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knowledge of art theory and 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. It is unclear as to how she gained the knowledge of the male anatomy that she had, but there is speculation that she studied plaster casts of statues. The male characters in her artworks are seen as being more feminine than most painters would choose to display, which may be a result of her lack of formal training in male anatomy.
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891:) was established in 2007. This location is in the same area that her father called home. The annually changing exhibitions focus on different aspects and themes of her artistic work. In the 2019 exhibition "Angelika Kauffmann – Unknown Treasures from Vorarlberg Private Collections", many of her paintings were shown to the public for the first time, as a large proportion of her oeuvre is owned by private collectors. The museum is housed in the so-called "Kleberhaus", an old farmhouse (1556) in the typical architectural style of the region.
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418:. 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". In 1765, her work appeared in England in an exhibition of the Free Society of Artists. She moved to England shortly after and established herself as a leading artist.
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635:, the Royal Academy made a strong effort to promote it to a native audience more interested in commissioning and buying portraits and landscapes. Despite Kauffman's popularity 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 Rome, where history painting was better established, held in higher esteem and patronized.
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677:, in which she emphasises the difficult choice she had faced in choosing painting as her sole career, in dedication to her mother's death. 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 honoured by a splendid funeral under the direction of
378:(1707–1782), was a relatively poor man but a skilled Austrian muralist and painter, who was often travelling for his work. He trained Angelica and she worked as his assistant, moving through Switzerland, Austria, and Italy. Angelica, a child prodigy, rapidly acquired four languages from her mother, Cleophea Lutz (1717–1757): German, Italian, French and English.
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555:, leading the Royal Academy to reject the painting. It also originally included a nude caricature of Kauffman in the top left corner, which he painted out after she complained to the academy. The combination of a little girl and an old man has also been seen as symbolic of Kauffman and Reynolds's closeness, age difference, and rumoured affair.
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She also was a talented singer and showed talent as a musician. Angelica was forced to choose between opera and art. She quickly chose art as a
Catholic priest told her that the opera was a dangerous place filled with "seedy people." By her twelfth year she had already become known as a painter, with
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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,
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in 1762. Kauffman and her family moved to
Florence in June 1762, where the young artist first discovered the painting style that was coined Neoclassical painting. Moving to Rome in January 1763, Kauffman was introduced to the British community. While learning more English and continuing her
1189:
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843:, which purports to be an autobiography written during Kauffman's last days in Rome. The Historical Novel Society says of the novel: 'Kauffmann is presented as hard-working, loyal, kind, sometimes susceptible but more determined than she thinks she is.'
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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
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Kauffmann, Angelica. (2001). "»Mir träumte vor ein paar Nächten, ich hätte Briefe von Ihnen empfangen«. Gesammelte Briefe in den
Originalsprachen. Ed. Waltraud Maierhofer. Lengwil: Libelle, 2001.
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While in Venice, Kauffman was persuaded 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
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809:(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.
447:." 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
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Retrospektive
Angelika Kauffmann (270 works, c. 450 ill. ), Düsseldorf, Kunstmuseum (15 November 1998 – 24 January 1999); München, Haus der Kunst (5 February - 18 April 1999); Chur,
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By the time of her death she had made herself what she considered to be a renowned artist. This explains why her funeral was directed by the well-known
Neoclassical sculptor
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While
Kauffman produced portraits, and self-portraits, she identified herself primarily as a history painter, an unusual designation for a woman artist in the 18th century.
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478:, whom she married, but they were separated the following year. It was probably owing to Reynolds's good offices that she was among the signatories to the petition to the
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2731:(ed.): Retrospective Angelika Kauffmann, Exh. Cat. Düsseldorf, Kunstmuseum; Munich, Haus der Kunst, Chur, Bündner Kunstmuseum, Ostfildern, Hatje 1998,
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Kauffman is the preferred spelling of her name in English; it is the form she herself used most in signing her correspondence, documents and paintings.
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the following year. The finished painting's whereabouts were unknown until it appeared at auction in 1944. It was acquired in 1967 and is now in the
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and his family, including his niece Dorothea Monroe, the most admired Irish beauty of her time. It appears that among her circle of friends was
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records that the King held Leonardo's head in his arms as he died. Aside from Kauffman, this story was portrayed in romantic paintings by
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was considered the most elite and lucrative category in academic painting during this time period and, under the direction of
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1062:(1789), oil on canvas, 61 3/4 in. x 87 in. (156.8 cm x 221 cm), Davis Museum at Wellesley College, Massachusetts
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486:. In its first catalogue of 1769, she appears with "R.A." after her name (an honour she shared with one other woman,
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670:; yet, always restive, she wanted to do more and lived for another 25 years with much of her old prestige intact.
