
40610		Allegory of Poetry and Painting	mk156 1782 Oil on canvas
56139		ariadne abandoned by theseus on naxos	mk247 1774,oil on canvas,25.125x35.375 in,63.8x90 cm,museum of fine arts,houston,tx,usa
45134		Ariadne von Theseus Verlassen	mk180 vor 1782 Ol auf Leinwand 88x70.5cm
70733		Ariadne von Theseus verlassen	Medium Oil on canvas Dimensions 88 ?? 70,5
80712		arts of Music and Painting	Oil on canvas. 147 x 216 cm. Private collection Date 1791(1791) cyf
79008		Augusta von Hannover	1767(1767) Medium Oil on canvas cyf
93184		Beauty Directed by Prudence, Wreathed by Perfection	1780(1780) Medium oil on canvas Dimensions 65.5 X 65.5 cm (25.8 X 25.8 in) cjr
45135		Bildnis einer Dame als Vestalin	mk180 um 1781/82 Ol auf Leinwand 91.5x71.5cm
45141		Bildnis eines jungen Mannes	mk180 um 1785 Ol auf Leinwand 54x43cm
45139		Bildnis Ferdinand IV.Konig von Neapel und Sizilien	mk180 um 1782-83 Ol auf Leinwand 93.4x77.1cm
45140		Bildnis Maria Karoline von Osterreich,konigin von Neapel	mk180 um 1782/83 Ol auf Leinwand 92.5x75.5cm
45137		Bozzetto zum Bildnis Maria Luisa und Maria Amalia	mk180 1782 Ol auf Grahitskizze Auf mit Olkreide grundierter Leinwand 64.8x54.5cm
45136		Bozzetto zum Bildnis Maria Theresa und Maria Chrstian	mk180 1782 Ol auf Graphitskizze auf mit Olkreide grundieter Leinwand 64.8x54.5cm
42735		Color	MK169 ca. 1780 Doek,132x150cm
67801		Countess Anna Protassowa with niece	Technique English: Oil on canvas Deutsch: Öl auf Leinwand Italiano: Olio su tela Polski: Olej na płetnie Dimensions 123 X 159 cm (48.43 X 62.60 in)
70522		Countess Anna Protassowa with niece	Medium English: Oil on canvas Deutsch: Öl auf Leinwand Italiano: Olio su tela Polski: Olej na pł??tnie Dimensions Expression error: Missing operand for *123 ?? 159 cm
2144		David Garrick
40585		David Garrick	mk156 1764 Oil on canvas 84x69cm
23339		David Garrick (nn03)	1764 Oil on canvas 84 x 69 cm 33 x 27 1/8 in Burghley House Stamford
59453		Death of Alcestis	Death of Alcestis, 1741-1807.
77569		Der Monch aus Calais, Tondo	1780 Oil on canvas cjr
45132		Die Schonheit,versucht von der Liebe,geleitet von der Klugheit	mk180 vor 1782 Ol auf Kupfer 29.5cm
78887		Drei Sangerinnen	1795(1795) Medium Oil cyf
86010		Duca di Chiesi	oil on canvas 61 x 50.5 cm December 1784 cjr
45130		Ein Opfer an die Liebe	mk180 vor 1777 Ol auf Leinwand 64.5cm
97143		El juicio de Paris	circa 1781(1781) Medium oil on canvas Dimensions 80 X 100.9 cm (31.5 X 39.7 in) cyf
56617		ferdinand iv med familj	mk248 en osedvaligt stor malning dat bagge siciliernas kung liga familj avbildats i naturlig storlek, mot bakgrund av ett landskap i stallet for den utsmyckade interioren i nagot palats. barnuppfostran i lantliga omgivningars fribet ocb skonbet aterspeglar filosofen facques rousseau.
