Swiss(Resident in England) 1741-1807 She was born at Chur in Graub??nden, Switzerland, but grew up in Schwarzenberg in Vorarlberg/Austria where her family originated. Her father, Joseph Johann Kauffmann, was a relatively poor man but a skilled painter that was often traveling around for his works. He was apparently very successful in teaching his precocious daughter. She rapidly acquired several languages from her mother Cleophea Lutz, read incessantly, and showed marked talents as a musician. Her greatest progress, however, was in painting; and in her twelfth year she had become a notability, with bishops and nobles for her sitters. In 1754 her father took her to Milan. Later visits to Italy of long duration followed: in 1763 she visited Rome, returning again in 1764. From Rome she passed to Bologna and Venice, being everywhere feted and caressed, as much for her talents as for her personal charms. Writing from Rome in August 1764 to his friend Franke, Winckelmann refers to her exceptional 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 she also expressed herself with facility in French and English, one result of the last-named accomplishment being that she became a popular portraitist for English visitors to Rome. "She may be styled beautiful," he adds, "and in singing may vie with our best virtuosi." While at Venice, she was induced by Lady Wentworth, the wife of the German ambassador, to accompany her to London. One of her first works 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 favour. 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. When, in about November 1767, she was entrapped into a clandestine marriage with an adventurer who passed for a Swedish count (the Count de Horn), Reynolds helped extract her. It was doubtless owing to his good offices that she was among the signatories to the famous petition to the king for the establishment of the Royal Academy of Painting and Sculpture. In its first catalogue of 1769 she appears with "R.A." after her name (an honour she shared with one other lady, Mary Moser); and she contributed the Interview of Hector and Andromache, and three other classical compositions. Her friendship with Reynolds was criticised 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 Kauffmann, later painted out by Hone. The work was rejected by the Royal Academy. From 1769 until 1782, she was an annual exhibitor, sending sometimes as many as seven pictures, generally classic or allegorical 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, and it was she who, with Biagio Rebecca, painted the Academy's old lecture room at Somerset House. Kauffmann's strength was her work in history painting, the most elite and lucrative category in academic painting during the 18th century. Under the direction of Sir Joshua Reynolds, the Academy made a strong effort to promote history painting to a native audience who were more interested in commissioning and buying portraits and landscapes. Despite the popularity that Kauffmann enjoyed in English society and her success as an artist, she was disappointed by the relative apathy that the English had for history painting. Ultimately, she left England for the continent where history painting was better established, esteemed, and patronized. Kauffmann (seated), in the company of other "Bluestockings" (1778)It is probable that her popularity declined a little in consequence of her unfortunate marriage; but in 1781, after her first husband's death (she had been long separated from him), she married Antonio Zucchi (1728?C1795), a Venetian artist then resident in England. Shortly afterwards 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 (Goethe's 'Italian Journey' 1786-1788) and lived for 25 years with much of her old prestige. In 1782 she lost her father; and in 1795, her husband. She continued at intervals to contribute to the Academy, 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 Canova. The entire Academy of St Luke, with numerous ecclesiastics and virtuosi, followed her to her tomb in San Andrea delle Fratte, and, as at the burial of Raphael, two of her best pictures were carried in procession. The works of Angelica Kauffmann have not retained their reputation. She had a certain gift of grace, and considerable skill in composition. But her figures lack variety and expression; and it has been said that her men are masculine women (it is worth noting that, at the time, female artists were not allowed access to male models). Her colouring, however, is fairly enough defined by Gustav Friedrich Waagen's term "cheerful". As of 1911, rooms decorated by her brush 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 . There were other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, and in the Alte Pinakothek at Munich. 