1741-1807,Swiss neoclassical painter and graphic artist. From her youth she was known for her artistic, musical, and linguistic abilities. She went to England, where she enjoyed success as a fashionable portrait painter and decorator. A protegee of Sir Joshua Reynolds, Kauffman was one of the original members of the Royal Academy. She often decorated houses designed by the Adam brothers. After her marriage in 1781 to the Venetian painter Antonio Zucchi, she lived in Italy, where she flourished in artistic and literary circles. Reynolds, Winckelmann, Goethe, and Garrick commissioned her to paint their portraits. Representative works include Religion (National Gall., London); Self-Portrait (Staatliche Museen, Berlin); and the etchings of L'Allegra and La Pensierosa. The British Museum has a collection of her drawings and prints.  Related Paintings of Angelika Kauffmann :. | Angelika Kauffmann nach Correggio Die Verlobung der Hl Katharina | Penelope trauert uber dem Bogen des Odysseus | Weibliche Halbfigur mit Turban | Tod der Alkestis | Punktierstich |
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Jean Joseph Vaudechamp
(1790 - 1866) was a French painter born in Rambervillers, Vosges. He was a pupil of Anne-Louis Girodet de Roussy-Trioson. The market in Paris was competitive, so in the winter of 1831 - 32, he went to try his fortunes in New Orleans, Louisiana. The Louisiana Creole people identified with French culture and selected Vaudechamp to paint portraits for them. Over the next ten years he spent winters in New Orleans, and was a leading portrait painter in the region. He died at Neuilly-sur-Seine in 1866.
Archduke Rudolf of Austria
Rudolf Johannes Joseph Rainier von Habsburg-Lothringen, Archduke and Prince Imperial of Austria, Prince Royal of Hungary and Bohemia (8 January 1788 - 24 July 1831) was a Cardinal, an Archbishop of Olomouc, and a member of the House of Habsburg-Lorraine. Born in Pisa, Italy, he was the youngest son of Emperor Leopold II and Maria Louisa of Spain. He was elected archbishop of Olomouc in 1819 and became cardinal in the year 1820. In 1803 or 1804, Rudolf began taking lessons in piano and composition from Ludwig van Beethoven. The two became friends, and Rudolph became a supporter and patron of Beethoven; their meetings continued until 1824. Beethoven dedicated 14 compositions to Rudolph, including the Archduke Trio, the Hammerklavier Sonata, the Emperor Concerto and the Missa Solemnis. Rudolph, in turn, dedicated one of his own compositions to Beethoven. The letters Beethoven wrote to Rudolph are today kept at the Gesellschaft der Musikfreunde in Vienna. On 24 March 1819 he was appointed, at the age of 31, Archbishop of Olomouc in the present day Czech Republic but then part of the Austrian Empire. He was made Cardinal-Priest of the titular church of S. Pietro in Montorio by Pope Pius VII on 4 June 1819. He was ordained a priest on 29 August 1819, and consecrated a bishop on 26 September. In 1823 - 24, he was one of the 50 composers who composed a variation on a waltz by Anton Diabelli for Vaterländischer Kenstlerverein. In Rudolf's case, the music was published anonymously, as by "S.R.D" (standing for Serenissimus Rudolfus Dux).
BOSSE, Abraham
French Baroque Era Engraver, 1602-1676 Roughly 1600 etchings are attributed to him, with subjects including: daily life , religion, literature , history, fashion[8], technology, and science. Most of his output was illustrations for books, but many were also sold separately. His style grows from Dutch and Flemish art, but is given a strongly French flavour. Many of his images give fascinating and informative detail about middle and upper-class daily life in the period, although they must be treated with care as historical evidence. His combination of very carefully depicted grand interiors with relatively trivial domestic subjects was original and highly influential on French art, and also abroad ?? William Hogarth's engravings are, among other things, a parody of the style. Most of his images are perhaps best regarded as illustrations rather than art. Watercolour of a ball by Abraham Bosse, a similar subject to many of his most famous etchingsHe was apprenticed in Paris about 1620 to the Antwerp-born engraver Melchior Tavernier (1564?C1641), who was also an important publisher. His first etchings date to 1622, and are influenced by Jacques Bellange. Following a meeting in Paris about 1630, he became a follower of Jacques Callot, whose technical innovations in etching he popularised in a famous and much translated Manual of Etching(1645), the first to be published. He took Callot's highly detailed small images to a larger size, and a wider range of subject matter. Unlike Callot, his declared aim, in which he largely succeeded, was to make etchings look like engravings, to which end he sacrificed willingly the freedom of the etched line, whilst certainly exploiting to the full the speed of the technique. Like most etchers, he frequently used engraving on a plate in addition to etching, but produced no pure engravings.