Uuendatud november 2026 · järjestatud meie populaarsusindeksi järgi (otsingud, külastused ja tellimused igale teosele) · 199 teost Angelika Kauffmann meie kataloogis
Lühidalt
Galleriist vaadatuna on Angelika Kauffmann kõige kuulsam teos Diana and Her Nymphs Bathing (1778), mille originaal ripub Art Gallery of South Australia-is, Adelaide. Johann Wolfgang von Goethe (1775) ja Cornelia Africana (1785) täidavad kolmikut, mille iga silm tunnistab. Kunstnii Angelika Kauffmann 199 teose põhjal esitleb galeriis allpool 100 kõige kuulsumat, kus iga originaal on märgitud aastaga, muuseumiga ja kirjeldatud, mis teeb selle unikaalseks.
In 1778, Angelica Kauffmann captured a moment of quietude in Diana and Her Nymphs Bathing. The canvas presents the goddess Diana alongside her nymphs as they gather by a pool. They exist within a secluded landscape, a forest setting where the water meets the earth. This Neoclassical work focuses on the figures as they interact with the natural world, some seated in conversation and others dipping feet into the cool…
In this 1775 portrait, Angelica Kauffmann captures the likeness of Johann Wolfgang von Goethe. The subject sits with a heavy, steady gaze that meets the viewer directly. He is a man of profound intellect, a pillar of the Western canon, rendered here with a quiet, serious gravity. His presence fills the frame, suggesting a mind occupied by the weight of thought and the pursuit of truth.
In the realm of Neoclassical mastery, few works capture the serene dignity of antiquity as poignantly as Cornelia Africana. Painted in 1785 by the illustrious Angelica Kauffmann (Maria Anna Angelika), this masterpiece serves as a profound window into the values of the eighteenth century. The scene unfolds with a breathtaking sense of order and harmony, characteristic of the Neoclassical movement, where simplicity and balance reign supreme. At the heart of…
Michał Kazimierz Ogiński is presented in a three-quarter length pose, his gaze meeting the observer with a steady, direct intensity. The composition relies on a sharp contrast between the dark, indeterminate background and the luminous details of his attire. A bright white cravat and the brilliant blue of his sash draw the eye toward the center of the frame, while red jacket lapels provide a singular puncture of color against…
The gaze of the subject meets the viewer in Sybille, a portrait painted by Angelica Kauffmann in 1781. This work captures a woman appearing as a sibyl, a figure of prophecy and ancient wisdom. She exists within a quiet, contemplative space that suggests a moment of deep reflection or perhaps a vision just beginning to take shape. The presence of the woman is immediate, pulling the observer into her private,…
In this 1767 oil portrait, we find ourselves in the quiet, scholarly atmosphere of an eighteenth-century study. The subject, Sir Joshua Reynolds, is captured in a moment of steady contemplation, leaning slightly against a desk cluttered with the tools of a life dedicated to thought. The composition is intimate, a medium close-up that draws the viewer into his personal space. A soft, directional light enters from the upper left, carving…
Lady Louisa Leveson-Gower is presented here not merely as a noblewoman, but as the mythological figure Spes. Seated in a three-quarter length pose, she gazes toward the viewer with a quiet, melancholic elegance. The composition relies on a soft, luminous technique to define the pale blue and white of her gown, which contrasts against the deep, atmospheric shadows of the background. A heavy, ochre drapery falls over her shoulder, adding…
Angelica Kauffmann painted Woman in Turkish Dress in 1767. This oil on canvas captures an unknown woman draped in stylized Turkish attire. The subject wears a loose gown trimmed with white lace, a fitted salmon-colored garment, and an outer coat of plum-colored velvet. She turns her head slightly away, her gaze directed elsewhere.
The Portrait of John Simpson is a significant oil on canvas work by the artist Angelica Kauffmann. Created in 1777, this portrait captures a specific moment of social standing and personal character. The subject, John Simpson, is presented with a quiet dignity that reflects the formal portraiture traditions of the late eighteenth century.
This portrait, titled Sir James Hall of Dunglass, 1761 - 1832. Geologist, was painted by the Swiss artist Angelica Kauffmann in 1785. It captures the likeness of Sir James Hall, 4th Baronet, during a period of significant scientific inquiry. The work was executed in Rome, a setting that reflects the international connections of both the sitter and the artist at the time.
