Relevant bibliographies by topics / Angelica Kauffmann

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Academic literature on the topic 'Angelica Kauffmann'

Author: Grafiati
Published: 26 July 2024

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Journal articles on the topic "Angelica Kauffmann"

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Maxey, David W. "An Unsolved Mystery: Angelica Kauffman's Elusive Self-Portrait." Proceedings of the American Philosophical Society 164, no. 3-4 (December 2023): 268–95. http://dx.doi.org/10.1353/pro.2023.a919943.

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Abstract: This article explores the provenance of two portraits of the eighteenth-century Swiss painter Angelica Kauffman. One the original self-portrait and the other evidently a contemporary copy, the paintings have intersecting histories that have led to confusion and some enduring mysteries. The author sifts through documentary sources and consults with experts at the Angelika Kauffmann Research Project to firmly establish which is the original self-portrait and—even more tantalizingly—attempt to reconstruct the paintings' distinct but intertwining histories, speculate on the identity of the copyist, and explain how various misunderstandings (some of which linger into the present day) might have occurred.
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Waltraud Maierhofer. "Angelica Kauffmann, the Elusive Painter." Eighteenth-Century Studies 41, no. 4 (2008): 578–85. http://dx.doi.org/10.1353/ecs.0.0014.

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Roworth, Wendy Wassyng. "The Angelica Kauffmann Inventories: An Artist’s Property and Legacy in Early-Nineteenth-Century Rome." Getty Research Journal 7 (January 2015): 157–68. http://dx.doi.org/10.1086/680743.

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Bonfatti, Rossella. "Frammenti del corpo-voce: le poetesse improvvisatrici fra Sette e Ottocento." ENTHYMEMA, no. 28 (January 1, 2022): 92–105. http://dx.doi.org/10.54103/2037-2426/16026.

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Incandescenti e apodittici, i corpi delle improvvisatrici hanno rappresentato un fenomeno di spiccata intermedialità tra Sette e Ottocento, caricandosi di valori culturali estesi che sono stati valorizzati dalle recenti ricerche multidisciplinari. Ripensati come documenti viventi, come luoghi cioè di una performance che è messa in scena di sé nelle forme di un dialogo continuo con il pubblico, con la tradizione, con le convenzioni sociali, con i generi, quei corpi inviolati non hanno ancora smesso di parlare, di interrogarci nella loro atemporale eloquenza. Quest’intervento intende sondare alcuni aspetti del corpo-voce delle poetesse improvvisatrici attraverso fonti documentarie letterarie e iconografiche, partendo, in particolare, da alcuni celebri ritratti realizzati da Angelica Kauffmann per arrivare alla statuaria celebrativa e alla memoria trasmessa dalle cronache degli spettacoli, dalle recensioni, dagli egodocuments, al fine di mettere in luce la costruzione di un’identità pubblica dentro e fuori le scene.
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Stuccilli, Jean-Christophe. "Un inédit romain de Laurent Pécheux : le portrait du père François Jacquier." Studiolo 8, no. 1 (2010): 185–94. http://dx.doi.org/10.3406/studi.2010.1298.

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La découverte récente d'un portrait inédit par Laurent Pécheux représentant le Père François Jacquier (1711-1788), minime, mathématicien et physicien réputé, exégète, linguiste et Arcade, permet de mieux saisir les circonstances du séjour parmesan du peintre. Les amitiés artistiques (Mengs, Batoni) et politiques (bailli de Breteuil, Guillaume du Tillot) qui valurent à Pécheux sa réception au titre de premier peintre de la cour de Parme, nous sont connues par un passage particulièrement détaillé de ses mémoires, dans lequel le Lyonnais fait mention d'un portrait du Père Jacquier al vivo, peint à la fin de l'année 1764 et que nous proposons de confondre avec le portrait étudié ici. La découverte de ce portrait en collection particulière lyonnaise se double de celle d'un dessin en rapport conservé au musée des Beaux-Arts de Lyon et permet de faire le point sur l'iconographie peinte du Père Jacquier, figure éminente de la Rome des Lumières (Angelica Kauffmann, Gabriel Blanchard, etc.).
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Rowińska-Januszewska, Barbara. "Zum Bild von Angelika Kauffmann in Alioths Der prüfende Blick." Germanica Wratislaviensia 143 (December 17, 2018): 11–27. http://dx.doi.org/10.19195/0435-5865.143.1.

