Angelica Kauffmann (Swiss, 1741–1807) • Portrait of a Woman as a Vestal Virgin • 1781-82
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Angelica Kauffman (detail)
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Design for a Ceiling: Apollo and the Hours by Angelica Kauffmann
Swiss, 18th or early 19th century
black ink, gray ink, brown wash, and watercolor, over black chalk
Metropolitan Museum of Art
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Self-portrait, between 1770 and 1775
Angelica Kauffmann
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ab. 1766 Angelica Kauffmann - Portrait of three children, almost certainly Lady Georgiana Spencer, later Duchess of Devonshire, Lady Henrietta Spencer and George Viscount Althorp
(Private collection via Sotheby’s)
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Angelica Kauffmann (Swiss, 1741-1807): Self-portrait of the Artist hesitating between the Arts of Music and Painting (via National Trust Collections)
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The Artist in the Character of Design Listening to the Inspiration of Poetry – Angelica Kauffmann // Portrait of the Poet Armand Sylvestre – Jean Béraud // Barbie (2023) – Directed by Greta Gerwig
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The Artist in the Character of Design Listening to the Inspiration of Poetry, Angelica Kauffmann, 1782
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Angelica Kauffmann (Swiss, 1741–1807) • Colouring • 1778-80 • Royal Academy of Arts
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Oil Painting, 1786, British.
By Angelica Kauffmann.
Portraying Elizabeth Foster, later the Duchess of Devonshire, in a white chemise dress.
National Trust Collection.
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A pair of good doggos for #TwoForTuesday:
Angelica Kauffmann (Swiss, 1741-1807)
Telemachus Returning to Penelope, c. 1771
Oil on canvas
On display at “Making Her Mark: A History of Women Artists in Europe, 1400-1800” exhibition at Baltimore Museum of Art
“Penelope greets her son Telemachus after several years of separation as the other members of the household joyfully react. Angelica Kauffmann's portrayal of a scene from the ancient Greek epic The Odyssey (written c. 800 BCE) translates a distant literary event into a gracefully staged homecoming narrative that highlights a mother's perspective.
This painting, shown in the 1771 exhibition of Royal Academy in London, signals Kauffmann's achievement of widespread professional success according to male-dominated standards that held historical narratives as the most noble and intellectual of subjects. Just two years before, she became a founding member of the Royal Academy, which counted her and Mary Moser as its only female members.”
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Brisé fan, with representations of classical figures flanking Venus and Cupid, based on a composition by Angelica Kauffmann
Chinese, created for the British market, c. 1795-1800
pierced, carved, gilded, and painted ivory with painted paper and metal
Metropolitan Museum of Art
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Portrait of Lady Louisa Leveson Gower as Spes (Goddess of Hope), 1767
Angelica Kauffmann
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Angelica Kauffmann - Maddalena Riggi
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1790-1807 Angelika Kauffmann - János Barkóczy
(Hungarian National Museum)
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