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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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902:) 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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429:. 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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646:, 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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688:, 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
389:(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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566:, 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
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854:, 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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820:(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.
458:." 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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489:, 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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2742:(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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1073:(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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497:. 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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681:; 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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2125:"VALENTINE, PROTEUS, SYLVIA AND GIULIA IN THE FOREST (SCENE FROM "TWO GENTLEMEN OF VERONA" ACT V, SCENE IV)"
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331:). Harmonious and powerful colours and the soft-brushed, multi-layered style of English portraitists, Sir
512:, 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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1224:(1772), oil on canvas, 150.4 x 208.2 cm., National Museum of Women in the Arts, Washington, D.C.
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550:(1775), satirizing Sir Joshua Reynolds and alluding to a romance with the younger Angelica Kauffman.
520:, and undertook a number of portrait commissions there. Her notable Irish portraits include those of
421:, everywhere feted for her talents and charm. Writing from Rome in August 1764 to his friend Franke,
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972:), oil on canvas, dimensions unknown, Annmary Brown Memorial Library, Brown University, Rhode Island
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462:. In his pocketbook her name as "Miss Angelica" or "Miss Angel" appears frequently; and in 1766 he
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1992:
409:, and had her first painting sent to a public exhibition in London. Later in 1763, she visited
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478:, a subject which Reynolds repeated a few years later in his portrait of Mrs Bouverie and Mrs
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1473:(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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295:, Kauffman was a skilled portraitist, landscape and decoration painter. She was, along with
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1402:, believed to be a satire of Kauffman. London: Printed for Carington Bowles, 13 April 1772.
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1254:(1780–81), oil on canvas, 142 x 121 cm., Princeton University Art Museum, New Jersey
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1024:(1785), oil on canvas, 103 x 127.5 cm., Princeton University Art Museum, New Jersey
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536:, then living in London and practising medicine, with whom she may have had an affair.
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1009:(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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2761:(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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1209:(1770s), oil on canvas, 60 x 41 cm., Thyssen-Bornemisza National Museum, Madrid
562:. It was seen to attack the fashion for Italian Renaissance art and to ridicule Sir
470:. Another instance of her intimacy with Reynolds is to be found in her variation of
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793:. 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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2006:
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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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1103:(1790), oil on canvas, 102 x 127.5 cm., Hermitage Museum, Saint Petersburg
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2711:. 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
933:(1772), oil on canvas, dimensions unknown, Vorarlberger Landesmuseum, Bregenz
735:. Canova designed her funeral based on the funeral of the Renaissance master
624:(1782), oil on canvas, 82.6 x 112.4 cm., Metropolitan Museum of Art, New York
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1239:(c. 1780), oil on canvas, 76.2 x 63.5 mm., Museum of Fine Arts, Houston
1054:(1788), oil on canvas, 123 x 159 cm, Hermitage Museum, Saint Petersburg
611:(1783), oil on canvas, 83.2 x 114.3 cm. Metropolitan Museum of Art, New York
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994:), oil on canvas, 80 x 100.9 cm., Museo de Arte de Ponce, Puerto Rico
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Her friendship with Reynolds was criticized in 1775 by fellow Academician
2230:"Keepsakes of the Beloved: Portrait Miniatures and Profiles 1790 to 1840"
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950:(1774), oil on canvas, 63.8 x 90.9 cm., Museum of Fine Arts, Houston
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1521:
Angelica Kauffman: Unknown Treasures from Vorarlberg Private Collections
1284:(1783), oil on canvas, 310 x 426 cm., Museo di Capodimonte, Naples
696:, with numerous ecclesiastics and virtuosi, followed her to her tomb in
1088:(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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1376:(1807), oil on canvas, 224.6 x 146.8 cm., Neue Pinakothek, Munich
1331:(1787), oil on canvas, 64 x 52 cm., Goethe-Nationalmuseum, Weimar
454:, exhibited in the year of her arrival at "Mr Moreing's great room in
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2868:, 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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1194:(1767), oil on canvas, 127 x 101.5 cm., National Trust, Saltram
665:(1794). oil on canvas, 147 x: 216 cm. Nostell Priory, West Yorkshire
2809:"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
2633:
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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280:; 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
353:(1795), oil on canvas, 123.5 x 158.5 cm., Neue Pinakothek, Munich
1993:"Angelica Kauffman - Paintings by the Queen of Neoclassical Art"
1535:
Angelica Kauffman, Royal Academy, London, 1 March - 30 June 2024
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586:, a scheme that was never carried out, and it was she who, with
446:(1764), oil on canvas, 84 x 69 cm., Burghley House, Lincolnshire
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2539:(3). American Society for Eighteenth-Century Studies: 478–482.
