Angelica Kauffman
Angelica Kauffman RA (actually Maria Anna Catharina Kauffmann Angelica ) ( born October 30, 1741 Chur, Free State of the Three Leagues, † November 5, 1807 in Rome) was a Swiss- Austrian painter of classicism.
Biography
Childhood and youth
Angelika Kauffmann, was born in 1741 as the daughter of portrait and fresco painter Joseph Johann Kauffmann and his wife, midwife Cleophea Lutz, in the realm lane 57 of Gotteshausbund - city of Chur, where her father worked at this time on the episcopal palace. In 1752 the family moved to Como, where the largest clients of the father - and later Angelica Kauffmann - after the Earl of Salis were. The girl grew up on Lake Como on, was six years already as of drawings prodigy and was by her father and various teachers in Como and Milan taught in painting and music, as there were no regular education for girls. So taught her father to read and write, and her mother, she taught in languages , first German and Italian, then English and French.
With their almost completed twelve years of age in 1753 she painted her first self-portrait, after they had been instructed in painting the father. Angelika Kauffmann himself described her youth as characterized by magnificent palaces, beautiful villas, elegant boats and magnificent theater. From 1754 to 1757 the family traveled to Italy, where they were staying in Milan, on the seat of the Governor-General at the Austrian court of the Duke of Modena d' Este.
After his mother's death on March 1, 1757 in Milan, she moved with her father to his father's house to Schwarzenberg in the Bregenz Forest. There a more youthful works emerged. After a devastating fire in the local church, her father took over the internal reorganization of the rebuilt church. Angelika painted 13/2 figures of the Apostles after the originals by Giovanni Battista Piazzetta and donated their art at a later date even the picture of the high altar. The frescoes were her only work in the field of mural painting.
Career
In the years 1757-1759 she led mission trips to Meersburg and Tettnang, in which she portrayed among others the Prince-Bishop of Constance, Franz Konrad von Rodt, as well as members of the ducal family of Montfort. In the first of her unfamiliar surroundings, they continued to develop, before they broke up in 1760 with his father back to Italy to study the art of antiquity and the Renaissance there. Along the way she earned the travel money by taking portraits of locals in Graubünden and in Valtellina.
In the years 1760-1762 she held for long periods of time with his father in Milan, Modena and Parma. On 9 June 1762 reached Florence. On October 5, Kauffmann was elected honorary member of the Accademia Clementina di Bologna and five days later she received the diploma of the Accademia del Disegno. From January 1763 she was resident with her father in Rome, where she remained until 1766. There she painted numerous contemporaries. Suddenly she became known in 1764 with the portrait of the founder of modern science and art of classical archeology Johann Joachim Winckelmann.
From 6 July 1763 to the April 12, 1764, they visited Naples and Ischia, where Angelika Kauffmann could make some copies in Palzazzo Capodimonte and then thanked the King of Naples for permission. Then she specialized in portraits of famous Italian traveler, mostly English. The portrait of the famous actor David Garrick she succeeded so well that it sent her father to London for the exhibition of the Society of Artists. This work also made it famous in England. With their reception piece " The Hope" Kauffmann was born on May 5, 1765 a member of the Accademia di San Luca in Rome. On 1 July 1765 traveled over Bologna to Venice.
On the recommendation of a Lady Wentworth relocated father and daughter in the spring of 1766 from Italy to London, where they arrived on 22 June and temporarily einrichteten in an apartment in the Suffolk Street Charing Cross. Kauffmann attended among others on June 30, the famous English painter Joshua Reynolds in his studio. On October 20, 1766 they finally portrayed him on screen. His marriage proposal she should have refused, but he nevertheless promoted further her career in England. Kauffmann and Reynolds portrayed each other, Kauffmann Reynolds portrait is in addition to three other of their works seen at Plymouth Saltram House in Plympton.
On November 22, 1767 Kauffmann married the alleged Swedish Count Frederick de Horn. This brief first marriage was unhappy for them. Horn, who must be considered a con man, suddenly disappeared with all their savings. On February 10, 1768 their marriage was declared by a court of the Anglican state church to be invalid.
Kauffmann was next to Mary Moser, the only woman among the 34 appointed by the king founding members of the Royal Academy ( 1768). From then on, she put her pictures again and again from the premises of the Academy in London. When the Royal Academy moved to Somerset House, where she was allowed to make four oval allegorical ceiling paintings.
Kauffmann second, elected to his father's wish husband was considerably older Venetian painter Antonio Zucchi (1726-1795), whom she married in July 1781 in London and served in the sequence as her "manager". Shortly thereafter traveled the newlywed couple with Kauffmann's father to Flanders, Black Mountain, Verona and Padua, and reached Venice in October. In January 1782 Kauffmann's father died.
In November the same year, the couple established a home and studio in Santa Trinità dei Monti on the Pincio in Rome. The former house of the painter Anton Raphael Mengs in Via Sistina 72 became the meeting place of artists in the city, but also the high aristocracy. Emperor Joseph II was a guest there, the Bavarian Crown Prince, Anna Amalia of Saxe -Weimar- Eisenach, Johann Wolfgang von Goethe (1787 ) and Johann Gottfried Herder ( 1788/1789 ). The latter called Kauffmann the " most cultured woman in Europe ". A close friendship she combined with the art agent Johann Friedrich Reiffenstein (1719-1793) until his death.
In 1792, Kauffmann painted her probably the most important self-portrait self-portrait at the crossroads between music and painting, which is now on display in Moscow's Pushkin Museum. 1795 died Antonio Zucchi, and as a result she lived withdrawn. In her paintings, she devoted herself increasingly common religious themes. From a serious illness in 1802 she could never recover properly. Angelika Kauffmann died on 5 November 1807 and was buried in the church of Sant'Andrea delle Fratte.
