with another lady and compatriot, Mary Moser); and she contributed the “Interview of Hector and Andromache,” and three other classical compositions. From this time until 1782 she was an annual exhibitor, sending sometimes as many as seven pictures, generally classic or allegorical subjects. One of the most notable of her performances was the “Leonardo expiring in the Arms of Francis the First,” which belongs to the year 1778. In 1773 she was appointed by the Academy with others to decorate St Paul’s, and it was she who, with Biagio Rebecca, painted the Academy’s old lecture room at Somerset House. It is probable that her popularity declined a little in consequence of her unfortunate marriage; but in 1781, after her first husband’s death (she had been long separated from him), she married Antonio Zucchi (1728–1795), a Venetian artist then resident in England. Shortly afterwards she retired to Rome, where she lived for twenty-five years with much of her old prestige. In 1782 she lost her father; and in 1795—the year in which she painted the picture of Lady Hamilton—her husband. She continued at intervals to contribute to the Academy, her last exhibit being in 1797. After this she produced little, and in November 1807 she died, being honoured by a splendid funeral under the direction of Canova. The entire Academy of St Luke, with numerous ecclesiastics and virtuosi, followed her to her tomb in S. Andrea delle Fratte, and, as at the burial of Raphael, two of her best pictures were carried in procession.
The works of Angelica Kauffmann have not retained their reputation. She had a certain gift of grace, and considerable skill in composition. But her drawing is weak and faulty; her figures lack variety and expression; and her men are masculine women. Her colouring, however, is fairly enough defined by Waagen’s term “cheerful.” Rooms decorated by her brush are still to be seen in various quarters. At Hampton Court is a portrait of the duchess of Brunswick; in the National Portrait Gallery, a portrait of herself. There are other pictures by her at Paris, at Dresden, in the Hermitage at St Petersburg, and in the Alte Pinakothek at Munich. The Munich example is another portrait of herself; and there is a third in the Uffizi at Florence. A few of her works in private collections have been exhibited among the “Old Masters” at Burlington House. But she is perhaps best known by the numerous engravings from her designs by Schiavonetti, Bartolozzi and others. Those by Bartolozzi especially still find considerable favour with collectors. Her life was written in 1810 by Giovanni de Rossi. It has also been used as the basis of a romance by Léon de Wailly, 1838; and it prompted the charming novel contributed by Mrs Richmond Ritchie to the Cornhill Magazine in 1875 under the title of “Miss Angel.” (A. D.)
KAUFMANN, CONSTANTINE PETROVICH (1818–1882),
Russian general, was born at Maidani on the 3rd of March 1818.
He entered the engineer branch in 1838, served in the campaigns
in the Caucasus, rose to be colonel, and commanded the sappers
and miners at the siege of Kars in 1855. On the capitulation of
Kars he was deputed to settle the terms with General Sir W.
Fenwick Williams. In 1861 he became director-general of
engineers at the War Office, assisting General Milutin in the
reorganization of the army. Promoted lieut.-general in 1864,
he was nominated aide-de-camp-general and governor of the
military conscription of Vilna. In 1867 he became governor
of Turkestan, and held the post until his death, making himself
a name in the expansion of the empire in central Asia. He
accomplished a successful campaign in 1868 against Bokhara,
capturing Samarkand and gradually subjugating the whole
country. In 1873 he attacked Khiva, took the capital, and
forced the khan to become a vassal of Russia. Then followed
in 1875 the campaign against Khokand, in which Kaufmann
defeated the khan, Nasr-ed-din. Khokand north of the Syrdaria
was annexed to Russia, and the independence of the rest
of the country became merely nominal. This rapid absorption
of the khanates brought Russia into close proximity to Afghanistan,
and the reception of Kaufmann’s emissaries by the Amir
was a main cause of the British war with Afghanistan in 1878.
Although Kaufmann was unable to induce his government to
support all his ambitious schemes of further conquest, he sent
Skobeleff in 1880 and 1881 against the Akhal Tekkés, and was
arranging to add Merv to his annexations when he died suddenly
at Tashkend on the 15th of May 1882.
