Miniature Painter Revealed

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A01=Kathleen Langone
Ada Watney
Albert Kussner
Alice Fischer
Alva Vanderbilt
Alva Vanderbilt Belmont
American artists
American painters
american royalty
An American Beauty
Angelica Kaufmann
Armour family Chicago
artist biographies
Astor Anderson Cooper
Author_Kathleen Langone
biographies of women
Boer Wars
Book of Beauty
Carrie Astor
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Category=AMB
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Category=DNBF
Category=JBSF1
Category=NHK
Cecil Rhodes
Charles duPont Coudert
Charles Hamot Strong
Claire Choiseul
Clinique Florimont
Conde Nast
Consuelo Vanderbilt
Coudert Law Firm
czar nicholas ii
Czarina Alexandra
dollar heiresses
Downton Abbey
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eq_history
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Product details

  • ISBN 9781493087099
  • Weight: 517g
  • Dimensions: 152 x 229mm
  • Publication Date: 06 Jul 2025
  • Publisher: Rowman & Littlefield
  • Publication City/Country: US
  • Product Form: Hardback
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From simple beginnings, Amalia Kussner rose to fame as a talented and bold artist and ultimately became one of the most sought-after miniature portrait painters of the Gilded Age. At a time when the use of photography was on the rise, many still loved miniatures, which had a feeling and soul to them that photos could not duplicate. Miniatures could be worn as jewelry or carried between winter and summer homes and easily set out on display. Amalia’s portraits provided a grandeur that matched how the Gilded Age elite perceived themselves: as royalty.

Yet no female portrait artists had the notoriety or esteemed clientèle that Amalia did. Her subjects included members of the Astor family, Consuelo Vanderbilt, “dollar heiress” Minnie Paget, England’s Edward VII, Russia’s Czar Nicholas II and Alexandra, and diamond mine magnate Cecil Rhodes. At the height of her career, from the mid-1890s to early 1910, having a Kussner miniature was just as important an accessory as owning fine jewelry or a mansion in Newport. “Famous sitters, drawn to her by the accuracy and skill of her brush, never failed to become life-long friends,” read her obituary.

Amalia’s style was also provocative for the late Victorian period. Her subjects were draped in off-the-shoulder fabrics, with their hair loosely pinned around their heads and tendrils framing their faces, and she often took the liberty to enhance their beauty. Amalia kept the women’s best features but gave them an almost mythical appearance, akin to the fairy queen Titania in A Midsummer Night’s Dream.

Amalia has been included, along with other nineteenth-century women artists, in the “first wave of feminism,” in large part because she commanded very high commissions, comparable to male artists of the time. She was fascinating and sometimes mysterious—particularly with regard to her marriage to lawyer Charles du Pont Coudert—and her journey included not only fame and fortune, but also a few lawsuits, scandals, and lies.

Kathleen Langone is a freelance writer and historical researcher whose work has been published in regional New England publications such as Boston Magazine and various newspapers. She is also the host of People Hidden in History, a podcast that highlights fascinating people in the arts and politics who are unknown to the general public. She has been a speaker at museums, historical societies, libraries, the New York Adventure Club, and History Camp, and frequently presents on Amalia Kussner. She lives in Middleton, MA.

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