Francesco Bartolozzi - Portrait of Angelica Kaufmann

This beautiful color engraving by Francesco Bartolozzi is inspired by the figure and art of Angelica Kaufmann. A successful painter and style icon, Angelika Kauffmann (Chur, 1741 – Rome, 1807) is considered one of the greatest artists of Neoclassicism, which she also woven together with elements of seventeenth-century classicism. Specializing not only in historical and mythological subjects, but also in portraiture, in this engraving Bartolozzi depicts the artist as Aglaia blindfolded by Cupid.

Francesco Bartolozzi's etchings are fully in keeping with the era and environment in which the artist trained, expressing themselves through a complete neoclassical aesthetic. This is expressed through a search for a pure form, classical by definition, and an execution rooted in the principles of harmony and balance typical of the Renaissance. Thus, the artist conceives the elegant curve of the female figure and the expansive, sculptural volume of her body and the draperies of her dress. Furthermore, the scene is immersed in an ideal, Edenic naturalistic setting. Bartolozzi enhances the purity of form by limiting pictorial effects, using a more compact technique typical of eighteenth-century neoclassicism.

Francesco Bartolozzi (Florence, 1727 - Lisbon, 1815). The son of an important goldsmith, he learned the first secrets of etching and engraving at an early age; he produced his first work at the age of ten. He trained at the Florentine Academy and later moved to Venice to work in a prestigious workshop frequented by the leading Venetian etchers of the period, including Piranesi. His knowledge expanded to the burin technique and increasingly specialized in etching. In 1756 he moved to Rome and returned to Venice after four years, where he resumed his collaboration with Wagner, who had previously commissioned several operas from him. His fame spread throughout Europe, and in 1764 the bookseller to the King of England, George III, invited him to London to join the Society of Artists. During his stay in England, he produced the important illustrations for Milton's opera, Paradise Lost, and worked on reproductions of paintings and illustrations for Shakespeare's plays. From 1802 to 1815 he worked as a teacher at the Academy of Lisbon.

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