1346:(1793), oil on canvas, 96 x 80 cm., Manchester Art Gallery
1314:(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,
1179:), oil on canvas, 113.6 x 144.8 cm., private collection
558:, who courted controversy in 1775 with his satirical picture
252:
1702:"Datei:Angelika Kauffmann Geburtshaus.jpg – Knowledge (XXG)"
2461:
Angelica Kauffman: A Continental Artist in Georgian England
1909:
1269:(1781), oil on canvas, 76 x 63 cm., private collection
590:, painted the ceiling of the Academy's old lecture room at
261:
1874:
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1361:(c. 1800), oil on canvas, 110 x 86 cm., Prado, Madrid
2580:
Roworth, Wendy Wassyng (2013). "Kauffman , Angelica". In
1950:
1811:. Joslyn's Schools, Teachers, and Technology programming.
1737:
1735:
1574:(1912), but does not find the evidence for it compelling.
1299:(1786), oil on canvas, Lviv National Art Gallery, Ukraine
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Zeuxis Selecting Models for His Painting of Helen of Troy
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1039:(1786), oil on canvas, dimension and collection unknown
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1532:, Schwarzenberg, Austria (June 16 - November 3, 2019).
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of long duration followed. She became a member of the
2074:"Angelika Kauffmann Museum - Tourismus Schwarzenberg"
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1118:(1793), oil on canvas, Museum Kunstpalast, Düsseldorf
528:, 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
413:, returning again in 1764. From Rome, she passed to
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746: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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2768:. Mainz: Dieterich'sche Verlagsbuchhandlung, 1999.
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1282:Portrait of Ferdinand IV of Naples, and his Family
3036:Virgil Reading the Aeneid to Augustus and Octavia
2195:Jean-Paul Marat: Tribune of the French Revolution
1806:"Angelina Kauffman A Biography (teaching poster)"
1652:
1052:Virgil reading the Aeneid to Augustus and Octavia
831:(1838), and it prompted the novel contributed by
823:A biography of Kauffman was published in 1810 by
2100:"The Angelika Kauffmann Museum in Schwarzenberg"
1133:, before 1807, Museum of John Paul II Collection
2862:Information Angelika Kauffmann in Schwarzenberg
2723:Ripley, George; Dana, Charles A., eds. (1879).
1252:Portrait of Sarah Harrop (Mrs. Bates) as a Muse
2527:"Documenting Angelica Kauffman's Life and Art"
1101:Venus Induces Helen to Fall in Love with Paris
848:The novelist Miranda Miller published a novel
753:There were other pictures by her in Paris, at
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2790:Angelica Kauffmann: A Woman of Immense Talent
8:
2988:Jupiter Disguised as Diana Seducing Callisto
2783:Angelica Kauffmann, R.A.: Her Life and Works
2414:. Vol. 25 (2nd ed.). Detroit, MI:
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1489:(1791), Metropolitan Museum of Art, New York
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1237:Portrait of Eleanor, Countess of Lauderdale
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2785:. London: John Lane the Bodley Head, 1924.
