ABSTRACT
This chapter argues that Angelica Kauffman's portrait of the aging Anna Amalia hallmarked not only her trip to Italy at the age of 49 but also celebrated her years of actively navigating within the realm of male institutions, whether as ruler or Grand Tourist. Anna Amalia's trip to Italy reflects her engagement with connoisseurship and the new philosophical tenets of aesthetics, while demonstrating her unusual position as an older woman on the Grand Tour. Kauffman was important not only for painting Anna Amalia's portrait, but also because she was a link between the German and English communities in Rome. It is important to note that the drawings are only from members of her Gesellschaft, from individuals she explored the sites of Italy with, such as Kauffman's husband, the Italian painter Antonio Zucchi, Johann Georg Schütz, Christoph Heinrich Kniep, and Maximilian von Verschaffelt.
