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Index
Angela Rosenthal
Description: Angelica Kauffman: Art and Sensibility
Angelica Kauffman: Art and Sensibility
Index
Author
Angela Rosenthal
PublisherPaul Mellon Centre
Copyright© 2006 BY ANGELA ROSENTHAL
Stable URL: https://aaeportal.com/?id=-21689
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Index
abandonment motif, 15, 17–18, 40–41
Abelard, 202–4
Abigail, Countess of Home, 153
Abington, Frances, 69–75, 146–47
Abington, James, 73
Abschiedschmerz, 277
absence motif, 21, 23, 41, 143–45
academic-life classes, 49–52, 135, 151, 191, 225
Accademia Clementina, 251
Accademia del Disegno, 251, 253
Accademia dell’Arcadia, 174, 180
Accademia di San Luca: and Marie Renée Geneviève Brossard de Beaulieu, 256
and Kauffman, 227, 248, 253, 283
marble busts, 283
self-portraits, 251
La Speranza (Kauffman), 248, 253, 272
Achilleid (Statius), 200
Achilles, 137, 200–202
Ackerman’s Repository of Art, 90
acting profession, 59–75
Adam, Robert, 140, 141
“Address from Britannia to the celebrated Angelica, An,” 95–96
Adélaïde (Vigée-Lebrun’s maid), 84–85
Aeneas, 193
Aeneid (Virgil), 20
aesthetics: Kauffman, 13
masculine heroism, 191
Lady Mary Wortley Montagu, 134
rococo aesthetics, 103
self-portraits, 234
sensuality, 207
third earl of Shaftesbury (Anthony Ashley Cooper), 94, 274
Johann Joachim Winckelmann, 20
Alexander, William, 93–94
Alexander the Great, 8, 10–12, 86
all’antica pseudonyms, 180
allegorical paintings: androgyny, 157
double-painting, 280
female creativity, 165, 180, 187
importance, 256
masculinity, 273–81
personification, 40, 182, 183, 187, 251–54, 273–77
self-portraits, 244–51, 264–65, 271–81. See also history paintings
Almanach aus Rom, 213
Amazonie symbolism, 23, 197, 202, 230–31
amicitia, 280–81
Amor, 213, 216, 218
amusement, concept of, 142
anatomy, 190, 191, 216, 230
androgyny, 157, 191–92, 200, 202, 204
Angel, Miss, 99, 114
Angelo, Henry, 137
anonymity, 230–32
“Antworten auf die Fragen nach meinem Zimmer” (La Roche), 91
Apelles, 8–9, 12, 180
Aphrodite, 165, 193, 281
Aravamudan, Srinivas, 12, 128, 139
Ariadne, 15, 38, 162
Ariosto, Ludovico, 162
Aristotle, 280
art academies, 2
Artaud, William, 212, 221
art historians, 17–18, 41, 116
artistic creativity: female artists, 40, 157–59, 168, 233–34, 251
female voice, 22
femininity, 106
gender, 1–4, 7, 255, 272–77
male artists, 104–6
masculine/feminine polarization, 22–23
subjectivity, 3–4
artist/sitter relationships: eroticism, 66–67
femininity, 102, 244
and gender, 3–4, 49–57, 61–75, 103
intersubjective exchanges, 52–54
Kauffman, 107, 115—17, 170–86
portraiture, 52–57, 61–75
Joshua Reynolds, 86–88
sexuality, 52–59
studios, 43–52, 55–59, 61–75, 83
Astley, John, 86
Athena, 21, 35, 168, 197
Augusta, Princess of Wales, 164
Austen, Jane, 231
Bandettini, Teresa, 13, 90, 163, 168, 182–83
Barbauld, Anna Letitia, 156
Barry, James, 274
Progress of Human Culture, 158
The Temptation of Adam, 31
Barthes, Roland, 17–18, 68
Bartolozzi, Francesco, 99, 114, 140, 223
Angelica Kauffman (after Reynolds), 98
Fatima, the Fair Sultana (after Kauffman), 139
Zoraida, the Beautiful Moor (after Kauffman), 140
Bates, Johan, 172
Bates, Sarah (née Harrop), 163, 172–74
Batoni, Pompeo, 212
Baumgärtel, Bettina, 165, 176, 273, 280
behavioral codes, 46, 56, 58, 71–74
Belinda (Edgeworth), 262
Benoist. See Leroulx-Delaville, Marie-Guillemine
Benton, Mrs. Henry, 128
“Bergère des Alpes, La” (Marmontel), 262
Betsy Thoughtless (Haywood), 72, 146, 230
Bickerstaff, Isaac, 146–47
Binart, Adélaïde, 100, 101–2
Bingham, Margaret (née Smith), 168, 170–72
Boccaccio, Giovanni, 158
Boime, Albert, 20
borrowings, 69, 87
Boswell, James, 46
Boucher, François, 142
Bouliar, Marie Geneviève, 100–102
Chevalier Alexandre-Mane Lenoir, 100–101
Adélaïde Binart, 100–101
Bouverie-Pusey, Philip, 213
Bowles, George, 9, 163, 200
Brandoin, Charles, 31–33
Bregenz Forest, 257, 261
Bristol, Frederick Augustus Hervey, Earl of, 2, 163, 213
British Royal Academy. See Royal Academy
Brossard de Beaulieu, Marie Renée Geneviève, 256
Brun, Frederike, 91, 93, 183, 213, 218, 261
Bryson, Norman, 212
Burke, Edmund, 110, 212
Burke, Thomas, 223
Her Majesty Queen Charlotte Raising the Genius of the Fine Arts (after Kauffman), 165
Burney, Fanny, 64, 72, 164, 195, 230–31, 262
busts, sculpted: depicted in paintings, 55, 112, 115, 117, 128, 142, 167–68, 213, 245–47, 254
by Kauffman, 166–67
in Kauffman’s studio, 90, 91
as memorials, 283
Butler, Judith, 136
Bysshopp, Sir Cecil, 146, 205
Bysshopp, Lady Harriett Anne, 146, 148
Caldwall, James: Earl Derby’s Pavilion Interior (with Grignion, after Adam), 141
Calypso, 25, 29–30
Campaspe, 8–12, 86
Canova, Antonio: Hercules and Lichas, 216
canzone, 179
caricatures, 117–19
Carracci, Annibale: The Choice of Hercules, 273, 279
Camera, Rosalba, 48, 158
Carter, Elizabeth, 156, 157–58
Castiglione, Giovanni Benedetto: Genius of Castiglione, 255
Castle, Terry, 138
Castle Leopoldskron, Salzburg, 264, 272
castration anxiety, 54, 67
Cavendish, Margaret, 195
Caylus, Anne Claude Philippe de Tubières, comte de, 20
Cecilia (Burney), 262
chair, as metaphor, 59, 63–64, 66, 72–73
Charlotte, consort of George III, King of Great Britain, 153, 164–65
chiaroscuro technique, 36–37, 59
Chippendale chair, 72
Chodowiecki, Daniel (and family), 80, 135–36
Cabinet d’un Peintre (Chodowiecki), 80
Christian VII, King of Denmark, 136–38, 189, 192
Chur, Switzerland, 1, 38, 257
civilizing processes: female artists, 57, 192
masculinity, 7, 68–69, 198, 221
and women, 93–94, 157
Cixous, Hélène, 20
clandestine marriage, 39, 119
