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See also:KAUFFMANN, IMARIA See also:ANNA] See also:ANGELICA (1741–1807), the once popular artist and Royal Academician, was See also:born at See also:Coire in the See also:Grisons, on the 3oth of See also:October 1741. Her See also:father, See also:John Josef Kauffmann, was a poor See also:man and mediocre painter, but apparently very successful in teaching his precocious daughter. She rapidly acquired several See also:languages, read incessantly, and showed marked talents as a musician. Her greatest progress, however, was in See also:painting; and in her twelfth See also:year she had become a notability, with bishops and nobles for her sitters. In 1754 her father took her to See also:Milan. Later visits to See also:Italy of See also:long duration appear to have succeeded this excursion; in 1763 she visited See also:Rome, returning to it again in 1764. From Rome she passed to See also:Bologna and See also:Venice, being everywhere feted and caressed, as much for her talents as for her See also:personal charms. See also:Writing from Rome in See also:August 1764 to his friend Franke, Win ckelmann refers to her exceptional popularity. She was then painting his picture, a See also:half-length, of which she also made an See also:etching. She spoke See also:Italian as well as See also:German, he says; and she also expressed her-self with facility in See also:French and See also:English—one result of the last-named accomplishment being that she painted all the English visitors to the Eternal See also:City. " She may be styled beautiful," he adds, " and in singing may See also:vie with our best virtuosi." While at Venice, she was induced by See also:Lady See also:Wentworth, the wife of the English See also:ambassador to accompany her to See also:London, where she appeared in 1766. One of her first See also:works was a, portrait of See also:Garrick, exhibited in the year of her arrival at " Mr Moreing's See also:great See also:room in See also:Maiden See also:Lane." The See also:rank of Lady Wentworth opened society to her, and she was everywhere well received, the royal See also:family especially showing her great favour.
Her firmest friend, however, was See also:Sir See also:Joshua See also:Reynolds. In his See also:pocket-See also:book her name as " See also:Miss Angelica " or " Miss See also:Angel " appears frequently, and in 1766 he painted her, a compliment which she returned by her " Portrait of Sir Joshua Reynolds," aetat. 46. Another instance of her intimacy with Reynolds is to be found in the variation of Guercino's " Et in See also:Arcadia ego " produced by her at this date, a subject which Reynolds repeated a few years later in his portrait of Mrs Bouverie and Mrs See also:Crewe. When, about See also:November 1767, she was entrapped into a clandestine See also:marriage with an adventurer who passed for a See also:Swedish See also:count (the Count de See also:Horn) Reynolds befriended her, and it was doubt-less owing to his See also:good offices that her name is found among the signatories to the famous See also:petition to the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king for the See also:establishment of the Royal See also:Academy. In its first See also:catalogue of 1769 she appears with " R.A." after her name (an See also:honour which she shared
with another lady and compatriot, See also:Mary See also:Moser); and she contributed the " Interview of See also:Hector and See also:Andromache," and three other classical compositions. From this See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time until 1782 she was an See also:annual exhibitor, sending sometimes as many as seven pictures, generally classic or allegorical subjects. One of the most notable of her performances was the " Leonardo expiring in the Arms of See also:Francis the First," which belongs to the year 1778. In 1773 she was appointed by the Academy with others to decorate St See also:Paul's, and it was she who, with Biagio Rebecca, painted the Academy's old lecture room at See also:Somerset See also:House. It is probable that her popularity declined a little in consequence of her unfortunate marriage; but in 1781, after her first See also:husband's See also:death (she had been long separated from him), she married See also:Antonio Zucchi (1728-1795), a Venetian artist then See also:resident in See also:England. Shortly afterwards she retired to Rome, where she lived for twenty-five years with much of her old See also:prestige. In 1782 she lost her father; and in 1795—the year in which she painted the picture of Lady See also:- HAMILTON
- HAMILTON (GRAND or ASHUANIPI)
- HAMILTON, ALEXANDER (1757-1804)
- HAMILTON, ANTHONY, or ANTOINE (1646-1720)
- HAMILTON, ELIZABETH (1758–1816)
- HAMILTON, EMMA, LADY (c. 1765-1815)
- HAMILTON, JAMES (1769-1831)
- HAMILTON, JAMES HAMILTON, 1ST DUKE OF (1606-1649)
- HAMILTON, JOHN (c. 1511–1571)
- HAMILTON, MARQUESSES AND DUKES OF
- HAMILTON, PATRICK (1504-1528)
- HAMILTON, ROBERT (1743-1829)
- HAMILTON, SIR WILLIAM
- HAMILTON, SIR WILLIAM (1730-1803)
- HAMILTON, SIR WILLIAM ROWAN (1805-1865)
- HAMILTON, THOMAS (1789-1842)
- HAMILTON, WILLIAM (1704-1754)
- HAMILTON, WILLIAM GERARD (1729-1796)
Hamilton—her husband. She continued at intervals to contribute to the Academy, her last exhibit being in 1797. After this she produced little, and in November 1807 she died, being honoured by a splendid funeral under the direction of See also:Canova. The entire Academy of St See also:Luke, with numerous ecclesiastics and virtuosi, followed her to her See also:tomb in S. See also:Andrea Belle Fratte, and, as at the See also:burial of See also:Raphael, two of her best pictures were carried in procession.
The works of Angelica Kauffmann have not retained their reputation. She had a certain See also:gift of See also:- GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
- GRACE, WILLIAM GILBERT (1848– )
grace, and considerable skill in See also:composition. But her See also:drawing is weak and faulty; her figures lack variety and expression; and her men are masculine See also:women. Her colouring, however, is fairly enough defined by See also:Waagen's See also:term " cheerful." Rooms decorated by, her See also:brush are still to be seen in various quarters. At See also:Hampton ourt is a portrait of the duchess of See also:Brunswick; in the See also:National Portrait See also:Gallery, a portrait of herself. There are other pictures by her at See also:Paris, at See also:Dresden, in the Hermitage at St See also:Petersburg, and in the Alte Pinakothek at See also:Munich. The Munich example is another portrait of herself; and there is a third in the Uffizi at See also:Florence. A few of her works in private collections have been exhibited among the " Old Masters " at See also:Burlington House. But she is perhaps best known by the numerous engravings from her designs by See also:Schiavonetti, See also:Bartolozzi and others. Those by Bartolozzi especially still find considerable favour with collectors. Her See also:life was written in 1810 by Giovanni de See also:Rossi. It has also been used as the basis of a See also:romance by See also:Leon de See also:Wailly, 1838; and it prompted the charming novel contributed by Mrs See also:Richmond See also:Ritchie to the Cornhill See also:Magazine in 1875 under the See also:title of " Miss Angel. "
(A.
End of Article: KAUFFMANN, IMARIA
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