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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:38:45 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:38:45 -0700 |
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diff --git a/12045-h/12045-h.htm b/12045-h/12045-h.htm new file mode 100644 index 0000000..be99cfc --- /dev/null +++ b/12045-h/12045-h.htm @@ -0,0 +1,13602 @@ +<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN"> +<html> + <head> + <meta http-equiv="Content-Type" content= + "text/html; charset=UTF-8"> + <title> + The Project Gutenberg eBook of WOMEN IN THE FINE ARTS FROM THE SEVENTH CENTURY B. C. TO THE TWENTIETH CENTURY A. D., by Clara Erskine Clement. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + P { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + H1,H2,H3,H4,H5,H6 { + text-align: center; /* all headings centered */ + } + HR { width: 33%; + margin-top: 1em; + margin-bottom: 1em; + } + BODY{margin-left: 10%; + margin-right: 10%; + background-color: white; + } + img {border: 0;} + .linenum {position: absolute; top: auto; left: 4%;} /* poetry number */ + .note {margin-left: 2em; margin-right: 2em; margin-bottom: 1em;} /* footnote */ + .blkquot {margin-left: 4em; margin-right: 4em;} /* block indent */ + .pagenum {position: absolute; left: 92%; font-size: smaller; text-align: right;} /* page numbers */ + .sidenote {width: 20%; margin-bottom: 1em; margin-top: 1em; padding-left: 1em; font-size: smaller; float: right; clear: right;} + .ctr {text-align: center;} + + + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem p {margin: 0; padding-left: 3em; text-indent: -3em;} + .poem p.i2 {margin-left: 2em;} + .poem p.i4 {margin-left: 4em;} + .poem p.i3 {margin-left: 3em;} + .poem .caesura {vertical-align: -200%;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> +<div>*** START OF THE PROJECT GUTENBERG EBOOK 12045 ***</div> + +<a name="Page_-47"></a> + +<a name="image-001"></a> +<p class="ctr"><a href="./images/001.jpg"><img src="./images/001_th.jpg" alt="Alinari, Photo. In the Bologna Gallery. THE INFANT CHRIST. ELISABETTA SIRANI"></a></p> +<p class="ctr">Alinari, Photo</p> +<p class="ctr">In the Bologna Gallery</p> +<p class="ctr">THE INFANT CHRIST</p> +<p class="ctr">Elisabetta Sirani</p> + +<hr style="width: 65%;"> + +<h1>WOMEN IN THE FINE ARTS +FROM THE SEVENTH CENTURY B. C. +TO THE +TWENTIETH CENTURY A. D.</h1> + +<h3>BY</h3> + +<h2>CLARA ERSKINE CLEMENT</h2> + +<h4>1904</h4> + +<hr style="width: 65%;"> + +<br> + +<p><a name="Page_-44"></a><a name="Page_-45"></a>PREFATORY NOTE</p> + +<p>As a means of collecting material for this book I have sent to many +artists in Great Britain and in various countries of Europe, as well as +in the United States, a circular, asking where their studies were made, +what honors they have received, the titles of their principal works, etc.</p> + +<p>I take this opportunity to thank those who have cordially replied to my +questions, many of whom have given me fuller information than I should +have presumed to ask; thus assuring correctness in my statements, which +newspaper and magazine notices of artists and their works sometimes fail +to do.</p> + +<p>I wish especially to acknowledge the courtesy of those who have given me +photographs of their pictures and sculpture, to be used as illustrations.</p> + +<p>CLARA ERSKINE CLEMENT.</p><a name="Page_-43"></a> + +<hr style="width: 65%;"> + +<br> + +<!-- Autogenerated TOC. Modify or delete as required. --> +<a href="#LIST_OF_ILLUSTRATIONS"><b>LIST OF ILLUSTRATIONS</b></a><br> + <a href="#INTRODUCTION"><b>INTRODUCTION</b></a><br> +<a href="#WOMEN_IN_THE_FINE_ARTS"><b>WOMEN IN THE FINE ARTS</b></a><br> + <a href="#SUPPLEMENT"><b>SUPPLEMENT</b></a><br> + +<!-- End Autogenerated TOC. --> + +<hr style="width: 65%;"> +<a name="LIST_OF_ILLUSTRATIONS"></a><h2><a name="Page_-42"></a>LIST OF ILLUSTRATIONS</h2> + +<a href="#image-001">THE INFANT CHRIST</a><br> +<p><i>Elisabetta Sirani</i></p> +<p>In the Bologna Gallery. By permission of Fratelli Alinari.</p> +<br> + +<a href="#image-002">A PORTRAIT</a><br> +<p><i>Elizabeth Gowdy Baker</i></p> +<br> + +<a href="#image-003">A PORTRAIT</a><br> +<p><i>Adelaide Cole Chase</i></p> +<p>From a Copley print.</p> +<br> + +<a href="#image-004">A CANADIAN INTERIOR</a><br> +<p><i>Emma Lampert Cooper</i></p> +<br> + +<a href="#image-005">ANGIOLA</a><br> +<p><i>Louise Cox</i></p> +<p>From a Copley print.</p> +<br> + +<a href="#image-006">DOROTHY</a><br> +<p><i>Lydia Field Emmet</i></p> +<p>From a Copley print.</p> +<br> + +<a href="#image-007">JUDITH WITH THE HEAD OF HOLOFERNES</a><br> +<p><i>Artemisia Gentileschi</i></p> +<p>In the Pitti +Gallery. By permission of Fratelli Alinari.</p> +<br> + +<a href="#image-008">GIVE US THIS DAY OUR DAILY BREAD</a><br> +<p><i>Berthe Girardet</i></p> +<br> + +<a href="#image-009">THE DEPARTURE OF SUMMER</a><br> +<p><i>Louise L. Heustis</i></p> +<p>From a Copley print.</p> +<br> + +<a href="#image-010">MINIATURE OF PERSIS BLAIR</a><br> +<p><i>Laura Coombs Hills</i></p> +<br> + +<a href="#image-011">CHILD OF THE PEOPLE</a><br> +<p><i>Helen Hyde</i></p> +<br> + +<a href="#image-012">MOTHER AND CHILD</a><br> +<p><i>Phoebe A. Jenks</i></p> +<br> + +<a href="#image-013">MISS ELLEN TERRY AS "PORTIA"</a><br> +<p><i>Louise Jopling Rowe</i></p><a name="Page_-41"></a> +<br> + +<a href="#image-014">ANGELICA KAUFFMAN</a><br> +<p><i>Angelica Kauffman</i></p> +<p>In the Uffizi Gallery. By +permission of Fratelli Alinari.</p> +<br> + +<a href="#image-015">PORTRAIT OF ROSA BONHEUR</a><br> +<p><i>Anna E. Klumpke</i></p> +<br> + +<a href="#image-016">A FAMILY OF DOGS</a><br> +<p><i>Matilda Lotz</i></p> +<br> + +<a href="#image-017">FRITZ</a><br> +<p><i>Clara T. MacChesney</i></p> +<p>From a Copley print.</p> +<br> + +<a href="#image-018">SAINT CATHERINE</a><br> +<p><i>Mary L. Macomber</i></p> +<p>From a Copley print.</p> +<br> + +<a href="#image-019">MONUMENT FOR A TOMB</a><br> +<p><i>Ida Matton</i></p> +<p>In Cemetery in Gefle, Sweden.</p> +<br> + +<a href="#image-020">DELFT</a><br> +<p><i>Blanche McManus Mansfield</i></p> +<br> + +<a href="#image-021">AN INDIAN AFTER THE CHASE</a><br> +<p><i>Rhoda Holmes Nichols</i></p> +<br> + +<a href="#image-022">FLOWERS</a><br> +<p><i>Helen Searle Pattison</i></p> +<br> + +<a href="#image-023">ST. CHRISTOPHER</a><br> +<p>Engraved by <i>Caroline A. Powell</i></p> +<p>In Doge's Palace, Venice</p> +<br> + +<a href="#image-024">GENEVESE WATCHMAKER</a><br> +<p><i>Aimée Rapin</i></p> +<p>In the Museum at Neuchâtel.</p> +<br> + +<a href="#image-025">MAY DAY AT WHITELANDS COLLEGE, CHELSEA</a><br> +<p><i>Anna Mary Richards</i></p> +<br> + +<a href="#image-026">FRUIT, FLOWERS, AND INSECTS</a><br> +<p><i>Rachel Ruysch</i></p> +<p>In the Pitti Gallery. By +permission of Fratelli Alinari.</p> +<br> + +<a href="#image-027">A FROG FOUNTAIN</a><br> +<p><i>Janet Scudder</i></p> +<br> + +<a href="#image-028">A FRENCH PRINCE</a><br> +<p><i>Marie Vigée Le Brun</i></p> +<br> + +<a href="#image-029">LA VIERGE AU ROSIER</a><br> +<p><i>Sadie Waters</i></p> +<p>By courtesy of Braun, Clément et Cie.</p> +<br> + +<a href="#image-030">SONG OF AGES</a><br> +<p><i>Ethel Wright</i></p> +<p>From a Copley print.</p> +<br> + +<a href="#image-031">STATUE OF DANIEL BOONE</a><br> +<p><i>Enid Yandell</i></p> +<p>Made for St. Louis Exposition.</p> +<br> + + + +<hr style="width: 65%;"> +<a name="INTRODUCTION"></a><h2><a name="Page_-40"></a>INTRODUCTION</h2> +<br> + +<p>In studying the subject of this book I have found the names of more than +a thousand women whose attainments in the Fine Arts—in various countries +and at different periods of time before the middle of the nineteenth +century—entitle them to honorable mention as artists, and I doubt not +that an exhaustive search would largely increase this number. The stories +of many of these women have been written with more or less detail, while +of others we know little more than their names and the titles of a few of +their works; but even our scanty knowledge of them is of value.</p> + +<p>Of the army of women artists of the last century it is not yet possible +to speak with judgment and justice, although many have executed works of +which all women may be proud.</p> + +<p>We have some knowledge of women artists in ancient days. Few stories of +that time are so authentic as that of Kora, who made the design for the +first bas-relief, in the city of Sicyonia, in the seventh century B. C. +We have the names of other Greek women artists of the centuries +immediately preceding and following the Christian era, but we know little +of their lives and works.</p> + +<p>Calypso was famous for the excellence of her character <a name="Page_-39"></a>pictures, a +remarkable one being a portrait of Theodorus, the Juggler. A picture +found at Pompeii, now at Naples, is attributed to this artist; but its +authorship is so uncertain that little importance can be attached to it. +Pliny praised Eirene, among whose pictures was one of "An Aged Man" and a +portrait of "Alcisthenes, the Dancer."</p> + +<p>In the annals of Roman Art we find few names of women. For this reason +Laya, who lived about a century before the Christian era, is important. +She is honored as the original painter of miniatures, and her works on +ivory were greatly esteemed. Pliny says she did not marry, but pursued +her art with absolute devotion; and he considered her pictures worthy of +great praise.</p> + +<p>A large picture in Naples is said to be the work of Laya, but, as in the +case of Calypso, we have no assurance that it is genuine. It is also said +that Laya's portraits commanded larger prices than those of Sopolis and +Dyonisius, the most celebrated portrait painters of their time.</p> + +<p>Our scanty knowledge of individual women artists of antiquity—mingled +with fable as it doubtless is—serves the important purpose of proving +that women, from very ancient times, were educated as artists and +creditably followed their profession beside men of the same periods.