Portrait of Helena Męcińska née Stadnicka as a Roman Vestal.1791 · Varssavi Rahvusmuuseum
12
Ludwig I of Bavaria as Crown Prince1807 · Bavaria riiklikud maalidema kogumikud
13
Joseph Johann Graf Fries1787 · Wien Museum
14
Portrait of the Impromptu Virtuoso Teresa Bandettini-Landucci of Lucca1794 · Kunstpalast
15
The Judgement of Paris1781
16
Portrait of a woman, traditionally identified as Lady Hervey1770 · Yale Center for British Art
17
Portrait of Wojciech Męciński.1800 · Varssavi Rahvusmuuseum
18
Self-Portrait1764 · Saltram House
19
Self-portrait with a sheet of music1753
20
A Woman in Neapolitan Dress1763 · Saltram House
21
Self-portrait (after Kauffman)1764 · Mompesson House
22
Rinaldo and Armida1771 · Yale Center for British Art
23
Portrait of a Young Girl1766
24
Portrait of a Lady with Diadem and Red Cloak1766
25
Female Portrait1766
26
Portrait of Lady Georgiana, Lady Henrietta Frances and George John Spencer, Viscount Althorp1774 · Althorp
27
The Ely Family1771 · National Gallery of Ireland
28
Lady Georgiana Spencer, Henrietta Spencer and George Viscount Althorp1766
29
Penelope sacrificing to Minerva for the Safe Return of her Son, Telemachus1774
30
Vortigern, King of Britain, enamoured with Rowena at the Banquet of Hengist, the Saxon General1770 · Saltram House
31
Venus directing Aeneas and Achates to Carthage1768 · Saltram House
32
Ulysses discovering Achilles1769 · Saltram House
33
Penelope taking down the Bow of Ulysses1768 · Saltram House
34
Portrait of a Lady1775
35
Augusta, Duchess of Brunswick (1737-1813) with her son Charles George Augustus (1766-1806)1767 · Royal Collection
36
John Simpson, father of Maria Susanna, Lady Ravensworth1773
37
Self-portrait with flower-wreath1771
38
Self-Portrait with Charcoal Holder and Sharpener1770
39
Hector Taking Leave Of Andromache1768 · Saltram House
40
Jane Maxwell, Duchess of Gordon, Wife of the 4th Duke of Gordon1772 · Šoti Rahvusportreegalerii
41
Portrait of Sarah Harrop (Mrs. Bates) as a Muse1780
42
Portrait of Eleanor, Countess of Lauderdale1780 · Museum of Fine Arts
43
Alexander Gordon, 4th Duke of Gordon, 1743 - 1827. Keeper of the Great Seal of Scotland1774 · Šoti Rahvusportreegalerii
44
Self-portrait1780
45
Portrait of Mrs. Cubley as Terpsichore, half-length, in a white dress and a blue wrap, playing a lyre1777
46
Cephise cuts the sleeping Cupids' Wings1782 · Gemäldegalerie
47
Portrait of Lady Elizabeth Smith-Stanley, Countess of Derby, with her infant son Edward, later 13th Earl of Derby, and her half-sister, Lady Augusta Campbell, playing the harp1776
48
Henrietta Laura Pulteney1777 · Holburne Museum
49
John Simpson1777
50
Praxiteles Giving Phryne his Statue of Cupid1794 · Rhode Island School of Design Museum of Art
51
Captain Thomas Read (1762-1837)1790 · Osterley Park And House
52
Thomas Noel-Hill, 2nd Baron Berwick of Attingham, FSA (1770-1832)1793 · Attingham Park
53
Portrait of Domenica Morghen as Tragedy and Maddalena Volpato as Comedy (Tragedy and Comedy).1791 · Varssavi Rahvusmuuseum
54
Portrait of Krystyna Miaskowska née Rychłowska.1790 · Varssavi Rahvusmuuseum
55
Ulysses discovers Achilles hidden among the daughters of King Lycomedes1787 · Finnish National Gallery
56
Baron Gustaf Adolf Reuterholm1792 · Nationalmuseum
57
Phrine seduces Xenocrates1794
58
Valentine Rescues Silvia in The Two Gentlemen of Verona1789
59
Aeneas mourns Pallas, Evander's son, who was killed by Turnus1786
60
Portrait of a Woman1793 · Vanderbilti kunstimuuseum
61
Self-Portrait1800
62
Portrait of Louise of Brandenburg-Schwedt, Duchess of Anhalt-Dessau (1750-1811)1796
