Interview

An Interview with Angelica Kauffmann

BY: C.H. 6

C. Just let me start by saying thank you so much for agreeing to join me for this interview, Maria Anna Angelica Kauffmann.

A. The pleasure is all my C.H. but please call me Angelica.

C. Okay Angelica, I have to know what inspired you as a child to make you interested in the arts.

A.  Well, I was born into a very artistic family. You see my father, Joseph Johann Kauffmann, is a painter. His is a painter of very, Umm, simple talents though. He mostly does church decoration. He also was able to produce a few portraits. He was always going about flattering my gifted artistic talent. He was, apparently, very successful in teaching me, and loved to show it off.

    Also I was very much into art at a young age. In my first writing lessons, after I copied the scroll writing, I tended to copy the scrolls ornaments around the edge of my writing book. I was also known for spending as much time as I possibly could at my father’s studio. That place was my own little get away, I loved it. I used to spend so much time copying these plaster models that my father used, and copying prints that he would acquire from other artists.

C. That’s very interteresting, Angelica. So, what effect did mentors have on you to develop your interest and talent in visual art?

A. This sounds a little strange but one of my mentors, in a way, was my Old Italian Priest. My family and I are very devoted Catholics. So, when I was a child and had my doubts about the arts circling my mind I went to him for advice. He strongly recommended to me to continue my work as a painter. Not to mention stressing for me not to become an actor. He pointed out how actors are regarded as inferior and would draw me away from my faith studies. Oh and I could never leave out Sir Joshua Reynolds, who I studied under for historical painting at the Academy [British Royal Academy]. I went on loving to do historical paintings.

   Of course there is my father as one of my mentors. Most of the girls would be out playing with dolls, as a child. Little old me was studying plaster models and copying heads. When I was barely nine years of age I was going into studies that most people, including artists, would not study until ten years later in life. My father was very determined to create an artist out of me. I was his little prodigy. Also it was his job that introduced me to the art field, and it was his studio I studied in.

C. That sounds like a nice way to spend a childhood. Now, can you tell me what the world of an artist’s field was like when you entered it?

A. Of course that is very simple to answer, MALE (Laugh)! Seriously though, the art world is not the typical place for a young, or any type of, woman here in the 1700s. For one thing it is very hard for women to secure models. As you know societies view of nudity in these times, imagine the objection for a young lady in the presence of a stripped man. Also I, like all women, are not allowed to go to life schools. We learn about how to keep the home mostly. So my anatomy, as a result, is very defective. Not to mention it is very rare for a woman to be admitted into an academy. That is why I was, am, so very honored to have been invited into the British Royal Academy in ’68 [1768].

   Mentioning the painting art field in my time, the styles tended to be Neoclassical and the decorative style of Rococo. During the Rococo era Portraiture was an important component of painting in all countries, but especially in Great Britain. That’s probably why I was involved with it. Well any way, artists’ use delicate colors and curving forms, decorating our canvases with cherubs and myths of love. Neoclassical art period came after the Rococo period. Neoclassical art is known for its Greek and Roman influence.  Lucky for me I got to live though and work with both styles of art.

C. Thank you for sharing such interesting information.  May I now ask you how did political, economic, and major cultural situations of your time affect your work?

A. The political view on the position on girls affected my art. The “Free and Equal” slogan of our time did not apply to women. Philosophes say women do have natural rights. Unlike those natural rights of men, women’s were constricted to the family and home life. For the era of reason it all seems very unreasonable. Also, looking though a political eye, my popularity declined a little. This is probably because of my unfortunate marriage (I separated from my first husband and later married another man).

The economics also made the buyers the upper class men. Sadly for me they were more interested in commissioning and buying portraits and landscapes. Despite the popularity I got to enjoy in the English society and my success as an artist, I was very disappointed by the relative apathy that the English had for historical painting. As a result I left England for Rome. There the economics didn’t matter as much since there historical painting was better established, esteemed, and patronized.

C. Would you mind telling us about your major accomplishments and the methods you used in your art?

A. Not at all. I like to think my biggest accomplishment is being able to be considered a great artist. Plus to have that honor in a man’s field, it just is so very Stupefacente [super, fantastic, great]! There is also one of my first shocks. When I was merely a little girl of thirteen years I had my first commissioned piece of art. One of my first later in life works was a portrait of David Garrick, exhibited in the year of my arrival in Rome at Mr. Moreing's great room in Maiden Lane. After that people everywhere were receiving me well, including the Royal family.

   There is also the Royal British Academy. As I said it was very hard for a female to be accepted into an academy, and believe me it was. I was first rejected from the academy. In the corner of my painting was a nude, so as a result, no academy. In 1768 though I was invited into the Academy, which alone is an accomplishment in itself. I am one of two women members, which to me is so… I don’t even have the words to describe it. I even had the honor to work with Biagio Rebecca to paint the Academy's old lecture room at Somerset House. I have told you about my Rococo and Neoclassical styles so I will not bore you with repeated information. What I haven’t said yet, though, is how I am very much into historical paintings.  Actually that was the whole reason I left Britain. I was disappointed by the relative apathy that the English had for historical painting. Ultimately, I left England for Italy, an area where historical paintings was better established, esteemed, and patronized.

I was also able to produce many portraits and decorative painting. The thing is I preferred history painting which was considered the highest, and hardest, artistic genre and reserved only for my male colleagues. Despite my inability to secure a formal artistic education or study the male nude, I was able to produce paintings which depicted classical mythology, history and allegory.

C. Believe me Angelica you could never bore me. Now, tell me, what were the key opportunities you had that led to in your life and art?