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artist then resident in England. Shortly afterwards she retired to Rome, where she befriended, among others,
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2114:"VALENTINE, PROTEUS, SYLVIA AND GIULIA IN THE FOREST (SCENE FROM "TWO GENTLEMEN OF VERONA" ACT V, SCENE IV)"
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320:). Harmonious and powerful colours and the soft-brushed, multi-layered style of English portraitists, Sir
501:, and three other classical compositions. She spent several months in Ireland in 1771, as a guest of the
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refers to her popularity; she was then painting his picture, a half-length; of which she also made an
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portraiture, a few months later the family moved again to Naples. There Kauffman studied works by the
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1213:(1772), oil on canvas, 150.4 x 208.2 cm., National Museum of Women in the Arts, Washington, D.C.
802:
539:(1775), satirizing Sir Joshua Reynolds and alluding to a romance with the younger Angelica Kauffman.
509:, and undertook a number of portrait commissions there. Her notable Irish portraits include those of
410:, everywhere feted for her talents and charm. Writing from Rome in August 1764 to his friend Franke,
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961:), oil on canvas, dimensions unknown, Annmary Brown Memorial Library, Brown University, Rhode Island
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451:. In his pocketbook her name as "Miss Angelica" or "Miss Angel" appears frequently; and in 1766 he
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398:, and had her first painting sent to a public exhibition in London. Later in 1763, she visited
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467:, a subject which Reynolds repeated a few years later in his portrait of Mrs Bouverie and Mrs
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1462:(1808), by Johann Peter Kauffmann, marble, 66,9 x 35,2 x 35 cm., Neue Pinakothek, Munich
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In 1781, after her first husband's death (she had long been separated from him), she married
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in Lombardy in 1752 at that time under Austrian rule. In 1757, she accompanied her father to
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284:, Kauffman was a skilled portraitist, landscape and decoration painter. She was, along with
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1391:, believed to be a satire of Kauffman. London: Printed for Carington Bowles, 13 April 1772.
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1243:(1780–81), oil on canvas, 142 x 121 cm., Princeton University Art Museum, New Jersey
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1013:(1785), oil on canvas, 103 x 127.5 cm., Princeton University Art Museum, New Jersey
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525:, then living in London and practising medicine, with whom she may have had an affair.
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998:(before 1782), oil on canvas, 88 x 70.5 cm., Gemäldegalerie Alte Meister, Dresden
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and others. Those by Bartolozzi especially found considerable favour with collectors.
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2750:(Letters in German, English, Italian, French; introduction and commentary in German.)
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and other French artists, though some historians consider it legend rather than fact.
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1198:(1770s), oil on canvas, 60 x 41 cm., Thyssen-Bornemisza National Museum, Madrid
551:. It was seen to attack the fashion for Italian Renaissance art and to ridicule Sir
459:. Another instance of her intimacy with Reynolds is to be found in her variation of
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782:. The Munich example was another portrait of herself, and there was a third in the
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By 1911, rooms decorated with her work were still to be seen in various places. At
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In 1782, Kauffman's father died, as did her husband in 1795. In 1794, she painted,
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1995:
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In 1757, her mother died and her father decided to move to Milan. Later visits to
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painter who had a successful career in London and Rome. Remembered primarily as a
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at Florence. A few of her works in private collections were exhibited among the
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1092:(1790), oil on canvas, 102 x 127.5 cm., Hermitage Museum, Saint Petersburg
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2700:. Vol. 15 (11th ed.). Cambridge University Press. pp. 697–698.
