Kauffmann, Angelica - Gualtherius and Griselda

• Art Postcard

   

• Work of art title: Gualtherius and Griselda
• Artist (if known): Angelica Kauffmann (1741-1807)
• Media or other details: 
• Publisher / Gallery: The Iveagh Bequest Kenwood / English Heritage
• Postally used:  no
• Stamp & postmark details (if relevant): n/a
• Size: Modern
• Notes & condition details:

NOTES:

Size: 'Modern' is usually around 6in x 4in or larger / 'Old Standard' is usually around 5½in x 3½in. Larger sizes mentioned, but if you need to know the exact size please ask as this can vary.

All postcards are not totally new and are pre-owned. It's inevitable that older cards may show signs of ageing and use, particularly if sent through the post. Any faults other than normal ageing are noted.

Stock No.: A111

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Postage & Packing:

UK (incl. IOM, CI & BFPO): 99p

Europe: £1.60

Rest of world (inc. USA etc): £2.75

No additional charges for more than one postcard. You can buy as many postcards from me as you like and you will just pay the fee above once. (If buying postcards with other things such as books, please contact or wait for invoice before paying).

Payment Methods:

UK - PayPal, Cheque (from UK bank) or postal order

Outside UK: PayPal or Google Checkout ONLY please.   NO non-UK currency checks or money orders (sorry).

NOTE: All postcards are sent in brand new stiffened envelopes which I have bought for the task. These are specially made to protect postcards and you may be able to re-use them. In addition there are other costs to sending so the above charge is not just for the stamp!

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Text from the free encyclopedia WIKIPEDIA may appear below to give a little background information:

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Maria Anna Angelika/Angelica Katharina Kauffman (30 October 1741 – 5 November 1807) was a Swiss-Austrian Neoclassical painter. Kauffman (not Kauffmann) is the preferred spelling of her name; it is the form she herself used most in signing her correspondence, documents and paintings.^[1]

She was born at Chur in Graubünden, Switzerland, but grew up in Schwarzenberg in Vorarlberg/Austria where her family originated.

Her father, Joseph Johann Kauffman, was a relatively poor man but a skilled painter, who was often traveling for his work. It was he who taught his precocious daughter. Angelica rapidly acquired several languages from her mother, Cleophea Lutz, read incessantly and showed talent as a musician, but her greatest progress was in painting, and by her twelfth year she had become a notability, with bishops and nobles for her sitters.

In 1754 her father took her to Milan.

Later visits to Italy of long duration followed. In 1763 she visited Rome, returning again in 1764. From Rome she passed to Bologna and Venice, everywhere feted for her talents and charm. Writing from Rome in August 1764 to his friend Franke, Winckelmann refers to her popularity. (She was then painting his picture, a half-length; of which she also made an etching.) She spoke Italian as well as German, he says, and expressed herself with facility in French and English - one result of the last-named accomplishment being that she became a popular portraitist for British visitors to Rome. "She may be styled beautiful," he adds, "and in singing may vie with our best virtuosi."

While at Venice, she was induced by Lady Wentworth, the wife of the British ambassador, to accompany her to London. One of her first works in London was a portrait of David Garrick, exhibited in the year of her arrival at "Mr Moreing's great room in Maiden Lane." The rank of Lady Wentworth opened society to her, and she was everywhere well received, the royal family especially showing her great favor. Her firmest friend, however, was Sir Joshua Reynolds. In his pocket-book her name as Miss Angelica or Miss Angel appears frequently; and in 1766 he painted her, a compliment which she returned by her Portrait of Sir Joshua Reynolds. Another instance of her intimacy with Reynolds is to be found in her variation of Guercino's Et in Arcadia ego, a subject which Reynolds repeated a few years later in his portrait of Mrs Bouverie and Mrs Crewe.

When, in about November 1767, she was entrapped into a clandestine marriage with an adventurer who passed for a Swedish count (the Count de Horn), Reynolds helped extricate her.

It was doubtless owing to Reynolds's good offices that she was among the signatories to the petition to the king for the establishment of the Royal Academy. In its first catalog of 1769 she appears with "R.A." after her name (an honor she shared with one other lady, Mary Moser); and she contributed the Interview of Hector and Andromache, and three other classical compositions.

Her friendship with Reynolds was criticized in 1775 by fellow Academician Nathaniel Hone in his satirical picture "The Conjurer". This attacked the fashion for Italianate Renaissance art, ridiculed Reynolds and included a nude caricature of Kauffman, later painted out by Hone. The work was rejected by the Royal Academy.

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