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  1. Collection/
  2. Musée Herzog Anton Ulrich/
  3. Bärtiger Greis
Bärtiger Greis, Angelica Kauffmann, 1762
Angelica Kauffmann, portraitAngelica KauffmannSuisse, 1741–1807

Bärtiger Greis

1762 · Print

Peut-on la contempler ?

Nous l’ignorons : le musée garde le silence

Musée Herzog Anton Ulrich

Brunswick, Allemagne

Le propriétaire est connu. Si elle est exposée aujourd’hui, le musée ne le dit pas, et l’on ne nous a pas appris à deviner.

Dans cet état depuis
27 sept. 2026
Source
Les données de collection du musée lui-même
Sur la cartePage du musée

Notice

1762 · à 21 ans
17411807

Ce qu’elle montre

Alter MannPortraitHommeGreisBart

Au catalogue

EstampesRococoNéoclassicismeXVIIIe siècle

Sources

  • Musée Herzog Anton Ulrich : les données ouvertes du musée · obtenue il y a 8 jours
  • Image : Musée Herzog Anton Ulrich — CC BY-NC-SA 4.0

Pendant ce temps, chez Angelica Kauffmann

La vie entière
  1. c. 1762

    Meets Benjamin West and Johann Friedrich Reiffenstein

    In Florence Kauffman met the painters Benjamin West and Johann Friedrich Reiffenstein.

  2. c. 1762

    Florence: portraits of the English and a studio of her own

    Kauffman lingered in Florence and worked a great deal on portraits, in particular of English aristocrats visiting the city on the Grand Tour; she was given a separate studio, since working in the same room as a man was thought improper.

  3. June 1762

    Moves to Florence and meets Neoclassicism

    In June 1762 Kauffman and her family moved to Florence, where she first encountered the style that would be called Neoclassicism.

  4. October 1762

    The academies of Florence and Bologna elect her

    In October 1762 Angelica was elected a member of the Accademia delle Arti del Disegno in Florence and became an honorary member of the Accademia Clementina in Bologna.

  5. 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.

  6. 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.

Autres œuvres : Angelica Kauffmann

Toutes les œuvres
Parting of Abelard and Heloise, Angelica Kauffmann, 18th century

Parting of Abelard and Heloise

18th century · Musée de l'Ermitage

The Temptation of Eros, Angelica Kauffmann, 1750–75

The Temptation of Eros

1750–75 · Metropolitan Museum of Art

The Victory of Eros, Angelica Kauffmann, 1750–75

The Victory of Eros

1750–75 · Metropolitan Museum of Art

Edward Smith Stanley (1752–1834), Twelfth Earl of Derby, Elizabeth, Countess of Derby (Lady Elizabeth Hamilton, 1753–1797), and Their Son (Edward Smith Stanley, 1775–1851), Angelica Kauffmann, ca. 1776

Edward Smith Stanley (1752–1834), Twelfth Earl of Derby, Elizabeth, Countess of Derby (Lady Elizabeth Hamilton, 1753–1797), and Their Son (Edward Smith Stanley, 1775–1851)

ca. 1776 · Metropolitan Museum of Art

Telemachus and the Nymphs of Calypso, Angelica Kauffmann, 1782

Telemachus and the Nymphs of Calypso

1782 · Metropolitan Museum of Art

The Sorrow of Telemachus, Angelica Kauffmann, 1783

The Sorrow of Telemachus

1783 · Metropolitan Museum of Art

Monsignor Giuseppe Spina (1756–1828), Angelica Kauffmann, 1798

Monsignor Giuseppe Spina (1756–1828)

1798 · Metropolitan Museum of Art

The Three Graces distressing Cupid, Angelica Kauffman, late 18th century

The Three Graces distressing Cupid

late 18th century · Victoria and Albert Museum