Johan Zoffany (1733-1810)

Aliases: Johann Zauffaly; John Zauffaly; Joseph Zauffaly; Johann Zauphaly; John Zauphaly; Joseph Zauphaly; Johann Zoffani; John Zoffani; Joseph Zoffani; Jan Zoffany; Johann Zoffany; Johann Joseph "von" (Edler) Zoffany; John Zoffany; Joseph Zoffany; John Zoufalý

Professions: Painter

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  Johann Zoffany, R.A. (1733-1810)

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  Johann Zoffany, R.A. (1733-1810)

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  Johann Zoffany, R.A. (1733-1810)

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  ATTRIBUTED TO JOHANN ZOFFANY R.A. 1733-1810

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Johan Zoffany Biography

(b nr Frankfurt am Main, 13 March 1733; d Strand-on-the-Green, nr Kew, London, 11 Nov 1810). German painter, active in England. Born Johannes Josephus Zauffaly, he was the son of Anton Franz Zauffaly (1699–1771), Court Cabinetmaker and Architect in Regensburg to Alexander Ferdinand, Prince of Thurn and Taxis. After an apprenticeship in Regensburg under the painter and engraver Martin Speer (c. 1702–65), a pupil of Francesco Solimena, Zoffany left in 1750 for Rome, where he studied under the portrait painter Agostino Masucci and came into contact with Anton Raphael Mengs. By 1757 and after a second trip to Rome, Zoffany was commissioned by Clemens August, Prince-Archbishop and Elector of Trier, to produce frescoes and paintings for his new palace at Trier and the palace of Ehrenbreitstein at Koblenz. All Zoffany’s early work at Ehrenbreitstein and Trier has been destroyed, but it may have been in the German Rococo manner of Cosmas Damian Asam and Johann Baptist Zimmermann. A number of small easel paintings such as Venus Bringing Arms to Aeneas (1759; Manchester, C.A.G.) survive to show his typical choice of portentous themes tempered by Rococo technique and pretty, pale colours. However, two large mythological works painted the following year, Venus Marina and Venus and Adonis (both Bordeaux, Mus. B.-A.), are impressive indications of Zoffany’s ability at this early stage in his career. Although the compositions are not particularly successful, they are enterprising reinterpretations of popular themes. The earthy realism of some of the figures and the relatively dark tonality clearly indicate that Zoffany was capable of developing his hitherto decorative style of painting.

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