</p> + +<p>This knowledge also awakens imagination, and we wonder in what other +ancient countries there were women artists. We know that in Egypt +inheritances descended in the female line, as in the case of the Princess +Karamat; and since we know of the great architectural works of Queen +Hashop and her journey to the land of Punt, we may reasonably assume that +the women of ancient Egypt <a name="Page_-38"></a>had their share in all the interests of life. +Were there not artists among them who decorated temples and tombs with +their imperishable colors? Did not women paint those pictures of +Isis—goddess of Sothis—that are like precursors of the pictures of the +Immaculate Conception? Surely we may hope that a papyrus will be brought +to light that will reveal to us the part that women had in the decoration +of the monuments of ancient Egypt.</p> + +<p>At present we have no reliable records of the lives and works of women +artists before the time of the Renaissance in Italy.</p> + +<hr style="width: 45%;"> + +<p>M. Taine's philosophy which regards the art of any people or period as +the necessary result of the conditions of race, religion, civilization, +and manners in the midst of which the art was produced—and esteems a +knowledge of these conditions as sufficient to account for the character +of the art, seems to me to exclude many complex and mysterious +influences, especially in individual cases, which must affect the work of +the artists. At the same time an intelligent study of the art of any +nation or period demands a study of the conditions in which it was +produced, and I shall endeavor in this <i>résumé</i> of the history of women +in Art—mere outline as it is—to give an idea of the atmosphere in which +they lived and worked, and the influences which affected the results of +their labor.</p> + +<p>It has been claimed that everything of importance that originated in +Italy from the thirteenth to the seventeenth century bore the distinctive +mark of Fine Art. So high an authority as John Addington Symonds is in +accord <a name="Page_-37"></a>with this view, and the study of these four centuries is of +absorbing interest.</p> + +<p>Although the thirteenth century long preceded the practice of art by +women, its influence was a factor in the artistic life into which they +later came. In this century Andrea Tan, Guido da Siena, and other devoted +souls were involved in the final struggles of Mediæval Art, and at its +close Cimabue and Duccio da Siena—the two masters whose Madonnas were +borne in solemn procession through the streets of Florence and Siena, mid +music and the pealing of bells—had given the new impulse to painting +which brought them immortal fame. They were the heralds of the time when +poetry of sentiment, beauty of color, animation and individuality of form +should replace Mediæval formality and ugliness; a time when the spirit of +art should be revived with an impulse prophetic of its coming glory.</p> + +<p>But neither this portentous period nor the fourteenth century is +memorable in the annals of women artists. Not until the fifteenth, the +century of the full Renaissance, have we a record of their share in the +great rebirth.</p> + +<p>It is important to remember that the art of the Renaissance had, in the +beginning, a distinct office to fill in the service of the Church. Later, +in historical and decorative painting, it served the State, and at +length, in portrait and landscape painting, in pictures of genre subjects +and still-life, abundant opportunity was afforded for all orders of +talent, and the generous patronage of art by church, state, and men of +rank and wealth, made Italy a veritable paradise for artists.</p><a name="Page_-36"></a> + +<p>Gradually, with the revival of learning, artists were free to give +greater importance to secular subjects, and an element of worldliness, +and even of immorality, invaded the realm of art as it invaded the realms +of life and literature.</p> + +<p>This was an era of change in all departments of life. Chivalry, the great +"poetic lie," died with feudalism, and the relations between men and +women became more natural and reasonable than in the preceding centuries. +Women were liberated from the narrow sphere to which they had been +relegated in the minstrel's song and poet's rhapsody, but as yet neither +time nor opportunity had been given them for the study and development +which must precede noteworthy achievement.</p> + +<p>Remarkable as was the fifteenth century for intellectual and artistic +activity, it was not productive in its early decades of great genius in +art or letters. Its marvellous importance was apparent only at its close +and in the beginning of the sixteenth century, when the works of +Leonardo, Michael Angelo, Raphael, Titian, and their followers emphasized +the value of the progressive attainments of their predecessors.</p> + +<p>The assertion and contradiction of ideas and theories, the rivalries of +differing schools, the sweet devotion of Fra Angelico, the innovations of +Masolino and Masaccio, the theory of perspective of Paolo Uccello, the +varied works of Fabriano, Antonello da Messina, the Lippi, Botticelli, +Ghirlandajo, the Bellini, and their contemporaries, culminated in the +inimitable painting of the Cinquecento—in works still unsurpassed, ever +challenging artists of later centuries to the task of equalling or +excelling them.</p><a name="Page_-35"></a> + +<p>The demands of the art of the Renaissance were so great, and so unlike +those of earlier days, that it is not surprising that few women, in its +beginning, attained to such excellence as to be remembered during five +centuries. Especially would it seem that an insurmountable obstacle had +been placed in the way of women, since the study of anatomy had become a +necessity to an artist. This, and kindred hindrances, too patent to +require enumeration, account for the fact that but two Italian women of +this period became so famous as to merit notice—Caterina Vigri and +Onorata Rodiana, whose stories are given in the biographical part of this +book.</p> + +<hr style="width: 45%;"> + +<p>In Flanders, late in the fourteenth and early in the fifteenth centuries, +women were engaged in the study and practice of art. In Bruges, when the +Van Eycks were inventing new methods in the preparation of colors, and +painting their wonderful pictures, beside them, and scarcely inferior to +them, was their sister, Margaretha, who sacrificed much of her artistic +fame by painting portions of her brothers' pictures, unless the fact that +they thought her worthy of thus assisting them establishes her reputation +beyond question.</p> + +<p>In the fifteenth century we have reason to believe that many women +practised art in various departments, but so scanty and imperfect are the +records of individual artists that little more than their names are +known, and we have no absolute knowledge of the value of their works, or +where, if still existing, they are to be seen.</p><a name="Page_-34"></a> + +<p>The art of the Renaissance reached its greatest excellence during the +last three decades of the fifteenth and the first half of the sixteenth +century. This was a glorious period in the History of Art. The barbarism +of the Middle Ages was essentially a thing of the past, but much barbaric +splendor in the celebration of ceremonies and festivals still remained to +satisfy the artistic sense, while every-day costumes and customs lent a +picturesqueness to ordinary life. So much of the pagan spirit as endured +was modified by the spirit of the Renaissance. The result was a new order +of things especially favorable to painting.</p> + +<p>An artist now felt himself as free to illustrate the pagan myths as to +represent the events in the lives of the Saviour, the Virgin and the +saints, and the actors in the sacred subjects were represented with the +same beauty and grace of form as were given the heroes and heroines of +Hellenic legend. St. Sebastian was as beautiful as Apollo, and the +imagination and senses were moved alike by pictures of Danae and the +Magdalene—the two subjects being often the work of the same artist.</p> + +<p>The human form was now esteemed as something more than the mere +habitation of a soul; it was beautiful in itself and capable of awakening +unnumbered emotions in the human heart. Nature, too, presented herself in +a new aspect and inspired the artist with an ardor in her representation +such as few of the older painters had experienced in their devotion to +religious subjects.</p> + +<p>This expansion of thought and purpose was inaugurating an art attractive +to women, to which the increasing <a name="Page_-33"></a>liberty of artistic theory and +practice must logically make them welcome; a result which is a +distinguishing feature of sixteenth-century painting.</p> + +<hr style="width: 45%;"> + +<p>The sixteenth century was noteworthy for the generous patronage of art, +especially in Florence, where the policy of its ruling house could not +fail to produce marvellous results, and the history of the Medici +discloses many reasons why the bud of the Renaissance perfected its bloom +in Florence more rapidly and more gloriously than elsewhere.</p> + +<p>For centuries Italy had been a treasure-house of Greek, Etruscan, and +Byzantine Art. In no other country had a civilization like that of +ancient Rome existed, and no other land had been so richly prepared to be +the birthplace and to promote the development of the art of the +Renaissance.</p> + +<p>The intellectually progressive life of this period did much for the +advancement of women. The fame of Vittoria Colonna, Tullia d'Aragona, +Olympia Morata, and many others who merit association in this goodly +company, proves the generous spirit of the age, when in the scholastic +centres of Italy women were free to study all branches of learning.