A woman at the Royal Academy of Arts Angelica Kauffman (1741-1807) A woman at the Royal Academy of Arts

Some biographical information Trained by her father, a travelling painter Success in Italy & London: established a reputation thanks to her portraits and her history painting One of the 40 founding members of the Royal Academy of Arts (only 2 were women)

History painting: an elite category closed to women? Representation of human actions, based on themes from history, literature, mythology: requires extensive learning of art theory and a practical training  the study of anatomy from the male nude Women were denied access to such a training, and yet A. Kauffman was recognized as a skilled history painter

Penelope Weeping Over the Bow of Ulysses , 1778 Oil on panel, 50x35cm Calypso Mournful After the Departure Of Ulysses, 1778, Oil on panel, 50x35cm

A female approach of mythical themes Paintings from the Odyssey: male adventures and yet females as the main figures/agents These 2 paintings echoe thematically even though Penelope & Calypso are rivals: A. Kauffman refuses binary judgement Gives form to absence and loss

The ambiguity of portraiture A problematic professional pursuit for a woman : cultural limits the artist stares at the sitter: notions of propriety and the ocular submission of women to men are not respected A Domestic art : history painting requires a capacity to abstract that women would not possess portraiture reveals mimetic ability (a female quality)

Public practice of any art, and staring in men’s faces, is very indelicate in a female.  Samuel Johnson

Portrait of Sir Joshua Reynolds, Angelica Kauffman 1767

Female allegories Colour, 1778-80, Oil on canvas, 1300 X 1503 X 25 mm Design, 1778-80, Oil on canvas, 1300 X 1503 X 25 mm Composition, 1778-80, Oil on canvas, 1300 X 1503 X 25 mm Invention, 1778-80, Oil on canvas, 1300 X 1503 X 25 mm

Fraternal sociability: exclusion of the female academicians  unfinished portraits of Kauffman and Moser decorate the walls in the background Denial of female presence/body: not active figures, turned into static objects

The Royal Academicians in General Assembly , Johann Zoffany 1771-72 The Royal Academicians in General Assembly , Johann Zoffany 1771-72. Oil on canvas, 100.7 x 147.3 cm. The Royal Collection, Her Majesty Queen Elizabeth II, London

To go further … Angelica Kauffman, Art & Sensibility by Angela Rosenthal https://www.youtube.com/watch?v=nF1bIZiToNY&t=331s A. Kauffmann by art historian Dr. Vida Hull https://www.royalacademy.org.uk/article/ra-magazine-summer-2016- hidden-from-history Hidden from history: the Royal Academy’s female founders