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Lot Essay
This sketch is the missing portrait study for one of the most important of all of Kauffmann's commissions, the Portrait of the Family of King Ferdinand IV of the Naples (H.S.H. The Prince of Liechtenstein, Schloss Vaduz). In 1781, Kauffmann married the painter, Antonio Zucchi, and returned with him to the Continent, settling initially in Venice. In mid-1782, they moved on, first, briefly, to Rome, and then to Naples; there she found great favour with King Ferdinand IV, who offered her the position of court painter. Although she declined the position, Kauffmann did undertake to paint this, the largest picture of her career.
Zucchi described many of the stages of this commission. Having decided on the positions of the sitters, Kauffmann decided, given the diversity in their ages and characters, that it would be best to paint individual portraits, and then to create the large composition in peace in Rome. She was able to complete a study over three sessions, lasting approximately four hours in total, a brevity that pleased the king, who had long since tired of giving extended sittings for portraits. Of the other studies, the pendant portraits of the King and Queen are in the Vorarlberger Museum, Bregenz; the two double portraits of the Princesses are in the Kunstmuseum, St. Gallen; and the study of Prince Januarius is in a private collection, Allgau (for these, and the group portrait, see B. Baumgrtel, catalogue of the exhibition, Angelika Kauffmann, Dseldorf, Munich and Chur, 1998-99, nos. 147-154, illustrated).
Back in Rome, as she put the main composition together, Zucchi recounts that 'Angelica had a crowd of important people in her studio. Her style was new yet pleasing to them. The figures were composed with beautifully contrasting movement and the colouring was completely harmonious and delicate, yet forceful. The scale was perfect and so precise were the artist's rendering of the individual and slightly different faces that she was much applauded.' On completion in the Spring of 1784, the painting was shipped to Caserta, the Royal Family's country residence, to be handed over on 14 March.
This picture will be published by Dr. Bettina Baumgrtel in her forthcoming catalogue raisonn of Kauffmann's works.
Zucchi described many of the stages of this commission. Having decided on the positions of the sitters, Kauffmann decided, given the diversity in their ages and characters, that it would be best to paint individual portraits, and then to create the large composition in peace in Rome. She was able to complete a study over three sessions, lasting approximately four hours in total, a brevity that pleased the king, who had long since tired of giving extended sittings for portraits. Of the other studies, the pendant portraits of the King and Queen are in the Vorarlberger Museum, Bregenz; the two double portraits of the Princesses are in the Kunstmuseum, St. Gallen; and the study of Prince Januarius is in a private collection, Allgau (for these, and the group portrait, see B. Baumgrtel, catalogue of the exhibition, Angelika Kauffmann, Dseldorf, Munich and Chur, 1998-99, nos. 147-154, illustrated).
Back in Rome, as she put the main composition together, Zucchi recounts that 'Angelica had a crowd of important people in her studio. Her style was new yet pleasing to them. The figures were composed with beautifully contrasting movement and the colouring was completely harmonious and delicate, yet forceful. The scale was perfect and so precise were the artist's rendering of the individual and slightly different faces that she was much applauded.' On completion in the Spring of 1784, the painting was shipped to Caserta, the Royal Family's country residence, to be handed over on 14 March.
This picture will be published by Dr. Bettina Baumgrtel in her forthcoming catalogue raisonn of Kauffmann's works.