</p> + +<p>The pursuit of art was equally open to them and women were pupils in all +the schools and in the studios of many masters; even Titian instructed a +woman, and all the advantages for study enjoyed by men were equally +available for women. Many names of Italian women artists could be added +to those of whom I have written in the biographi<a name="Page_-32"></a>cal portion of this +book, but too little is known of their lives and works to be of present +interest. There is, however, little doubt that many pictures attributed +to "the School of" various masters were painted by women.</p> + +<hr style="width: 45%;"> + +<p>Art did not reach its perfection in Venice until later than in Florence, +and its special contribution, its glorious color, imparted to it an +attraction unequalled on the sensuous plane. This color surrounded the +artists of that sumptuous city of luxurious life and wondrous pageants, +and was so emphasized by the marvellous mingling of the semi-mist and the +brilliancy of its atmosphere that no man who merited the name of artist +could be insensible to its inspiration.</p> + +<p>The old Venetian realism was followed, in the time of the Renaissance, by +startling developments. In the works of Tintoretto and Veronese there is +a combination of gorgeous draperies, splendid and often licentious +costumes, brilliant metal accessories, and every possible device for +enhancing and contrasting colors, until one is bewildered and must adjust +himself to these dazzling spectacles—religious subjects though they may +be—before any serious thought or judgment can be brought to bear upon +their artistic merit; these two great contemporaries lived and worked in +the final decades of the sixteenth century.</p> + +<p>We know that many women painted pictures in Venice before the seventeenth +century, although we have accurate knowledge of but few, and of these an +account is given later in this book.</p><a name="Page_-31"></a> + +<p>We who go from Paris to London in a few hours, and cross the St. Gothard +in a day, can scarcely realize the distance that separated these capitals +from the centres of Italian art in the time of the Renaissance. We have, +however, abundant proof that the sacred fire of the love of Art and +Letters was smouldering in France, Germany, and England—and when the +inspiring breath of the Renaissance was wafted beyond the Alps a flame +burst forth which has burned clearer and brighter with succeeding +centuries.</p> + +<p>From the time of Vincent de Beauvais, who died in 1264, France had not +been wanting in illustrious scholars, but it could not be said that a +French school of art existed. François Clouet or Cloet, called Jehannet, +was born in Tours about 1500. His portraits are seen in the Gallery of +the Louvre, and have been likened to those of Holbein; but they lack the +strength and spirit of that artist; in fact, the distinguishing feature +of Clouet's work is the remarkable finish of draperies and accessories, +while the profusion of jewels distracts attention from the heads of his +subjects.</p> + +<p>The first great French artists were of the seventeenth century, and +although Clouet was painter to Francis I. and Henry II., the former, like +his predecessors, imported artists from Italy, among whom were Leonardo +da Vinci and Benvenuto Cellini.</p> + +<p>In letters, however, there were French women of the sixteenth century who +are still famous. Marguerite de Valois was as cultivated in mind as she +was generous and noble in character. Her love of learning was not easily +<a name="Page_-30"></a>satisfied. She was proficient in Hebrew, the classics, and the usual +branches of "profane letters," as well as an accomplished scholar in +philosophy and theology. As an author—though her writings are somewhat +voluminous and not without merit—she was comparatively unimportant; her +great service to letters was the result of the sympathy and encouragement +she gave to others.</p> + +<p>Wherever she might be, she was the centre of a literary and religious +circle, as well as of the society in which she moved. She was in full +sympathy with her brother in making his "<i>Collège</i>" an institution in +which greater liberty was accorded to the expression of individual +opinion than had before been known in France, and by reason of her +protection of liberty in thought and speech she suffered much in the +esteem of the bigots of her day.</p> + +<p>The beautiful Mlle. de Heilly—the Duchesse d'Etampes—whose influence +over Francis I. was pre-eminent, while her character was totally unlike +that of his sister, was described as "the fairest among the learned, and +the most learned among the fair." When learning was thus in favor at +Court, it naturally followed that all capacity for it was cultivated and +ordinary intelligence made the most of; and the claim that the +intellectual brilliancy of the women of the Court of Francis I. has +rarely been equalled is generally admitted. There were, however, no +artists among them—they wielded the pen rather than the brush.</p> + +<hr style="width: 45%;"> + +<p>In England, as in France, there was no native school of art in the +sixteenth century, and Flemish, Dutch, and German artists crossed the +channel when summoned to <a name="Page_-29"></a>the English Court, as the Italians crossed the +Alps to serve the kings of France.</p> + +<p>English women of this century were far less scholarly than those of Italy +and France. At the same time they might well be proud of a queen who +"could quote Pindar and Homer in the original and read every morning a +portion of Demosthenes, being also the royal mistress of eight +languages." With our knowledge of the queen's scholarship in mind we +might look to her for such patronage of art and literature as would rival +that of Lorenzo the Magnificent; but Elizabeth lacked the generosity of +the Medici and that of Marguerite de Valois. Hume tells us that "the +queen's vanity lay more in shining by her own learning than in +encouraging men of genius by her liberality."</p> + +<p>Lady Jane Grey and the daughters of Sir Anthony Cooke are familiar +examples of learned women, and many English titled and gentlewomen were +well versed in Greek and Latin, as well as in Spanish, Italian, and +French. Macaulay reminded his readers that if an Englishwoman of that day +did not read the classics she could read little, since the then existing +books—outside the Italian—would fill a shelf but scantily. Thus English +girls read Plato, and doubtless English women excelled Englishmen in +their proficiency in foreign languages, as they do at present.</p> + +<hr style="width: 45%;"> + +<p>In Germany the relative position of Art and Letters was the opposite to +that in France and England. The School of Cologne was a genuinely native +school of art in the <a name="Page_-28"></a>fourteenth century. Although the Niebelungen Lied +and Gudrun, the Songs of Love and Volkslieder, as well as Mysteries and +Passion Plays, existed from an early date, we can scarcely speak of a +German Literature before the sixteenth century, when Albert Dürer and the +younger Holbein painted their great pictures, while Luther, Melanchthon +and their sympathizers disseminated the doctrines of advancing +Protestantism.</p> + +<p>At this period, in the countries we may speak of collectively as German, +women artists were numerous. Many were miniaturists, some of whom were +invited to the English Court and received with honor.</p> + +<p>In 1521 Albert Dürer was astonished at the number of women artists in +different parts of what, for conciseness, we may call Germany. This was +also noticeable in Holland, and Dürer wrote in his diary, in the +above-named year: "Master Gerard, of Antwerp, illuminist, has a daughter, +eighteen years of age, named Susannah, who illuminated a little book +which I purchased for a few guilders. It is wonderful that a woman could +do so much!"</p> + +<p>Antwerp became famous for its women artists, some of whom visited France, +Italy, and Spain, and were honorably recognized for their talent and +attainments, wherever they went.</p> + +<hr style="width: 45%;"> + +<p>In the later years of the sixteenth century a difference of opinion and +purpose arose among the artists of Italy, the effects of which were shown +in the art of the seventeenth century. Two distinct schools were formed, +one <a name="Page_-27"></a>of which included the conservatives who desired to preserve and +follow the manner of the masters of the Cinquecento, at the same time +making a deeper study of Nature—thus the devotional feeling and many of +the older traditions would be retained while each master could indulge +his individuality more freely than heretofore. They aimed to unite such a +style as Correggio's—who belonged to no school—with that of the +severely mannered artists of the preceding centuries. These artists were +called Eclectics, and the Bolognese school of the Carracci was the most +important centre of the movement, while Domenichino, a native of +Bologna—1581-1631—was the most distinguished painter of the school.</p> + +<p>The original aims of the Eclectics are well summed up in a sonnet by +Agostino Carracci, which has been translated as follows: "Let him who +wishes to be a good painter acquire the design of Rome, Venetian action +and Venetian management of shade, the dignified color of Lombardy—that +is of Leonardo da Vinci—the terrible manner of Michael Angelo, Titian's +truth and nature, the sovereign purity of Correggio's style and the just +symmetry of a Raphael, the decorum and well-grounded study of Tibaldi, +the invention of the learned Primaticcio, and a <i>little</i> of +Parmigianino's grace; but without so much study and weary labor let him +apply himself to imitate the works which our Niccolò—dell Abbate—left +us here." Kugler calls this "a patchwork ideal," which puts the matter in +a nut-shell.