Angelica Kauffman, RA (Maria Anna Angelika/Angelica Katharina Kauffman; Chur, Switzerland, 30th October 1741 – Rome, Italy, 5th November 1807)
The greatest reward I have received since throwing open the salon doors last year has been meeting the wonderful readers, writers, bloggers and historians who have visited the site and got in touch with me to chat about their love of history, art and all manner of things!
A regular reader and wonderful fellow lover of all things 18th century recently mentioned that Angelica Kauffman might well be a likely candidate for the Guide and I was shocked at myself for the oversight so, I hope, this will make up for her absence!
Angelica Kauffman enjoyed a long and lucrative career as an artist, specialising in history paintings and enjoying the support and patronage of many illustrious names including Joshua Reynolds, who championed Kauffman's work in England. She worked on several self portraits including one that is rich in symbolism, and was painted between 1770 - 75.
In the portrait, Kauffman very shrewdly depicts herself as free from the trapping of fashion and society. She has no interest in being painted as a figure of glamour but is, instead, clearly and unarguably an artist. Looking at this work one is left in no doubt that Angelica Kauffman means artistic business!
Kauffman would, of corse, of on to enjoy no small success and painted many self portraits, depicting herself in a variety of settings and styles. However, it is this work, without any trace of pomp and ceremony, that captivates me, showing a woman dedicated to her art, thoughtful and inspired.
Sunday, 20 July 2014
Saturday, 19 July 2014
The Short Musical Life of Marianna Auenbrugger
Marianna Auenbrugger (Vienna, Austria, 19th July 1759 – Vienna, Austria, 25th August 1782)
Today's guest is a most musical lady. Daughter to a renowned physician, her life and career were all too short and her music is little-heard today. Despite my best efforts I have been unable to find a portrait or drawing of the lady in question but if you can help, I would be delighted to hear from you!
Marianna was born to physician Leopold Auenbrugger and his wife, Anna. and her childhood was far from easy. Frail and in poor health, the young girl nevertheless threw herself into her studies as her father, himself a lover of music, decided that his daughters should enjoy a rich education. Leopold counted Haydn and Leopold Mozart among his friends and held regular musical soirees at his home with Antonio Salieri a regular attendee and family friend. In fact, Auenbrugger would later serve as best man to the composer whilst Haydn dedicated a series of sonatas to Marianna and her sister.
Marianna and her sister regularly performed as a pianist at these events and Salieri took her into his tutelage, deeply impressed by her talent as a composer and musician. Sadly her early promise did not have chance to flourish and she died aged just 23, a victim of consumption. Following her death Salieri paid to have her Keyboard Sonata in E-flat published alongside his own funeral ode, dedicated to her memory.
Today's guest is a most musical lady. Daughter to a renowned physician, her life and career were all too short and her music is little-heard today. Despite my best efforts I have been unable to find a portrait or drawing of the lady in question but if you can help, I would be delighted to hear from you!
Marianna was born to physician Leopold Auenbrugger and his wife, Anna. and her childhood was far from easy. Frail and in poor health, the young girl nevertheless threw herself into her studies as her father, himself a lover of music, decided that his daughters should enjoy a rich education. Leopold counted Haydn and Leopold Mozart among his friends and held regular musical soirees at his home with Antonio Salieri a regular attendee and family friend. In fact, Auenbrugger would later serve as best man to the composer whilst Haydn dedicated a series of sonatas to Marianna and her sister.
Marianna and her sister regularly performed as a pianist at these events and Salieri took her into his tutelage, deeply impressed by her talent as a composer and musician. Sadly her early promise did not have chance to flourish and she died aged just 23, a victim of consumption. Following her death Salieri paid to have her Keyboard Sonata in E-flat published alongside his own funeral ode, dedicated to her memory.
Friday, 18 July 2014
The Festival of Love
Jean-Antoine Watteau (Valenciennes, France, 10th October 1684 - Nogent-sur-Marne, France, 18th July 1721)
On this day in 1721, Jean-Antoine Watteau died. Watteau's life and career were short and he was little known or celebrated during his lifetime but since his death at the age of 26, his reputation has flourished. His influence was felt far and wide as the years grew on and he even loaned his name to Watteau pleats, one of the defining characteristics of the sack-back gowns that appeared so frequently in his work.
My favourite painting by Watteau is his 1717 work, The Festival of Love, a wonderfully evocative scene of pastoral festivities and romance, watched over by a statue of Venus. The rich, rolling landscape extends as far as the eye can see and couples walk, chat or generally spend time together, with a child at the centre of the canvas.
Unlike the formal portraits in which a pose is held, grand and poised, to create a permanent and lasting impression, here Watteau has captured a moment, a second between friends or lovers. It is the stuff that rose-tinted memories are made of, days long-since passed with a gentle warm hue when anything seemed possible.
Viewing the work with the benefit of centuries, we are left with a picture perfect depiction of a world that fascinates and attracts, an idealised place long since gone if indeed it ever existed at all.
On this day in 1721, Jean-Antoine Watteau died. Watteau's life and career were short and he was little known or celebrated during his lifetime but since his death at the age of 26, his reputation has flourished. His influence was felt far and wide as the years grew on and he even loaned his name to Watteau pleats, one of the defining characteristics of the sack-back gowns that appeared so frequently in his work.
My favourite painting by Watteau is his 1717 work, The Festival of Love, a wonderfully evocative scene of pastoral festivities and romance, watched over by a statue of Venus. The rich, rolling landscape extends as far as the eye can see and couples walk, chat or generally spend time together, with a child at the centre of the canvas.