63
Barbara St. John Bletsoe, Countess of Coventry1800
64
Portrait of Henri Reboul1798
65
Emma Hart, Lady Hamilton1796
66
Cumaean Sibyl after Domenichino1763 · National Museum of Women in the Arts
67
Cupid and Psyche1792 · Kunsthaus Zürich
68
Self-portrait1770 · National Portrait Gallery
69
Cymon and Iphigenia1780 · Gibbes Museum of Art
70
The Child Pyrrhos imploring King Glaucus for Asylum1794 · Szépművészeti Múzeum
71
Hebe1770 · Te Papa
72
The monk from Calais1780
73
Colour1780 · Royal Academy of Arts
74
Countess Anna Protassowa with niece1788
75
Design1780 · Royal Academy of Arts
76
Kompositsioon1780 · Royal Academy of Arts
77
Scene with Miranda and Ferdinand1782
78
Portrait of a Young Woman1781 · Frankfurter Goethe-museum
79
Portrait of John Apthorp and His Daughters1764
80
John Parker, Later First Baron Boringdon1764 · Saltram House
81
Gualtherius and Griselda1772
82
Lady Frances Greville, Lady Harpur1767
83
Modesty1770 · Abbot Hall Art Gallery
84
Lieutenant General James Cuninghame1775 · Philadelphia Museum of Art
85
Edmund Bastard as a Boy1766 · Saltram House
86
Frances Ann Acland, Lady Hoare1773
87
Bacchus and AriadneAttingham Park
88
Mrs Hugh Morgan and Her Daughter1771 · Art Institute of Chicago
89
Interview of Edgar and Elfrida, after Her Marriage to Athelwold1771 · Saltram House
90
Death of Héloisa1779 · Moravian Gallery in Brno
91
Portrait of Ferdinand I of the Two Sicilies1782
92
Self-portrait1781
93
Lady Elizabeth Foster1785
94
The Sorrow of Telemachus1783
95
Portrait of Karl Leberecht1785 · Hermitage muuseum
96
Ferdinand IV, King Of Naples And Both Sicily, And His Family1783
97
Mary Walsh, Mrs Ralph Clavering1780 · Oxburgh Hall
98
Invention1780
99
Portrait of Mary May (1745 1824) with her three daughters and Portrait of Joseph May (1730 1796) with their three sons1779
100
Farewell of Abelard and Héloise1780
Neli teemat, mis esinevad neis originaalkindel kõige sagedamini, ning iga teema parim näide.
Kümne 8 muuseumi kollektsioonid, mis sisaldavad kõige rohkem sellel lehel esitatud teoseid.
| Muuseumid | Linn | Angelika Kauffmann teosid | Selle nimekirja maalid |
|---|---|---|---|
 Saltram House |
Plymouth | 11 | Sir Joshua Reynolds PRA (1723-1792), Self-Portrait, A Woman in Neapolitan Dress |
 Varssavi Rahvusmuuseum |
Varssavi | 5 | Portrait of Michał Kazimierz Ogiński., Portrait of Helena Męcińska née Stadnicka as a Roman Vestal., Portrait of Wojciech Męciński. |
 Šoti Rahvusportreegalerii |
Edinburgh | 3 | Sir James Hall of Dunglass, 1761 - 1832. Geologist, Jane Maxwell, Duchess of Gordon, Wife of the 4th Duke of Gordon, Alexander Gordon, 4th Duke of Gordon, 1743 - 1827. Keeper of the Great Seal of Scotland |
 Royal Academy of Arts |
London | 3 | Colour, Design, Kompositsioon |
 National Portrait Gallery |
London | 3 | Portrait of John Simpson, Self-portrait |
 Attingham Park |
3 | Thomas Noel-Hill, 2nd Baron Berwick of Attingham, FSA (1770-1832), Bacchus and Ariadne | |
 Yale Center for British Art |
New Haven | 2 | Portrait of a woman, traditionally identified as Lady Hervey, Rinaldo and Armida |
 Hermitage muuseum |
Stiiitlinburg | 8 | Portrait of Karl Leberecht |
Vali vuosakülg, et näha selle ajastu definieerivat originaalteost.
The painting Self-portrait with a sheet of music by Angelica Kauffmann captures a young girl at the threshold of her own talent. Created about 1753, the work presents the artist as a child prodigy. She holds a handwritten musical score, a quiet nod to the musical talent that accompanied her early years. The image is a direct gaze from the past, fixed and steady.