</p> + +<p>At one period the Eclectics produced harmonious pictures in a manner +attractive to women, many of whom <a name="Page_-26"></a>studied under Domenichino, Giovanni +Lanfranco, Guido Reni, the Campi, and others. Sofonisba Anguisciola, +Elisabetta Sirani, and the numerous women artists of Bologna were of this +school.</p> + +<p>The greatest excellence of this art was of short duration; it declined as +did the literature, and indeed, the sacred and political institutions of +Italy in the seventeenth century. It should not, however, be forgotten, +that the best works of Guercino, the later pictures of Annibale Carracci, +and the important works of Domenichino and Salvator Rosa belong to this +period.</p> + +<p>The second school was that of the Naturalists, who professed to study +Nature alone, representing with brutal realism her repulsive aspects. +Naples was the centre of these painters, and the poisoning of Domenichino +and many other dark and terrible deeds have been attributed to them. Few +women were attracted to this school, and the only one whose association +with the Naturalisti is recorded—Aniella di Rosa—paid for her temerity +with her life.</p> + +<hr style="width: 45%;"> + +<p>In Rome, Florence, Bologna, Venice, and other Italian cities, there were, +in the seventeenth century, many women who made enviable reputations as +artists, some of whom were also known for their literary and musical +attainments. Anna Maria Ardoina, of Messina, made her studies in Rome. +She was gifted as a poet and artist, and so excelled in music that she +had the distinguished honor of being elected to the Academy of Arcadia.</p> + +<p>Not a few gifted women of this time are remembered <a name="Page_-25"></a>for their noble +charities. Chiara Varotari, under the instruction of her father and her +brother, called Padovanino, became a good painter. She was also honored +as a skilful nurse, and the Grand Duke of Tuscany placed her portrait in +his gallery on account of his admiration and respect for her as a +comforter of the suffering.</p> + +<p>Giovanna Garzoni, a miniaturist, conferred such benefits upon the Academy +of St. Luke that a monument was there erected to her memory. Other +artists founded convents, became nuns, and imprinted themselves upon +their age in connection with various honorable institutions and +occupations.</p> + +<hr style="width: 45%;"> + +<p>French Art in the seventeenth century was academic and prosaic, lacking +the spontaneity, joyousness, and intensely artistic feeling of Italian +Art—a heritage from previous centuries which had not been lost, and in +which France had no part. The works of Poussin, which have been likened +to painted reliefs, afford an excellent example of French Art in his +time—1594-1665—and this in spite of the fact that he worked and studied +much in Rome.</p> + +<p>The Académie des Beaux-Arts was established by Louis XIV., and there was +a rapidly growing interest in art. As yet, however, the women of France +affected literature rather than painting, and in the seventeenth century +they were remarkable for their scholarly attainments and their influence +in the world of letters.</p> + +<p>Madame de Maintenon patronized learning; at the Hôtel Rambouillet men and +women of genius met the world of <a name="Page_-24"></a>rank and fashion on common ground. +Madame Dacier, of whom Voltaire said, "No woman has ever rendered greater +services to literature," made her translations from the classics; Madame +de Sevigné wrote her marvellous letters; Mademoiselle de Scudéry and +Madame Lafayette their novels; Catherine Bernard emulated the manner of +Racine in her dramas; while Madame de Guyon interpreted the mystic Song +of Solomon.</p> + +<p>Of French women artists of this period we can mention several names, but +they were so overshadowed by authors as to be unimportant, unless, like +Elizabeth Chéron, they won both artistic and literary fame.</p> + +<hr style="width: 45%;"> + +<p>The seventeenth century was an age of excellence in the art of Flanders, +Belgium, and Holland, and is known as the second great epoch of painting +in the Netherlands, this name including the three countries just +mentioned.</p> + +<p>After the calamities suffered under Charles V. and Philip II., with +returning peace and prosperity an art was developed, both original and +rich in artistic power. The States-General met in 1600, and the greatest +artists of the Netherlands did their work in the succeeding fifty years; +and before the century closed the appreciation of art and the patronage +which had assured its elevation were things of the past.</p> + +<p>Rubens was twenty-three years old in 1600, just ready to begin his work +which raised the school of Belgium to its highest attainments. When we +remember how essentially his art dominated his own country and was +admired elsewhere, we might think—I had almost said fear—that <a name="Page_-23"></a>his +brilliant, vigorous, and voluptuous manner would attract all artists of +his day to essay his imitation. But among women artists Madame O'Connell +was the first who could justly be called his imitator, and her work was +done in the middle of the nineteenth century.</p> + +<p>When we turn to the genre painting of the Flemish and Dutch artists we +find that they represented scenes in the lives of coarse, drunken boors +and vulgar women—works which brought these artists enduring fame by +reason of their wonderful technique; but we can mention one woman only, +Anna Breughel, who seriously attempted the practice of this art. She is +thought to have been of the family of Velvet Breughel, who lived in the +early part of the seventeenth century.</p> + +<p>Like Rubens, Rembrandt numbered few women among his imitators. The women +of his day and country affected pleasing delineations of superficial +motives, and Rembrandt's earnestness and intensity were seemingly above +their appreciation—certainly far above their artistic powers.</p> + +<p>A little later so many women painted delicate and insipid subjects that I +have not space even for their names. A critic has said that the Dutch +school "became a nursery for female talent." It may have reached the +Kindergarten stage, but went no farther.</p> + +<p>Flower painting attained great excellence in the seventeenth century. The +most elaborate masters in this art were the brothers De Heem, Willem +Kalf, Abraham Mignon, and Jan van Huysum. Exquisite as the pictures by +these masters are, Maria van Oosterwyck and<a name="Page_-22"></a> Rachel Ruysch disputed +honors with them, and many other women excelled in this delightful art.</p> + +<p>An interesting feature in art at this time was the intimate association +of men and women artists and the distinction of women thus associated.</p> + +<p>Gerard Terburg, whose pictures now have an enormous value, had two +sisters, Maria and Gezina, whose genre pictures were not unworthy of +comparison with the works of their famous brother. Gottfried Schalken, +remarkable for his skill in the representation of scenes by candle light, +was scarcely more famous than his sister Maria. Eglon van der Neer is +famous for his pictures of elegant women in marvellous satin gowns. He +married Adriana Spilberg, a favorite portrait painter. The daughters of +the eminent engraver Cornelius Visscher, Anna and Maria, were celebrated +for their fine etching on glass, and by reason of their poems and their +scholarly acquirements they were called the "Dutch Muses," and were +associated with the learned men of their day. This list, though +incomplete, suggests that the co-education of artists bore good fruit in +their co-operation in their profession.</p> + +<hr style="width: 45%;"> + +<p>In England, while there was a growing interest in painting, the standard +was that of foreign schools, especially the Dutch. Foreign artists found +a welcome and generous patronage at the English Court. Mary Beale and +Anne Carlisle are spoken of as English artists, and a few English women +were miniaturists. Among these was Susannah Penelope Gibson, daughter of +Richard Gib<a name="Page_-21"></a>son, the Dwarf. While these women were not wanting in +artistic taste, they were little more than copyists of the Dutch artists +with whom they had associated.</p> + +<hr style="width: 45%;"> + +<p>In the early years of the seventeenth century there were a number of +Danish women who were painters, engravers, and modellers in wax. The +daughter of King Christian IV., Elenora Christina, and her daughter, +Helena Christina, were reputable artists. The daughter of Christian V., +Sophie Hedwig, made a reputation as a portrait, landscape, and flower +painter, which extended beyond her own country; and Anna Crabbe painted a +series of portraits of Danish princes, and added to them descriptive +verses of her own composition.</p> + +<hr style="width: 45%;"> + +<p>The Art of Spain attained its greatest glory in the seventeenth +century—the century of Velasquez, Murillo, Ribera, and other less +distinguished but excellent artists.</p> + +<p>In the last half of this century women artists were prominent in the +annals of many Spanish cities. In the South mention is made of these +artists, who were of excellent position and aristocratic connection. In +Valencia, the daughter of the great portrait painter Alonzo Coello was +distinguished in both painting and music. She married Don Francesco de +Herrara, Knight of Santiago.</p> + +<p>In Cordova the sister of Palomino y Vasco—the artist who has been called +the Vasari of Spain on account of his Museo Pictorio—was recognized as a +talented artist. In Madrid, Velasquez numbered several noble ladies among +<a name="Page_-20"></a>his pupils; but no detailed accounts of the works of these artists is +available—if any such exist—and their pictures are in private +collections.</p> + +<hr style="width: 45%;"> + +<p>The above outline of the general conditions of Art in the seventeenth +century will suggest the reasons for there being a larger number of women +artists in Italy than elsewhere—especially as they were pupils in the +studios of the best masters as well as in the schools of the Carracci and +other centres of art study.