Cleopatra, 38, 162
clientele, 2, 12–13, 47, 153, 163–68, 236
Clio, 155, 159, 168
colonialism, cultural, 148–49
colonialism, political, 128, 143
Comedy, 187, 275
comportment, feminine, 161
Congregazione dei Virtuosi, 283
Congreve, William, 69, 71–72
constancy, 146
Conway, Alison, 281
Conway, Anne Seymour, 96
Copley, John Singleton, 232
Corlo (from Ossian), 198
Costanza, 159
Cosway, Mary, 224, 225, 229
Cosway, Richard, 50, 51, 225
Craft-Fairchild, Catherine, 195
Crébillon, Claude-Prosper Jolyot de, 132
Crisp, Samuel, 231
cross-gender role-playing, 13, 192, 194–204
Cry, The (Fielding), 75
cultural colonialism, 148–49
Cumaean Sibyl (Domenichino), 249
Cumaean Sibyl (Domenichino/Kauffman), 250
Cupid, 45–46, 165, 197
curdée, 131
Damer, Anne Seymour, 229, 230
Damer, Lady Caroline, 237
Damer, John, 96
Damer, Joseph, Lord Milton, 237
Damerian Apollo, The (Anonymous), 230
Dance, George, 117–18
Dance, Nathaniel, 117–19, 232
Angelica Kauffman, 233
Angelica Kauffman Drawing a Torso, 229–30
Joshua Reynolds and Angelica Kauffman, 118
David, Jacques Louis: Oath of the Horatii, 202
David Simple (Fielding), 231
Davis, Whitney, 17, 18
De Bolla, Peter, 52, 67
decorative arts, 2, 224
decorum, 53, 85
Defoe, Daniel, 132
De Horn, Count Frederick, 39, 119
Delacroix, Eugène, 142
Delany, Mary, 33–34, 137–38, 142
De Lauretis, Teresa, 136
De Mulieribus Claris (Boccaccio), 158
Derby, Edward Smith-Stanley, Earl of, 140
de Rossi, Giovanni Gherardo, 39, 97, 176, 178–79, 258, 272, 280
Dicksee, Margaret Isabel, 119
Miss Angel. Angelica Kauffman Visits Mr. Reynolds’ Studio, 120
Diderot, Denis, 57–59, 68, 77–79, 212, 218
diegesis, 18–19, 24
Die Unsichtbare Loge (Jean Paul), 218
Dighton, Robert, 228
The Paintress of Maccaroni’s, 229
dilettantes, 224, 227–30, 273
dogs, 23, 73
domesticity: clothing choices, 138
domestic sphere, 3, 94, 123–25, 142
femininity, 46, 79–80, 82–84, 94
masculine/feminine polarization, 278–79
as a motif, 18–19, 40
studios, 79–85
virtue, 278
Don Quixote (Cervantes), 140
double entendres, 43–44, 53
double-painting, 280
Duncombe, John, 158
Dürer, Albrecht: Melencolia I, 255
Earlom, Richard, 31–33
The Exhibition of the Royal Academy of Painting in the Year 1771 (after Brandoin)
Edgeworth, Maria, 262
effeminization/emasculation, 190–92, 198–202, 204, 212, 225, 230
Eichler, Gottfried, 281
Eloise, 202–4
Embassy Letters (Montagu), 128, 132
embroidery, 125–26
Émile (Rousseau), 55
empty canvas, as symbol, 114
Enquiry Concerning the Principles of Tastes, and the Origin of Our Own Ideas of Beauty etc., An (F. Reynolds), 94
entari, 131
Eon de Beaumont, Charles Geneviève Louis Auguste André Timothée d’, 192
Epistle of Eloise and Abelard (Pope), 202
epistolary novels, 146
Eros, 165
eroticism: artist/sitter relationships, 66–67
autoeroticism, 281
desire and longing, 11
gaze, 45–46, 54
graceful style, 191–92
heterosexual encounters, 274–77
homosocial discourse, 277
male presence, 135
miniatures, 146
Orientalism, 128, 140–42
portraiture, 45–46, 53–59, 68
satirical portrayals, 117–19
Three Graces, 281
virtuosity, 274–77. See also sexuality
Essay on Man (Pope), 228
etchings, 223, 251. See also mechanical paintings; mezzotint engraving
Etrusca, Amaryllis. See Bandettini, Teresa
Eucasis, 29
Eurycleia, 30, 34, 37
Evelina (Burney), 72, 231, 262
Every Man in His Humour (Jonson), 61
exclusion, 22, 49–52, 135, 151, 191
Exeter, Lord Cecil Brownlow, 9th Earl of, 163
exhibitions: The Exhibition of the Royal Academy of Painting in the Year 1771 (Earlom after Brandoin), 31–34
female artists, 31–34
Kauffman, 31–34, 59, 137, 161–62, 192–93
Royal Academy, 155, 158–59, 161–62, 226–27
satirical portrayals, 31–33
spectatorship and criticism, 31–34
Facius, Georg Siegmund and Johann Gottlieb, Achilles Discovered by Ulysses Amongst the Attendants of Deidamia (after Kauffman), 200
Fantastici, Fortuna Sulgher, 172
fashion, 151
Fatima, 138–42
female artists: academic-life classes, 135
allegorical paintings, 244–56, 264–65, 271–81
anonymity, 230–32
artistic informality, 84–85
artists/historians, 18
artist/sitter relationships, 3–4, 52–57, 61–75
blurring, 246
civilizing processes, 57
devaluation theory, 280
domestic sphere, 79–80, 82–84
exclusion, 3, 22, 49–52, 225
exhibitions, 31–34
femininity, 49, 102
heterosexual encounters, 46–47, 49
marginalization, 3
misogyny, 158
networks, 158–59
ocular control, 55–57, 68
painting style, 103
popularity, 224–25
propriety, 46, 56, 58
psychosexual tensions, 84
public vs. private space, 230, 232
rhetorical gestures, 231–32, 256, 272
satirical portrayals, 225–31
self-effacement, 231, 283
social encounters, 49
status, 156–58
studios, 82–85
women writers, 230–31. See also self-portraits
female sitters: creative women, 13
femininity, 47–48, 102, 190
intersubjective exchanges, 8
Turkish dress, 12, 125, 146
Feminiad, or Female Genius: A Poem (Duncombe), 158
femininity: artistic creativity, 7
artist/sitter relationships, 102, 244
behavioral codes, 46, 56, 58, 71–74
chair, as metaphor, 73
clothing choices, 151
domesticity, 46, 79–80, 82–84, 94
European perspectives, 12
female artists/sitters, 47–49, 102, 190
heroism, 191, 194, 202, 204
interiority, 150
masculine/feminine polarization, 278–80
and masquerades, 138, 198–200
ocular control, 66–68
Orientalism, 126–28, 148–49
rational choice, 272–76
sensibility, 3, 12
sensitivity, 93, 277–78
social encounters, 135
space, 134–35
spectatorship and criticism, 7, 32–34
Turkish bath, 134–35
virtuosity, 218, 262, 278–79
feminization, 78
Fénelon, François de: Les Avantures de Telémaquefils d’Ulysse, 20, 25
