IMARIA See also:

• IMARIA KAUFFMANN

KAUFFMANN  See also:

• ANNA
• ANNA (Hindustani ana)
• ANNA, BALDASARRE

ANNA] See also:

• ANGELICA

ANGELICA (1741–1807), the once popular artist and Royal Academician, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• COIRE (Ger. Chur or Cur, Ital. Coira, Lat. Curia Raetorum, Romonsch Cuera)

Coire in the See also:

• GRISONS (Ger. Graubunden)

Grisons, on the 3oth of See also:

• OCTOBER

October 1741 . Her See also:

• FATHER

father, See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John Josef See also:

• KAUFFMANN, IMARIA

Kauffmann, was a poor See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man and mediocre painter, but apparently very successful in teaching his precocious daughter . She rapidly acquired several See also:

• LANGUAGES

languages, read incessantly, and showed marked talents as a musician . Her greatest progress, however, was in See also:

• PAINTING

painting; and in her twelfth See also:

• YEAR

year she had become a notability, with bishops and nobles for her sitters . In 1754 her father took her to See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan . Later visits to See also:

• ITALY
• ITALY (Italia)

Italy of See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long duration appear to have succeeded this excursion; in 1763 she visited See also:

• ROME
• ROME (Roma)

Rome, returning to it again in 1764 . From Rome she passed to See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna and See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice, being everywhere feted and caressed, as much for her talents as for her See also:

• PERSONAL

personal charms . See also:

• WRITING
• WRITING (the verbal noun of " to write," O. Eng. writan, to inscribe)

Writing from Rome in See also:

• AUGUST (originally Sextilis)

August 1764 to his friend Franke, Win ckelmann refers to her exceptional popularity . She was then painting his picture, a See also:

• HALF

half-length, of which she also made an See also:

• ETCHING (Dutch, etsen, to eat)

etching . She spoke See also:

• ITALIAN

Italian as well as See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German, he says; and she also expressed her-self with facility in See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French and See also:

• ENGLISH

English—one result of the last-named accomplishment being that she painted all the English visitors to the Eternal See also:

• CITY (through Fr. cite, from Lat. civitas)

City . " She may be styled beautiful," he adds, " and in singing may See also:

• VIE

vie with our best virtuosi." While at Venice, she was induced by See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady See also:

• WENTWORTH, WILLIAM CHARLES (1793-1872)

Wentworth, the wife of the English See also:

• AMBASSADOR (also EMBASSADOR, the form sometimes still used in America; from the Fr. ambassadeur, with which compare Ital. ambasciatore and Span. embajador, all variants of the Med. Lat. ambassiator, ambassiator, ambasator, &c., derived from Med. Lat. amba

ambassador to accompany her to See also:

• LONDON

London, where she appeared in 1766 . One of her first See also:

• WORKS

works was a, portrait of See also:

• GARRICK, DAVID (1717-1779)

Garrick, exhibited in the year of her arrival at " Mr Moreing's See also:

• GREAT

great See also:

• ROOM

room in See also:

• MAIDEN, or MAID

Maiden See also:

• LANE, EDWARD WILLIAM (1801–1876)
• LANE, JAMES HENRY (1814–1866)

Lane." The See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank of Lady Wentworth opened society to her, and she was everywhere well received, the royal See also:

• FAMILY

family especially showing her great favour .

Her firmest friend, however, was See also:

• SIR

Sir See also:

• JOSHUA, BOOK OF

Joshua See also:

• REYNOLDS, JOHN FULTON (182o-1863)
• REYNOLDS, SIR JOSHUA (1723-1792)
• REYNOLDS, WALTER (d. 1327)

Reynolds . In his See also:

• POCKET

pocket-See also:

• BOOK

book her name as " See also:

• MISS

Miss Angelica " or " Miss See also:

• ANGEL

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

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
• CREWE, ROBERT OFFLEY ASHBURTON

Crewe . When, about See also:

• NOVEMBER (Lat. novem, nine)

November 1767, she was entrapped into a clandestine See also:

• MARRIAGE

marriage with an adventurer who passed for a See also:

• SWEDISH

Swedish See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

count (the Count de See also:

• HORN
• HORN (a common Teutonic word, cognate with Lat. cornu; cf. Gr. Kipas)
• HORN (Lat. cornu; corresponding terms being Fr. cor, trompe; Ger. Horn; Ital. corno)
• HORN, ARVID BERNHARD, COUNT (1664-1742)
• HORN, PHILIP DE MONTMORENCY, COUNT

Horn) Reynolds befriended her, and it was doubt-less owing to his See also:

• GOOD, JOHN MASON (1764-1827)

good offices that her name is found among the signatories to the famous See also:

• PETITION (Lat. for " seeking " or " praying ")

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 (0. Fr. establissement, Fr. etablissement, late Norm. Fr. establishement, from O. Fr. establir, Fr. etablir, Lat. stabilire, to make stable)

establishment of the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy . In its first See also:

• CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

catalogue of 1769 she appears with " R.A." after her name (an See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour which she shared with another lady and compatriot, See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary See also:

• MOSER, JOHANN JAKOB (1701-1785)
• MOSER, JUSTUS (172o-1794)

Moser); and she contributed the " Interview of See also:

• HECTOR

Hector and See also:

• ANDROMACHE

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

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
• FRANCIS (FRarrcols) OF SALES, ST (1567-1622)
• FRANCIS (Lat. Franciscus, Ital. Francesco, Span. Francisco, Fr. Francois, Ger. Franz)
• FRANCIS, SIR PHILIP (174o-1818)

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
• PAUL (PAULUS)

Paul's, and it was she who, with Biagio Rebecca, painted the Academy's old lecture room at See also:

• SOMERSET, EARLS AND DUKES OF
• SOMERSET, EDMUND BEAUFORT, DUKE OF (c. 1404–1455)
• SOMERSET, EDWARD SEYMOUR, DUKE OF (c. 1506–1552)
• SOMERSET, LORD ROBERT EDWARD HENRY (1776-1842)
• SOMERSET, ROBERT CARR (or KER), EARL OF (e. 1590-1645)

Somerset See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

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

husband's See also:

• DEATH

death (she had been long separated from him), she married See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio Zucchi (1728-1795), a Venetian artist then See also:

• RESIDENT

resident in See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England . Shortly afterwards she retired to Rome, where she lived for twenty-five years with much of her old See also:

• PRESTIGE

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, ANTONIO (1757-1822)

Canova . The entire Academy of St See also:

• LUKE
• LUKE, GOSPEL OF ST

Luke, with numerous ecclesiastics and virtuosi, followed her to her See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb in S . See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea Belle Fratte, and, as at the See also:

• BURIAL

burial of See also:

• RAPHAEL (Hebrew smm, " God heals ")

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 (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

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
• COMPOSITION (Lat. compositio, from componere, to put together)

composition . But her See also:

• DRAWING

drawing is weak and faulty; her figures lack variety and expression; and her men are masculine See also:

• WOMEN

women . Her colouring, however, is fairly enough defined by See also:

• WAAGEN, GUSTAV FRIEDRICH (1794-1868)
• WAAGEN, WILHELM HEINRICH (1841–1900)

Waagen's See also:

• TERM

term " cheerful." Rooms decorated by, her See also:

• BRUSH (from Fr. brosse, which, like the English word, means both the undergrowth of a wood and the instrument; if the word in both these meanings is ultimately the same, then the origin is from a bundle of brushwood used as a brush or broom, but this is h
• BRUSH, GEORGE DE FOREST (1855– )

brush are still to be seen in various quarters . At See also:

• HAMPTON
• HAMPTON, WADE (1818-1902)

Hampton ourt is a portrait of the duchess of See also:

• BRUNSWICK
• BRUNSWICK (Ger. Braunschweig)
• BRUNSWICK, KARL WILHELM FERDINAND, DUKE OF (1735-18o6)

Brunswick; in the See also:

• NATIONAL

National Portrait See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, a portrait of herself . There are other pictures by her at See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, at See also:

• DRESDEN

Dresden, in the Hermitage at St See also:

• PETERSBURG

Petersburg, and in the Alte Pinakothek at See also:

• MUNICH (Ger. Munchen)

Munich . The Munich example is another portrait of herself; and there is a third in the Uffizi at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence . A few of her works in private collections have been exhibited among the " Old Masters " at See also:

• BURLINGTON

Burlington House .

But she is perhaps best known by the numerous engravings from her designs by See also:

• SCHIAVONETTI, LUIGI (1765-181o)

Schiavonetti, See also:

• BARTOLOZZI, FRANCESCO (1725-1815)

Bartolozzi and others . Those by Bartolozzi especially still find considerable favour with collectors . Her See also:

• LIFE

life was written in 1810 by Giovanni de See also:

• ROSSI, LUIGI DE
• ROSSI, PELLEGRINO LUIGI EDOARDO, COUNT (1787-1848)

Rossi . It has also been used as the basis of a See also:

• ROMANCE

romance by See also:

• LEON
• LEON, LUIS PONCE DE (1527-1591)
• LEON, MOSES BEN SI
• LEON, or LEON DE LAS ALDAMAS

Leon de See also:

• WAILLY, NOEL FRANCOIS DE (1724-1801)

Wailly, 1838; and it prompted the charming novel contributed by Mrs See also:

• RICHMOND
• RICHMOND, EARLS AND DUKES OF
• RICHMOND, LEGH (1772-1827)
• RICHMOND, SIR WILLIAM BLAKE (1842– )

Richmond See also:

• RITCHIE, CHARLES THOMSON RITCHIE, 1ST BARON (1838-1906)
• RITCHIE, DAVID GEORGE (1853-1903)

Ritchie to the Cornhill See also:

• MAGAZINE

Magazine in 1875 under the See also:

• TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title of " Miss Angel . " (A .