Ažurirano Listopad 2026 · rangirano prema našoj ocjeni popularnosti (pretraživanja, posjeti i narudžbe za svako djelo) · 199 djela Angelica Kauffmann u našem katalogu
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Najpoznatije djelo umjetnika Angelica Kauffmann je Diana and Her Nymphs Bathing (1778). Možete ga pronaći u muzeju Art Gallery of South Australia u gradu Adelaide. Sljedeći na listi su Johann Wolfgang von Goethe (1775) i Cornelia Africana (1785). U našem katalogu nalazi se 199 djela umjetnika Angelica Kauffmann; ovaj vodič izdvaja 100 najpoznatijih, uz godinu nastanka, muzej i priču o svakom platnu.
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 · Narodni muzej u Varšavi
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Ludwig I of Bavaria as Crown Prince1807 · Bavarske državne slikopisne zbirke
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Portrait of the Impromptu Virtuoso Teresa Bandettini-Landucci of Lucca1794 · Kunstpalast
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Portrait of a woman, traditionally identified as Lady Hervey1770 · Yale Center for British Art
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Portrait of Lady Georgiana, Lady Henrietta Frances and George John Spencer, Viscount Althorp1774 · Althorp
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Lady Georgiana Spencer, Henrietta Spencer and George Viscount Althorp1766
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Penelope sacrificing to Minerva for the Safe Return of her Son, Telemachus1774
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Vortigern, King of Britain, enamoured with Rowena at the Banquet of Hengist, the Saxon General1770 · Saltram House
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Venus directing Aeneas and Achates to Carthage1768 · Saltram House
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Augusta, Duchess of Brunswick (1737-1813) with her son Charles George Augustus (1766-1806)1767 · Royal Collection
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Jane Maxwell, Duchess of Gordon, Wife of the 4th Duke of Gordon1772 · Skotska nacionalna galerija portreta
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Portrait of Eleanor, Countess of Lauderdale1780 · Muzej fine umjetnosti u Houstonu
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Alexander Gordon, 4th Duke of Gordon, 1743 - 1827. Keeper of the Great Seal of Scotland1774 · Skotska nacionalna galerija portreta
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Portrait of Mrs. Cubley as Terpsichore, half-length, in a white dress and a blue wrap, playing a lyre1777
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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
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Praxiteles Giving Phryne his Statue of Cupid1794 · Rhode Island School of Design Museum of Art
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Thomas Noel-Hill, 2nd Baron Berwick of Attingham, FSA (1770-1832)1793 · Attingham Park
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Portrait of Domenica Morghen as Tragedy and Maddalena Volpato as Comedy (Tragedy and Comedy).1791 · Narodni muzej u Varšavi
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Portrait of Krystyna Miaskowska née Rychłowska.1790 · Narodni muzej u Varšavi
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Ulysses discovers Achilles hidden among the daughters of King Lycomedes1787 · Finnish National Gallery
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Portrait of Louise of Brandenburg-Schwedt, Duchess of Anhalt-Dessau (1750-1811)1796
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Cumaean Sibyl after Domenichino1763 · National Museum of Women in the Arts
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The Child Pyrrhos imploring King Glaucus for Asylum1794 · Szépművészeti Múzeum
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Lieutenant General James Cuninghame1775 · Philadelphia Museum of Art
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Interview of Edgar and Elfrida, after Her Marriage to Athelwold1771 · Saltram House
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Četiri teme koje se najčešće pojavljuju u ovim djelima, svaka s svojim najpoznatijim primjerom.
8 muzeja u kojima se nalazi najviše djela s ove stranice.
| Muzej | Grad | Djela autora Angelica Kauffmann | Slike iz ovog popisa |
|---|---|---|---|
 Saltram House |
Plymouth | 11 | Sir Joshua Reynolds PRA (1723-1792), Self-Portrait, A Woman in Neapolitan Dress |
 Narodni muzej u Varšavi |
Varšava | 5 | Portrait of Michał Kazimierz Ogiński., Portrait of Helena Męcińska née Stadnicka as a Roman Vestal., Portrait of Wojciech Męciński. |
 Skotska nacionalna galerija portreta |
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, Kompozicija |
 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 |
 Ermitaž |
Sankt Peterburg | 8 | Portrait of Karl Leberecht |
Odaberite desetljeće kako biste vidjeli njegovo najistaknutije djelo.
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.
Na vrhu liste je Diana and Her Nymphs Bathing (1778), Art Gallery of South Australia, Adelaide. Odmah iza njega su: Johann Wolfgang von Goethe (1775) i Cornelia Africana (1785).
37 godina. Angelica Kauffmann je rođen/a 1741, a djelo Diana and Her Nymphs Bathing datira iz 1778.
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 i Sir James Hall of Dunglass, 1761 - 1832. Geologist. Godinu i muzej svakog od njih pronaći ćete u gornjem popisu.
U našem katalogu imamo 199 djela umjetnika Angelica Kauffmann, datiranih od 1753 do 1807.
Većinu njih možete pronaći u Saltram House (Plymouth), Narodni muzej u Varšavi (Varšava) i Skotska nacionalna galerija portreta (Edinburgh). Na gornjoj listi muzeja nalazi se detaljan pregled.
U 1770s, više nego ikada prije: 29 od 100 djela na ovoj stranici potječe iz tog vremena, od čega je Diana and Her Nymphs Bathing među njima.
Najstarije djelo ovdje je Self-portrait with a sheet of music (1753), a najnovije je Ludwig I of Bavaria as Crown Prince (1807).
Woman (16), Man (12) i Portraiture (6) od ukupno 100 djela na ovoj stranici.