</p> + +<hr style="width: 45%;"> + +<p>Italian artists of the eighteenth century have been called scene +painters, and, in truth, many of their works impress one as hurried +attempts to cover large spaces. Originality was wanting and a wearisome +mediocrity prevailed. At the same time certain national artistic +qualities were apparent; good arrangement of figures and admirable +effects of color still characterized Italian painting, but the result +was, on the whole, academic and uninteresting.</p> + +<p>The ideals cherished by older artists were lost, and nothing worthy to +replace them inspired their followers. The sincerity, earnestness, and +devotion of the men who served church and state in the decoration of +splendid monuments would have been out of place in the service of +amateurs and in the decoration of the salons and boudoirs of the rich, +and the painting of this period had little permanent value, in comparison +with that of preceding centuries.</p> + +<p>Italian women, especially in the second half of the cen<a name="Page_-19"></a>tury, were +professors in universities, lectured to large audiences, and were +respectfully consulted by men of science and learning in the various +branches of scholarship to which they were devoted. Unusual honors were +paid them, as in the case of Maria Portia Vignoli, to whom a statue was +erected in the public square of Viterbo to commemorate her great learning +in natural science.</p> + +<p>An artist, Matilda Festa, held a professorship in the Academy of St. Luke +in Rome, and Maria Maratti, daughter of the Roman painter Carlo Maratti, +made a good reputation both as an artist and a poetess.</p> + +<p>In Northern Italy many women were famous in sculpture, painting, and +engraving. At least forty could be named, artists of good repute, whose +lives were lacking in any unusual interest, and whose works are in +private collections. One of these was a princess of Parma, who married +the Archduke Joseph of Austria, and was elected to the Academy of Vienna +in 1789.</p> + +<hr style="width: 45%;"> + +<p>In France, in the beginning of this century Watteau, 1684-1721, painted +his interesting pictures of <i>La Belle Société</i>, reproducing the court +life, costumes, and manners of the reign of Louis XIV. with fidelity, +grace, and vivacity. Later in the century, Greuze, 1725-1805, with his +attractive, refined, and somewhat mannered style, had a certain +influence. Claude Vernet, 1714-1789, and David, 1748-1825, each great in +his way, influenced the nineteenth as well as the eighteenth century. +Though Vien, 1716-1809, made a great effort to revive classic art, he +found little sympathy with his aim until the works of his <a name="Page_-18"></a>pupil David +won recognition from the world of the First Empire.</p> + +<p>French Art of this period may be described by a single +word—eclectic—and this choice by each important artist of the style he +would adopt culminated in the Rococo School, which may be defined as the +unusual and fantastic in art. It was characterized by good technique and +pleasing color, but lacked purpose, depth, and warmth of feeling. As +usual in a <i>pot-pourri</i>, it was far enough above worthlessness not to be +ignored, but so far short of excellence as not to be admired.</p> + +<p>In France during this century there was an army of women artists, +painters, sculptors, and engravers. Of a great number we know the names +only; in fact, of but two of these, Adelaide Vincent and Elizabeth Vigée +Le Brun, have we reliable knowledge of their lives and works.</p> + +<p>The eighteenth century is important in the annals of women artists, since +their numbers then exceeded the collective number of those who had +preceded them—so far as is known—from the earliest period in the +history of art. In a critical review of the time, however, we find a +general and active interest in culture and art among women rather than +any considerable number of noteworthy artists.</p> + +<p>Germany was the scene of the greatest activity of women artists. France +held the second place and Italy the third, thus reversing the conditions +of preceding centuries.</p> + +<hr style="width: 45%;"> + +<p>Many German women emulated the examples of the earlier flower painters, +but no one was so important as to <a name="Page_-17"></a>merit special attention, though a +goodly number were elected to academies and several appointed painters to +the minor courts.</p> + +<p>Among the genre and historical painters we find the names of Anna Amalia +of Brunswick and Anna Maria, daughter of the Empress Maria Theresa, both +of whom were successful artists.</p> + +<p>In Berlin and Dresden the interest in art was much greater in the +eighteenth than in previous centuries, and with this new impulse many +women devoted themselves to various specialties in art. Miniature and +enamel painting were much in vogue, and collections of these works, now +seen in museums and private galleries, are exquisitely beautiful and +challenge our admiration, not only for their beauty, but for the delicacy +of their handling and the infinite patience demanded for their execution.</p> + +<p>The making of medals was carried to great excellence by German women, as +may be seen in a medal of Queen Sophie Charlotte, which is preserved in +the royal collection of medals. It is the work of Rosa Elizabeth +Schwindel, of Leipsic, who was well known in Berlin in the beginning of +the century.</p> + +<p>The cutting of gems was also extensively done by women. Susannah Dorsch +was famous for her accomplishment in this art. Her father and grandfather +had been gem-cutters, and Susannah could not remember at what age she +began this work. So highly was she esteemed as an artist that medals were +made in her honor.</p> + +<p>As frequently happens in a study of this kind, I find long lists of the +names of women artists of this period of <a name="Page_-16"></a>whose lives and works I find no +record, while the events related in other cases are too trivial for +repetition. This is especially true in Holland, where we find many names +of Dutch women who must have been reputable artists, since they are +mentioned in Art Chronicles of their time; but we know little of their +lives and can mention no pictures executed by them.</p> + +<hr style="width: 45%;"> + +<p>A national art now existed in England. Hogarth, who has been called the +Father of English Painting, was a man of too much originality to be a +mere imitator of foreign artists. He devoted his art to the +representation of the follies of his time. As a satirist he was eminent, +but his mirth-provoking pictures had a deeper purpose than that of +amusing. Lord Orford wrote: "Mirth colored his pictures, but benevolence +designed them. He smiled like Socrates, that men might not be offended at +his lectures, and might learn to laugh at their own folly."</p> + +<p>Sir Joshua Reynolds and Thomas Gainsborough were born and died in the +eighteenth century; their famous works were contemporary with the +founding of the Royal Academy in 1768, when these artists, together with +Angelica Kauffman and Mary Moser, were among its original members.</p> + +<p>It was a fashion in England at this time for women to paint; they +principally affected miniature and water-color pictures, but of the many +who called themselves artists few merit our attention; they practised but +a feeble sort of imitative painting; their works of slight importance +cannot now be named, while their lives were usually com<a name="Page_-15"></a>monplace and void +of incident. Of the few exceptions to this rule I have written in the +later pages of this book.</p> + +<hr style="width: 45%;"> + +<p>The suggestion that the nineteenth century cannot yet be judged as to its +final effect in many directions has already been made, and of nothing is +this more true than of its Art. Of one phase of this period, however, we +may speak with confidence. No other century of which we know the history +has seen so many changes—such progress, or such energy of purpose so +largely rewarded as in the century we are considering.</p> + +<p>To one who has lived through more than three score years of this period, +no fairy tale is more marvellous than the changes in the department of +daily life alone.</p> + +<p>When I recall the time when the only mode of travel was by stage-coach, +boat, or private carriage—when the journey from Boston to St. Louis +demanded a week longer in time than we now spend in going from Boston to +Egypt—when no telegraph existed—when letter postage was twenty-five +cents and the postal service extremely primitive—when no house was +comfortably warmed and women carried foot-stoves to unheated +churches—when candles and oil lamps were the only means of "lighting +up," and we went about the streets at night with dim lanterns—when women +spun and wove and sewed with their hands only, and all they accomplished +was done at the hardest—when in our country a young girl might almost as +reasonably attempt to reach the moon as to become an artist—remembering +all this it seems as if an army of magicians must incessantly have waved +their wands above <a name="Page_-14"></a>us, and that human brains and hands could not have +invented and put in operation the innumerable changes in our daily life +during the last half-century.</p> + +<p>When, in the same way, we review the changes that have taken place in the +domains of science, in scholarly research in all directions, in printing, +bookmaking, and the methods of illustrating everything that is +printed—from the most serious and learned writing to advertisements +scattered over all-out-of-doors—when we add to these the revolutions in +many other departments of life and industry, we must regard the +nineteenth as the century <i>par excellence</i> of expansion, and in various +directions an epoch-making era.