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. But she is perhaps best known by the numerous engravings from her designs by Schiavonetti, Bartolozzi and others. Those by Bartolozzi especially still found considerable favour with collectors. Also, several of her works can be seen in the game Hitman: World of Assassination in one of the missions, read more on the site Zonemod. Charles Willson Peale (1741-1827), arist, patriot, and founder of a major American art dynasty, named several of his children after great European artists, including a daughter, Angelica Kauffman Peale. Her life was written in 1810 by Giovanni de Rossi. It has also been used as the basis of a romance by Leon de Wailly (1838) and it prompted the charming novel contributed by Mrs Richmond Ritchie to the Cornhill Magazine in 1875 entitled Miss Angel. She should not be confused with painter Angelika Kaufmann, who was born in 1935 in Carinthia, Austria.   Related Paintings of Angelica Kauffmann :. | Miranda and Ferdinand in The Tempest | Portrait of Augusta of Hanover with her first born son Karl Georg of Brunswick | Allegory of Poetry and Painting | Drei Sangerinnen | ariadne abandoned by theseus on naxos |
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Carl Fredrik Hill
Swedish Painter, 1849-1911,Swedish painter and draughtsman. He grew up in the university city of Lund, where his father was a mathematics professor. Despite severe opposition from his father, he studied landscape painting at the Konstakademi in Stockholm (1871-2), under Johan Edvard Bergh and Per Daniel Holm (1835-1903). He also frequently copied Dutch Old Masters, particularly Jacob van Ruisdael. After seeing the work that Alfred Wahlberg had sent home from Paris, Hill began to abandon his initial approach to form and colour, and he left for Paris in November 1873. His most important experience there was his encounter with the painting of Jean-Baptiste-Camille Corot: 'Corot has discovered a new world, because he has discovered a new way of looking at the old', he wrote in a letter. Other contemporary French painters Hill admired were Alexandre-Gabriel Decamps, Charles-Fran?ois Daubigny, Jean-Franeois Millet and Theodore Rousseau. From Courbet he learnt how to use colour to suggest the surface texture of stone quarries and gravel hills. In Barbizon in 1874 and 1875 Hill met the Hungarian painters Laszlo Pael and Mihaly von Muncacsy. His paintings of this time, for example Autumn Landscape, Evening: Fontainebleau (1875; Malm?, Kstmus.), are characterized by their dark 'luminarism' and their debt to Corot's later works.
Louis-Philippe Crepin
(1772-1851) was a French naval painter, one of the first Peintres de la Marine. Crepin was notably a pupil of Joseph Vernet and Hubert Robert. His Combat de la Bayonnaise contre l'Ambuscade, 1798, depicting the Action of 14 December 1798, is one of the main exhibits of the Musee national de la Marine.
George French Angas
(1844-1932), was a portrait painter. was an English explorer, naturalist and painter. He was the eldest son of George Fife Angas, prominent in the establishment of the new colony of South Australia. Despite showing remarkable talent in drawing, he was placed in a London business house by his father. He left on a tour of Europe and in 1842 published his first book, "Rambles in Malta and Sicily". As a result of this experience, he turned his back on the world of commerce, and directed his training towards a study of natural history, anatomical drawing and lithography. Embarking on his travels, he was soon to find his acquired skills extremely useful. Angas painted some of the earliest views of South Australia. Arriving in Adelaide in January 1844, he joined Sir George Grey on an expedition into the interior. He soon began an extensive series of journeys to the Murray River lakes, Barossa Valley, Fleurieu Peninsula and the South East, presenting his impressions of the newly established colony ?C its inhabitants, landscape, and its flora and fauna. Following a trip to New Zealand he returned to South Australia in 1845 and travelled to Port Lincoln. In the following year he returned for a short while to England. His next journey in 1846 was to South Africa, where he spent two years in Natal and the Cape, working on a series of drawings and watercolours which were published in 1849 as The Kafirs Illustrated. In this book were views of Cape Town, Durban, Wynberg, Genadendal, Paarl and Somerset West and plates depicting the local ethnic groups such as Hottentots, Malays and Zulus. He married Alicia Mary Moran in 1849, the marriage producing four daughters. In 1853 he was appointed to a position at the Australian Museum in Sydney, eventually becoming Director and staying a total of seven years. He was in Sydney when gold was first discovered near Bathurst, New South Wales. Travelling there to record the gold diggings he executed a number of drawings of the scenes that he found. These were published in Sydney and subsequently in London. Angas returned to South Australia in 1860, and finally went back to England in 1863.