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Der folgende Text untersucht das literarische Bild der Malerin Angelika Kauffmann im historischen Künstlerroman Der prüfende Blick 2007 von Gabrielle Alioth. Die Schweizer Autorin präsentiert in ihrem intermedialen Buch ein multiperspektivisches Vexierbild der Malerin aus dem 18. Jh., die als eine der ersten Frauen den beruflich-künstlerischen Weg erfolgreich realisieren konnte. Alioth bietet ein vielfältiges, literarisch-malerisches Porträt der Künstlerin aus der Sicht von ihren Freunden und Bekannten, das auch ihre Malerei beinhaltet.Image of Angelika Kauffmann in Der prüfende Blick by AliothThe following study examines the literary image of the painter Angelika Kauffmann in the historical novel Der prüfende Blick 2007 by Gabrielle Alioth. In her book, the Swiss author presents a multiperspectival picture of the painter from the 18th century, who was one of the first women to successfully pursue the artistic path. Alioth offers a diverse image of the artist from the perspective of her friends and acquaintances, including her paintings.
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Rosenthal, Angela. "ANGELICA KAUFFMAN MA(S)KING CLAIMS." Art History 15, no. 1 (March 1992): 38–59. http://dx.doi.org/10.1111/j.1467-8365.1992.tb00468.x.

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ANDREW, PATRICIA. "MISS ANGEL: THE ART AND WORLD OF ANGELICA KAUFFMAN, ANGELICA GOODDEN." Art Book 13, no. 3 (August 2006): 32–33. http://dx.doi.org/10.1111/j.1467-8357.2006.00691.x.

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Roworth, Wendy Wassyng. "Documenting Angelica Kauffman's Life and Art." Eighteenth-Century Studies 37, no. 3 (2004): 478–82. http://dx.doi.org/10.1353/ecs.2004.0031.

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Roworth, Wendy Wassyng. "Angelica Kauffman: A Continental Artist in Georgian England." Woman's Art Journal 20, no. 1 (1999): 67. http://dx.doi.org/10.2307/1358856.

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Dissertations / Theses on the topic "Angelica Kauffmann"

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Saint-Gelais, Thérèse. "Autoportraits de Sofonisba Anguissola, Angelica Kauffmann et Eleanor Antin et leur inscription dans l'histoire de l'art." Paris 10, 1987. http://www.theses.fr/1987PA100194.

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Partant du fait que l'autoportrait est un genre que les femmes artistes ont privilégié, principalement Sofonisba Anguissola, Angelica Kaufmann et Eleanor Antin, nous nous serons demande si, parce qu'il leur était difficile de prendre place dans l'histoire, l'autoportrait ne figurait pas comme représentant singulier de la contribution des femmes artistes dans l'histoire. Présentant l'histoire de l'art des femmes qui s'est écrit jusqu'à maintenant, nous nous situerons par rapport à cette histoire relevant les pièges qu'une telle histoire peut comporter mais ses intérêts aussi, du fait qu'elle considère spécialement un type donne de productions. Chaque temps dans l'histoire comporte des particularités, chaque artiste, chaque œuvre également; aussi nous essaierons de situer l'artiste, et son œuvre dans son contexte, demeurant consciente néanmoins que notre regard actuel a le désavantage de toujours se faire sentir, mais cet avantage aussi d'avoir un recul face aux artistes, aux œuvres. La représentation de l'artiste dans l'œuvre, sa manière de figurer, ses traits, ses mises en scène constituant nos intérêts premiers, nous privilégierons la lecture des œuvres, en fait des autoportraits, pour aborder, comprendre et exprimer des contributions particulières. De la ressortiront des particularités singulières et des façons de prendre (ou non) place dans l'histoire
Starting from the fact that the self-portrait is a genre that is privileged by women artists, and particularly by Sofonisba Anguissola, Angelica Kauffmann, and Eleanor Antin, we will try to see if, because it is difficult for women to find a place in history, the self-portrait figures as a singular representative of women artists contribution in history. We will present and take position relatively to the writing of women art history up to the present; we will indicate the traps that such an history contains, and try to see why it is specially interested in considering a given type of productions. Each time in history has its particularities, each artist, each work also; thus we will try to situate the artist and her work in her context, while being aware that our actual outlook has the disadvantage of always making itself felt, but the advantage also of a gain in perspective relatively to the artist and works. Our prime interest will be in the representation of the artist in her work, the manner in which she figures in it, her features, her settings. Our method will be to read the works, i. E. , the self-portraits in order to grasp, to understand and to express particular contributions from this should emerge singular particularities and ways in which one takes (or doesn’t take) a place in History
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Saint-Gelais, Thérèse. "Autoportraits de Sofonisba Anguissola, Angelica Kauffmann et Eleanor Antin et leur inscription dans l'histoire de l'art." Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376096188.