</p> + +<hr style="width: 45%;"> + +<p>When we turn to our special subject we find an activity and expansion in +nineteenth-century art quite in accordance with the spirit of the time. +This expansion is especially noticeable in the increased number of +subjects represented in works of art, and in the invention of new methods +of artistic expression.</p> + +<p>Prior to this period there had been a certain selection of such subjects +for artistic representation as could be called "picturesque," and though +more ordinary and commonplace subjects might be rendered with such +skill—such drawing, color, and technique—as to demand approbation, it +was given with a certain condescension and the feeling was manifested +that these subjects, though treated with consummate art, were not +artistic. The nineteenth century has signally changed these theories.</p> + +<p>Nothing that makes a part in human experience is now <a name="Page_-13"></a>too commonplace or +too unusual and mysterious to afford inspiration to painter and sculptor; +while the normal characteristics of human beings and the circumstances +common to their lives are not omitted, the artist frequently endeavors to +express in his work the most subtle experiences of the heart and soul, +and to embody in his picture or statue an absolutely psychologic +phenomenon.</p> + +<p>The present easy communication with all nations has awakened interest in +the life of countries almost unknown to us a half-century ago. So +customary is it for artists to wander far and wide, seeking new motives +for their works, that I felt no surprise when I recently received a +letter from a young American woman who is living and painting in Biskra. +How short a time has passed since this would have been thought +impossible!</p> + +<p>It is also true that subjects not new in art are treated in a +nineteenth-century manner. This is noticeable in the picturing of +historical subjects. The more intimate knowledge of the world enables the +historical painter of the present to impart to his representations of the +important events of the past a more human and emotional element than +exists in the historical art of earlier centuries. In a word, +nineteenth-century art is sympathetic, and has found inspiration in all +countries and classes and has so treated its subjects as to be +intelligible to all, from the favored children for whom Kate Greenaway, +Walter Crane, and many others have spent their delightful talents, to men +and women of all varieties of individual tastes and of all degrees of +ability to comprehend and appreciate artistic representations.</p><a name="Page_-12"></a> + +<p>A fuller acquaintance with the art and art-methods of countries of which +but little had before been known has been an element in art expansion. +Technical methods which have not been absolutely adopted by European and +English-speaking artists have yet had an influence upon their art. The +interest in Japanese Art is the most important example of such influence, +and it is also true that Japanese artists have been attracted to the +study of the art of America and Europe, while some foreign artists +resident in Japan—notably Miss Helen Hyde, a young American—have +studied and practised Japanese painting to such purpose that Japanese +juries have accorded the greatest excellence and its honors to their +works, exhibited in competition with native artists.</p> + +<p>Other factors in the expansion of art have been found in photography and +the various new methods of illustration that have filled books, +magazines, and newspapers with pictures of more or less (?) merit. Even +the painting of "posters" has not been scorned by good artists, some of +whom have treated them in such a manner as to make them worthy a place in +museums where only works of true merit are exhibited.</p> + +<p>Other elements in the nineteenth-century expansion in art are seen in the +improved productions of the so-called Arts and Crafts which are of +inestimable value in cultivating the artistic sense in all classes. +Another influence in the same direction is the improved decoration of +porcelain, majolica, and pottery, which, while not equal to that of +earlier date in the esteem of connoisseurs, <a name="Page_-11"></a>brings artistic objects to +the sight and knowledge of all, at prices suited to moderate means.</p> + +<hr style="width: 45%;"> + +<p>In America the unparalleled increase of Free Libraries has brought, not +books alone, but collections of photographs and other reproductions of +the best Painting, Sculpture, and Architecture in the world, as well as +medals, book-plates, artistic bindings, etc., within reach of students of +art.</p> + +<p>Art Academies and Museums have also been greatly multiplied. It is often +a surprise to find, in a comparatively small town, a fine Art Gallery, +rich in a variety of precious objects. Such an one is the Art Museum of +Bowdoin College, in Brunswick, Me. The edifice itself is the most +beautiful of the works by McKim that I have seen. The frescoes by La +Farge and Vedder are most satisfactory, and one exhibit, among many of +interest—that of original drawings by famous Old Masters—would make +this Museum a worthy place of pilgrimage. Can one doubt that such a +Museum must be an element of artistic development in those who are in +contact with it?</p> + +<p>I cannot omit saying that this splendid monument to the appreciation of +art and to great generosity was the gift of women, while the artists who +perfected its architecture and decorations are Americans; it is an +impressive expression of the expansion of American Art in the nineteenth +century.</p> + +<hr style="width: 45%;"> + +<p>The advantages for the study of Art have been largely improved and +increased in this period. In numberless <a name="Page_-10"></a>studios small classes of pupils +are received; in schools of Design, schools of National Academies, and in +those of individual enterprise, all possible advantages for study under +the direction of the best artists are provided, and these are +supplemented by scholarships which relieve the student of limited means +from providing for daily needs.</p> + +<p>All these opportunities are shared by men and women alike. Every +advantage is as freely at the command of one as of the other, and we +equal, in this regard, the centuries of the Renaissance, when women were +Artists, Students, and Professors of Letters and of Law, filling these +positions with honor, as women do in these days.</p> + +<p>In 1859 T. Adolphus Trollope, in his "Decade of Italian Women," in which +he wrote of the scholarly women of the Renaissance, says: "The degree in +which any social system has succeeded in ascertaining woman's proper +position, and in putting her into it, will be a very accurate test of the +progress it has made in civilization. And the very general and growing +conviction that our own social arrangements, as they exist at present, +have not attained any satisfactory measure of success in this respect, +would seem, therefore, to indicate that England in her nineteenth century +has not yet reached years of discretion after all."</p> + +<p>Speaking of Elisabetta Sirani he says: "The humbly born artist, admirable +for her successful combination in perfect compatibility of all the duties +of home and studio." Of how many woman artists we can now say this.</p> + +<p>Trollope's estimate of the position of women in England, which was not +unlike that in America, forty-five <a name="Page_-9"></a>years ago, when contrasted with that +of the present day, affords another striking example of the expansion of +the nineteenth century.</p> + +<hr style="width: 45%;"> + +<p>Although no important changes occur without some preparation, this may be +so gradual and unobtrusive in its work that the result appears to have a +Minerva-like birth. Doubtless there were influences leading up to the +remarkable landscape painting of this century. The "Norwich School," +which took shape in 1805, was founded by Crome, among whose associates +were Cotman, Stark, and Vincent. Crome exhibited his works at the Royal +Academy in 1806, and the twelve following years, and died in 1821 when +the pictures of Constable were attracting unusual attention; indeed, it +may be said that by his exhibitions at the Royal Academy, Constable +inaugurated modern landscape painting, which is a most important feature +of art in this century.</p> + +<p>Not forgetting the splendid landscapes of the Dutch masters, of the early +Italians, of Claude and Wilson, the claim that landscape painting was +perfected only in the nineteenth century, and then largely as the result +of the works of English artists, seems to me to be well founded. To this +excellence Turner, contemporary with Constable, David Cox, De Wint, +Bonington, and numerous others gloriously contributed.</p> + +<p>The English landscapes exhibited at the French Salon in the third decade +of the century produced a remarkable effect, and emphasized the interest +in landscape painting already growing in France, and later so splendidly +de<a name="Page_-8"></a>veloped by Rousseau, Corot, Millet, and their celebrated +contemporaries. In Germany the Achenbachs, Lessing, and many other +artists were active in this movement, while in America, Innes, A. H. +Wyant, and Homer Martin, with numerous followers, were raising landscape +art to an eminence before unknown.</p> + +<p>Formerly landscapes had been used as backgrounds, oftentimes attractive +and beautiful, while the real purpose of the pictures centred in the +human figures. The distinctive feature of nineteenth-century landscape is +the representation of Nature alone, and the variety of method used and +the differing aims of the artists cover the entire gamut between absolute +Realism and the most pronounced Impressionism.