WOMAN IN ART
twenty-two her father took her to Venice, where she soon won the friendship of the wife of the English ambassador, Lady Wentworth, and eventually accompanied her to England, where she became a most popular painter. That same year (1768) the Royal Academy was founded with Sir Joshua Reynolds as its first president. The young woman artist was elected one of its original members; for one so young, a woman, and a foreigner, that was a remarkable honor. After two unhappy marriages, Angelica Kaufman devoted her time principally to historic subjects, having her studio in Rome, where she died in 1808.
It is of interest to note the subjects chosen by women whom we shall consider in these pages. Portraits were the vogue, and the classic in subject and composition invited the attempts of many artists. Angelica Kaufman produced a number of canvases that give us some knowledge of her imagination, grace of composition, and color scheme. In the collection of Mrs. Nicholas Brady is an example in point,—"Calypso Entertains Telemachus on her Lyre." For a nymph Calypso is most properly draped in a diaphanous gauze which half conceals yet half reveals the grace and beauty of her form, as, seated on a divan she entertains young Telemachus, let us suppose with words no less than with the dulcet tones of her lyre. The third party of the group is the fawn-colored hound, crouched as for repose, yet with head alert and turned toward his mistress in the attitude of interest and understanding. The picture is well balanced, wall and floor of marble, paneled and enriched with tracings and bas-reliefs of Greek designs. She was not a strong painter at all times, yet her work was ever pleasing.
The eighteenth century was history-making in both Europe and America, but not much of it was recorded on canvas till later, and that little was not from a woman's brush. Religious and social ideals and portraits had greater attraction for both painter and public. "Religion Attended by the Virtues,'" was one of the most famous of Angelica's paintings. "The Vestal Virgin" also shows a delicacy of design and surety of touch. There is a charm in many of her pictures, but the opportunity for comparison with the work of other artists was scant.
More than six hundred engravings were made from her paintings, which proves their popularity. We do well to study the works of former times, but are we justified in condemning such work because it does not tally with that of our time, type, and taste?
Should we despise the Mayflower that brought the Pilgrims to an un-
77
