Painter. Angelica Kauffmann is remembered as a well-known 18th century Swiss artist. Becoming recognized in Rome as well as England, she was one of the two women who were founding members of the Royal Academy in London in 1768. There was a total of 36 founding members. The other female founding member was Mary Moser. These women were considered very liberating in their bold behavior to the point of being shocking to ladies of this era, with both drawing nudes. She was celebrated as a portraitist and, more unusually given her gender, as a history painter, whereas Moser painted mainly florals in oil. After these two women's selection to the Royal Academy, no further women were elected as full members of the Academy until Dame Laura Knight in 1936. Born Maria Anna Catharina Angelica Kauffmann, the talented daughter of an artist, Johann Joseph Kauffmann, she was an accomplished musician and artist by the age of twelve. Her name has several spellings: Kauffmann spelled Kauffman or Kaufmann, whereas Angelica also spelled Angelika. Her father was her instructor. During her childhood, her family traveled between Austria, Switzerland and Italy. Her earliest work was influenced by the ornate French Rococo style. After visiting Italy twice, in 1754 and 1763, her style changed to Neoclassical. In Italy she established a reputation as an artist and was elected a member of the Roman Accademia di San Luca at the age of 23. In 1766, she went to London, becoming a portrait artist for the royals. The next year she married Swiss painter Frederick de Horn in St. James Church in London, but the marriage was dissolved in February of 1768 after learning of his legal wife in Germany and the many alias names he had used throughout Europe. She did not remarry until after de Horn's death. Her portraits of female subjects were highly ranked, as were paintings of mythological gods and goddesses. Being referred as one of the "most cultivated women in Europe," her studio became part of the Grand Tour, a trip through Europe that was considered an educational rite of passage for upper-class men. In the 1770s, she was known for her wall paintings in the mansions of Scottish architect, Robert Adam. Some of these buildings are still standing in the 21st century. At the age of thirty-five, she was the subject of Nathaniel Hone the Elder's 1776 satirical painting "The Conjurer," which gave hint to an alluding romance with the 52-year-old Sir Joshua Reynolds, the first President of the Royal Academy. A nude caricature of Kauffman donned in black stockings in a corner of the original piece was eventually painted over, yet remains in Horne's draft drawings of the painting. Today, "The Conjurer" is on display at the National Gallery of Ireland. To add to this scandalous incident, she and Reynolds painted each other's portraits. She retired to Rome in the early 1780s. She married for a second time to the Venetian painter Antonio Zucchi. Her 1794 painting, "Self-portrait of the Artist Hesitating between the Arts of Music and Painting" reveals her love for music as well as art. Soon after her death, a bust of her sculpted by her cousin Johann Peter Kauffmann was placed in the Pantheon in Rome, beside Raphael's.