KAUKAUNA, a city of Outagamie county, Wisconsin, U.S.A.,
on the Fox river 7 m. N.E. of Appleton and about 100 m. N. of
Milwaukee. Pop. (1900), 5115, of whom 1044 were foreign-born
(1905) 4991; (1910) 4717. Kaukauna is served by the
Chicago & North-Western railway (which has car-shops here),
by inter-urban electric railway lines connecting with other cities
in the Fox river, valley, and by river steamboats. It has a
Carnegie library, a hospital and manufactories of pulp, paper,
lumber and woodenware. Dams on the Fox River furnish a
good water-power. The city owns its water-works. A small
settlement of Indian traders was made here as early as 1820; in
1830 a Presbyterian mission was established, but the growth of
the place was slow, and the city was not chartered until 1885.
KAULBACH, WILHELM VON (1805–1874), German painter,
was born in Westphalia on the 15th of October 1805. His father,
who was poor, combined painting with the goldsmith’s trade,
but means were found to place Wilhelm, a youth of seventeen,
in the art academy of Düsseldorf, then becoming renowned under
the directorship of Peter von Cornelius. Young Kaulbach contended
against hardships, even hunger. But his courage never
failed; and, uniting genius with industry, he was ere long foremost
among the young national party which sought to revive
the arts of Germany. The ambitious work by which Louis I.
sought to transform Munich into a German Athens afforded the
young painter an appropriate sphere. Cornelius had been commissioned
to execute the enormous frescoes in the Glyptothek,
and his custom was in the winters, with the aid of Kaulbach and
others, to complete the cartoons at Düsseldorf, and in the summers,
accompanied by his best scholars, to carry out the designs
in colour on the museum walls in Munich. But in 1824 Cornelius
became director of the Bavarian academy. Kaulbach, not yet
twenty, followed, took up his permanent residence in Munich,
laboured hard on the public works, executed independent commissions,
and in 1849, when Cornelius left for Berlin, succeeded
to the directorship of the academy, an office which he held till
his death on the 7th of April 1874. His son Hermann (1846–1909)
also became a distinguished painter.
Kaulbach matured, after the example of the masters of the Middle Ages, the practice of mural or monumental decoration; he once more conjoined painting with architecture, and displayed a creative fertility and readiness of resource scarcely found since the era of Raphael and Michelangelo. Early in the series of his multitudinous works came the famous Narrenhaus, the appalling memories of a certain madhouse near Düsseldorf; the composition all the more deserves mention for points of contact with Hogarth. Somewhat to the same category belong the illustrations to Reineke Fuchs. These, together with occasional figures or passages in complex pictorial dramas, show how dominant and irrepressible were the artist’s sense of satire and enjoyment of fun; character in its breadth and sharpness is depicted with keenest relish, and at times the sardonic smile bursts into the loudest laugh. Thus occasionally the grotesque degenerates into the vulgar, the grand into the ridiculous, as in the satire on “the Pigtail Age” in a fresco outside the New Pinakothek. Yet these exceptional extravagances came not of weakness but from excess of power. Kaulbach tried hard to become Grecian and Italian; but he never reached Phidias or Raphael; in short the blood of Dürer, Holbein and Martin Schongauer ran strong in his veins. The art products in Munich during the middle of the 19th century were of a quantity to preclude first-rate quality, and Kaulbach contracted a fatal facility in covering wall and canvas by the acre. He painted in the Hofgarten, the Odeon, the Palace and on the external walls of the New Pinakothek. His perspicuous and showy manner also gained him abundant occupation as a book illustrator: in the pages of the poets his fancy revelled; he was glad to take inspiration from Wieland, Goethe, even Klopstock; among his engraved designs are the Shakespeare gallery, the Goethe gallery and a folio edition of the Gospels. With regard to these examples of “the Munich school,” it was asserted that Kaulbach had been unfortunate alike in having found Cornelius for a master and King Louis for a patron, that he attempted “subjects far beyond him, believing