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The original sketch was discovered in Brazil in September 1966 and bought by
922:(1772), oil on canvas, dimensions unknown, Vorarlberger Landesmuseum, Bregenz
724:. Canova designed her funeral based on the funeral of the Renaissance master
613:(1782), oil on canvas, 82.6 x 112.4 cm., Metropolitan Museum of Art, New York
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1228:(c. 1780), oil on canvas, 76.2 x 63.5 mm., Museum of Fine Arts, Houston
1043:(1788), oil on canvas, 123 x 159 cm, Hermitage Museum, Saint Petersburg
600:(1783), oil on canvas, 83.2 x 114.3 cm. Metropolitan Museum of Art, New York
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983:), oil on canvas, 80 x 100.9 cm., Museo de Arte de Ponce, Puerto Rico
543:
Her friendship with Reynolds was criticized in 1775 by fellow Academician
2219:"Keepsakes of the Beloved: Portrait Miniatures and Profiles 1790 to 1840"
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939:(1774), oil on canvas, 63.8 x 90.9 cm., Museum of Fine Arts, Houston
460:
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1510:
Angelica Kauffman: Unknown Treasures from Vorarlberg Private Collections
1273:(1783), oil on canvas, 310 x 426 cm., Museo di Capodimonte, Naples
685:, with numerous ecclesiastics and virtuosi, followed her to her tomb in
1077:(date unknown), oil on canvas, 111.8 x: 94 cm., private collection
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Erato, the Muse of Lyric Poetry with a Putto or Sappho Inspired by Love
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Kauffman is well known for the numerous engravings from her designs by
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1365:(1807), oil on canvas, 224.6 x 146.8 cm., Neue Pinakothek, Munich
1320:(1787), oil on canvas, 64 x 52 cm., Goethe-Nationalmuseum, Weimar
443:, exhibited in the year of her arrival at "Mr Moreing's great room in
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2857:, also contains information and articles both in English and Italian)
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Dictionary of Women Artists: Introductory surveys ; Artists, A-I
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Lady Georgiana Spencer, Henrietta Spencer and George Viscount Althorp
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1183:(1767), oil on canvas, 127 x 101.5 cm., National Trust, Saltram
654:(1794). oil on canvas, 147 x: 216 cm. Nostell Priory, West Yorkshire
2798:"Memoir of the Lady Angelica Kauffman, R. A." by Joseph Moser, Esq.
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Index to the edition of her correspondence on the publisher's site
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This article incorporates text from a publication now in the
2622:
Preparation for Painting: The Artist's Choice and its Consequences
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In 1773, she was appointed by the Academy with others to decorate
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269:; 30 October 1741 – 5 November 1807), usually known in English as
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In 1767 Kauffman was seduced by an imposter going under the name
342:(1795), oil on canvas, 123.5 x 158.5 cm., Neue Pinakothek, Munich
1982:"Angelica Kauffman - Paintings by the Queen of Neoclassical Art"
1524:
Angelica Kauffman, Royal Academy, London, 1 March - 30 June 2024
779:
575:, a scheme that was never carried out, and it was she who, with
435:(1764), oil on canvas, 84 x 69 cm., Burghley House, Lincolnshire
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2528:(3). American Society for Eighteenth-Century Studies: 478–482.
1335:(1793), oil on canvas, 96 x 80 cm., Manchester Art Gallery
1303:(1787), oil on canvas, dimensions unknown, Musée du Louvre-Lens
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where her father was working for the local bishop. Her father,
1168:), oil on canvas, 113.6 x 144.8 cm., private collection
547:, who courted controversy in 1775 with his satirical picture
241:
1691:"Datei:Angelika Kauffmann Geburtshaus.jpg – Knowledge (XXG)"
2450:
Angelica Kauffman: A Continental Artist in Georgian England
1898:
1258:(1781), oil on canvas, 76 x 63 cm., private collection
579:, painted the ceiling of the Academy's old lecture room at
250:
1863:
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1350:(c. 1800), oil on canvas, 110 x 86 cm., Prado, Madrid
2569:
Roworth, Wendy Wassyng (2013). "Kauffman , Angelica". In
1939:
1800:. Joslyn's Schools, Teachers, and Technology programming.
1726:
1724:
1563:(1912), but does not find the evidence for it compelling.
1288:(1786), oil on canvas, Lviv National Art Gallery, Ukraine
952:
Zeuxis Selecting Models for His Painting of Helen of Troy
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1028:(1786), oil on canvas, dimension and collection unknown
693:, two of her best pictures were carried in procession.
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1521:, Schwarzenberg, Austria (June 16 - November 3, 2019).