</p> + +<hr style="width: 45%;"> + +<p>About the middle of the century there emerged from the older schools two +others which may be called the Realist and Idealist, and indeed there +were those to whom both these terms could be applied, both methods being +united in their remarkable works. Of the Realists Corot and Courbet are +distinguished, as were Puvis de Chavannes and Gustave Moreau among the +Idealists.</p> + +<p>Millet, with his marvellous power of observation, painted his landscapes +with the fidelity of his school in that art, and so keenly realized the +religious element in the peasant life about him—the poetry of these +people—that he portrayed his figures in a manner quite his own—at the +same time realistic and full of idealism. MacColl in his +"Nineteenth-Century Art" called Millet "the most religious figure in +modern art after Rembrandt," and adds that "he <a name="Page_-7"></a>discovered a patience of +beauty, a reconciling, in the concert of landscape mystery with labor."</p> + +<p>Shall we call Bastien Lepage a follower of Millet, or say that in these +men there was a unity of spirit; that while they realized the poetry of +their subjects intensely, they fully estimated the reality as well?</p> + +<p>The "Joan of Arc" is a phenomenal example of this art. The landscape is +carefully realistic, and like that in which a French peasant girl of any +period would live. But here realism ceases and the peasant girl becomes a +supremely exalted being, entranced by a vision of herself in full armor.</p> + +<p>This art, at once realistic and idealistic, is an achievement of the +nineteenth century—so clear and straightforward in its methods as to +explain itself far better than words can explain it.</p> + +<hr style="width: 45%;"> + +<p>Contemporary with these last-named artists were the Pre-raphaelites. The +centre of this school was called the Brotherhood, which was founded by J. +E. Millais, W. Holman Hunt, Dante Gabriel Rossetti, and William Michael +Rossetti. To these were added Thomas Woolner the sculptor, James Collins, +and F. G. Stephens. Other important artists known as Pre-raphaelites, not +belonging to the Brotherhood, are Ford Madox Brown and Burne Jones, as +well as the water-color painters, Mason, Walker, Boyce, and Goodwin.</p> + +<p>The aim of these artists was to represent with sincerity what they saw, +and the simple sincerity of painters who preceded Raphael led them to +choose a name which Rus<a name="Page_-6"></a>kin called unfortunate, "because the principles +on which its members are working are neither pre- nor post-Raphaelite, +but everlasting. They are endeavoring to paint with the highest possible +degree of completion what they see in nature, without reference to +conventional established rules; but by no means to imitate the style of +any past epoch. To paint Nature—Nature as it was around them, by the +help of modern science, was the aim of the Brotherhood."</p> + +<p>At the time when the Pre-raphaelite School came into being the art of +other lands as well as that of England was in need of an awakening +impulse, and the Pre-raphaelite revolt against conventionality and the +machine-like art of the period roused such interest, criticism, and +opposition as to stimulate English art to new effort, and much of its +progress in the last half-century is doubtless due to the discussions of +the theories of this movement as well as of the works it produced.</p> + +<p>Pre-raphaelitism, scorned and ridiculed in its beginning, came to be +appreciated in a degree that at first seemed impossible, and though its +apostles were few, its influence was important. The words of Burne Jones, +in which he gave his own ideal, appeal to many artists and lovers of art: +"I mean by a picture a beautiful, romantic dream of something that never +was, never will be—in a light better than any light that ever shone—in +a land no one can define or remember, only desire—and the forms divinely +beautiful."</p> + +<p>Rossetti's "Girlhood of Virgin Mary," Holman Hunt's "Light of the World," +and Millais' "Christ in the House <a name="Page_-5"></a>of His Parents" have been called the +Trilogy of Pre-raphaelite Art.</p> + +<p>Millais did not long remain a strict disciple of this school, but soon +adopted the fuller freedom of his later work, which may be called that of +modern naturalism. Rossetti remained a Pre-raphaelite through his short +life, but his works could not be other than individual, and their +distinct personality almost forbade his being considered a disciple of +any school.</p> + +<p>Holman Hunt may be called the one persistent follower of this cult. He +has consistently embodied his convictions in his pictures, the value of +which to English art cannot yet be determined. This is also true of the +marvellous work of Burne Jones; but although they have but few faithful +followers, Pre-raphaelite art no longer needs defence nor apology.</p> + +<p>Its secondary effect is far-reaching. To it may be largely attributed the +more earnest study of Nature as well as the simplicity of treatment and +lack of conventionality which now characterizes English art to an extent +before unknown.</p> + +<hr style="width: 45%;"> + +<p>Impressionism is the most distinctive feature of nineteenth-century art, +and is too large a subject to be treated in an introduction—any proper +consideration of it demands a volume.</p> + +<p>The entire execution of a picture out-of-doors was sometimes practised by +Constable, more frequently by Turner, and some of the peculiarities of +the French impressionist artists were shared by the English landscape +painters of <a name="Page_-4"></a>the early part of the century. While no one could dream of +calling Constable an impressionist, it is interesting to recall the +reception of his "Opening of Waterloo Bridge." Ridiculed in London, it +was accepted in Paris, and is now honored at the Royal Academy.</p> + +<p>This picture was covered with pure white, in impasto, a method dear to +impressionists. Was Constable in advance of his critics? is a question +that comes involuntarily to mind as we read the life of this artist, and +recall the excitement which the exhibition of his works caused at the +Salon of 1824, and the interest they aroused in Delacroix and other +French painters.</p> + +<p>The word Impressionism calls to mind the names of Manet, Monet, Pissaro, +Mme. Berthe Morisot, Paul Cézanne, Whistler, Sargent, Hassam, and many +others. Impressionists exhibited their pictures in Paris as early as +1874; not until 1878 were they seen to advantage in London, when Whistler +exhibited in the Grosvenor Gallery; and the New English Art Club, founded +in 1885, was the outcome of the need of this school to be better +represented in its special exhibitions than was possible in other +galleries.</p> + +<p>In a comprehensive sense Impressionism includes all artists who represent +their subjects with breadth and collectiveness rather than in detail—in +the way in which we see a view at the first glance, before we have time +to apprehend its minor parts. The advocates of impressionism now claim +that it is the most reformatory movement in modern painting; it is +undeniably in full accord with the spirit of the time in putting aside +older methods and con<a name="Page_-3"></a>ventions and introducing a new manner of seeing and +representing Nature.</p> + +<p>The differing phases of Painting in the nineteenth century have had their +effect upon that art as a whole. Each one has been important, not only in +the country of its special development, but in other lands, each +distinctive quality being modified by individual and national +characteristics.</p> + +<hr style="width: 45%;"> + +<p>In the early decades of the past century Sculpture was "classic" and +conventional rather than natural and sincere. A revolt against these +conditions produced such artists as Rodin, St. Gaudens, MacMonnies, and +many less famous men who have put life, spirit, and nature into their +art.</p> + +<p>In Sculpture as in Painting many more subjects are treated than were +formerly thought suited to representation in marble and bronze, and a +large proportion of these recent <i>motifs</i> demand a broad method of +treatment—a manner often called "unfinished" by those who approve only +the smooth polish of an antique Venus, and would limit sculpture to the +narrow class of subjects with which this smoothness harmonizes.</p> + +<p>The best sculptors of the present treat the minor details of their +subjects in a sketchy, or, as some critics contend, in a rough imperfect +manner, while others find that this treatment of detail, combined with a +careful, comprehensive treatment of the important parts, emphasizes the +meaning and imparts strength to the whole, as no smoothness can do.</p><a name="Page_-2"></a> + +<p>Although the highest possibilities in sculpture may not yet be reached, +it is animated with new spirit of life and nature. Nineteenth-century +aims and modes of expression have greatly enlarged its province. Like +Painting, Sculpture has become democratic. It glorifies Labor and all +that is comprised in the term "common, every-day life," while it also +commemorates noble and useful deeds with genuine sympathy and an +intelligent appreciation of the best to which humanity attains; at the +same time poetical fancies, myths, and legends are not neglected, but are +rendered with all possible delicacy and tenderness.</p> + +<p>At present a great number of women are sculptors. The important +commissions which are given them in connection with the great expositions +of the time—the execution of memorial statues and monuments, fountains, +and various other works which is confided to them, testifies to their +excellence in their art with an emphasis beyond that of words.