Oil On Canvas, korišteno u 23 od 100 djela na ovoj stranici.
Neoclassical style, kao što možete vidjeti u djelima na ovoj stranici.
Na ovoj stranici možete vidjeti 11 djela u muzeju Saltram House, Plymouth, uključujući Sir Joshua Reynolds PRA (1723-1792), Self-Portrait i A Woman in Neapolitan Dress.
Da. Svaka slika na ovoj stranici dostupna je kao ručno oslikana uljana reprodukcija ili kao tisak, u veličini koja vam odgovara. Jednostavno otvorite stranicu slike kako biste je naručili.
U živopisnoj, intelektualno nabijenoj atmosferi osamnaestog stoljeća, malo je figura uživalo u toliko poštovanja i milosti kao Angelica Kauffmann. Rođena kao Maria Anna Angelika Kauffmann 30. listopada 1741. u Churu, Švicarska, njezino je život bio majstorska kompozicija kulturne tečnosti i umjetničke ambicije. Kao dijete čudo koje je posjedovalo i glazbeni talent i rano savladano poznavanje četiri jezika—njemačkog, talijanskog, francuskog i engleskog—kretala se kroz velika umjetnička središta Europe s lakoćom koja je nadila njezine godine. Njezino rano školovanje, pod nadzorom njezinog oca, vješčog muralista Josepha Johanna Kauffmanna, postavilo je temelje za karijeru koja će nadmašiti ograničenja često nametnuta ženama njezina doba. Već s dvanaest godina privlačila je pažnju plemićkih pokrovitelja i klerije, a njezin bujni talent djelovao je kao svjetionik u konkurentnim umjetničkim svijetovima Italije i Engleske.
Kauffmannovo putovanje bilo je prožeto stalnim kretanjem i dubokim povezivanjem. Kako je prelazila iz svojih švicarskih korijena u užurbane ulice Londona i klasični sjaj Rima, njezin je rad počeo odražavati duboku posvećenost prosvjetiteljskim idealima reda, jasnoće i klasične vrline. Njezin dolazak u London označio je transformativno poglavlje; njezin debi u Društvu umjetnika (Society of Artists) 1ms 1765. godine signalizirao je pojavu profesionalne sile koja će uskoro preoblikovati britansku umjetničku scenu. Upravo je u tom razdoblju uspostavila trajnu vezu sa Sir Joshua Reynoldsom, odnos izgrađen na uzajamnom umjetničkom poštovanju i zajedničkom eksperimentiranju s neoklasicističkim stilom. Kroz njezine oči, drevne legende Grčke i Rima nisu bile samo relikvije prošlosti, već žive, dišuće pripovijesti sposobne izraziti suvremenu ljudsku emociju.
Genijalnost Kauffmannovog djela leži u njezinoj sposobnosti da s jednakom virtuoznošću upravlja različitim žanrovima. Iako je bila iznimno tražena portretistica, koja je dočaravala eleganciju i društveni status europske elite, upravo su njezine povijesne slike osigurale joj mjesto u panteonu velikih majstora. Ova djela, često usredotočena na klasične, književne ili religijske teme, koristila su meku svjetlost i uravnotežene kompozicije kako bi izazvala osjećaj bezvremenskosti. Bilo da je prikazivala stoičnu vrlinu Cornelia Africana ili intimni dostojanstvenost pronađenu u njezinim obiteljskim portretima, posjedovala je jedinstven dar za prožimanje svojih subjekata spokojnom, psihološkom dubinom koja je odjekivala neoklasicističkom preferencijom za idealiziranu ljepotu.
Izvan platna, Kauffmann je bila pionir dekorativne umjetnosti, unoseći svoju sofisticiranu estetiku u zidopise i velike dizajne. Njezina tehnička vještina omogućavala joj je manipulaciju teksturom i svjetlom, što se vidi u delikatnom prikazivanju tkanina ili atmosferičnim pejzažima koji su često služili kao pozadina njezinim likovima. Ova svestranost osigurala je da se njezin utjecaj osjeti ne samo u galerijama, već i u samoj srži aristokratskog uređenja interijera. Njezina sposobnost spajanja monumentalne razmjere povijesne slike s rafiniranom intimnošću portretizma omogućila joj je da komunicira i s intelektualnim i s emocionalnim osjećajima svoje publike.
Povijesna važnost Angelica Kauffmann proteže se daleko izvan njezinih pojedinačnih postignuća; bila je pionirka koja je razbila staklene krovove umjetničkog etablismana osamnaestog stoljeća. Godine 1768. postigla je iznimnu čast nazivanja jednom od dvije ženske suosnivačice Kraljevske akademije umjetnosti u Londonu, uz Mary Moser. Ova prekretnica bila je duboki trijumf za žene u umjetnosti, dokazujući da ženski intelekt i tehnička vještina mogu se utemeljiti unutar najprestižnijih institucija tog doba.
Danas je njezino naslijeđe očuvano u najuglednijim svjetskim muzejima, od Tate Britain i Uffizija do Metropolitan Museum of Art. Njezin rad ostaje vitalna mjerodnica za razumijevanje neoklasicističkog pokreta—razdoblja definiranog povratkom klasičnoj jednostavnosti i poštovanjem prema antici. Dok gledamo njezine portrete i povijesne scene, vidimo više od samo lijepih slika; vidimo neprolaznog duha umjetnice koja je kretala kroz promijenjeni svijet s neusporedivom gracioznošću, ostavljajući za sobom vizualni svjedočanstvo o moći ljudske kreativnosti i trijumfu umjetničke volje.