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of long duration followed. She became a member of the
2063:"Angelika Kauffmann Museum - Tourismus Schwarzenberg"
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1107:(1793), oil on canvas, Museum Kunstpalast, Düsseldorf
517:, and his wife Mary, who acted as her patron, and of
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Design for a Fan (1775), Yale Center for British Art
402:, returning again in 1764. From Rome, she passed to
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735:was a portrait of the duchess of Brunswick; in the
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Self-Portrait Hesitating Between Painting and Music
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Self-Portrait Hesitating Between Painting and Music
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2757:. Mainz: Dieterich'sche Verlagsbuchhandlung, 1999.
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1271:Portrait of Ferdinand IV of Naples, and his Family
3025:Virgil Reading the Aeneid to Augustus and Octavia
2184:Jean-Paul Marat: Tribune of the French Revolution
1795:"Angelina Kauffman A Biography (teaching poster)"
1641:
1041:Virgil reading the Aeneid to Augustus and Octavia
820:(1838), and it prompted the novel contributed by
812:A biography of Kauffman was published in 1810 by
2089:"The Angelika Kauffmann Museum in Schwarzenberg"
1122:, before 1807, Museum of John Paul II Collection
2851:Information Angelika Kauffmann in Schwarzenberg
2712:Ripley, George; Dana, Charles A., eds. (1879).
1241:Portrait of Sarah Harrop (Mrs. Bates) as a Muse
2516:"Documenting Angelica Kauffman's Life and Art"
1090:Venus Induces Helen to Fall in Love with Paris
837:The novelist Miranda Miller published a novel
742:There were other pictures by her in Paris, at
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2779:Angelica Kauffmann: A Woman of Immense Talent
8:
2977:Jupiter Disguised as Diana Seducing Callisto
2772:Angelica Kauffmann, R.A.: Her Life and Works
2403:. Vol. 25 (2nd ed.). Detroit, MI:
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1478:(1791), Metropolitan Museum of Art, New York
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1226:Portrait of Eleanor, Countess of Lauderdale
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2774:. London: John Lane the Bodley Head, 1924.
1011:Pliny the Younger and His Mother at Miseno
622:The Triumph of Venus with the Three Graces
31:
20:
2876:80 artworks by or after Angelica Kauffman
1910:
816:. The book was the basis of a romance by
455:, a compliment which she returned by her
2755:Angelika Kauffmann. Briefe einer Malerin
2475:"Kauffman [Kauffmann], Angelica"
2330:The National Museum of Women in the Arts
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603:
425:
2794:The European Magazine and London Review
2293:CS1 maint: location missing publisher (
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1967:
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1405:The European Magazine and London Review
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328:, are typical for Kauffman's paintings.
288:, one of two female painters among the
187: 1781; died 1795)
2423:Angelica Kauffman: Art and sensibility
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1943:
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1196:Portrait of a Woman as a Vestal Virgin
1105:Agrippina Mourns the Urn of Germanicus
1955:
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1301:Baroness of Krüdener and Her Son Paul
7:
3033:Venus Persuading Helen to Love Paris
3001:Telemachus and the Nymphs of Calypso
2446:Roworth, Wendy Wassyng, ed. (1992).
2217:Johns, Elizabeth (4 February 2011).
2186:. Revolutionary Lives. Pluto Press.
1996:"Angelica Kauffman - Artist Profile"
1653:
1597:during the artist's last years, and
1559:, who reported it as hearsay in his
1555:Conner attributes the allegation to
1517:(June 15 - October 6, 2019) and the
716:, 1798, Brest's Museum of Fine Arts
610:Telemachus and the Nymphs of Calypso
382:bishops and nobles sitting for her.
2576:Concise Dictionary of Women Artists
2491:. Vol. 2. London and Chicago:
2168:Angelika Kauffmann Research Project
2145:Angelika Kauffmann Research Project
2016:
1363:Ludwig I of Bavaria as Crown Prince
354:, Switzerland. Her family moved to
3196:18th-century British women artists
3191:19th-century British women artists
2969:The Parting of Abelard and Heloise
2871:Angelica Kauffman Research Project
2861:Vorarlberg Landesmuseum in Bregenz
2764:. London: Ward & Downey, 1892.
2599:"Angelica Kauffman RA (1741–1807)"
2223:Traditional Fine Arts Organization
14:
2814:National Portrait Gallery, London
2781:. Ostfildern: Hatje-Cantz, 2007.
