Скачать с ютуб Paintings by One of the Women Founders of the Royal Academy of Arts, London в хорошем качестве

Paintings by One of the Women Founders of the Royal Academy of Arts, London

ArtTop10.com Founder Robert Dunt reviews Angelica Kauffman at the Royal Academy Subscribe to ArtTop10.com :: http://bit.ly/2vfN3ZQ Robert Dunt - http://www.robertdunt.com/ - https://robert-dunt-art.myshopify.com... Support the channel - https://www.paypal.com/cgi-bin/webscr... Subscribe to my other channel TravelDog - food and travel films - TravelDog -    / @_traveldog_   The press release says - In March 2024, the Royal Academy of Arts will celebrate the life and work of Angelica Kauffman (1741-1807), a founding member of the Royal Academy and one of the most acclaimed artists of the 18th century. Presenting history paintings as well as portraits, including some of her finest self- portraits, the exhibition will trace Kauffman’s artistic career from child prodigy to one of Europe’s most sought-after painters. The exhibition will feature over 30 artworks by Kauffman and include important international loans, many of which have never been seen in the UK before. Born in Chur, Switzerland, in 1741, Kauffman’s artistic talent was soon recognised during her childhood. As her family moved between Switzerland, Austria and Italy, Kauffman was trained as both a musician and as a painter, eventually choosing to pursue the latter professionally. She spent much of her early life in Italy, where she was able to study the works of the Old Masters. She moved to London in 1766 and enjoyed a prosperous career, earning significant fame, fortune and an influential circle of patrons, many of whom were women. When the Royal Academy was established in 1768, Kauffman was one of only two women founding members, along with Mary Moser. Kauffman exhibited extensively at the Royal Academy throughout her time in London and continued to exhibit there after her return to Rome in 1782, where she would live for the rest of her life. The exhibition will be presented in four sections. Introducing the exhibition will be a group of Kauffman’s most celebrated self-portraits. Throughout her career, Kauffman returned to the practice of self-portraiture and presented herself in many different guises. As a woman artist, portraying herself enabled Kauffman to define her identity and take control of how she was seen by others. Highlights will include Self-portrait in the Traditional Costume of the Bregenz Forest, 1781 (Tiroler Landesmuseum Ferdinandeum, Innsbruck) and Self-portrait in All-antica Dress, 1787 (Gallerie degli Uffizi, Florence), a work she presented to the Grand Duke of Tuscany for his famous gallery of artists’ self-portraits. The following section will explore Kauffman’s training in Rome and her career after her arrival in London. In London, Kauffman was widely regarded as one of the most sought-after artists of the period; as one contemporary stated ‘the whole world is Angelicamad.’ Her Portrait of Johann Joachim Winckelmann, 1764 (Kunsthaus Zurich), painted when she was just 22 years old, was applauded for its exceptional likeness. Though very successful as a portraitist, she identified herself primarily as a history painter, the genre at the heart of the Royal Academy’s mission. Notably, Kauffman often chose to focus on female protagonists, such as in Cleopatra Adorning the Tomb of Mark Anthony, c.1769-70 (The Burghley House Collection, Lincolnshire), a picture she exhibited in the second Annual Exhibition of the Royal Academy in 1770. The third section will examine Kauffman and the Royal Academy of Arts, looking at her success and influence in the male dominated society of the 18th century. This section will include Johan Zoffany’s famous group portrait of the Royal Academy members, The Academicians of the Royal Academy, 1771-1772 (Royal Collection Trust, London) in which Kauffman and Moser’s position as women members is starkly apparent as they are not allowed in the Life Room, where the portrait is set, and instead their presence is reduced to portraits on the wall. Other works in this section will include two of the four ceiling paintings Kauffman was commissioned to create for the original home of the Royal Academy in Somerset House: Design, and Composition, 1778-80 (both Royal Academy of Arts, London), Portrait of Joshua Reynolds, 1767 (Saltram House, Devon, National Trust Collection) as well as Self-portrait with a Bust of Minerva, c. 1780-84 (Bündner Kunstmuseum, Chur), which alludes to Reynold’s famous self-portrait painted in 1780. The final section of the exhibition will focus on Kauffman’s late career in Rome. When she returned to Italy in 1782, her studio near the Spanish Steps became a hub for the cultural elite and her status and reputation continued to prosper. One contemporary described her as ‘the most cultivated woman in Europe.’