安吉莉卡·考夫曼Angelica Kauffmann（1741年10月30日——1807年11月5日），是一个瑞士新古典主义画家，熟练的肖像画家、景观、装饰画家。是瑞士皇家艺术学院女性创始人员之一。
考夫曼出生在随处可见在格劳宾登,瑞士工作,她的父亲是当地的主教,但长大Schwarzenberg在奥地利/奥地利她的家人发源地。她的父亲,约瑟夫·约翰·考夫曼是一个相对贫穷的人,但是一个熟练的画家,他常常为他的工作旅行。是他教他早熟的女儿。当归、神童,迅速获得了几种语言从她的母亲,Cleophea Lutz,不停地读取和显示人才作为一个音乐家,但她最大的进步是在绘画,和她十二年被称为一个画家,主教和贵族被她的模特。
在1754年她父亲带她去米兰。稍后访问意大利长时间的跟踪。她成为的一员学院di美女Arti di佛罗伦萨在1762年。[2]1763年,她参观了罗马1764年,再次返回。从罗马传递给她博洛尼亚和威尼斯,到处都是被她的才华和魅力。写作从罗马1764年8月,他的朋友因特网,Winckelmann指她的声望,她当时画他的画,半身的;她也做了一个蚀刻。她说意大利和德国,他说,并表示自己在法语和英语姓氏的成就的一个结果,她成为一个受欢迎的肖像画家对英国游客去罗马。“她可能样式漂亮,”他补充道,“在唱歌可能与我们最好的名家竞争。”
特洛伊罗斯和克雷西达,V,现场II(1789),她的许多之一莎士比亚舞台造型。雕刻在1795年版的莎士比亚Boydell莎士比亚画廊.
在威尼斯,考夫曼被夫人温特沃斯,说服英国大使的妻子,陪她到伦敦。在伦敦的第一块她完成的画像大卫灰吕今年,表现出她的到达”更先生的大房间里Maiden Lane。“夫人温特沃斯的秩打开社会对她来说,她到处都是好评,皇室特别显示她很受欢迎。然而,她用结实的朋友是约书亚雷诺兹爵士。在他口袋里掏出她的名字“当归小姐”或“天使小姐”频繁出现;1766年他画她,赞美她返回的约书亚•雷诺兹爵士所一直倡导的画像。她与雷诺亲密关系的另一个实例是在她的变化Guercino在世外桃源等自我,一个雷诺兹重复几年后Bouverie夫人和太太的画像克鲁郡.
1767年考夫曼被下一个冒名顶替者的名字计数弗雷德里克·德角,她嫁给了谁,而是他们分开。 这可能是由于雷诺兹的斡旋,她签署请愿书到国王的建立皇家艺术学院。1769年首次目录与“R.A.她出现”她的名字(一种荣誉她与另一个女人,玛丽莫泽);她的贡献面试的赫克托耳和安德洛玛刻和其他三个古典作品。她访问了爱尔兰在1771年短暂,进行了一系列肖像佣金,明显的菲利普Tisdall,总检察长对爱尔兰和他的妻子玛丽。似乎在她的朋友圈让·保罗·马拉然后住在伦敦,行医,她可能有外遇。
考夫曼(坐着),在该公司的其他“女学者”。理查德·塞缪尔,1778年。
她的友谊和雷诺在1775年被批评的院士纳撒尼尔磨练在他的讽刺画魔术师。这对意大利风格的攻击方式文艺复兴时期的包括艺术、嘲笑雷诺兹和考夫曼的裸体形象,后来画的磨练。皇家艺术学院的工作被拒绝。
从1769年到1782年考夫曼与皇家学院一年一度的参展商,发送有时多达7个图片,通常在古典或寓言的科目。最值得注意的一个莱奥纳多到期的怀抱弗朗西斯第一(1778)。
1773年,她被任命为学院与其他装饰圣保罗大教堂,从来没有实施一项计划,是她,比亚丽贝卡,学院的旧教室萨默塞特宫.
考夫曼的El juicio巴黎博物馆德·德·庞塞,庞塞波多黎各,
而考夫曼产生许多类型的艺术,她确定自己是一个历史的画家,一个不寻常的指定女性艺术家在18世纪。历史画被认为是最精英和有利可图的类别在学术绘画在这个时间段,先生的指导下吗Joshua Reynolds,皇家艺术学院做了一个强大的推动到一个本地观众调试和购买肖像画和风景画更感兴趣。尽管考夫曼在英国社会的人气,她的成功,作为一个艺术家,她失望的相对冷漠的英国历史画。最终她离开英国的大陆,历史画更好的建立,在更高的自尊和光顾。
历史画作为学术艺术理论中定义,被列为最高架类别。它的主题是人类行为的表示基于主题从历史,神话,文学和经文。这需要广泛学习圣经和古典文学知识的艺术理论和实践培训,其中包括男性裸体的解剖学研究。大多数女性被拒绝访问此类培训,尤其是从裸体模特的机会;但考夫曼设法跨越性别边界获得必要的技能来建立声誉作为一个成功的历史画家被同事和顾客热切寻求的钦佩。[6]
细节的悲剧和喜剧,画在罗马在1791年(国家博物馆在华沙)。和谐和强大的颜色[7]soft-brushed,多层次的英语风格的肖像画家,先生Joshua Reynolds和托马斯·庚斯博罗,[8]考夫曼的绘画中是很典型的。
1781年,她的第一任丈夫死后(她长分开他),她结婚了安东尼奥·祖奇(1728 - 1795)威尼斯艺术家居住在英国。不久她退休到罗马,在那里她结识了,,歌德说,她更加努力,成就比任何艺术家,他知道,然而,总是焦躁不安,她想做得更多[9]和生活了25年的她的威望。
1782年,考夫曼的父亲去世,她的丈夫在1795年。她继续间隔为在伦敦皇家艺术学院,她最后的展览是在1797年。这之后她生产,1807年,她死于罗马,被灿烂的荣幸葬礼的指导下Canova。整个圣路加学院大量的神职人员和艺术能手,跟着她她的陵墓桑特'Andrea delle Fratte,埋葬的拉斐尔,她的两个最好的图片进行游行。
当归考夫曼的作品保留他们的声誉。到1911年,房间装饰着她的工作各季度仍有待观察。在汉普顿宫不伦瑞克公爵夫人的肖像,在吗国家肖像画廊430年,一个自画像(NPG)。[10]还有其他的照片,她在巴黎德累斯顿,在赫米蒂奇在圣彼得堡,在Alte Pinakothek在慕尼黑,在Kadriorg宫,塔林 (爱沙尼亚)[11]而在Joanneum Alte画馆在格拉茨。慕尼黑例子是另一个自己的画像,有三分之一乌菲兹在佛罗伦萨。一些在私人收藏她的作品在展出大师在伯灵顿的房子.
