- Angelica Kauffmann (Swiss, 1741–1807)
- Oil on canvas, 24-1/2 x 19-1/2 in (62.2 x 49.5 cm)
- Saint Louis Art Museum
Showing both artistic and musical talent from a very young age, eighteenth-century artist Maria Anna Angelica Catharina Kauffmann chose to focus on art. As a young artist she received training from her father, Joseph Johann Kauffmann, a skilled Austrian muralist and painter. She also served as his assistant. She was born in Chur, Switzerland, but spent much of her life in Italy and England (she spoke at least four languages). Kauffmann was, along with Mary Moser, one of two female founding members of the Royal Academy in London. Ultimately she achieved critical and financial success as a painter of portraits, decorations, and history paintings focused on classical, literary and religious subjects.
Kauffmann’s paintings, drawings, prints and other artworks are held in museums and collections all over the world, including the Uffizi, the National Portrait Gallery in London, Dresden’s Gemäldegalerie Alte Meister, the Hermitage, the National Museum of Women in the Arts, the Met, the Detroit Institute of Arts, the Bavarian State Painting Collection, the Pushkin Museum, the RISD Museum, Kunsthaus Zürich, Tiroler Landesmuseum, the Getty Museum, Museo Thyssen-Bornemisza, the Princeton University Art Museum, Kunstpalast Düsseldorf, Tate Britain, Yale Center for British Art, the Art Institute of Chicago, the National Gallery of Art, the Museum of Fine Arts Houston, and many more.
Alternate spellings of the artist’s name include (at least) Angelica Kauffman and Angelika Kauffmann. Here and on Art Herstory’s Kauffmann card, we use the spelling Angelica Kauffmann, to match the entry in the online record for the original painting. Elsewhere in the site, however, we also use the spelling Angelica Kauffman.
Learn more about Kauffmann’s oil painting Woman in Turkish Dress: The Saint Louis Art Museum
Current, upcoming and recent exhibitions including work by Angelica Kauffmann:
Angelica Kauffman; Royal Academy of the Arts, London, UK. March 1–June 30, 2024.
Works by the artist will be on view in 2023–24 in Making Her Mark: A History of Women Artists in Europe, 1400–1800 at the Baltimore Museum of Art. This show moves in 2024 to the Art Gallery of Ontario.
Out of the Shadows: Female Artists of the Sixteenth to the Eighteenth Century; Gemäldegalerie Alte Meister, Dresden, Germany. May 12, 2023–November 12, 2023.
Ingenious Women: Painting from the 16th to the 18th Century; Bucerius Kunst Forum, Hamburg, Germany. October 14, 2023–January 28, 2024.
Women Masters, Old and Modern; Museo Nacional Thyssen-Bornemisza, Madrid, Spain. October 31, 2023–February 4, 2024.
In early 2020, in collaboration with London’s Royal Academy of Arts, Kunstpalast Düsseldorf hosted the exhibition Angelica Kauffman: Artist, Superwoman, Influencer. This show presented approximately 100 paintings, drawings and sculptures to the public for the first time. The show was meant to travel later to the Royal Academy (RA), but due to the Covid pandemic, the RA was forced to cancel its presentation.
Angelica Kauffman, edited by Bettina Baumgärtel (Hirmer Verlag, 2020; available in the US from the University of Chicago Press)
Miss Angel: The Art and World of Angelica Kauffman, Eighteenth-Century Icon, by Angelica Goodden (Penguin Random House, 2011)
Angelica Kauffman: A Woman of Immense Talent, by Tobias Natter (Hatje Cantz, 2007)
Angelica Kauffman: Art and Sensibility, by Angela Rosenthal (Yale University Press / Paul Mellon Centre for Studies in British Art, 2006)
Angelica: Paintress of Minds, by Miranda Miller (Barbican Press, 2020)
Posts on the Art Herstory blog:
Angelica Kauffman: Grace and Strength, guest post by Anita Sganzerla
Neil Jeffares’ Dictionary of pastellists before 1800: Explore >
National Museum of Women in the Arts: Explore >
Daily Art Magazine: Explore >
The Royal Academy: Explore >
Art UK Dot Org: Explore >
Angelica Kauffmann: the female trailblazer of Neoclassicism, by Jennifer Higgie for Art UK Dot Org
Angelica Kauffman, artist and pioneer, by Miranda Miller for Historia