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Creator:
Angelica Kauffmann, 1741–1807
Title:
Rinaldo and Armida
Former Title(s):
Rinaldo and Armida. Tasso, Canto 17. [1772, Royal Academy of Arts, London, exhibition catalogue]
Date:
1771
Materials & Techniques:
Oil on canvas
Dimensions:
51 1/2 × 60 1/4 inches (130.8 × 153 cm), Frame: 56 1/2 × 65 1/4 inches (143.5 × 165.7 cm)
Inscription(s)/Marks/Lettering:

Signed and dated lower right: "Angelica Kaufafmann 1771"

Credit Line:
Yale Center for British Art, Paul Mellon Collection
Copyright Status:
Public Domain
Accession Number:
B1981.25.383
Classification:
Paintings
Collection:
Paintings and Sculpture
Subject Terms:
brocade | Christianity | flowers (plants) | literary theme | love | lovers | mirror | mythology | palace | prince | rocks (landforms) | sandals | soldier | sorceress | woman | woods
Associated Places:
Israel | Jerusalem
Associated People:
Rinaldo
Armida
Access:
Not on view
Link:
https://collections.britishart.yale.edu/catalog/tms:870
Export:
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IIIF Manifest:
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First exhibited at the Royal Academy in 1772, this depiction of the story of Rinaldo and Armida is taken from Torquato Tasso’s Gerusalemme Liberata (1580), a poetic account of the First Crusade. Rinaldo was a handsome prince, and Armida was a beautiful sorceress sent by the devil to disrupt the crusaders. Armida bewitches Rinaldo but falls in love with him instead, and the pair explore their amorous adventures. The couple is shown at the moment when Rinaldo’s fellow crusaders discover his whereabouts and prepare to rescue him from his enchantment and distractions of love.

Gallery label for Love, Life, Death, and Desire: An Installation of the Center's Collections (Yale Center for British Art, 2020-11-01 – 2021-02-28)



Angelica Kauffmann was a Swiss-born painter who worked in London and Rome. She became a leading history painter at a time when history painting was still regarded as the most prestigious genre and, because of its intellectual basis, more fittingly the province of male painters. Kauffmann exhibited this painting at the Royal Academy in 1772. It illustrates a scene from Torquato Tasso’s Gerusalemme Liberata (1580), a poetic account of the First Crusade (1096–99). Rinaldo is a handsome prince, and Armida is a beautiful sorceress sent by the devil to disrupt the Crusade. Armida bewitches Rinaldo but falls in love with him at the same time. The couple is shown at the moment when Rinaldo’s fellow crusaders are about to rescue him. A testament to its popularity, Kauffmann’s painting was engraved three times.

Gallery label for installation of YCBA collection, 2016



The story of Rinaldo and Armida is taken from Torquato Tasso's epic poem Gerusalemme Liberata (1580), an account of the First Crusade and the capture in 1099 of the holy city of Jerusalem. The poem was known in England within a few years of its publication but enjoyed renewed popularity in the mid-eighteenth century. Rinaldo is a handsome prince and Armida a beautiful sorceress sent by the devil to disrupt the Crusade. She bewitches Rinaldo but, despite her evil intent, falls in love and brings him to her enchanted palace on the Fortunate Isle. The lovers are finally discovered by some of Rinaldo's companions in arms, who recall him to his Christian duty. Kauffman's painting was engraved three times: by the artist herself in mezzotint (1780), by James Hogg (1784), and by W. Dickinson (1790). All three are in the Center's print collection.

Gallery label for installation of YCBA collection, 2010



The story of Rinaldo and Armida is from Torquato Tasso's epic poem "Gerusalemme Liberata" (1580), an account of the First Crusade and the capture of Jerusalem in 1099. Rinaldo is a handsome prince and Armida a beautiful sorceress sent by Satan to disrupt the Crusade. She bewitches Rinaldo but, despite her evil designs, falls in love with him, bringing him to her enchanted palace on the Fortunate Isle. The lovers are finally discovered by some of Rinaldo's companions in arms, who recall him to his Christian duty.

Gallery label for installation of YCBA collection, 2005

In a New Light: Paintings from the Yale Center for British Art (Yale University Art Gallery, 2023-03-24 - 2023-12-03) [YCBA Objects in the Exhibition] [Exhibition Description]

Love, Life, Death, and Desire: An Installation of the Center's Collections (Yale Center for British Art, 2020-10-01 - 2021-02-28) [YCBA Objects in the Exhibition] [Exhibition Description]

Malcolm Cormack, Concise Catalogue of Paintings in the Yale Center for British Art, Yale Center for British Art, New Haven, CT, 1985, pp. 132-133, N590.2 .A83 (YCBA) [YCBA]

Catherine M. Gordon, British paintings Hogarth to Turner, Frederick Warne, London, 1981, p. 37, ND466 .G67 (YCBA) [YCBA]

Matthew Hargraves, "Yale Center for British Art joins Art UK", ArtUK, 24 June 2019, https://artuk.org/discover/stories/yale-center-for-british-art-joins-art-uk [Website]


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