Unlike the formal portraits in which a pose is held, grand and poised, to create a permanent and lasting impression, here Watteau has captured a moment, a second between friends or lovers. It is the stuff that rose-tinted memories are made of, days long-since passed with a gentle warm hue when anything seemed possible.
Viewing the work with the benefit of centuries, we are left with a picture perfect depiction of a world that fascinates and attracts, an idealised place long since gone if indeed it ever existed at all.
Thursday, 17 July 2014
A Salon Guest... Charlotte of Mecklenburg-Strelitz
It is an honour to welcome Laura Purcell to the salon today. Laura, author of the marvellous Queen of Bedlam, is here to share the tale of Princess Sophie Charlotte of Mecklenburg-Strelitz, a lady on whom she is well qualified to talk.
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Princess Sophie Charlotte of Mecklenburg-Strelitz was born 19 May 1744, although with the introduction of the new style calendar in 1752, her birthday changed to 16 May. Her father was Charles Lewis of Mecklenburg Strelitz and her mother Elisabeth Albertina of Saxe-Hildburghhausen. The youngest of six surviving children, Charlotte had four brothers: Adolphus Frederick, Charles, Ernest and George. Of all these, she was to grow particularly close to Charles, corresponding frequently with him until his death in 1816. Charlotte’s only sister, Christiane, was the eldest child and nine years her senior. Poignantly, three baby sisters and a brother had been laid in the grave before Charlotte appeared.
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| Queen Charlotte by studio of Allan Ramsay, 1762 |
At the time of Charlotte’s birth, her father Charles Lewis was nephew to the reigning duke and seemed unlikely to succeed to the dukedom. He and his wife lived at Mirow, not in the moated schloss but a small palace nearby. When Frederick the Great of Russia visited, he mistook Charlotte’s home for a parsonage. However, it must be said it was partly Frederick’s fault that the Duchy of Mecklenburg-Strelitz did not thrive: his armies were constantly marching through, pillaging.
Since part of the town had been burnt down in 1730, Mirow retained an air of sleepy, decayed grandeur. The castle had a ruined tower serving as a gatehouse, with “an old stocking-knitter disguised as a Grenadier” guarding the drawbridge. Charlotte and her sister were raised much in the manner of English gentlewomen, learning botany, music and needlework. Their religious education was particularly thorough. Both were raised as Lutherans and invested as Canonesses of the Hereford convent in Westphalia.
Charlotte’s father passed away when she was eight years old. His was one of a series of three deaths that left Charlotte’s brother Adolphus to succeed the dukedom in 1752, aged twenty-three. But this was not the only sudden elevation in store for the family. Eight years letter, George III of England began to consider Charlotte as a potential bride.
George’s choices were limited to German, Protestant princesses. Moreover, his mother didn’t want anyone too clever or too beautiful, lest they loosen her hold over her son. Many girls were dismissed over hearsay. Ironically, considering George’s future illness, the Princess of Hesse-Darmstadt was rejected because she was rumoured to be mentally unstable.
However, preliminary visits to Charlotte were favourable. “I think her a young princess endued with such noble qualities of mind, and such a happy disposition as will entirely gain the King’s affections,” scouts wrote. Her youth, they hoped, would make her impressionable and easy to mould to the preferences of George and his mother. Charlotte was no beauty, but they found her “delicate and fine…Her eyes between a pale blue and grey…Hair a pale brown…lips of a fine red…her face rather agreeable than otherwise…the bosom full enough for her age.” She also seemed dignified enough for England’s throne: “throughout her whole person possessed of that inexpressible something that is beyond a set of features…she has not a fine face, but a most agreeable countenance…with an air, notwithstanding her being a little woman, truly majestic.”
Charlotte’s future prospects were both daunting and exciting, but her wedding plans received a sudden check when her mother Elisabeth died on 29 June. The weather was so hot that her body had to be kept under sand. One can only imagine how distraught Charlotte was, especially as her mother’s last words were wishes for her happiness.
Charlotte’s journey to England got off to a rocky start: her ship was caught in a storm. While the gales, squalls, thunder and hale left her ladies out of order, Charlotte tried her best to appear cheerful and continued to play her harpsichord. There was no rest even once she landed on English soil. Hurriedly dressed in English fashions, she was forced to receive deputations at Harwich, Colchester and Witham.
The air of hurry continued all the way to London. Meeting the Life Guards at Mile End, Charlotte was paraded through the streets to wave at her new subjects. She asked if they might slow the pace so that the people could get a good look at her, but she was told there could be no delay. Her wedding was due to take place at midnight that very evening. Upon hearing this, Charlotte passed out and had to be revived with lavender water.
Soon after, the carriage arrived at the garden gate of St. James’s Palace. With her lower lip trembling, Charlotte was handed down the steps by George’s brother, the Duke of York. As she descended, the crowds got a good look at her dress: an elegant white and silver “negligee” trimmed with thin gold lace. No sooner did Charlotte see her future husband than she “threw herself at his feet”. The King “raised her up, embraced her and led her through the garden up the steps into the palace”.
A long and eventful marriage lay before the royal pair, but I’m not going to tell you about it here. If you want to find out more, please read my book!
Laura Purcell is a writer, history fan and guinea pig lover living in Colchester. She is writing a series of novels about the women who loved (and hated!) the Hanoverian monarchs.
Visit Laura's website, connect with her on Facebook and gad over to say hello on Twitter. Better yet, do treat yourself to her marvellous novel, Queen of Bedlam!
Written content of this post copyright © Laura Purcell, 2014.
You can find out more about Charlotte's bittersweet life in Life in the Georgian Court, now available to order worldwide!
Labels:
England,
George III,
Germany,
Guest,
Queen Charlotte,
Ramsay (artist),
Royalty,
Women
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