Ferenczi, Sandor, 54
Fernow, Carl Ludwig, 1, 2
Ferriol, Charles de, 128, 130, 142, 144
fetishization, 53, 146
Fielding, Sarah, 75, 231
Firmian, Franz Laktanz, Count of, 264–65
Firmian, Karl Joseph, Count of, 272
Foote, Samuel, 44–45
Forbes, Mr., 163
Fortunate Mistress, The (Defoe), 132
Foster, Elizabeth, 163, 213, 215
Fragonard, Jean-Honoré, 142
Freud, Sigmund, 17, 54
Fuseli, Henry, 13, 33, 193
Füssli, Johann Rudolf: Allgemeines Künstlerlexikon, 190
Gainsborough, Thomas, 62–63, 88–90
David Garrick, 62
Galland, Antoine: Arabian Nights Entertainment, 132, 135
Layla wa-Layla, 132, 135
Les Milles et une nuits, 132
A Thousand and One Nights, 132
Galleria degli Autoritratti, 265, 269–72
Galleria degli Uffizi, 265, 269–72
Garb, Tamar, 49
Garrick, David, 59–69, 72, 189, 274–75
gaze: academic-life classes, 52
artistic gaze, 46, 48–49, 52–56
as civilizing process, 7
and control, 133
eroticism, 45–46, 54
ethnographic gaze, 134
female gaze, 54–57, 73, 168
David Garrick, 64–65
intersubjective exchanges, 48–49
Kauffman, 204–5, 265
male gaze, 45–46, 54–57, 101, 135–36, 143, 146, 205
Medusan gaze, 54–55, 57
melancholy, 41
self-portraits, 176, 234–35
sexuality, 54–56, 73–74
Turkish culture, 133–35
visual histories, 41
gender: art historians, 17–18, 41
artist/sitter relationships, 3–4, 49–57, 61–75, 103
behavioral codes, 46, 56, 58, 71–74
binary construction, 106, 204
blurring, 195, 202
chair, as metaphor, 73
clothing choices, 138
cross-gender role-playing, 13, 192, 194–204
female creativity, 7, 165, 180, 187
feminine inscriptions, 20
femininity, 190–91
flexibility, 13
gendered identities, 192, 204
and history paintings, 191–204
male creativity, 104–6
man as artist/subject, 4
and masquerades, 138, 198–200
Orientalism, 126–53
pendant paintings, 100, 106, 119
and portraiture, 43–49, 191–204, 245
public vs. private space, 79–85, 90–91
spectatorship and criticism, 7, 31–34
subjectivity, 194–95
woman as model/object, 4. See also artistic creativity
General History of Music (Burney), 231
Genius/genius, 86–88, 158, 165, 254–55
Gentlemen’s Magazine, 44, 136, 172
George IV, King of Great Britain, 165
Gerning, Johann Isaak, 91
Gérôme, Jean-Leon: A Turkish Bath, 142
Gessner, Conrad, 212
Ghiberti, Lorenzo, 105–6
Giambologna, Mercury, 52
Gilbert, Ann Taylor, 278–79
Gilbert, Sandra, 9
Giovane, Palma, 279
Giovio, Paolo, 251
Göchhausen, Luise von, 93
Goethe, Johann Wolfgang von: and Emma Hart, Lady Hamilton, 186, 187
and Kauffman, 218, 269–71
portraiture, 207, 209–10
Wanderer, 92–93
Golden Ass (Apuleius), 216
Goldsmith, Oliver, 64, 110, 112
gömlek, 130, 131
Gorsen, Peter, 191–92
Grace/grace, 190, 218, 280
Grammar of Narrative, A (Prince), 18
grand style of painting, 110, 112, 114, 279
Grand Tour, 212
Greville, Charles, 183
Griffith, Elizabeth, 156
Grignion, Charles: Earl Derby’s Pavilion Interior (with Caldwall, after Adam), 141
Gubar, Susan, 9
Guercino: Persian Sibyl, 249
Habermas, Jürgen (Habermasian discourse), 8, 81, 207
Hackert, Jacob Philipp, 103–4
hair, as symbol, 114
Hals, Frans, 59, 63–64
Portrait of a Man, 63
Hamilton, Lady Elizabeth, Countess of Derby, 140
Hamilton, Lady Emma Hart, 13, 163, 168, 182, 183, 185–87
Hamilton, Sir William, 19, 187
hammam, 12, 133–36, 142, 151
harems, 12, 127, 131–35, 141, 146–47, 149–50
Harris, Ann Sutherland, 102
Harrop, Sarah. See Bates, Sarah (née Harrop)
Harvey, Lord Robert, 98
Haywood, Eliza, 72, 146, 230
Hazlitt, William, 43, 52–54, 64, 67–68, 77, 86
Head of an Alderman Finished by Cupid, The (Anonymous), 45
Hector, 192–94 “Heimat,” 256–61
Helen, Judgh and Dorothy, 236
Herculean choice, 40, 194, 272–81
Hercules, 216, 273–75, 280–81
Hercules at the Crossroads, 273
Herder, Johann Gottfried: Briefe zur Beförderung der Humanität, 151
and Kauffman, 2, 93, 192, 220–21, 262, 270–71
on Kauffman’s painting style, 210
on music, 92
on women’s clothing, 151
heroism, 191, 194, 202, 204, 216, 279
Hertel, Johann George: “Amicitia” (after Eichler), 281
heterosexual encounters, 46–47, 49–50, 69, 135, 274–77
Hewetson, Christopher, 283
Hinz, Berthold, 117 historia, 15
History of Ancient Art (Winckelmann), 15, 17, 237
history paintings: allegorical paintings, 161–63, 256
Ariadne, Abandoned by Theseus, Discovered by Bacchus, 15
cross-gender role-playing, 195–204
domestic motif, 18–19, 40
female protagonists, 161–63
feminine narratives, 19–25, 256
and gender, 191–204
Homeric themes, 15–30, 34–41
mythological paintings, 256
neoclassical style, 20
patronage, 166, 168
perceptions, 13
and portraiture, 4, 7–8
rhetorical self-representations, 272–74
spectatorship and criticism, 31–34
weaving motif, 15, 18–19, 21–25
Hoare, Frances, 153, 163, 164, 166–68
Hoare, Sir Richard Colt, 167
Hoare, William, 89
Hogarth, William: Self-Portrait Painting the Comic Muse, 117
Holly, Michael Ann, 17–18
Homer. See Iliad (Homer); Odyssey (Homer)
Homeric themes, 7, 15–30, 34–41
homosexual encounters, 46. See also cross-gender role-playing
homosocial intersubjectivity, 8, 50, 134–35, 146, 277, 281
Hone, Nathaniel, 50
The Pictorial Conjuror, Displaying the Whole Art of Optical Deception, 226–27, 228
Hooper, Samuel, 45
Hope, 249, 253, 255, 264–65
Howard, Francis: The Chevalier (or Chavalière) d’Eon (after Kauffman), 192
Huddesford, Reverend George, 231
Hulk, Abraham Jacobsz: Antinous, 204
humanism, 4, 94, 273
Humphry, Ozias, 88–89
Hymen, 202–4
iconographic conceits, 176, 180
Iconologia (Ripa), 114, 280
identity formation, 3, 8, 138
Idler, The, 110, 114
Iliad (Homer), 20
imago, 7, 237, 244, 249
Imitatio/imitation, 69, 87, 186, 236
Ingres, Jean-Auguste-Dominique, 135