2715:"Kauffmann, Maria Angelica"
2118:Davis Museum at Wellesley College
159:
3216:18th-century Swiss women artists
3211:19th-century Swiss women artists
3161:Portraits of William Shakespeare
2953:Hector Summoning Paris to Battle
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1980:Kiely, Alexandra (4 July 2020).
1513:, concurrent exhibitions at the
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1433:Scene from the 1802 première in
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391:Accademia delle Arti del Disegno
231:
211:
2762:Angelica Kauffmann. A Biography
2514:Roworth, Wendy Wassyng (2004).
2473:Roworth, Wendy Wassyng (1997).
2407:. pp. 229–231 – via
2401:Encyclopedia of World Biography
1899:National Gallery of Ireland n.d
1286:Prince Henry Lubomirski As Amor
1211:The Family of the Earl of Gower
457:Portrait of Sir Joshua Reynolds
184:
155:
3041:Christ and the Samaritan Woman
2810:Portraits of Angelica Kauffman
2409:Gale Virtual Reference Library
2325:"Angelica Kauffman: 1741–1807"
1460:The Painter Angelika Kauffmann
705:Mary Tisdall, Dublin (1771–72)
1:
3206:19th-century British painters
3201:18th-century British painters
2646:Leonardo: The First Scientist
2620:Townsend, Joyce, ed. (2008).
2391:Ratiner, Tracie, ed. (2005).
2237:Loftus, Simon (Winter 2014).
1593:had become a close friend of
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847:The Angelika Kauffmann Museum
739:, a self-portrait (NPG 430).
519:Henry Loftus, 1st Earl of Ely
482:for the establishment of the
222:Maria Anna Angelika Kauffmann
50:Maria Anna Angelika Kauffmann
2945:Ariadne Abandoned by Theseus
2347:"NPG 430; Angelica Kauffman"
2257:Angelica, Paintress of Minds
2182:Conner, Clifford D. (2012).
2046:Angelica, Paintress of Minds
936:Ariadne Abandoned by Theseus
840:Angelica, Paintress of Minds
515:Attorney General for Ireland
3226:19th-century women painters
3221:18th-century women painters
3171:19th-century Swiss painters
3166:18th-century Swiss painters
2753:Waltraud Maierhofer (ed.).
2488:Dictionary of Women Artists
2308:National Gallery of Ireland
2093:Bregenzerwald in Vorarlberg
1578:National Gallery of Ireland
1060:The Two Gentlemen of Verona
920:Penelope Waken by Eurykleia
689:, and, as at the burial of
490:); and she contributed the
339:Samaritan Woman at the Well
312:, painted in Rome in 1791 (
3242:
3151:Austrian portrait painters
2993:Ferdinand I and His Family
2521:Eighteenth-Century Studies
2048:, Historical Novel Society
1348:Anna von Escher van Muralt
903:
814:Giovanni Gherardo De Rossi
668:Johann Wolfgang von Goethe
503:Lord Lieutenant of Ireland
3078:Angelika Kauffmann Museum
2770:and Williamson, Dr. G.C.
2397:Gale - Institution Finder
2351:National Portrait Gallery
2239:"From chaplains to lords"
1697:(in German). 22 July 2008
1519:Angelika Kauffmann Museum
1443:, with Goethe himself as
1419:Self-Portrait as Imitatio
1120:Holy Family with an angel
877:Angelika Kauffmann Museum
857:Angelika Kauffmann Museum
737:National Portrait Gallery
210:
30:
3009:The Sorrow of Telemachus
2204:. EKM Digitaalkogu. 2013
1056:Valentine Rescues Silvia
687:Sant'Andrea delle Fratte
597:The Sorrow of Telemachus
563:expiring in the Arms of
16:Swiss artist (1741–1807)
3146:Swiss portrait painters
3094:Joseph Johann Kauffmann
2961:Sappho Inspired by Love
2937:Portrait of Winckelmann
2721:The American Cyclopædia
2697:Encyclopædia Britannica
2643:White, Michael (2000).
2371:, Nathaniel Hone, 1775"
2365:Postle, Martin (2001).
2254:Miranda Miller (2019).
2202:"Art Museum of Estonia"
2044:Mezzacappa, Katherine,
1505:(8 May – 11 July 1999).