In this 1767 oil portrait, we find ourselves in the quiet, scholarly atmosphere of an eighteenth-century study. The subject, Sir Joshua Reynolds, is captured in a moment of steady contemplation, leaning slightly against a desk cluttered with the tools of a life dedicated to thought. The composition is intimate, a medium close-up that draws the viewer into his personal space. A soft, directional light enters from the upper left, carving…
In 1778, Angelica Kauffmann captured a moment of quietude in Diana and Her Nymphs Bathing. The canvas presents the goddess Diana alongside her nymphs as they gather by a pool. They exist within a secluded landscape, a forest setting where the water meets the earth. This Neoclassical work focuses on the figures as they interact with the natural world, some seated in conversation and others dipping feet into the cool…
In the realm of Neoclassical mastery, few works capture the serene dignity of antiquity as poignantly as Cornelia Africana. Painted in 1785 by the illustrious Angelica Kauffmann (Maria Anna Angelika), this masterpiece serves as a profound window into the values of the eighteenth century. The scene unfolds with a breathtaking sense of order and harmony, characteristic of the Neoclassical movement, where simplicity and balance reign supreme. At the heart of…
Michał Kazimierz Ogiński is presented in a three-quarter length pose, his gaze meeting the observer with a steady, direct intensity. The composition relies on a sharp contrast between the dark, indeterminate background and the luminous details of his attire. A bright white cravat and the brilliant blue of his sash draw the eye toward the center of the frame, while red jacket lapels provide a singular puncture of color against…
Ludwig I of Bavaria as Crown Prince is a portrait executed by Angelica Kauffmann in 1807. The work captures the subject, Ludwig I. von Bayern als Kronprinz, during his tenure as the heir to the Bavarian throne. This oil on canvas composition reflects the formal portraiture traditions of the early nineteenth century.
Diana and Her Nymphs Bathing (1778), Art Gallery of South Australia, Adelaide. Järgnevad Johann Wolfgang von Goethe (1775) ja Cornelia Africana (1785).
37 aastat vanus: teos Diana and Her Nymphs Bathing on pärinev aastast 1778 ning Angelika Kauffmann sündis aastal 1741.
Diana and Her Nymphs Bathing, Johann Wolfgang von Goethe, Cornelia Africana, Portrait of Michał Kazimierz Ogiński., Sybille, Sir Joshua Reynolds PRA (1723-1792), Portrait of Lady Louisa Leveson-Gower (1749/50-1827), later Baroness Macdonald, as Spes, Woman in Turkish Dress, Portrait of John Simpson ja Sir James Hall of Dunglass, 1761 - 1832. Geologist. Ülemine reiting näitab iga teose puhul aastat ja muuseumi.
Meie kataloogist leiate 199 teost kunstnikult Angelika Kauffmann, mis on pärinevad ajastust 1753 kuni 1807.
Peamiselt Saltram House (Plymouth), Varssavi Rahvusmuuseum (Varssavi) ja Šoti Rahvusportreegalerii (Edinburgh) muuseumites. Ülalpool olevate muuseumite tabelis on nendest kõik loetletud.
Ajal 1770s: 29 100 sellel lehel olevat teost on sellel perioodil loodud, მათart közül Diana and Her Nymphs Bathing.
Sellel lehel on kõige vanem teos Self-portrait with a sheet of music (1753) ja kõige värskeim Ludwig I of Bavaria as Crown Prince (1807).
Woman (49), Man (26) ja Drapery (15), kogu selle lehekülje 100 teose kohta.
Oil On Canvas, 59 teoseks 100 töödelt sellel lehel.
Neoclassical style, seda lähtudes selle lehe originaalteostest.
Sir Joshua Reynolds PRA (1723-1792), Self-Portrait ja A Woman in Neapolitan Dress: Saltram House, Plymouth säilitab 11 selle lehel olevat teost.
Eightkümne sajandi vibratil ja intellektuaalselt tihedal atmosfeeril ei olnud vähe anyone, kes nautis sama austust ja elegantsi kui Angelica Kauffmann. Sündinud 30. oktoobril 1741 Šveitsis Churis nimega Maria Anna Angelika Kauffmann, oli tema elu meisterlik kultuurilise sujuvuse ja kunstilise ambitsiooni kompositsioon. Laps prodigium, kellel oli nii muusikalik talent kui ka varajane valdkonnas mineet, valdates nelja keelt — saksa, itaalia, prantsuse ja inglise —, liikus ta Euroopa suuremate kunstikeskuste vahel kergusega, mis ületas tema väilitas. Tema varajane koolitus, mida juhendas tema isa, osav freskomaalist Joseph Johann Kauffmann, pani aluse karjäärile, mis ületas oma ajastu naistele sageliimposedud piiranguid. Veidi enne dodekadast tõmbas ta juba ligi nii aristokraatseid kuraatoreid kui ka kirikael, olles oma kasvava talentiga sätendavaim tuletorn Itaalia ja Inglismaa konkurentsiases kunstimaailmades.