Inibaca (from Ossian), 195–98
inner Orient, 12, 142–43, 153
interiority, 150
intersubjective exchanges: artist/sitter relationships, 52–54
female artist/male sitter, 45–48, 54–69
David Garrick, 59–69
gaze, 48–49
Kauffman and Reynolds, 119, 121
portraiture, 44–45, 48–49, 57–59, 75
psychosexual tensions, 64–66, 72
invention of poses, 87–88
Ittershagen, Ulrike, 186–87
Jamineau, Isaac, 164
Jean Paul (Johann Paul Friedrich Richter), 218
Johnson, Samuel, 46, 48, 64, 110, 230
Johnson’s Ladies New and Polite Pocket Memorandum for 1778, 155, 158, 161
Jonson, Ben, 61
Julia, 198–200
Kahya’s Lady. See Fatima
Kamuf, Peggy, 22
Kauffman, Angelica
—academic admissions, 158, 248–49, 251–52
—academic-life classes, 49, 50, 191
—allegorical paintings, 244–56, 264–65, 271–81
—artistic model, 252–54
—artistic sensibilities, 204–5
—artist/sitter relationships, 107, 115–17, 170–86
—in Assembly of the Royal Academicians (Singleton), 158
—autoeroticism, 281
—and Teresa Bandettini, 90, 163, 168, 182–83
—brushstrokes, 212
—career choices, 38–40
—caricature of, 117–19
—character, 220
—critiques of, 189–92
—culturally informed ideals, 191
—early works, 15–16
—early years, 1–2, 38, 224
—exhibitions, 31–34, 59, 137, 161–62, 192–93
—fan design, 170
—and father, 257–60
—female patronage, 163–68
—female peers, 159–63, 170–86
—as female protagonist, 40, 273–74, 280–81
—figural style, 189–92
—gaze, 204–5, 265
—and Johann Wolfgang von Goethe, 218, 269–71
—graceful style, 191–92
—and Emma Hart, Lady Hamilton, 154–55
—”Heimat,” 256–61
—Herculean choice, 40, 272–81
—and Johann Gottfried Herder, 220–21, 262, 270–71
—homelessness, 260–61
—Homeric themes, 15–25, 34–41
—and Cornelia Knight, 180–82
—in London, 1–2, 38, 95–99
—loss motif, 38–41
—as Muse, 91–93, 116, 156
—musical interests and voice, 40, 91, 119, 272–78
—mythological paintings, 256
—Orientalism, 126–32, 137–53
—patronage, 163–68, 236
—persona, 189–90, 223, 244–48, 256–63, 271–72
—poetic tribute to, 95–97
—popularity, 2, 155, 224
—portrayals of: by Dance, 229–30, 233
by Maron, 240
by Reynolds, 98
by Singleton, 158
by West, 255
by Zoffany, 49, 50, 225
—portrayals of men, 190–221
—private portrait collection, 91
—public image, 262–65, 269–71
—public vs. private space, 232, 265, 279
—and Raphael, 252–54
—representations of masculinity, 189–214, 216–21
—and Joshua Reynolds, 96–99, 106–21, 164, 232
—romantic relationships, 39, 116, 118–19
—royal patronage, 165–66
—satirical portrayals, 190, 226–29
—sculpted busts of, 283
—use of signature, 265
—signature painting, 248–49, 251
—soulfulness, 218, 220
—status, 155, 251, 259
—studio arrangements, 31, 82–83, 90–94
—and Helfrich Peter Sturz, 189–92
—and Fortunata Sulgher-Fantastici, 174–80
—in traditional costume, 256–61
—urban vs. rural identity, 257–65
—works: Abelard Presents Hymen to Eloisa, 202–4
Alexander, Apelles, and Campaspe, 10
Alexander, 4th Duke of Gordon, 206, 207, 213
Amor and Psyche, 188–89, 216, 219
Angelica Kauffman (after Reynolds), 109
Antique Bust, 166
Antonio Canova, 216
Athena Taking Up Arms, 197
Ariadne, Abandoned by Theseus, Discovered by Bacchus, 15
Augusta Duchess of Brunswick with her Newborn Son, Charles, 137
Benjamin West, 65
Calypso Mournful after the Departure of Ulysses, 27
Captain Robert Dalrymple, 207
Clio, 161
Cornelia Knight, 181
David Garrick, 42–43, 60, 72, 75
Design for a Fan: The Three Fine Arts, 170
Emma Hart, Lady Hamilton, as Thalia, 154–55, 185
Fatima, the Fair Sultana, 126
Fortunata Sulgher Fantastici, 175, 177
Frances Anne Hoare with a Bust of Clio, 167
Frederick August, Lord Hervey, 4th Earl of Bristol, 213
Hector Taking Leave of Andromache, 192–94
Immortality, 161–62
The Interview of Edgar and Elfrida, 166
Johann Gottfried Herder, 220
Johann Joachim Winckelmann, 17, 110
Johann Wolfgang von Goethe, 207, 209
John, Lord Althorp, later 2nd Lord Spencer, with His Sisters Georgiana, later Duchess of Devonshire, and Henrietta, later Countess of Bessborough, 214
John Rushout, 2nd. Lord Northwick, 207
Joshua Reynolds, 76–77, 97, 108, 110
Karl von Leberecht, 205
King Christian VII of Denmark, 137
Lady Harriett Anne Bysshop, 146
Lady Elizabeth Foster, 215
Margaret Bingham, née Smith, later Countess of Lucan, 171
Mary, 3rd Duchess of Richmond, 123–25, 131, 147–48
Mrs. Bates née Harrop, 173
Mrs. Henry Benton, 128
Mrs. Mosely, 122–23, 127
Morning Amusement, 126, 130, 141–42, 148, 150
Odysseus Discovers Achilles Amongst the Daughters of Lycomedes, 201
Onorato Caetani, 205
Paul Martinowitsch Count Skawronski, 205
Penelope and Her Web, 19
Penelope at Her Loom, 16, 23, 30, 40, 256
Penelope Awakened by Eurycleia with the News of Ulysses’ Return, 14–15, 19, 36–37
Penelope Invoking Minerva’s Aid for the Safe Return of Telemachus, 19, 25, 28, 35, 168
Penelope Taking Down the Bow of Ulysses for the Trial of Her Wooers, 19, 34, 192–93
Penelope Weeping Over the Bow of Ulysses, 19, 26, 35
Philip Bouverie-Pusey, 205, 213
Portrait of a Female Artist with Sketchbook, 172
Portrait of a Lady in the Character of a Muse, 172
Portrait of a Lady with a Sculpture of Minerva, 168, 169
Portrait of a Man, 207, 208
Portrait of a Man in Blue Jacket, 205
Praxiteles Showing Phryne the Statue of Cupid, 45–46, 47
The Return of Telemachus, 19, 30–33
Sappho, Inspired by Love, Composes an Ode to Venus, 160
The Shepherdess of the Alps, 262, 263
Sir Cecil Bysshopp, 146, 205
The Sisters Frances, Sophia, and Susan Coutts, Later Lady North, Lady Bute, and Lady Gildford, 213
The Sorrow of Telemachus, 25, 29, 30
La Speranza, 227, 248–49, 251–56, 264–65, 272
Study for a Female Figure (Music), 277