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Baumgärtel, Bettina. "Angelika Kauffmann, 1741-1807 : Bedingungen weiblicher Kreativität in der Malerei des 18. Jahrhundert /." Weinheim : Beltz Verl, 1990. http://catalogue.bnf.fr/ark:/12148/cb35530679g.

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Kauffmann, Angela [Verfasser]. "Der Einfluss eines Ausdauertrainings auf Psychopathologie, Lebensqualität und Funktionsniveau bei depressiven Störungen / Angela Kauffmann." Lübeck : Zentrale Hochschulbibliothek Lübeck, 2012. http://d-nb.info/102043242X/34.

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von, Preussen Brigid. "Manufactories of Virtù: Classicism, Commerce, and Authorship in Georgian Britain, c. 1759-1800." Thesis, 2020. https://doi.org/10.7916/d8-98r5-w813.

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This dissertation examines the confluence of ideas about classicism, commerce, and authorship in Britain in the final decades of the eighteenth century, when the commercial potential of classical forms and, conversely, the artistic potential of ‘mechanical’ forms of production both seemed greater, and yet more vulnerable, than they had ever been. While classical antiquity was a crucial source of artistic authority in this period, the emergence of a model of individual, inwardly generated, original authorship provided a different opportunity for commercial classicists to distinguish themselves in a crowded and competitive marketplace. In successive chapters of the dissertation, I discuss four makers whose works were produced in the context of competing models of authorship and authority: the architect, Robert Adam; the potter and manufacturer, Josiah Wedgwood; the painter and printmaker, Angelica Kauffman; and the sculptor and designer, John Flaxman. Each of these authors straddled the worlds of the mechanical and liberal arts, using a self-consciously classical artistic vocabulary in conjunction with highly commercial production and marketing strategies. They increasingly shaped and presented their works and style as their own proprietary creations, capitalising on emerging concepts of original genius and individual authorship: the very concepts that seem to be at odds both with academic classicism and with reproductive practices. Adam, Wedgwood, Kauffman, and Flaxman demonstrate how classicism, the idea of genius, and commercial, industrial modernity were mutually constitutive, resulting in the creation of artistic styles that are still associated with their authors today.
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WADSTROM, SARAH MORIAN. "ANGELICA KAUFFMAN'S "ARIADNE ABANDONED BY THESEUS ON NAXOS"." Thesis, 1987. http://hdl.handle.net/1911/13260.

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Ariadne Abandoned by Theseus on Naxos was painted by the Swiss-born artist Angelica Kauffman in 1774, while she was living in England. Her work was an important factor in the development of the early Neoclassical style in England, and this painting embodies the ideas of noble simplicity and sedate grandeur put forth by her friend Johann Winckelmann as appropriate for such history paintings. One of her few single-figure, non-portrait history paintings, it is typical of the careful composition and rich Venetian coloring for which she was well-known. Angelica was a well-educated woman, and therefore she was able to draw on a wide variety of literary and visual sources when she chose the subject. The theme of abandoned and mourning women was often used by artists in the late eighteenth century, and Angelica may have had a particular identification with it, due to her unusual position as an artist and a single woman.
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Books on the topic "Angelica Kauffmann"

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Angelica Kauffmann (1746-1807). Milano: Spirali, 2008.

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Frank, Wolfram. "Angelica": "zarte Seele" : [ein Essay über Angelika Kauffmann]. Chur: Calven-Verlag, 1999.

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Rosenthal, Angela. Angelica Kauffmann: Bildnismalerei im 18.Jahrhundert. Berlin: Reimer, 1996.

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Geträumtes Glück: Angelica Kauffmann und Goethe. Frankfurt: Insel, 2007.

