A Cyclopaedia of Female Biography/Kauffman, Maria Angelica
KAUFFMAN, MARIA ANGELICA,
Was born in 1742, at Coire, the capital of the Grisons. She was instructed in the elements of painting by her father, whose talents were moderate, and whom she soon excelled. She loved music, and her admiration of the beautiful was early developed. At the age of fourteen her father took her to Milan, where her talents and personal accomplishments rendered her an object of general admiration. In 1764 she went to Venice, and the following year accompanied Lady Wentworth, the wife or the British ambassador, to this country. Here she painted the whole royal family, which increased her reputation and improved her circumstances; and she was soon elected a member of the royal academy. In London she contracted a most unfortunate marriage, the details of which, from their romantic character, we are apt to assume, are only to be found in the pages of fiction. An English artist who had addressed her and been refused, stung by his disappointment, determined to be revenged upon her. He selected a very handsome young man from the lowest rank—some say he was a footman—and passing him off for a German count, introduced him into the house of Angelica, where he soon became a suitor. Angelica was deceived, and married him. The rejected artist now disclosed the deceit, and Angelica obtained a divorce; not, however, without suffering great ill-usage from her low-minded husband, who fled after robbing her of three hundred pounds. Seven years after, her husband having meanwhile died, Angelica married a Venetian painter, Signor Zucchi, with whom she lived very happily. She continued to retain her maiden name, and never had any children. Signor Zucchi also died long before her. Angelica resided seventeen years in this country; she then went to Rome, where she devoted herself to painting till her death, in 1807. In 1808, her bust was placed in the Pantheon. She left a select library, some beautiful original paintings of old masters, and a considerable fortune, which she divided among several individuals and charitable institutions. She painted many portraits and historical pictures, the latter chiefly after the antique; she treated poetical subjects in a fascinating manner that was peculiarly her own, drew well, coloured beautifully, and etched in a spirited style. Her works are remarkable for grace, though the critic may discover in them incorrectness of style and sameness of plan.