Las óleos de todo Angelica Kauffmann

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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.

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