88558		Giovanni Volpato	oil on canvas 63.6 53 cm 1794-1795 cjr
68611		gustaf adolf reuterholm	1792 olja på duk 137x108cm se
59450		Kauffmann seated, in the company of other	Kauffmann (seated), in the company of other "Bluestockings" (1778)
59451		Miranda and Ferdinand in The Tempest	Miranda and Ferdinand in The Tempest, 1782.
45133		Nymphe und Jungling	mk180 um 1780 Ol auf Kupfer 45.7x52cm
45138		Olskizze zum Bildnis der koniglichen Familie von Neapel und beider Sizilien	mk180 1783 Ol auf Leinwand 71.6x99.5cm
2141		Papirius Pratextatus Entreated by his Mother to Disclose the Secrets of the Deliberations of the Rom
45131		Paris und Helena fliehen vom Hof des Menelaos	mk180 um 1780 Ol auf Leinwand 64x64cm
75994		Portrait of a Woman as a Vestal Virgin	1770s Oil on canvas 60 ?? 41 cm (23.6 ?? 16.1 in) cjr
77929		Portrait of a Woman as a Vestal Virgin	1770s Medium Oil on canvas Dimensions 60 ?? 41 cm (23.6 ?? 16.1 in) cyf
75820		Portrait of Augusta of Hanover with her first born son Karl Georg of Brunswick	1767(1767) Oil on canvas cjr
82124		Portrait of Ferdinand IV of Naples	Date 1783(1783) Medium Oil cyf
83846		Portrait of Ferdinand IV of Naples	1783(1783) Medium Oil cyf
76971		Portrait of Ferdinand IV of Naples, and his Family	1783 cjr
79897		Portrait of Ferdinand IV of Naples, and his Family	1783 cjr
82721		Portrait of John Simpson	1777(1777) Medium Oil on canvas Dimensions 73.7 x 61 cm (29 x 24 in) cyf
86330		Portrait of Lady Georgiana	1774(1774) Medium Oil on canvas cyf
82179		Portrait of Lady Georgiana, Lady Henrietta Frances and George John Spencer, Viscount Althorp.	Date 1774.(1774.) Medium Oil on canvas. cjr
79485		Portrait of Lady Henderson of Fordell	1771(1771) Oil on canvas 128 x 103 cm (50.4 x 40.6 in) cjr
78765		Portrait of Portrait of a Young Woman	1781(1781) Oil on canvas 130 x 102 cm (51.2 x 40.2 in) cjr
81872		Portrait of Portrait of a Young Woman	1781(1781) Medium Oil on canvas Dimensions 130 x 102 cm (51.2 x 40.2 in) cyf
96353		Portrait of the Countess Alexandra Branitskaya	1790-X Medium oil cyf
76859		Portrat einer Dame als Vestalin	4th quarter of 18th century Oil on canvas 92 ?? 72 cm (36.2 ?? 28.3 in) cjr
79368		Selbstbildnis mit Beste der Minerva	1780(1780) Medium Oil cyf
81783		Selbstportrat als Sangerin mit Notenblatt	1753(1753) Medium Oil on canvas Dimensions 49.5 x 40.5 cm (19.5 x 15.9 in) cyf
56153		self portrait	mk247 1787,oil on canvas,50.5x93.5 in,128x93.5 cm,uffizi,florence,ltaly
58479		Self portrait	years mk261 1787 Oil Painting on canvas 128 x 93.5 cm
77711		Self portrait	1784(1784) Medium Oil on canvas Dimensions 64.8 ?? 50.7 cm (25.5 ?? 20 in) cyf
77935		Self portrait	from 1780(1780) until 1785(1785) Medium Oil on canvas Dimensions 77 ?? 63 cm (30.3 ?? 24.8 in) cyf
78733		Self portrait	1780(1780) Medium Oil cyf
26964		Self-Portrait	mk52 1784 Oil on canvas 64.8x50.7cm Neue Pinakothek,Munich
29006		Self-Portrait	mk65 Oil on canvas 50 3/8x36 13/16in Uffizi,Vasari Corridor
30645		Self-Portrait	mk68 Oil on canvas Florence,Uffizi, 1787 Swizerland
33805		Self-Portrait	mk86 1780 Oil on canvas 130x102cm Frankfurt am Main,Goethe-Musuem
40612		Self-Portrait	mk156 1780-85 Oil on canvas 76.5x63cm
76049		Self-portrait	1784(1784) Oil on canvas 64.8 ?? 50.7 cm (25.5 ?? 20 in) cjr
76220		Self-portrait	from 1780(1780) until 1785(1785) Oil on canvas 77 ?? 63 cm (30.3 ?? 24.8 in) cjr
79473		Self-portrait	1787(1787) Oil on canvas 128 x 94 cm (50.4 x 37 in) cjr
85436		Self-portrait	1770-1775 Medium Oil on canvas Dimensions 73.7 x 61 cm (29 x 24 in) cyf
78591		Self-portrait as singer, holding a sheet of music	1753(1753) Oil on canvas 49.5 x 40.5 cm (19.5 x 15.9 in) cjr
77295		Self-portrait Hesitating between the Arts of Music and Painting	Self-portrait Hesitating between the Arts of Music and Painting. Oil on canvas, 1470 x 2160mm (58 x 85"). The St Oswald Collection, Nostell Priory. (The National Trust). cjr
68582		sjalvportratt	1787 olja på duk, 128x93.5cm se
68583		sjalvportratt	1787. olja på duk , uffizierna, florens se
68584		sjalvportratt med minervabyst	1780 olja på duk 93x76.5 cm se
59454		The Paintress of Macaroni	The Paintress of Macaroni's," believed to be a satire of Kauffmann. London: Printed for Carington Bowles, April 13, 1772.