Telemachus and the Nymphs of Calypso, 25, 29
Teresa Bandettini, 184
Theresa Robinson Parker, 129, 167
Thomas Reade, 205
Trenmor and Inibaca, 195, 196
A Turkish Lady Reclining, Gazing at a Miniature, 126, 143–44, 148
The Two Gentlemen of Verona, 198–200
Venus Appearing to Aeneas in the Character of a Huntress, 193
Vortigern Enamoured of Rowena, 166
William Henry Lambton, 211
A Woman Called “Lady Hervey,” 131
Woman in Turkish Dress, 130, 131
Zeuxis Choosing His Models for His Painting of Helen of Troy, 1, 4, 5, 6, 204
—self-portraits: 1764, 224
1770–75, 242
1784, 266
1800, 282
as Imitatio, 235
as the Art of Design Listening to the Inspiration of Poetry, 178, 244–46
as the Muse of Painting, 180, 268, 271
at Age Thirteen, 238, 239
Between the Arts of Music and Painting, 40, 271–74
in a Bonnet, 224
in Landscape, Wearing the Traditional Costume of the Bregenz Forest, 257, 259
in the Traditional Costume of the Bregenz Forest, 257–58
in the Traditional Costume of the Bregenz Forest, Seated at her Easel, 259
in Turkish Garb, 152
with Charcoal Holder and Sharpener, 241, 243
with Drawing Pencil, 244
with Flower-Wreath, 222–23, 237—38
with the Bust of Minerva, 246, 247
with Wreath, 232
—See also history paintings; painting style; self-portraits
Kauffman, Johann, 283
Kauffman, Johann Joseph, 38, 257–60
Keate, George, 262
Kelly, Mary, 20
Knight, Cornelia, 12, 163, 168, 180–82
Knight, Phillipina Dean, Lady, 180
Kotzbue, August von, 48, 90, 98
Kraut, Gisela, 249, 251
Kristeva, Julia, 24, 35, 135
Labille-Guiard, Adélaïde, 48
Lallemand, Jean Baptiste: Atelier of the Painter, The, 81
Lama, Giulia, 158
Lambton, William Henry, 210–12, 221
lampoons, 119, 225–31. See also satirical portrayals
La Roche, Sophie von, 91
Lavater, Johann Caspar, 105–6
Hope, 254
Lorenzo Ghiberti, 105
Physiognomic Fragments, 105, 254
Lawrence, Karen, 195
Lebrun, Jean Baptiste Pierre, 106
Leeks, Wendy, 134
Lennox, Charlotte, 155
Lenoir, Chevalier Alexandre-Marie, 100–102
Leroulx-Delaville, Marie-Guillemine, later comtesse Benoist,: Innocence Between
Virtue and Vice, 200, 276
Lesbian Phallus, 136
Letters of the Right Honorable Lady M-y W-y M-e (Chodowiecki), 135–36
Lettres persanes (Montesquieu), 132, 134, 145
levantinization, 12, 128, 130, 148. See also Turkish dress
Lewis, Reina, 126
linear time, 35
Liotard, Jean-Étienne: Maria Theresa and Her Daughter Marianne in Turkish Habit, 148
Lodge, John: A View of the Dresses at the Late Masquerade Given by the King of Denmark, 137
London Opera House, 136
loss motif: abandonment, 15, 17–18, 40–41
castration anxiety, 54
emotional control, 68
nostalgia, 17, 51
personal loss, 38–41
sense of belonging, 260–61
Love for Love (Congreve), 69, 71
Luz, Cleofea, 38, 40
Lyric Odes to Royal Academicians (Pindar), 190
Macaulay, Catherine, 155
Macpherson, John, 195, 197–98
Maeanads, the, 281
male artists: as art historians, 18
artistic informality, 85
gaze, 135
studio arrangements, 85, 86–88
male sitters: civilizing processes, 7
effeminization/emasculation, 190–91, 212
gaze, 45–46, 54–55, 57, 101, 205
Kauffman, 205, 221
narcissism, 45
portraiture, 7–8, 204–5
Mannings, David, 99
Marks, Arthur, 232
Marmontel, Jean-François, 262
Maron, Anton von, 237
Angelica Kauffman, 240
masculinity: academic-life classes, 49–52, 135
allegorical paintings, 273–81
behavioral codes, 58
castration anxiety, 54, 67
chair, as metaphor, 73
civilizing processes, 7, 68–69, 198, 221
clothing choices, 212
cultural colonialism, 148–49
effeminization/emasculation, 190–92, 198–202, 204, 212
female artists, 104–5
female presence, 49–52
heroism, 191, 194, 202, 204, 216
male intellect, 74
masculine/feminine polarization, 278–80
ocular control, 55–57, 66–67
satirical portrayals, 32, 225–27
sensibility, 8, 207, 221
softened representations, 189–214, 216–21
virtue, 278
voyeurism, 135–36, 144–45
masks: and control, 138
in Emma Hart, Lady Hamilton, as Thalia (Kauffman), 187
personification, 182
satyr mask, 117
self-representations, 233–34
theatricality, 65, 74–75
masquerades: cross-cultural performances, 140–41
cross-gender role-playing, 195–204
and gender, 138, 198–200
identity formation, 138
lesbian desires, 136
masked balls, 136–38, 142
narrative function, 3, 137
neoclassical paintings, 140
Odyssey (Homer), 137
pendant paintings, 140
sexuality, 138–39
Turkish culture, 133
Turkish dress, 141, 146–48
Elisabeth Vigée-Lebrun, 85
Matthisson, Friedrich von, 90–93, 183, 261
mechanical paintings, 2, 126, 153, 223
Medusa, 54, 57
Melancholia/melancholy: art history, 17–18
gaze, 41
and genius, 254–55
Penelope, 23, 35
Telemachus, 30
Mellor, Anne, 265
Melmoth, William Henry, 20
Melpomene, 156, 183
Melzer, Joseph Anton, 260
Memoirs (Wilson), 138
Memorie Istoriche (Memorandum) (Zucchi), 176, 182
Mengs, Anton Raphael, 191, 236
Parnassus, 157
Sibyl, 249
Messias (Klopstock), 92
Metamorphoses (Ovid), 41
Meyer, Friedrich Johann Lorenz, 190–91
Meyer, Friedrich Ludwig Wilhelm, 262
mezzotint engraving, 31, 45, 62, 164, 229–31, 253–55
Michelangelo, 87–88, 110, 112, 114, 117, 270
Libyan Sibyl, 172
Pietà, 88
Miller, Nancy, 41
mimesis, 47, 48, 236–37
Minerva: allegorical paintings, 168, 246, 271
and Penelope, 25, 35, 37–38, 40–41
and Telemachus, 25, 30
and Self-Portrait with the Bust of Minerva (Kauffman), 246, 247
and Portrait of a Lady with a Statue of Minerva (Kauffman), 168, 169
misogyny, 158
Miss Angel, 99, 114
Miss Angel: A Novel (Thackeray), 119
Miss Prue, 69–75
Mnemosyne, 163, 165
modesty, 56, 278
Montagu, Elizabeth, 155, 157–58
Montagu, Mary Wortley, Lady, 12, 128, 131–36, 138–42, 147–48, 151