1022:Pliny the Younger and His Mother at Miseno
633:The Triumph of Venus with the Three Graces
42:
31:
2887:80 artworks by or after Angelica Kauffman
1921:
827:. The book was the basis of a romance by
466:, a compliment which she returned by her
2766:Angelika Kauffmann. Briefe einer Malerin
2486:"Kauffman [Kauffmann], Angelica"
2341:The National Museum of Women in the Arts
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436:
2805:The European Magazine and London Review
2304:CS1 maint: location missing publisher (
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1978:
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1416:The European Magazine and London Review
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339:, are typical for Kauffman's paintings.
299:, one of two female painters among the
198: 1781; died 1795)
2434:Angelica Kauffman: Art and sensibility
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1954:
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1207:Portrait of a Woman as a Vestal Virgin
1116:Agrippina Mourns the Urn of Germanicus
1966:
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1312:Baroness of Krüdener and Her Son Paul
7:
3044:Venus Persuading Helen to Love Paris
3012:Telemachus and the Nymphs of Calypso
2457:Roworth, Wendy Wassyng, ed. (1992).
2228:Johns, Elizabeth (4 February 2011).
2197:. Revolutionary Lives. Pluto Press.
2007:"Angelica Kauffman - Artist Profile"
1664:
1608:during the artist's last years, and
1570:, who reported it as hearsay in his
1566:Conner attributes the allegation to
1528:(June 15 - October 6, 2019) and the
727:, 1798, Brest's Museum of Fine Arts
621:Telemachus and the Nymphs of Calypso
393:bishops and nobles sitting for her.
2587:Concise Dictionary of Women Artists
2502:. Vol. 2. London and Chicago:
2179:Angelika Kauffmann Research Project
2156:Angelika Kauffmann Research Project
2027:
1374:Ludwig I of Bavaria as Crown Prince
365:, Switzerland. Her family moved to
3207:18th-century British women artists
3202:19th-century British women artists
2980:The Parting of Abelard and Heloise
2882:Angelica Kauffman Research Project
2872:Vorarlberg Landesmuseum in Bregenz
2775:. London: Ward & Downey, 1892.
2610:"Angelica Kauffman RA (1741–1807)"
2234:Traditional Fine Arts Organization
25:
2825:National Portrait Gallery, London
2792:. Ostfildern: Hatje-Cantz, 2007.
2726:"Kauffmann, Maria Angelica"
2129:Davis Museum at Wellesley College
170:
3227:18th-century Swiss women artists
3222:19th-century Swiss women artists
3172:Portraits of William Shakespeare
2964:Hector Summoning Paris to Battle
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1991:Kiely, Alexandra (4 July 2020).
1524:, concurrent exhibitions at the
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1444:Scene from the 1802 première in
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402:Accademia delle Arti del Disegno
242:
222:
2773:Angelica Kauffmann. A Biography
2525:Roworth, Wendy Wassyng (2004).
2484:Roworth, Wendy Wassyng (1997).
2418:. pp. 229–231 – via
2412:Encyclopedia of World Biography
1910:National Gallery of Ireland n.d
1297:Prince Henry Lubomirski As Amor
1222:The Family of the Earl of Gower
468:Portrait of Sir Joshua Reynolds
195:
166:
3052:Christ and the Samaritan Woman
2821:Portraits of Angelica Kauffman
2420:Gale Virtual Reference Library
2336:"Angelica Kauffman: 1741–1807"
1471:The Painter Angelika Kauffmann
716:Mary Tisdall, Dublin (1771–72)
1:
3217:19th-century British painters
3212:18th-century British painters
2657:Leonardo: The First Scientist
2631:Townsend, Joyce, ed. (2008).
2402:Ratiner, Tracie, ed. (2005).
2248:Loftus, Simon (Winter 2014).
1604:had become a close friend of
1173:
988:
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858:The Angelika Kauffmann Museum
750:, a self-portrait (NPG 430).