Goethe
Goethe learned Angelika Kauffmann know in their flowering years and appreciate. He read to her the just completed new version of Iphigenia and was pleased with their positive opinion. Kauffmann made illustrations of the spectacle. Goethe retaliated with a factory output.
Homage of the Muse before Goethe bust
Illustration for Goethe's Egmont and Clara
The young Goethe, 1787
In his color theory Goethe reported on his discussions with Angelika Kauffmann and praised their willingness to experiment. In support of their arguments, they have painted " landscapes without blue color ".
However, your Goethe- portrait he criticized:
It is always a good-looking fellow, but no trace of me.
After Goethe's departure he wrote Kauffmann:
Theuerer rejoicing! Your abschid of us penetrated ming heart and soul, the day of your abreis was one of the sad days of my life.
In Eckermann's " conversations with Goethe " Eckermann declared for December 5, 1823
I brought Goethe some minerals, especially a piece of argillaceous Oker, found the Deschamps to Cormayan, and of which Mr. Massot 's a lot of boasting. How much but Goethe was amazed when he realized quite sameness in this color that used to use the meat Lots of her paintings Angelika Kaufmann. " She appreciated the little they possessed it, he said, according to the weight of the gold. The place where it indeß herstammte and where to find it, was unknown to her. "
Death and posthumous reputation
The funeral of the famous painter was designed by the sculptor Antonio Canova to a sumptuous funeral. Kauffmann and her husband are buried in the Roman church of Sant'Andrea Fratte models. The two grave inscriptions were written by Angelika Kauffmann and are a sign of their self-image and self-confidence as a significant artist of her time. Already in 1810 published the first biography of Giovanni Rossi Kauffmann's written in Italian, 1814, the German version of Alois wine hard under the title: life of the famous painter Angelika Kauffmann.
The penultimate issue of the hundred -shilling note was the portrait of Angelika Kauffmann after the painting by Reynolds.
In Black Mountain, the adopted home of Angelika Kauffmann, existing since 1913 Angelika Kauffmann Museum was expanded in 2007. It was awarded the Austrian Museum seal of approval and is a historic building from the 16th century with modern showrooms. The annually changing exhibitions devoted to different perspectives in the work of Angelica Kauffmann.
Works (selection)
- Works (selection)
L' Allegra, 1779
Farewell of Abelard Héloise, 1780
Portrait of a Lady as a Vestal Virgin, 1780
The poetry embraces painting, 1782
Scene with Miranda and Ferdinand, 1782
Juliane von Kriidener and her son Paul, 1786
Portrait of Countess Anna Protassowa with her nieces, 1788
Venus persuades Helena to hear Paris, 1790
Death of Alcestis, 1790
Jesus and the Samaritan woman at Jacob's well, 1796
Portrait of Madame Latouche, wife of John Latouche
Angelika Kauffmann created portraits and history paintings. Her portraits were idealized and shaped by Rococo and sensibility. Later she worked under the influence of Johann Joachim Winckelmann and Mengs Anton Raphael also in the classical style.
- Portrait of Johann Joachim Winckelmann. ( Kunsthaus Zurich ), 1764, oil on canvas
- John Simpson, father of Maria Susanna Lady Ravensworth. (Vienna, Österreichische Galerie ), 1773, oil on canvas
- Portrait of a Lady as a Vestal Virgin. (Dresden, Gemäldegalerie ), fourth quarter 18th century, Oil on canvas, 92 x 72 cm
- Self-Portrait. (St. Petersburg, Hermitage ), 1780-1785, oil on canvas, 76.5 x 63 cm
- The farewell Abelard of Heloise. (St. Petersburg, Hermitage ), 1780, oil on canvas, 65.5 cm in diameter
- The Monk of Calais. (St. Petersburg, Hermitage ), 1780, oil on canvas, 65.5 cm in diameter
- Self-Portrait. (Innsbruck, Tyrolean Provincial Museum ), 1781
- The poetry embraces painting. (London, Lord Iveagh Bequest Collection ), 1782, oil on canvas, 61 cm in diameter
- Scene with Miranda and Ferdinand in Shakespeare, The Tempest '. (Vienna, Österreichische Galerie ), 1782, oil on canvas, 35 x 45 cm
- Ferdinand IV, King of Naples, and his family. (Vienna, Liechtenstein Museum), 1783
- Self-portrait. (Munich, Neue Pinakothek, inv. No. 1056 ), 1784, oil on canvas, 64.8 x 50.7 cm
- Julia, wife of Pompey, learns the supposed death of her husband. (Weimar, Castle Museum ), 1785, oil on canvas, 100.4 x 127.6 cm
- Juliane von Kriidener and her son Paul. (Paris, Musée du Louvre), 1786, oil on canvas
- The Countess Anna Protassowa with her nieces. (St. Petersburg, Hermitage ), 1788, oil on canvas, 123 x 159 cm
- Portrait of Countess Catherine Skawronska. ( Nuremberg, Germanic National Museum, Gm 1931), 1789
- Duchess Anna Amalia of Saxe -Weimar- Eisenach ( Klassik Stiftung Weimar), 1789, oil on canvas
- Venus persuades Helena to Paris hear. (St. Petersburg, Hermitage ), 1790, oil on canvas, 102 x 127.5 cm
- Death of Alcestis. ( Bregenz, Vorarlberg museum ), 1790
- Selfportrait at the crossroads between music and painting. ( Pushkin Museum Moscow), 1792