Montesquieu, Charles-Louis de Secondat, Baron de, 132, 134, 145
monumental time, 24, 35, 38
More, Hannah, 156
Morgan, John, 164, 232
Morghen, Raphael: Emma Hart, Lady Hamilton, as Thalia (after Kauffman), 186
Mosely, Mrs., 122–23, 127, 128
Moser, Mary: in Assembly of the Royal Academicians (Singleton), 158
membership in Royal Academy, 31
patronage, 164
in The Royal Academicians in General Assembly (Zoffany), 49, 50, 225
satirical portrayals, 229
spectatorship and criticism, 33
Mother, as symbol, 135
Mount Helicon, 13, 170, 180, 187
mourning, 17, 35, 40
Mulvey, Laura, 18, 147, 148
Musée Nationale des Monuments Français (Lenoir), 101
Muses: and Teresa Bandettini, 182–83
and Sarah Bates (née Harrop), 163, 172–74
and Mrs. Henry Benton, 128
female creativity, 187
as female protagonists, 162–63
and Emma Hart, Lady Hamilton, 154–55
and Kauffman, 91–93, 117
and Cornelia Knight, 182
music as, 40, 274–75, 277–79, 281
The Nine Living Muses of Great Britain, (Samuel), 155–59
patronage, 165, 168
and Fortunata Sulgher-Fantastici, 176, 180
Music/music: and emotional state, 278
importance, 92
Kauffman, 40, 91, 119, 272–78
Muthmann, Rut-Maria, 251
mythology: artistic creativity, 4, 38
iconographic conceits, 176, 180
mythological paintings, 192–93, 200–201, 244–56
The Nine Living Muses of Great Britain, (Samuel), 155–59
Orientalism, 128
studios, 91, 93. See also allegorical paintings; Homeric themes; Muses; Penelope
narcissism, 32, 45, 54, 134
narrative text, 7, 18–25, 34–38, 256
Nattier, Jean-Marie, 142
Nature’s Pictures (Cavendish), 195
neoclassical paintings: allegorical genres, 278
Marie Geneviève Bouliar, 103
masquerades, 140
Orientalism, 127–28
painting style, 20, 191
repetition, 36
The Nine Living Muses of Great Britain, (Samuel), 155–59, 161
Nochlin, Linda, 2–3, 102, 142–43
Northcote, James, 86, 263
Notes on Painting (Diderot), 212, 218
Oberdeutsche Staatszeitung, 264
ocular control, 46, 55–57, 66–68
Odysseus: absence, 21, 23, 41
and Achilles, 201
and Calypso, 25
masquerades, 137
perspective, 7
return to Penelope, 34, 37
Odyssey (Homer), 7, 15, 18–24, 34–38
Oedipal motifs, 18–19, 24–25, 29–30
On Sitting for One’s Picture (Hazlitt), 52, 77
Orientalism, 3, 126–53 Orlando Furioso (Ariosto), 162
Ossianic cult, 195
Ottoman Empire. See Orientalism
Oval Portrait, The (Poe), 9
Ovid, 41
Painting, 40, 114, 273–75, 278–79
painting style: allegorical genres, 157, 165
Marie Geneviève Bouliar, 100–102
brushstrokes, 212
double likenesses, 182
ethereal displacement, 213, 216, 218
female artists, 103
femininity, 190–91
Thomas Gainsborough, 89–90
grand style of painting, 110, 112, 114, 279
William Hazlitt, 86
inner soul, 213, 216
Kauffman, 59, 61–65, 107, 110, 115–16, 137–53, 170–86, 189–92, 234–36
Orientalism, 137–53
Raphael, 112, 183, 279
Joshua Reynolds, 86–88, 107, 110, 112, 114
Roman school, 265
self-portraits, 102, 234–49
theatricality, 182
Elisabeth Vigée-Lebrun, 105–6
Paintress: “The Proper Study of Mankind is Man,” The (Anonymous after Dighton), 228–29
Pamela (Richardson), 262
Pantheon, 283
Paper, Elisabeth, 149
Paradise Lost (Milton), 135
paragone, 176, 178, 187, 216
Parasside, Temira. See Sulgher-Fantastici, Fortunata
Parker, John, 97–98, 163, 166
Parker, Roszika, 280
Parker, Theresa Robinson, 128, 130, 148, 163, 164, 166–67
Paulson, Ronald, 73
Pelham, Henry, 232
Pelli, Giuseppe, 269
pendant paintings: feminine narratives, 25, 29
fetishization, 146
and gender, 100, 106, 119
genre scenes, 125
Johann Gottfried Herder, 220
interpretations, 99–102
Kauffman and Reynolds, 97, 114–15
masquerades, 140
Penelope: archery contest, 34–36
dreams, 36–38
as female protagonist, 159, 162
as metaphor, 17–18
narrative function, 15–26, 29
perspective, 7
and Telemachus, 22–23, 25, 30
as a weaver, 15–26, 40
Perinto. See de Rossi, Giovanni Gherardo
Persian and Turkish Tales (Pétis de la Croix), 132
Persian Letters, The (Montesquieu), 132, 134, 145
personification: allegorical paintings, 40, 182, 183, 187, 251–54, 273–77
and Teresa Bandettini, 182–83
female artists, 237
and Kauffman, 114–15, 117, 244–46, 271–74
and Cornelia Knight, 182
perspective, artistic, 65–66, 72
Pétis de la Croix, François, 132
Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful, A (Burke), 110
Pindar, Peter (Dr. Wolcot), 190
plagiarism, 236
Plato, 92
Pliny, the Elder, 8, 9
Poe, Edgar Allan, 9
Poem for Angelica Kauffman (Garrick), 67–68
Poems of Ossian, The (Macpherson), 195, 197–98
poetry: “An Address from Britannia to the celebrated Angelica,” 95–96
Giovanni Gherardo de Rossi (Perinto), 176, 178
David Garrick, 67–68
Ann Taylor Gilbert, 278–79
Johann Gottfried Herder, 93
Homer, 7, 15, 18–24, 34—38
importance, 92–93, 112, 114–15
Kauffman and Sulgher-Fantastici, 176, 178–79
painted poetry, 176, 178–79
paragone, 176, 178, 187
personification, 244
Peter Pindar (Dr. Wolcot), 190
Fortunata Sulgher-Fantastici, 174
Pointon, Marcia, 8, 134, 146, 281
Pollock, Griselda, 3, 280
Pompadour, Jeanne Antoinette Poisson, marquise de, 149–50
Pope, Alexander: Epistle of Eloise and Abelard, 202
Essay on Man, 228
Odyssey (Homer), 20, 35, 92
quotation in Hope (Ryland after Kauffman), 249, 253
portraiture: artistic perspective, 65–66, 72
artist/sitter relationships, 3–4, 52–57, 61–75
Marie Geneviève Bouliar, 100–102
desire and longing, 53–54, 144–45, 150
domestic sphere, 79–85
eroticism, 45–46, 53–59, 68
female protagonists, 159, 161, 168, 170–86, 194–99
as a form of theft, 68
Thomas Gainsborough, 88–90
and gender, 43–49, 191–204, 245
heterosexual encounters, 46–47, 49, 69
and history paintings, 4, 7–8
homosexual encounters, 46