530:Henry Loftus, 1st Earl of Ely
493:for the establishment of the
233:Maria Anna Angelika Kauffmann
61:Maria Anna Angelika Kauffmann
2956:Ariadne Abandoned by Theseus
2358:"NPG 430; Angelica Kauffman"
2268:Angelica, Paintress of Minds
2193:Conner, Clifford D. (2012).
2057:Angelica, Paintress of Minds
947:Ariadne Abandoned by Theseus
851:Angelica, Paintress of Minds
526:Attorney General for Ireland
3237:19th-century women painters
3232:18th-century women painters
3182:19th-century Swiss painters
3177:18th-century Swiss painters
2764:Waltraud Maierhofer (ed.).
2499:Dictionary of Women Artists
2319:National Gallery of Ireland
2104:Bregenzerwald in Vorarlberg
1589:National Gallery of Ireland
1071:The Two Gentlemen of Verona
931:Penelope Waken by Eurykleia
700:, and, as at the burial of
501:); and she contributed the
350:Samaritan Woman at the Well
323:, painted in Rome in 1791 (
3253:
3162:Austrian portrait painters
3004:Ferdinand I and His Family
2532:Eighteenth-Century Studies
2059:, Historical Novel Society
1359:Anna von Escher van Muralt
914:
825:Giovanni Gherardo De Rossi
679:Johann Wolfgang von Goethe
514:Lord Lieutenant of Ireland
3089:Angelika Kauffmann Museum
2781:and Williamson, Dr. G.C.
2408:Gale - Institution Finder
2362:National Portrait Gallery
2250:"From chaplains to lords"
1708:(in German). 22 July 2008
1530:Angelika Kauffmann Museum
1454:, with Goethe himself as
1430:Self-Portrait as Imitatio
1131:Holy Family with an angel
888:Angelika Kauffmann Museum
868:Angelika Kauffmann Museum
748:National Portrait Gallery
221:
41:
3020:The Sorrow of Telemachus
2215:. EKM Digitaalkogu. 2013
1067:Valentine Rescues Silvia
698:Sant'Andrea delle Fratte
608:The Sorrow of Telemachus
574:expiring in the Arms of
27:Swiss artist (1741–1807)
3157:Swiss portrait painters
3105:Joseph Johann Kauffmann
2972:Sappho Inspired by Love
2948:Portrait of Winckelmann
2732:The American Cyclopædia
2708:Encyclopædia Britannica
2654:White, Michael (2000).
2382:, Nathaniel Hone, 1775"
2376:Postle, Martin (2001).
2265:Miranda Miller (2019).
2213:"Art Museum of Estonia"
2055:Mezzacappa, Katherine,
1516:(8 May – 11 July 1999).
1154:Portrait of Winckelmann
1007:Ariadne left by Theseus
833:Anne Isabella Thackeray
487:Count Frederick de Horn
387:Joseph Johann Kauffmann
211:Joseph Johann Kauffmann
3187:British women painters
3147:People from Vorarlberg
2788:Natter, Tobias (ed.).
2779:Manners, Lady Victoria
2637:Archetype Publications
1568:Jacques Pierre Brissot
1037:Circe Enticing Ulysses
883:
728:
717:
666:
635:
625:
612:
551:
447:
433:Years in Great Britain
354:
340:
3167:Neoclassical painters
2545:10.1353/ecs.2004.0031
2440:Yale University Press
2041:Art Museum of Estonia
1995:. Daily Art Magazine.
1706:commons.wikimedia.org
1653:The Royal Academy n.d
1344:Ellis Cornelia Knight
1157:(1764), oil on canvas
985:The Judgment of Paris
865:
818:Charles Willson Peale
787:Joanneum Alte Galerie
723:
715:
661:
631:
618:
605:
542:
440:
357:Kauffman was born at
346:
318:
79:League of God's House
3192:Swiss women painters
3071:Cupid and the Graces
2843:at Wikimedia Commons
2695:Dobson, Henry Austin
2594:. pp. 401–406.