考夫曼也被众多的版画从她的设计Schiavonetti,弗朗西斯科·Bartolozzi和其他人。那些由Bartolozzi尤其是发现相当多的收藏家的青睐。查尔斯·威尔逊皮尔(1741 - 1827),艺术家,爱国者,和一个主要的美国艺术王朝的创始人的名字命名他的几个孩子明显的欧洲艺术家,包括一个女儿,当归考夫曼皮尔。
考夫曼于1810年出版的传记乔凡尼Gherardo德罗西(它).[12]这本书也是一个浪漫的基础利昂德哀号(1838),它促使小说提供的安妮伊莎贝拉萨克雷到康希尔杂志1875年名为“天使”小姐
Kauffman was born at Chur in Graubünden, Switzerland, where her father was working for the local bishop but grew up in Schwarzenberg inVorarlberg/Austria where her family originated. Her father, Joseph Johann Kauffmann, was a relatively poor man but a skilled painter, who was often traveling for his work. It was he who taught his precocious daughter. Angelica, a child prodigy, rapidly acquired several languages from her mother, Cleophea Lutz, read incessantly and showed talent as a musician, but her greatest progress was in painting, and by her twelfth year she had become known as a painter, with bishops and nobles being her sitters.
In 1754 her father took her to Milan. Later visits to Italy of long duration followed. She became a member of the Accademia di Belle Arti di Firenze in 1762. In 1763 she visited Rome, returning again in 1764. From Rome she passed to Bologna and Venice, everywhere feted for her talents and charm. Writing from Rome in August 1764 to his friend Franke, Winckelmann refers to her 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 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."
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 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 favor. 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.
In 1767 Kauffman was seduced by an imposter going under the name Count Frederick de Horn, whom she married, but they were separated the following year.[3] It was probably owing to Reynolds's good offices that she was among the signatories to the petition to the king for the establishment of the Royal Academy. In its first catalogue of 1769 she appears with "R.A." after her name (an honor she shared with one other woman, Mary Moser); and she contributed the Interview of Hector and Andromache, and three other classical compositions. She visited Ireland briefly in 1771, and undertook a number of portrait commissions, notably of Philip Tisdall, the Attorney General for Ireland, and his wife Mary. It appears that among her circle of friends was Jean-Paul Marat, then living in London and practising medicine, with whom she may have had an affair.[4]
Her friendship with Reynolds was criticized 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 Kauffman, later painted out by Hone. The work was rejected by the Royal Academy.
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 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, a scheme that was never carried out, and it was she who, with Biagio Rebecca, painted the Academy's old lecture room at Somerset House.
While Kauffman produced many types of art, she identified herself primarily as a history painter, an unusual designation for a woman artist in the 18th century. History painting was considered the most elite and lucrative category in academic painting during this time period and, under the direction of Sir Joshua Reynolds, the Royal Academy made a strong effort to promote it to a native audience more interested in commissioning and buying portraits and landscapes. Despite the popularity that Kauffman enjoyed 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 the continent, where history painting was better established, held in higher esteem and patronized.
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, knowledge of art theory and a 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 to acquire the necessary skill to build a reputation as a successful history painter who was admired by colleagues and eagerly sought by patrons.
In 1781, after her first husband's death (she had been long separated from him), she married Antonio Zucchi (1728–1795), a Venetian artist then resident in Britain. Shortly thereafter 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[9] and lived for 25 years with much of her old prestige.
In 1782, Kauffman's father died, as did her husband in 1795. 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 honored 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 Sant'Andrea delle Fratte, and, as at the burial of Raphael, two of her best pictures were carried in procession.
The works of Angelica Kauffman have retained their reputation. By 1911, rooms decorated with her work 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 (NPG 430). There were other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, in the Alte Pinakothek at Munich, in Kadriorg Palace,Tallinn (Estonia) and in the Joanneum Alte Galerie at Graz. 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.
Kauffman is also well known by the numerous engravings from her designs by Schiavonetti, Francesco Bartolozzi and others. Those by Bartolozzi especially found considerable favour with collectors. Charles Willson Peale (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.
A biography of Kauffman was published in 1810 by Giovanni Gherardo De Rossi (it).[12] The book was also the basis of a romance by Léon de Wailly (1838) and it prompted the novel contributed by Anne Isabella Thackeray to the Cornhill Magazine in 1875 entitled "Miss Angel"
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