By Carlos Gonzalez Santamaria (alias ''Halle'')
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Sample text
P. 385. Moffitt: Poet and Painter. Pp. 449, 454. Boyle: Goethe: The Poet and the Age. P. 445. 27 Goethe: Italian Journey. (15 February 1787). P. 138. In March 1787, Kauffmann began a painting based on the meeting scene from Iphigenia in which Orestes recognizes his sister. (Act III, Scene 3) This scene, engraved by J. H. Lipps in 1788, appeared as the frontispiece to the third volume of Goethe’s collection, Schriften, which contained the first published edition of Iphigenia. Moffitt: Poet and Painter.
46 The bust is now located in the Promoteca Capitolina, Rome. It was one of 60 busts of great artists, among them Anton Raphael Mengs (whose studio she inhabited) and Piranesi. John: Bartolozzi, Zoffany, and Kauffman. P. 50. For an illustration of the Hewetson bust, see Oscar Sandler: Angelika Kauffmann und Rom. P. 180. Figure 156. Catriona MacLeod Sweetmeats for the Eye: Porcelain Miniatures in Classical Weimar* Neoclassical sculpture tends to have weighty, even colossal aspirations. This paper examines an innovative line of sculptural porcelain produced by the Fürstenberg manufactory in Braunschweig between 1771–1808, and which participates in an opposing trend, towards miniaturization.
21 To be sure, her brilliance as a painter was likened to the genius of native improvisatrici, a model of female creativity long respected in Rome. Among the first paintings that Kauffmann completed upon her return to Rome was Self-Portrait in the Character of Painting Embraced by Poetry (1782) (Figure 3), which represented her allegiance to Horace’s theory, ut pictura poesis [as is painting, so is poetry]. 22 Not surprisingly, these same concerns were central to the project of history painting at which Kauffmann excelled.