2404:"Kauffman, Angelica"
2078:www.schwarzenberg.at
1823:"Angelica Kauffman,
814:Francesco Bartolozzi
169: 1767;
51:by Kauffman, 1770–75
2771:Gerard, Frances A.
2699:Kauffmann, Angelica
2171:Baumgärtel, Bettina
2148:Baumgärtel, Bettina
1981:, pp. 766–770.
1969:, pp. 261–262.
1924:, pp. 226–227.
1854:, pp. 697–698.
1825:Sir Joshua Reynolds
1572:Mémoires, 1754–1793
1514:Bündner Kunstmuseum
1451:Iphigenia in Tauris
1192:Sir Joshua Reynolds
654:Later years in Rome
644:Sir Joshua Reynolds
584:St Paul's Cathedral
337:Thomas Gainsborough
307:in London in 1768.
3152:Royal Academicians
2996:Cupid and Ganymede
2853:Angelica Kauffmann
2851:Works by or about
2841:Angelica Kauffmann
2740:Bettina Baumgärtel
2662:St. Martin's Press
884:
729:
725:Christian Allegory
718:
694:Academy of St Luke
667:
636:
626:
613:
552:
518:Viscount Townshend
448:
355:
341:
321:Tragedy and Comedy
18:Angelica Kauffmann
3127:Angelica Kauffman
3114:
3113:
2942:List of paintings
2928:Angelica Kauffman
2839:Media related to
2798:978-3-7757-1984-1
2759:978-3-909081-88-2
2615:The Royal Academy
2428:Rosenthal, Angela
2255:Irish Arts Review
1881:, pp. 3, 13.
1606:Leonardo da Vinci
1526:Vorarlberg Museum
1396:The Paintress of
841:in 1875 entitled
838:Cornhill Magazine
576:Francis the First
476:Et in Arcadia ego
282:Angelica Kauffman
230:
229:
155:Frederick de Horn
36:Angelica Kauffman
16:(Redirected from
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301:founding members
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767:Alte Pinakothek
710:
673:(1726–1795), a
656:
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564:Joshua Reynolds
534:Jean-Paul Marat
460:Joshua Reynolds
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348:Christ and the
333:Joshua Reynolds
325:National Museum
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2314:"The Conjuror"
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785:) and in the
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744:Hampton Court
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49:Self-portrait
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2889: at the
2807:, April 1809
2804:
2789:
2782:
2772:
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2660:. New York:
2656:
2632:
2620:. Retrieved
2613:
2586:
2573:Project MUSE
2571:– via
2536:
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2497:
2493:
2460:
2433:
2411:
2407:
2391:. Retrieved
2387:Tate Britain
2385:
2380:The Conjuror
2379:
2378:"Sketch for
2365:. Retrieved
2346:. Retrieved
2339:
2324:. Retrieved
2317:
2267:
2253:
2237:. Retrieved
2233:
2217:. Retrieved
2194:
2182:. Retrieved
2178:
2175:"Chronology"
2159:. Retrieved
2155:
2128:
2119:
2109:10 September
2107:. Retrieved
2103:
2094:
2084:10 September
2082:. Retrieved
2077:
2056:
2050:
2040:
2035:
2023:
2011:. Retrieved
2001:
1986:
1979:Roworth 1997
1974:
1962:
1917:
1905:
1859:
1847:
1840:Roworth 2013
1835:
1824:
1817:
1800:
1793:Roworth 2004
1759:Ratiner 2005
1722:
1710:. Retrieved
1705:
1696:
1684:
1672:
1660:
1648:
1641:Roworth 1992
1636:
1596:
1585:Tate Britain
1579:
1571:
1562:
1553:
1520:
1485:Portrait of
1470:
1449:
1448:of Goethe's
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548:The Conjuror
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391:
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347:
320:
289:Neoclassical
281:
232:
231:
109:Papal States
99:(1807-11-05)
48:
29:
3137:1807 deaths
3132:1741 births
2866:(in German)
2582:Gaze, Delia
2506:. pp.