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Der prüfende Blick: Roman über Angelica Kauffmann. München: Nagel & Kimche, im Carl hanser Verlag, 2007.

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1733-1808, Maron Anton von, Kauffmann Angelica 1741-1807, and Galleria nazionale di Palazzo Spinola, eds. Anton von Maron e Angelica Kauffmann: Ritrattisti europei per i genovesi alla moda. Milano: Scalpendi editore, 2018.

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Kauffmann, Angelica. "Mir träumte vor ein paar Nächten, ich hätte Briefe von Ihnen empfangen": Gesammelte Briefe in den Originalsprachen. Lengwil: Libelle, 2001.

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Maierhofer, Waltraud. Angelika Kauffmann. Reinbek bei Hamburg: Rowohlt, 1997.

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Hammer, Sabine. Angelica Kauffman. Vaduz: Art & Editions Haas, 1987.

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Angelika Kauffmann: Heldinnen. Hohenems: Bucher, 2009.

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Book chapters on the topic "Angelica Kauffmann"

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Mildenberger, Hermann. "Kauffmann, Maria Anna Angelica Catharina (1741–1807)." In Goethe Handbuch, 494–97. Stuttgart: J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-00206-8_47.

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Zschokke, Walter K. "Angelika Kauffmann Museum." In Dietrich|Untertrifaller, 130–35. Vienna: Springer Vienna, 2008. http://dx.doi.org/10.1007/978-3-211-71530-7_14.

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Knittel, Anton Philipp. "Kauffmann, Angelika (1741–1807)." In Goethe Handbuch, 602–3. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03655-1_195.

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Boime, Albert. "Angelica Kauffmann." In Homer, 104–9. Routledge, 2018. http://dx.doi.org/10.4324/9781315047157-6.

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Brylowe, Thora. "Angelica Kauffman and the Sister Arts." In The Edinburgh Companion to Romanticism and the Arts, 391–407. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474484176.003.0022.

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This essay addresses the history of the sister arts in order to frame a discussion of their political implications for Romantic-era cultural practitioners in general and for the painter Angelica Kauffman in particular, as well as for her print mediators. The analysis of Kauffman’s related self-portraits, one in which she styled herself the embodiment of Design and one where she “hesitates” between the sister arts, reveals that she used these personified allegories to promote and cement her professional reputation. At the same time, the classically garbed personifications of art and music reinforced Kauffman’s femininity and scrupulous moral judgement.
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Fullagar, Kate. "The Master Ascendant." In The Warrior, the Voyager, and the Artist, 160–87. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300243062.003.0008.

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Chapter 6 opens with some reminders of Reynolds’s ambivalent character. His political views are put to the test at the close of the Seven Years War, in 1763, when Britain announces victory but half the nation refuse to celebrate with the king. Reynolds performs similar balancing acts in his personal life, including romantically with Angelica Kauffmann and collegially with Thomas Gainsborough. Most of all we see Reynolds’s artful balancing in the way he secures the presidential appointment to Britain’s first Royal Academy of the Arts. The 1770s see further signs of ascension for Reynolds, such as his acquisitions of a new country house and an honorary doctorate. These years also yield further tests of his ambivalent politics. His portrait of Joseph Banks reveals a circumspect opinion of Pacific exploration while his effort to secure a Devonian Mayoral appointment reiterates his canny play of apologist and oppositional positions. The year 1775, however, presents the biggest challenge of all. His friends Johnson and Burke publish dramatically opposing views on the upcoming American Revolution and at the same time Reynolds’s dignity as President of the Royal Academy is threatened by a lampoon from a fellow academician.
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"7. The Image of Angelica." In Angelica Kauffman: Art and Sensibility. Paul Mellon Centre, 2006. http://dx.doi.org/10.37862/aaeportal.00255.008.

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"5. Kauffman’s Helicon." In Angelica Kauffman: Art and Sensibility. Paul Mellon Centre, 2006. http://dx.doi.org/10.37862/aaeportal.00255.006.

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"2. Intersubjective Portrayal." In Angelica Kauffman: Art and Sensibility. Paul Mellon Centre, 2006. http://dx.doi.org/10.37862/aaeportal.00255.003.

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"6. Civilizing Femininity." In Angelica Kauffman: Art and Sensibility. Paul Mellon Centre, 2006. http://dx.doi.org/10.37862/aaeportal.00255.007.

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