1143:Portrait of Winckelmann
996:Ariadne left by Theseus
822:Anne Isabella Thackeray
476:Count Frederick de Horn
376:Joseph Johann Kauffmann
200:Joseph Johann Kauffmann
3176:British women painters
3136:People from Vorarlberg
2777:Natter, Tobias (ed.).
2768:Manners, Lady Victoria
2626:Archetype Publications
1557:Jacques Pierre Brissot
1026:Circe Enticing Ulysses
872:
717:
706:
655:
624:
614:
601:
540:
436:
422:Years in Great Britain
343:
329:
3156:Neoclassical painters
2534:10.1353/ecs.2004.0031
2429:Yale University Press
2030:Art Museum of Estonia
1984:. Daily Art Magazine.
1695:commons.wikimedia.org
1642:The Royal Academy n.d
1333:Ellis Cornelia Knight
1146:(1764), oil on canvas
974:The Judgment of Paris
854:
807:Charles Willson Peale
776:Joanneum Alte Galerie
712:
704:
650:
620:
607:
594:
531:
429:
346:Kauffman was born at
335:
307:
68:League of God's House
3181:Swiss women painters
3060:Cupid and the Graces
2832:at Wikimedia Commons
2684:Dobson, Henry Austin
2583:. pp. 401–406.
2393:"Kauffman, Angelica"
2067:www.schwarzenberg.at
1812:"Angelica Kauffman,
803:Francesco Bartolozzi
158: 1767;
40:by Kauffman, 1770–75
2760:Gerard, Frances A.
2688:Kauffmann, Angelica
2160:Baumgärtel, Bettina
2137:Baumgärtel, Bettina
1970:, pp. 766–770.
1958:, pp. 261–262.
1913:, pp. 226–227.
1843:, pp. 697–698.
1814:Sir Joshua Reynolds
1561:Mémoires, 1754–1793
1503:Bündner Kunstmuseum
1440:Iphigenia in Tauris
1181:Sir Joshua Reynolds
643:Later years in Rome
633:Sir Joshua Reynolds
573:St Paul's Cathedral
326:Thomas Gainsborough
296:in London in 1768.
3141:Royal Academicians
2985:Cupid and Ganymede
2842:Angelica Kauffmann
2840:Works by or about
2830:Angelica Kauffmann
2729:Bettina Baumgärtel
2651:St. Martin's Press
873:
718:
714:Christian Allegory
707:
683:Academy of St Luke
656:
625:
615:
602:
541:
507:Viscount Townshend
437:
344:
330:
310:Tragedy and Comedy
3116:Angelica Kauffman
3103:
3102:
2931:List of paintings
2917:Angelica Kauffman
2828:Media related to
2787:978-3-7757-1984-1
2748:978-3-909081-88-2
2604:The Royal Academy
2417:Rosenthal, Angela
2244:Irish Arts Review
1870:, pp. 3, 13.
1595:Leonardo da Vinci
1515:Vorarlberg Museum
1385:The Paintress of
830:in 1875 entitled
827:Cornhill Magazine
565:Francis the First
465:Et in Arcadia ego
271:Angelica Kauffman
219:
218:
144:Frederick de Horn
25:Angelica Kauffman
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3131:People from Chur
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629:History painting
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290:founding members
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764:Kadriorg Palace
756:Alte Pinakothek
699:
662:(1726–1795), a
645:
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553:Joshua Reynolds
523:Jean-Paul Marat
449:Joshua Reynolds
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337:Christ and the
322:Joshua Reynolds
314:National Museum
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282:history painter
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2303:"The Conjuror"
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2878: at the
2796:, April 1809
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2649:. New York:
2645:
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2609:. Retrieved
2602:
2575:
2562:Project MUSE
2560:– via
2525:
2519:
2486:
2482:
2449:
2422:
2400:
2396:
2380:. Retrieved
2376:Tate Britain
2374:
2369:The Conjuror
2368:
2367:"Sketch for
2354:. Retrieved
2335:. Retrieved
2328:
2313:. Retrieved
2306:
2256:
2242:
2226:. Retrieved
2222:
2206:. Retrieved
2183:
2171:. Retrieved
2167:
2164:"Chronology"
2148:. Retrieved
2144:
2117:
2108:
2098:10 September
2096:. Retrieved
2092:
2083:
2073:10 September
2071:. Retrieved
2066:
2045:
2039:
2029:
2024:
2012:
2000:. Retrieved
1990:
1975:
1968:Roworth 1997
1963:
1951:
1906:
1894:
1848:
1836:
1829:Roworth 2013
1824:
1813:
1806:
1789:
1782:Roworth 2004
1748:Ratiner 2005
1711:
1699:. Retrieved
1694:
1685:
1673:
1661:
1649:
1637:
1630:Roworth 1992
1625:
1585:
1574:Tate Britain
1568:
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1474:Portrait of
1459:
1438:
1437:of Goethe's
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336:
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278:Neoclassical
270:
221:
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98:Papal States
88:(1807-11-05)
37:
18:
3126:1807 deaths
3121:1741 births
2855:(in German)
2571:Gaze, Delia
2495:. pp.