imitative works, 69, 236
intellectual portraits, 168
intersubjective exchanges, 44–45, 48–49, 57–59, 75
of men, 7–8, 204–5
negotiation process, 43–44
psychosexual tensions, 84
as public art, 46–48
reciprocal portrayals, 97–102, 116
Joshua Reynolds, 86–88
satirical portrayals, 44–45, 77
scandalous interpretations, 116
self-identification, 3–4
social encounters, 49, 52–53, 79, 83–85
spatial proximity, 63, 65–66, 72
theatricality, 59–75
Anna Dorothea Therbusch, 48, 57–59, 61, 68, 77, 103–4
tripartite structure of portrayal, 8–11
Louis-Michel, Van Loo, 77–78
Elisabeth Vigée-Lebrun, 48, 55–57, 61, 105–6
Johann Joachim Winckelmann, 17. See also self-portraits; studios
Poussin, Nicolas, 265
Self-Portrait, 267
Prince, Gerald, 18
prostitution, 73
Proteus, 198–200
Psyche, 216, 218, 221
psychosexual tensions, 8, 64–66, 72, 84
Public Advertiser, 65, 95–96
public vs. private space: allegorical paintings, 265
and Kauffman, 265
masculine/feminine polarization, 207, 230, 232, 279
studios, 8, 79–85, 90–91
Quintilian, 92
Radisich, Paula, 106
Rambler, The, 110
Raphael: burial, 283
Donna Velata, 146
Fornarina, 10–11, 106, 149, 241
influence on Kauffman, 252–54
Madonna of the Chair, 252–54
painting style, 110, 183, 279
Transfiguration, 279
Read, Catherine, 48, 164
Recueil de cent estampes représentante différentes nations du Levant (Ferriol), 128, 130, 142, 144
“Remonstrance” (Gilbert), 278–79
Reni, Guido: Rape of Europa, 172,
Beatrice Cenci, 249
L’Addolorata, 256
repetition, 35
Retaliation (Goldsmith), 64
reversal of the natural order, 54, 228, 276
Reynolds, Frances, 48, 94
Reynolds, Joshua
—and Frances Abington, 69–75
—on artists, 112
—artist/sitter relationships, 86–88
—caricature of, 117–19
—deafness, 72, 226–27
—and Thomas Gainsborough, 89–90
—and David Garrick, 61–62, 274–75
—on Ideal Beauty, 110
—imitative works, 69, 236
—and Kauffman, 96–99, 106–21, 164, 232, 263
—Orientalism, 142, 146–47
—painting style, 86–88, 107, 110, 112, 114
—and Frances Reynolds, 48
—Roman school of painting, 265
—satirical portrayals, 226–27
—studio arrangements, 82, 83, 86–88
—use of symbolism, 117
—theatricality, 61–62, 69–75, 86–88, 146–47
—works: Angelica Kauffman, 98
David Garrick as Kiteley, 61
David Garrick Between Tragedy and Comedy, 274–75
Discourses on Art, 87, 110, 112, 114
Dr. Samuel Johnson, 48
Frances Abington as Miss Prue, 69–75
Frances Abington as Roxalana, 147
Garrick as a Writer of Prologues, 61
Sarah Siddons as the Tragic Muse, 87
Self-Portrait in the Robes of Doctor of Civil Law, 112, 113
Ribeiro, Aileen, 136
Richardson, Samuel, 262
Richmond, Lady Mary Bruce, 3rd Duchess of, 123–25, 137–38, 142
Ridley, William, after Self-Portrait (Kauffman), 234
Riggi, Carlo, 179
Ripa, Cesare, 114, 182, 253, 280
Robert, Hubert, 85, 105–6
rococo aesthetics, 103
Roettgen, Steffi, 249
Room of One’s Own, A (Woolf), 7, 22–23, 79
Rosa, Salvator, 255
Rousseau, Jean-Jacques, 55, 74, 84
Rowlandson, Thomas: At the Portrait Painter’s, 44, 45
The Mutual Attempt to Catch a Likeness, 55
The Portrait Painter’s Ante-Chamber, 82
Roworth, Wendy, 280
Roxalana (from Bickerstaff’s The Sultan), 146–47
Roxana (Defoe), 132
Royal Academy: Assembly of the Royal Academicians (Singleton), 158, 159
The Exhibition of the Royal Academy of Painting in the Year 1772 (Earlom after Brandoin), 31–34
exhibitions, 155, 158–59, 161–62, 226–27
female artists, 31
founding members, 2, 121
and Kauffman, 2, 119, 164, 166
and Mary Moser, 31
and Joshua Reynolds, 87, 110, 112, 119
royal patronage, 165–66
Royal Society of Arts, 158
Rushout, Lady Rebecca, 163
Ryland, William W, 138, 223
Hope (after Kauffman), 227, 249, 253
A Lady in a Turkish Dress (after Kauffman), 125
Sachsen-Weimar, Anna Amalia von, 93
Said, Edward, 126, 142
St. James Chronicle, 67
§alvar, 130
Samuel, Richard, 155–59, 161
Sandner, Oscar, 202
Sapphism, 133–36, 148, 277, 281
Sappho, 159
Sartre, Jean-Paul, 68
satirical portrayals: Fanny Burney, 231
Richard Cosway, 225
eroticism, 117–19
exhibitions, 31–33
female artists, 225–31
Kauffman, 190, 226–30
masculinity, 32, 225–27
Mary Moser, 229
portraiture, 44–45, 77
Joshua Reynolds, 226–27
studios, 44, 52
Schlegel, August Wilhelm, 191
Schmidt-Linsenhoff, Viktoria, 141, 277
Schofield, Mary, 195
Schuller, Marianne, 9
Schwarzenberg, 257, 259–61, 264, 283
Scorodomoff, Gabriel: A Lady Contemplating on Her Lover’s Picture (after Kauffman), 145
Scotin, Gérard Jean-Baptiste: Femme turque qui repose sur le sopha sortant du bain (after Vanmour), 144
Fille turque prenant la caffé sur le sopha (after Vanmour), 142
self-portraits: Accademia di San Luca, 251
allegorical paintings, 244–51, 264–65, 271–81
borders, 244
gaze, 176, 234–35
gesture representations, 241, 244, 277–79
Kauffman, 13, 40, 153, 223–24, 232–49, 251, 256–66, 268–83
marble busts, 283
mechanical reproductions, 232
painting style, 102, 234–49
as rhetorical gesture, 231–32, 256
in traditional costume, 256–61
Elisabeth Vigée-Lebrun, 232, 271
sensibility, 3, 8, 12, 207, 221, 278
sensuality, 49–50, 104, 140–42
sentimental novels, 262
seraglio. See harems
Seven Years’ War (1756–63), 20, 34, 136
sexuality, artistic creativity, 1
artist/sitter relationships, 52–59
European perspectives, 134–35
female presence, 50
femininity, 102
gaze, 73–74
harems, 133, 135
homosocial intersubjectivity, 50
male dominance, 276
male intellect, 74
masked balls, 138–39
Orientalism, 140–42
self-identification, 4. See also eroticism
Shaftesbury, Anthony Ashley Cooper, Earl of, 94, 274
Shakespeare, William, 198
Shawe-Taylor, Desmond, 59, 112
Shelley, Mary Wollstonecraft, 73
Shelley, Percy, 73
