Touching the rainbow

Swiss‐torn painter Angelica Kauffman (1741–1807) was trained in Italy, then moved to London in 1766, where she was to stay for 15 years. Kauffman soon became one of the leading neo‐classical artists, famous for her portraits and history paintings. Her high art pictures won an enormous popularity and were executed, e.g., in interior decorations and as prints. As one of the founding members of the Royal Academy of Arts and belonging to the inner circle surrounding its president, the painter Sir Joshua Reynolds, Kauffman was commissioned for four corner roundels in the ceiling of the Council and Assembly Room in the academy's new home, Somerset House, today at Burlington House. These allegorical paintings on the appropriate theme of the Visual Arts (and part of a larger programme) are discussed in this essay, and especially one of these, representing “Painting”. By means of iconographical analysis it is argued that Kauffman, following the tradition of feminist history painters like Artemisia Gentileschi (1593–1652/53), is not only representing the theory and praxis of the artistic process but in so doing, also comments on the dominant ideology of sexual difference.