Angelica Kauffmann (1741-1807) was a Swiss painter and one of the most prominent and respected female artists of the 18th century. During a three-year stay in Italy, Kauffmann became part of the burgeoning circle of artists, architects, archaeologists, and historians who looked to the Greek and Roman empires for inspiration. Having made English connections through the community in Rome, she moved to London in 1766. Kauffmann soon became a respected society portraitist. She joined Thomas Gainsborough and Joshua Reynolds as an early member of the Royal Academy and was one of only two female founding Academicians. The subject of this painting—Eleanor, Countess of Lauderdale—was known for her kindness and beauty, qualities Kauffmann captured through fluid brushwork and a soft color palette.
© 2022. All content on this blog is protected by international copyright laws All images are copyrighted © by Angelica Kauffmann Estate or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only
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Ms. Angelica Kauffmann |
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Self-portrait with a sheet of music, 1753
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Cumaean Sibyl (after Domenichino) 1763 |
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Portrait of Winckelmann, 1764 |
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Portrait of Lady Louisa Leveson Gower as Spes (Goddess of Hope) 1767 |
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The Family of the Earl of Gower, 1772 |
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Ariadne Abandoned by Theseus, 1774 |
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A Sybil, 1775 |
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Portrait of a Lady, 1775 |
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The Victory of Eros, 1775 |
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Portrait of John Simpson, 1777 |
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Valentine, Proteus, Sylvia and Giulia in the Forest (Scene from "Two Gentlemen of Verona" Act V, Scene IV) 1788 |
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Portrait of Countess A.S. Protasova with her Nices, 1788 |
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Countess Anna Protassowa with niece, 1788 |
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Portrait of Eleanor, Countess of Lauderdale, 1786 |
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Pliny the Younger and His Mother at Misenum, 79 A.D, 1785 |
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The Sorrow of Telemachus, 1783 |
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Telemachus and the Nymphs of Calypso, 1782 |
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Portrait of a Lady as a Vestal Virgin, 1782 |
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Portrait of Sarah Harrop (Mrs. Bates) as a Muse, 1781 |
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Scene with Miranda and Ferdinand, 1782 |
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Cornelia, Mother of the Gracchi, Pointing to Her Children as Her Treasures, 1790 |
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Michael Novosielski, 1791 |
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Praxiteles Giving Phryne his Statue of Cupid, 1794 |
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Self Portrait of the Artist Hesitating between the Arts of Music and Painting, 1794 |
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Portrait of a Women at Her Toilet, 1795 |
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Three singers, 1795 |
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Christ and the Samaritan woman at the well, 1796 |
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Study of a Standing Woman, 1796 |
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Henrietta Laura Pulteney |
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