Rinaldo and Armida

1762-1770s · Print

May one see it?

Not receiving at present

National Gallery of Art

Washington, D.C., United States

It belongs to the collection, but is not on display at present.

Checked: 10 days ago
In this state since: Aug 19, 2026
Source: The museum

On the map Museum page

Particulars

Accession number: 1974.119.4

What it shows

Woman Tree Mirror Garden Man

In the catalog

Prints Etching Rococo Neoclassicism 18th century Swiss

Sources

National Gallery of Art
Image: National Gallery of Art — Museum open access

Meanwhile, in the life of Angelica Kauffmann

The whole life

January 1763
Meets the English community in Rome
Moving to Rome in January 1763, Kauffman was introduced to the British community there; as she learned more English and continued with portraiture, she became a popular portraitist for British visitors to Rome.
1764
Her portrait of Winckelmann
In Rome Kauffman painted a half-length portrait of the art historian Johann Joachim Winckelmann and also made an etching of it; in August 1764 Winckelmann wrote to a friend about her popularity: she spoke Italian and German, handled French and English with ease, could be called beautiful, and in singing could vie with the best virtuosi.
1766
Friendship with Joshua Reynolds
Reynolds became Kauffman’s firmest friend: in his pocketbooks she often appears as “Miss Angelica” or “Miss Angel”; in 1766 he painted her portrait, and she answered with her portrait of Reynolds.
June 1766
Arrives in London
In June 1766 Kauffman arrived in London, having been persuaded by Lady Wentworth to go with her. Lady Wentworth’s rank opened society to her, and the royal family showed her particular favour.
December 1768
Founding member of the Royal Academy of Arts
In December 1768 Kauffman became one of the founding members of the Royal Academy of Arts in London, one of only two women among them.
1781
Returns to Rome
Disappointed by the relative apathy of the British towards history painting, Kauffman left London, where she had lived for fifteen years, in 1781, after her marriage to Antonio Zucchi, and returned to Rome, where that genre was better known and enjoyed the patronage of patrons and collectors.