User:Glitchstorm/Angelica Kauffman

History Painting

While Kauffman produced many types of art portraits, and self-portraits, 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 Rome, where history painting was better established, held in higher esteem and patronized.[20]

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. 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 chose to display, which may be a result of her lack of formal training on male anatomy.

Early life

In her early years, Angelica Kauffman was known and documented as a child prodigy excelling in the fields of music and art. Her father was the main factor in her early childhood education within both fields, and by age fifteen, Kauffman was helping and completing several portrait commissions for his church fresco projects. When Angelica and her family moved to Florence in June of 1762, the young artist first discovered the painting style that was coined Neoclassical painting. A few months later, moving to Rome in January of 1763, Kauffman was introduced to and connected with an extensive British community. While learning English and continuing her portraiture, the family had moved a few months later again to Naples. There Kauffman studied works by the Old Masters, and had her first painting sent to a public exhibition in London.

https://www.angelika-kauffmann.de/en/biography/

https://search-proquest-com.ezproxy.ithaca.edu/docview/220893616?rfr_id=info%3Axri%2Fsid%3Aprimo

https://www.dailyartmagazine.com/angelica-kauffman-paintings/

NMWA. “Angelica Kauffman | Artist Profile.” Accessed October 28, 2020. https://nmwa.org/art/artists/angelica-kauffman/.

Legacy

By the time of her death she had made herself considered a renewed artist. This is the reason why that for her funeral it was all directed by the well known Neoclassical sculptor Antonio Canova. Antonio Canova designed the funeral based off of the funeral of the Renaissance master Raphael.