76098		Three singers	1795(1795) Oil cjr
59452		Venus convinces Helen to go with Paris	Venus convinces Helen to go with Paris, 1790.

Angelica Kauffmann
Swiss(Resident in England) 1741-1807 She was born at Chur in Graub??nden, Switzerland, 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 that was often traveling around for his works. He was apparently very successful in teaching his precocious daughter. She rapidly acquired several languages from her mother Cleophea Lutz, read incessantly, and showed marked talents as a musician. Her greatest progress, however, was in painting; and in 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, being everywhere feted and caressed, as much for her talents as for her personal charms. Writing from Rome in August 1764 to his friend Franke, Winckelmann refers to her exceptional 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 she also expressed herself with facility in French and English, one result of the last-named accomplishment being that she became a popular portraitist for English visitors to Rome. "She may be styled beautiful," he adds, "and in singing may vie with our best virtuosi." While at Venice, she was induced by Lady Wentworth, the wife of the German ambassador, to accompany her to London. One of her first works 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 favour. 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. When, in about November 1767, she was entrapped into a clandestine marriage with an adventurer who passed for a Swedish count (the Count de Horn), Reynolds helped extract her. It was doubtless owing to his good offices that she was among the signatories to the famous petition to the king for the establishment of the Royal Academy of Painting and Sculpture. In its first catalogue of 1769 she appears with "R.A." after her name (an honour she shared with one other lady, Mary Moser); and she contributed the Interview of Hector and Andromache, and three other classical compositions. Her friendship with Reynolds was criticised 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 Kauffmann, later painted out by Hone. The work was rejected by the Royal Academy. From 1769 until 1782, she was an annual exhibitor, sending sometimes as many as seven pictures, generally classic or allegorical 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, and it was she who, with Biagio Rebecca, painted the Academy's old lecture room at Somerset House. Kauffmann's strength was her work in history painting, the most elite and lucrative category in academic painting during the 18th century. Under the direction of Sir Joshua Reynolds, the Academy made a strong effort to promote history painting to a native audience who were more interested in commissioning and buying portraits and landscapes. Despite the popularity that Kauffmann enjoyed in English society and her success as an artist, she was disappointed by the relative apathy that the English had for history painting. Ultimately, she left England for the continent where history painting was better established, esteemed, and patronized. Kauffmann (seated), in the company of other "Bluestockings" (1778)It is probable that her popularity declined a little in consequence of her unfortunate marriage; but in 1781, after her first husband's death (she had been long separated from him), she married Antonio Zucchi (1728?C1795), a Venetian artist then resident in England. Shortly afterwards 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 (Goethe's 'Italian Journey' 1786-1788) and lived for 25 years with much of her old prestige. In 1782 she lost her father; and in 1795, her husband. She continued at intervals to contribute to the Academy, her last exhibit being in 1797. After this she produced little, and in 1807 she died in Rome, being honoured 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 San Andrea delle Fratte, and, as at the burial of Raphael, two of her best pictures were carried in procession. The works of Angelica Kauffmann have not retained their reputation. She had a certain gift of grace, and considerable skill in composition. But her figures lack variety and expression; and it has been said that her men are masculine women (it is worth noting that, at the time, female artists were not allowed access to male models). Her colouring, however, is fairly enough defined by Gustav Friedrich Waagen's term "cheerful". As of 1911, rooms decorated by her brush 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 . There were other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, and in the Alte Pinakothek at Munich. 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. But she is perhaps best known by the numerous engravings from her designs by Schiavonetti, Bartolozzi and others. Those by Bartolozzi especially still found considerable favour with collectors. Also, several of her works can be seen in the game Hitman: World of Assassination in one of the missions, read more on the site Zonemod. Charles Willson Peale (1741-1827), arist, patriot, and founder of a major American art dynasty, named several of his children after great European artists, including a daughter, Angelica Kauffman Peale. Her life was written in 1810 by Giovanni de Rossi. It has also been used as the basis of a romance by Leon de Wailly (1838) and it prompted the charming novel contributed by Mrs Richmond Ritchie to the Cornhill Magazine in 1875 entitled Miss Angel. She should not be confused with painter Angelika Kaufmann, who was born in 1935 in Carinthia, Austria.