2479:Gaze, Delia
2208:15 February
2141:"Biography"
1944:Dobson 1911
1887:Postle 2001
1868:Conner 2012
1853:Loftus 2014
1841:Dobson 1911
1767:Dobson 1911
1496:Exhibitions
1166: 1766
981: 1781
959: 1778
788:Old Masters
453:painted her
445:Maiden Lane
412:Winckelmann
396:Old Masters
105:Nationality
76:Switzerland
3110:Categories
2846:Wikisource
2611:2 December
2454:. London:
2382:3 December
2356:2 December
2337:2 December
2315:3 December
2260:. London.
2228:2 December
2173:2 December
2150:2 December
2002:28 October
1956:White 2000
1678:Johns 2011
1580:in Dublin.
1529:References
885:Vorarlberg
865:Vorarlberg
832:Miss Angel
498:Andromache
488:Mary Moser
368:Vorarlberg
352:Graubünden
308:Detail of
300:Early life
286:Mary Moser
72:Graubünden
56:1741-10-30
2924:Paintings
2686:(1911). "
2581:Routledge
2558:161235086
2550:0013-2586
2542:1086-315X
2286:ignored (
2276:cite book
1617:Citations
1591:Francis I
1128:Portraits
895:Galleries
754:, in the
748:Hermitage
746:, in the
535:painting
206:Signature
3096:(father)
2419:(2006).
1654:NMWA n.d
1607:Ménageot
1387:Macaroni
664:Venetian
568:(1778).
561:Leonardo
461:Guercino
356:Morbegno
273:, was a
123:Movement
117:Painting
3087:Related
3071:Museums
3063:(1770s)
2972:(1770s)
2812:at the
2694:(ed.).
2681::
2573:(ed.).
2497:764–770
2481:(ed.).
2129:Sources
2017:NPG 430
1816:, 1767"
1701:8 March
1445:Orestes
889:Austria
869:Austria
824:to the
772:Estonia
768:Tallinn
744:Dresden
726:Raphael
691:Raphael
416:etching
404:Bologna
372:Austria
292:of the
189:
181:
177:
164:
152:
148:
133:Spouses
3044:(1796)
3036:(1790)
3028:(1788)
3020:(1784)
3012:(1783)
3004:(1782)
2996:(1782)
2988:(1782)
2964:(1775)
2956:(1775)
2948:(1774)
2940:(1764)
2880:Art UK
2785:
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2690:". In
2675:
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1603:Ingres
1599:Vasari
1435:Weimar
1317:Goethe
784:Uffizi
760:Munich
697:Legacy
679:Canova
513:, the
494:Hector
408:Venice
318:Warsaw
196:Father
2607:. n.d
2554:S2CID
2538:eISSN
2477:. In
2333:. n.d
2311:. n.d
1798:(PDF)
1589:King
1534:Notes
1403:From
1058:from
762:, in
469:Crewe
387:Italy
275:Swiss
183:(
179:
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150:
108:Swiss
2882:site
2783:ISBN
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2733:ISBN
2655:ISBN
2630:ISBN
2613:2018
2585:ISBN
2546:ISSN
2501:ISBN
2460:ISBN
2433:ISBN
2405:Gale
2384:2018
2358:2018
2339:2018
2317:2018
2295:link
2288:help
2262:ISBN
2230:2018
2210:2013
2188:ISBN
2175:2018
2152:2018
2100:2019
2075:2019
2032:2013
2004:2020
1703:2023
875:The
855:The
780:Graz
496:and
480:King
406:and
400:Rome
360:Como
348:Chur
324:and
266:-mən
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160:sep.
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