Sheridan, Elizabeth Anne, 155–56, 172
Sheriff, Mary, 41, 102–3, 271
Siddons, Sarah, 86–88
signature, use of, 88, 265
Silvia, 199–200
Singleton, Henry Assembly of the Royal Academicians, 158, 159
Siries, Cosimo, 269
“Sisters of Ascra, The” (Fantastici), 174
slander, 227
Sleeping Ariadne (Anonymous), 38, 39
Smith, Adam (Smithean discourse), 207
Smuggling Machine, or a Convenient Cos(au)way for a Man in Miniature, A (Anonymous), 225
social encounters, 49, 52–53
softened representations of masculinity, 189–214, 216–21
Sontag, Susan, 68
Sopha, Le (Crébillon), 132
space: civilizing processes, 94
domestic sphere, 94, 123–25, 138, 142
eroticism, 52
female presence, 50–52, 78–79
femininity, 134–35
gaze, 52
and gender, 79–85, 134–35, 192
homosocial intersubjectivity, 50–51
Kauffman and Reynolds, 119, 121
male presence, 50–51
masculine/feminine polarization, 230, 232, 278–80
oda, 150
pictorial space, 63, 65–66, 72, 153, 244. See also public vs. private space; studios
spatial proximity, 63, 65–66, 72
spectatorship and criticism, 7, 31–34, 63
Spencer, Georgiana, later Duchess of Devonshire, 213
Spencer, Henrietta, later Countess of Bess-borough, 213
Spencer, John, Lord Althorp, later 2nd Lord Spencer, 213
Spickernagel, Ellen, 91, 191–92
Spilsbury, Jonathan: Princess Augusta, Duchess of Brunswick, and Her Son, Charles George August (after Kauffman), 164
stasis, 18–19, 25, 148
Statius, 200
Steif, Sebastian, 264
Stein, Perrin, 149
storytelling theme, 22–24, 41
studios: artist/sitter relationships, 43, 52, 55–59, 61–75, 83
civilizing processes, 57–58
cultural expectations, 79
distractions, 78–79
domestic sphere, 79–85
environment, 77–79
female artists, 82–85
female presence, 78–79
Thomas Gainsborough, 88–90
Golden Square, 31, 83, 164, 189
Kauffman, 31, 82–83, 90–94
London, 1–2, 38
male artists, 81
mythical representations, 91, 93
negotiation process, 52
public vs. private space, 8, 79–85, 90–91
Joshua Reynolds, 86–88
Rome, 38, 83, 90
satirical portrayals, 44, 52
self-identification, 91
social encounters, 49, 52–53, 79, 83–85, 126
Suffolk Street, Charing Cross, 31, 82–83. See also space
Sturz, Helfrich Peter, 20, 90, 91, 137, 189–94, 255
subjectivity, artistic perspective, 65–66, 72
artist/sitter relationships, 3–4, 52
female subjectivity, 12, 19, 38, 40
and gender, 194–95
intersubjective exchanges, 44–45, 48–49
self-identification, 3–4
self-portraits, 234
social encounters, 7
Sulgher-Fantastici, Fortunata, 13, 163, 168, 174–80
Sutan; or A Peep into the Seraglio, The (Bicker-staff), 146–47
table leg, as symbol, 117
Taste (Foote), 44
Telemachus, 19, 21–22, 25, 29–30, 34–35, 37
Terpsichore, 155–56, 172, 176
textiles, 123, 125, 150–51
Thackeray, Ann, 119
Thalia, 162, 183, 186
Theory of Moral Sentiments (Smith), 207
Therbusch, Anna Dorothea, 48, 57–59, 68, 103–4
Denis Diderot, 57
Jacob Philipp Hackert, 103
Man Holding a Glass by Candlelight, 58
Self-Portrait with Monocle, 104
Three Graces, 280–81
Tischbein, Johann Heinrich, 207
Johann Wolfgang von Goethe, 210
Titian, 279
Tragedy, 275
transvestism, 192, 198
travel accounts, 132–36
Traveller, The (Goldsmith), 110, 112
Treatise on the Theater (Rousseau), 74
Trenmor, 195–98
Trogher, Father, 272, 278
Turkish bath, 12, 133–36, 142, 151
Turkish culture, 132–33
Turkish dress, 125–53
Turquerie, 126–53
Ulysses. See Odysseus
Urania, 156
ut pictura poesis, 114
Valentine, 199–200
Van Dyck, Sir Anthony, 86
vanity, 47, 73
Van Loo, Carle: An Odalisque Playing a Stringed Instrument, 149
A Sultana Taking Coffee, 149
Two Odalisques Embroidering, 149
Van Loo, Louis-Michel, 77–78
Denis Diderot, 78
Vanmour, Jean-Baptiste, 130, 142, 144
Vasari, Giorgio, 251
veil, as symbol, 140, 146, 147–49
Venus, 197, 213, 218, 281
Versuch einer Allegorie, besonders in der Kunst (Winckelmann), 256
Vice/vice, 273–77, 279, 281
Vigée-Lebrun, Elisabeth: Hubert Robert, 85, 105
painting style, 105–6
personal appearance, 84–85
popularity, 48, 158, 224
public vs. private space, 232
self-portraits, 232, 271
Self-Portrait with Daughter Julie, 102, 104, 106
Souvenirs, 55, 57, 83, 84–85
studio arrangements, 83
textual self-portrait, 55–57
virginal dignity, 190, 192, 271
Virtue/virtue: allegorical paintings, 273–78, 280–81
femininity, 102, 121, 162, 218, 262–63, 278
Herculean choice, 194, 273–78
Hope, 249
Innocence Between Virtue and Vice (Leroulx-Delaville), 200
male intellect, 74
Volterra, Daniele da, 112
Entombment, 91
voyeurism, 54, 135–36, 144–45
Walch, Peter, 112
Walpole, Horace, 71, 172, 236
Wanderer (Goethe), 92–93
Warley: A Satire (Huddesford), 231
Waterhouse, Ellis, 97–98, 99, 116
Watson, Thomas: Garrick as a Writer of Prologues (after Reynolds), 62
weaving motif, 7, 15, 18–19, 21–25, 40–41, 245
Weinsheimer, Joel, 87
Wendorf, Richard, 88
West, Benjamin, 33–34, 64
Angelica Kauffman as Pictura (West), 255
Death of General Wolfe, 34
Whole History of Women from the Earliest Antiquity to the Present Time, The (Alexander), 93–94
Wilmot, Catherine, 91, 92, 216, 218, 220
Wilson, Harriette, 138
Winckelmann, Johann Joachim: on allegorical paintings, 256
androgynous male ideal, 191, 204
on art history, 17
History of Ancient Art, 15, 17, 237
and Kauffman, 92, 262
neoclassical ideals, 20
on Penelope, 17, 41
portraiture, 17
Wind, Edgar, 62
wit, concept of, 71, 74–75, 100
“Women’s Time” (Kristeva), 35
Woolf, Virginia, 22, 79
Wortley, Edward, 132
yelek, 130
Zeuxis, 4, 7, 8, 86
Zoffany, Johann: The Royal Academicians in General Assembly, 49–52, 225–26
Zuccaro, Federico, 251
Zucchi, Antonio, 39, 128, 176, 182, 259–60, 272
Zucchi, Giuseppe Carlo, 165, 259