Kauffmanni teekond oli pideva liikumise ja sügavate siduste periood. Kui ta liikus Šveitsi juurest Londoni puldavale tänavatele ja Rooma klassikalisse hiilgusse, hakkasid tema tööd peegeldama sügavat seost valgustuse ajastu ideaalidega — kordusega, selgusega ja klassikalise väärtusega. Tema saabumine Londonisse märgis transformatsioonilise peatüki; tema debüüt Kunstide Seltsis (Society of Kunst) aastal 1765 tähistas professionaalise jõu ilmumist, mis oli peagi Briti kunstimaastikku ümber kujundamas. Just sel perioodil sõlmis ta püsiva sideme Sir Joshua Reynoldsiga — suhet, mis oli ehitatud vastastikule kunstilisele austusele ja ühisele eksperimenteerimisele uusklassitsistliku stiiliga. Tema silmade läbi ei olnud Rooma ja Geecia muinaslegendid pelgalt mineviku relviku, vaid elavad, hingavad narratiivid, mis suutsid väljendada kaasaegset inimlikku emotsiooni.
Kauffmanni loomingulise väärtuse sügavus peitub tema võitluses erinevate žanritega samavõrse virtuoossusega. Kuigi ta oli väga nõutud portretist, kes tabas Euroopa eliidi elegantsi ja sotsiaalset staatust, oli just tema ajaloolised maalid need, mis kindlustasid talle koha suurmeeste panteonis. Need teosed, mis keskendusid sageli klassikalistele, kirjanduslikele või religioossetele teemadele, kasutasid pehmet valgust ja tasakaalustatud kompozitsioone, et tekitada ajatulkususe tunne. Olgu siis kujutatud Cornelia Africana stoiline väärtus või tema peretraumide intiimne väärikus, tal oli ainulaadne andme võime imbuda oma teemad rahustava psühholoogilise sügavusega, mis leidis kaja uusklassitsismi eelistatud ideaalse ilu vajadusel.
Lisaks lõendile oli Kauffmann dekoratiivkunsti pioneer, tuues oma sofistikeritud esteetika freskidele ja suuremõõtulistele disainidele. Tema tehniline oskus võimaldas tal manipuleerida tekstuuri ja valgust, nagu nähtub peenelt kujutatud kangastel või atmosfäärilistes maastikudes, mis toimisid sageli tema kujundite taustadena. See mitmekülgsus tagas, et tema mõju tundus mitte ainult galeriides, vaid ka aristokraatliku interjööri disaini sügavumas. Tema võime ühendada ajaloolise maali monumentaalne skala ja portreedi intimitatsioon võimaldas tal kõlada nii oma publiku intellektuaalse kui ka emotsionaalse tundlikkusega.
Angelica Kauffmanni ajalooline tähtsus ulatub kaugele tema isiklikest saavutustest; ta oli pioneer, kes purustas 18. sajandi kunstieestablismide klaaskatlused. Aastal 1eks 68 saavatas ta erakorralise au, olles nimetatud üheks kahest naissoost asutajaliikest Londoni Kuninglikus Kunstiakadeemias koos Mary Moseriga. See verstund oli sügav võit kunstide valdkonnas, tõestades, et naiste intellekt ja tehniline meisterlikkus saavad jagada kõige prestiežeesemate institutsioonidega.
Tänapäeval on tema pärand säilitatud maailma väärikaimates muuseumides, alates Tate Britainist ja Uffizist kuni Metropolitan Museum of Art. Tema töö on endiselt elutähtev peegeldus uusklassitsismile — perioodile, mida isutas klassikalise lihtsuse naasmine ja antiigi austus. Vaadates tema portrette ja ajaloolisi stseenide, ei näe me pelgalt ilusaid pilte; näeme kunstniku pühendumat vaimu, kes navigeeris muutuvas maailmas võrratu elegantsiga, jättides järele visuaalse tunnistuskoha inimliku loovuse jõule ja kunstilise tahtliku triumfile.
