
The Sorrow of Telemachus
Angelica Kauffmann·1783
Historical Context
Kauffmann's Sorrow of Telemachus from 1783 illustrates a scene from Fénelon's Télémaque — the eighteenth century's most widely read neo-classical narrative, which followed Odysseus's son through a series of adventures designed to illustrate virtues of governance. Kauffmann was one of the premier history painters of her era, her combination of classical subjects with Neoclassical formal principles making her a central figure in the international movement that Winckelmann's writings had launched. Her Telemachus subjects — she painted several — reflected the period's enthusiasm for the novel as a vehicle for classical education and moral philosophy.
Technical Analysis
Kauffmann's oil on canvas demonstrates her refined neoclassical style with soft, warm color, graceful figure arrangement, and the classical drapery and setting that characterize her history paintings.
See It In Person
More by Angelica Kauffmann

Mrs. Hugh Morgan and Her Daughter
Angelica Kauffmann·c. 1771

Telemachus and the Nymphs of Calypso
Angelica Kauffmann·1782
%2C_Twelfth_Earl_of_Derby%2C_with_His_First_Wife_(Lady_Elizabeth_Hamilton%2C_1753%E2%80%931797)_and_Their_Son_(Edward_Smith_Stanley%2C_1775%E2%80%931851)_MET_DP169403.jpg&width=600)
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

Possibly Franciska Krasinska, Duchess of Courland
Angelica Kauffmann·c. 1790