2490:Gaze, Delia
2219:15 February
2152:"Biography"
1955:Dobson 1911
1898:Postle 2001
1879:Conner 2012
1864:Loftus 2014
1852:Dobson 1911
1778:Dobson 1911
1507:Exhibitions
1177: 1766
992: 1781
970: 1778
799:Old Masters
464:painted her
456:Maiden Lane
423:Winckelmann
407:Old Masters
116:Nationality
87:Switzerland
3121:Categories
2857:Wikisource
2622:2 December
2465:. London:
2393:3 December
2367:2 December
2348:2 December
2326:3 December
2271:. London.
2239:2 December
2184:2 December
2161:2 December
2013:28 October
1967:White 2000
1689:Johns 2011
1591:in Dublin.
1540:References
896:Vorarlberg
876:Vorarlberg
843:Miss Angel
509:Andromache
499:Mary Moser
379:Vorarlberg
363:Graubünden
319:Detail of
311:Early life
297:Mary Moser
83:Graubünden
67:1741-10-30
2935:Paintings
2697:(1911). "
2592:Routledge
2569:161235086
2561:0013-2586
2553:1086-315X
2297:ignored (
2287:cite book
1628:Citations
1602:Francis I
1139:Portraits
906:Galleries
765:, in the
759:Hermitage
757:, in the
546:painting
217:Signature
3107:(father)
2430:(2006).
1665:NMWA n.d
1618:Ménageot
1398:Macaroni
675:Venetian
579:(1778).
572:Leonardo
472:Guercino
367:Morbegno
284:, was a
134:Movement
128:Painting
3098:Related
3082:Museums
3074:(1770s)
2983:(1770s)
2823:at the
2705:(ed.).
2692::
2584:(ed.).
2508:764–770
2492:(ed.).
2140:Sources
2028:NPG 430
1827:, 1767"
1712:8 March
1456:Orestes
900:Austria
880:Austria
835:to the
783:Estonia
779:Tallinn
755:Dresden
737:Raphael
702:Raphael
427:etching
415:Bologna
383:Austria
303:of the
200:
192:
188:
175:
163:
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144:Spouses
3055:(1796)
3047:(1790)
3039:(1788)
3031:(1784)
3023:(1783)
3015:(1782)
3007:(1782)
2999:(1782)
2975:(1775)
2967:(1775)
2959:(1774)
2951:(1764)
2891:Art UK
2796:
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1614:Ingres
1610:Vasari
1446:Weimar
1328:Goethe
795:Uffizi
771:Munich
708:Legacy
690:Canova
524:, the
505:Hector
419:Venice
329:Warsaw
207:Father
2618:. n.d
2565:S2CID
2549:eISSN
2488:. In
2344:. n.d
2322:. n.d
1809:(PDF)
1600:King
1545:Notes
1414:From
1069:from
773:, in
480:Crewe
398:Italy
286:Swiss
194:(
190:
165:(
161:
119:Swiss
2893:site
2794:ISBN
2755:ISBN
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2666:ISBN
2641:ISBN
2624:2018
2596:ISBN
2557:ISSN
2512:ISBN
2471:ISBN
2444:ISBN
2416:Gale
2395:2018
2369:2018
2350:2018
2328:2018
2306:link
2299:help
2273:ISBN
2241:2018
2221:2013
2199:ISBN
2186:2018
2163:2018
2111:2019
2086:2019
2043:2013
2015:2020
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886:The
866:The
791:Graz
507:and
491:King
417:and
411:Rome
371:Como
359:Chur
335:and
277:-mən
275:KOWF
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105:Rome
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