A. Thank you C.H. I would have to say, for one, an artist father was a key opportunity. I was able to learn at such a young age, with so many things. Like I said before I spent every moment I could in my father’s studio. The practice I was able to get from copying these exquisite prints. I drew those plaster models so many times I could draw them in my sleep. I was so blessed to have a father open and proud to help and have an artist as his daughter.

   I could never leave out Sir Joshua Reynolds. The opportunity to work with him could just melt my little old heart. Studying under him, plus the Royal British Academy alone, is such an honor and opportunity. There is also the fact I got to travel from Switzerland and Austria, to Britain, and to Rome. I received commissions from the Royal courts in Naples, Russia and Austria. My life could be considered one of the largest examples of opportunities filled into one period.

C. What were some of the personal choices you had to make to become successful?

A. There was always the choice of which art to go into. As I said before I was influenced by my priest. I pushed away the idea of acting from his advice. The idea of their, actor’s, class being inferior got put into my head. Not to mention the idea of being pulled away from my religious studies, almost like taking a step away from the Lord. With those ideas rushing though my head I choose not to go into the theater’s acting world.

     I also had the choice of being a musician. My mother always thought I would become one. You should have seen my father’s disapproval in that idea. He thought this even though I did show remarkable talent in the music world. At 13 I could play my music professionally, I even used to make my mother cry for joy at the notes. In the end, when it came down to the choice, I when into painting. I wouldn’t go back and change that decision if I had the chance either. 

C. What were some of the road blocks and hardships for you to overcome in order for you to be an artist?

A. Well, I had to overcome my limitation from my early life. It is very hard for women to secure models, making it very hard to be able to draw the male body in my work. There is also that little fact about how my anatomy is defected. I not sure how big an effect on me this is, but my father wasn’t a rich man. I still got by learning all I could and working with all my might, though.

   Another thing, I am a female. I had to overcome the boundary of the women’s place and a man’s world. There is also the hardship of stepping out of that set convert zone. People don’t usually put that into consideration. I was one of the, well, close to none stepping out into this field. Only to start off by having my father teach and brag over me. That is a lot to put on a little girl.

C. What types of limitations did you run into as both an artist and as a person?

A. Well as I have been saying before I am a woman in a man’s world. My education was limited to that of a man’s. The strikes against me in that area should have stopped me, but look where I am now. I had limits in learning the human body. There’s also my limitation of studying the opposite sex’s body. Without being able to study the body my images cannot reach that full realism.

   There is also me loving to do historical paintings. I did do portraits and decorative painting, and they were taking in by society. The problem though is that I preferred history painting. It was a problem because history painting are considered the highest artistic genre and reserved only for male artist. Despite the fact that I couldn’t study the male nude or my inability to acquire a formal artistic education, I was able produced paintings that showed classical mythology, allegory, and history.

C. What are some of your personal stories best tell about how you became successful in the arts?

A. Well my greatest progress, however, was in painting and in my twelfth year I had become a notability, with bishops and nobles. I think for such a young age that was just a bit of success in the arts. Looking back again at the Royal British Academy. In the beginning my work was rejected by the Royal Academy. Then in 1766 I was invited to study in London. Two years later I was presented with the honor of being one of two women to be admitted into the Academy.

    From 1769 to 1782 I was an annual exhibitor at the Academy. Sometimes I would send as many as seven pictures, usually of allegorical or classic subjects. One that I was most noted on was "Leonardo expiring in the Arms of Francis the First" 1778. In 1773 I was appointed by the Academy with others to decorate St Paul's Cathedral. Also Biagio Rebecca and I painted the Academy's old lecture room at Somerset House. A great step for women artist and my own success as an artist.

C. Well let me just say thank you again for joining me and answering these questions.

A. Thank you for having me here, I hope we can do it sometime soon. Maybe in a café in Rome?  Ciao!

Bibliography

News Paper

1.      Gerard, Frances A. "Angelica Kaufmann's Life." New York Times (June 18, 1893)

Book

2.      Charles, Victorian. Rococo.

3.      Mogg, Caroline C. The Neoclassical Source Book.

4.      Gerard,Frances A. Angelica Kauffmann A Biography.

5.      Ellis. Esler. World History

Web

6.      Biography Base. "Angelica Kauffmann Biography." 2004.http://www.biographybase.com/biography/Kauffmann_Angelica.html (accessed February 2, 2011).

7.      Johnson, Bruce. "Angelica Kauffmann Swiss Neoclassical Painter." January 27, 1993.http://hoocher.com/Angelika_Kauffmann/Angelica_Kauffmann.htm (accessed February 2, 2011)

8.      MacDonald, Lisa. "Women in Art - Angelica Kauffmann." http://mystudios.com/women/klmno/kauffmann.html (accessed February 2, 2011).

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12.  Knight, Kevin. "Catholic Encyclopedia: Angelica Kauffmann." 2009.http://www.newadvent.org/cathen/08609b.htm (accessed February 4, 2011).

13.  NeoClassic. "Against Great Odds." 2011.http://www.neoclassic.com/angelica-kauffmanns-artistic-triumph.html (accessed 4/3/11).

14.  History of Painters. "Angelica Kauffmann." http://www.historyofpainters.com/angelica_kauffmann.htm (accessed 4/3/11).

15.  Marx, Daniel. "Angelica Kauffmann." http://www.wga.hu/frames-e.html?/bio/k/kauffman/biograph.html (accessed 4/2/11).

16.  Olga, "Angelica Kauffmann." 1994.http://www.abcgallery.com/K/kaufman/kaufmanbio.html (accessed 4/4/11).