</p> + +<hr style="width: 45%;"> + +<p>Want of space forbids any special mention of etching, metal work, +enamelling, designing, and decorative work in many directions in which +women in great numbers are engaged; indeed, in what direction can we look +in which women are not employed—I believe I may say by thousands—in all +the minor arts? Between the multitude that pursue the Fine Arts and +kindred branches for a maintenance—and are rarely heard of—and those +fortunate ones who are commissioned to execute important works, there is +an enormous middle class. Paris is their Mecca, but they are known in all +art centres, and it is by no means <a name="Page_-1"></a>unusual for an artist to study under +Dutch, German, and Italian masters, as well as French.</p> + +<p>The present method of study in Paris—in such academies as that of Julian +and the Colarossi—secures to the student the criticism and advice of the +best artists of the day, while in summer—in the country and by the +sea—there are artistic colonies in which students lead a delightful +life, still profiting by the instruction of eminent masters.</p> + +<p>Year by year the opportunities for art-study by women have been increased +until they are welcome in the schools of the world, with rare exceptions. +The highest goal seems to have been reached by their admission to the +competition for the <i>Grand prix de Rome</i> conferred by <i>l'École des Beaux +Arts</i>.</p> + +<p>I regret that the advantages of the American Art Academy in Rome are not +open to women. The fact that for centuries women have been members and +professors in the Academy of St. Luke, and in view of the recent action +of <i>l'École des Beaux Arts</i>, this narrowness of the American Academy in +the Eternal City is especially pronounced.</p> + +<p>One can but approve the encouragement afforded women artists in France, +by the generosity with which their excellence is recognized.</p> + +<p>To be an officer in the French Academy is an honor surpassed in France by +that of the Legion of Honor only. Within a twelvemonth two hundred and +seventy-five women have been thus distinguished, twenty-eight of them +being painters and designers. From this famous<a name="Page_0"></a> Academy down, through the +International Expositions, the Salons, and the numberless exhibitions in +various countries, a large proportion of medals and other honors are +conferred on women, who, having now been accorded all privileges +necessary for the pursuit of art and for its recompense, will surely +prove that they richly merit every good that can be shared with them.</p> + + +<br> + +<hr style="width: 65%;"> +<a name="WOMEN_IN_THE_FINE_ARTS"></a><h2>WOMEN IN THE FINE ARTS</h2> + +<br> +<a name="Page_1"></a><p><b>Aarestrup, Marie Helene.</b> Born at Flekkefjord, Norway, 1829. She +made her studies in Bergen, under Reusch; under Tessier in Paris; and +Vautier in Düsseldorf. She excelled in genre and portrait painting. Her +"Playing Child" and "Shepherd Boy" are in the Art Union in Christiania; +the "Interior of Hotel Cluny" and a "Flower Girl" are in the Museum at +Gottenburg.</p> + +<br> + +<p><b>Abbatt, Agnes Dean.</b> Bronze medal, Cooper Union; silver medal, +Massachusetts Charitable Mechanics' Association. Member of American Water +Color Society.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Abbema, Mme. Louise.</b> Officer of the Mérite des Arts; honorable +mention, Salon of 1881; bronze medal, Paris Exposition, 1900; Hors +Concours, 1903, at Exposition of Limoges. Born at Étampes, 1858. Pupil of +Chaplin, Henner, and Carolus-Duran. She exhibited a "Portrait of Sarah +Bernhardt," 1876; "The Seasons," 1883; "Portrait of M. Abbema," 1887; +"Among the Flowers," 1893; "An April Morning," 1894; "Winter," 1895, etc.</p> + +<p>This artist has also executed numerous decorations for ceilings and +decorative panels for private houses. Her picture of "Breakfast in the +Conservatory" is in the Museum of Pau.</p><a name="Page_2"></a> + +<p>Mme. Abbema illustrated "La Mer," by Maizeroy, and has contributed to the +<i>Gazette des Beaux-Arts</i> and several other Parisian publications.</p> + +<p>At the Salon of the Artistes Français, 1902, she exhibited the "Portrait +of Pierre," and in 1903 a portrait of the Countess P. S.</p> + +<p>Mme. Abbema wears her hair short, and affects such absolute simplicity in +her costume that at first sight she reminds one of a charming young man. +In no other direction, however, is there a masculine touch about this +delightful artist. She has feminine grace, a love for poetry, a passion +for flowers, which she often introduces in her pictures; she has, in +short, a truly womanly character, which appears in the refinement and +attractiveness of her work.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Abbott, Katherine G.</b> Bronze medal, Paris Exposition, 1900; honorable +mention, Buffalo Exposition, 1901.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Achille-Fould, Mlle. Georges.</b> Medal, third class, Versailles, 1888; +honorable mention, Paris Salon, 1894; medal, third class, 1895; medal, +second class, 1897; Hors Concours; bronze medal at Paris Exposition, +1900. Officer of Public Instruction; member of the Société des Artistes +Français. Born at Asnières (Seine). Pupil of Cabanel, Antoine Vollon, and +Léon Comerre.</p> + +<p>A painter of figure subjects and portraits. Several of her works are in +private collections in the United States.<a name="Page_3"></a> Among these are the +"Flower-Seller," the "Knife-Grinder," "M. de Richelieu's Love Knots," +exhibited in the Salon of 1902, and "Going to School."</p> + +<p>"The Dull Season" is in London; "Cinderella" and many others in Paris.</p> + +<p>This artist, when still in short skirts, sent her first picture, "In the +Market Place," to the Salon of 1884. She is most industrious, and her +history, as she herself insists, is in her pictures. She has been +surrounded by a sympathetic and artistic atmosphere. Her mother was an +art critic, who, before her second marriage to Prince Stirberg, signed +her articles Gustave Haller. Her home, the Château de Bécon, is an ideal +home for an artist, and one can well understand her distaste for realism +and the professional model.</p> + +<p>"M. de Richelieu's Love Knots" is very attractive and was one of the +successes of 1902. He is a fine gentleman to whom a bevy of young girls +is devoted, tying his ribbons, and evidently admiring him and his +exquisite costume. The girls are smiling and much amused, while the young +man has an air of immense satisfaction.</p> + +<p>At the Salon of 1903 Mlle. Fould exhibited "La +Chatouilleuse"—Tickling—and "Nasturtiums." The first shows a young +woman seated, wearing a décolleté gown, while a mischievous companion +steals up behind and tickles her neck with a twig. It is less attractive +than many of this artist's pictures.</p> + +<p>In 1890 Mlle. Fould painted a portrait of her stepfather, and for a time +devoted herself to portraits rather than to the subjects she had before +studied with such success.<a name="Page_4"></a> In 1893 she painted a portrait of Rosa +Bonheur, in her studio, while the latter paused from her work on a large +picture of lions. This portrait presents the great animal painter in a +calm, thoughtful mood, in the midst of her studio, surrounded by sketches +and all the accessories of her work. In the opinion of many who knew the +great artist most intimately this is the best portrait of her in +existence.</p> + +<p>Mlle. Fould, at different periods, has painted legendary subjects, at +other times religious pictures, but in my judgment the last were the +least successful of her works.</p> + +<p>Her "Cinderella" is delightful; the two "Merry Wives of Windsor," sitting +on the basket in which Falstaff is hidden, and from which he is pushing +out a hand, is an excellent illustration of this ever-amusing story, and, +indeed, all her pictures of this class may well be praised.</p> + +<p>To the Exposition of 1900 she sent an allegorical picture, called "The +Gold Mine." A young woman in gold drapery drops gold coins from her +hands. In the background is the entrance to a mine, lighted dimly by a +miner's lamp, while a pickaxe lies at the feet of the woman; this picture +was accorded a bronze medal.</p> + +<br> + +<p><b>Adam, Mme. Nanny.</b> First prize from the Union of Women Painters and +Sculptors, Paris. Medal from the Salon des Artistes Français, and "honors +in many other cities." Member of the Société des Artistes Français. Born +at Crest (Drôme). Her studies were made under Jean Paul Laurens. Her +pictures called "Calme du Soir" and "Le Soir aux Martignes" are in +private collections. "Les Remparts de la Ville Close, Concarneau," +exhibited <a name="Page_5"></a>at the Salon Artistes Français in 1902, was purchased by the +French Government. In 1903 she exhibited "June Twilight, Venice," and +"Morning Fog, Holland."</p> + +<br> + +<p><b>Adelsparre, Sophie Albertine.</b> Born in Oland 1808-62. In Stockholm +she received instruction from the sculptor Ovarnström and the painter +Ekman; after her father's death she went to Paris and entered the atelier +of Cogniet, and later did some work under the direction of her countrymen +Wickenberg and Wahlbom. She had, at this time, already made herself known +through her copies of some of the Italian masters and Murillo. Her copy +of the Sistine Madonna was placed by Queen Josephine in the Catholic +church at Christiania. After her return from Dresden where she went from +Paris, she painted portraits of King Oscar and Queen Josephine. In 1851, +having received a government scholarship, she went to Munich, Bologna, +and Florence, and lived three years and a half in Rome, where she was +associated with Fogelberg, Overbeck, and Schnetz, and became a Catholic. +During this time she copied Raphael's "Transfiguration," now in the +Catholic church at Stockholm, and painted from life a portrait of Pius +IX. for the castle at Drottningholm. She also painted a "Roman Dancing +Girl" and a "Beggar Girl of Terracina."</p> + +<br> + +<p><b>Ahrens, Ellen Wetherald.</b> Second Toppan prize, Pennsylvania Academy +of Fine Arts. Second prize and silver medal, Carnegie Institute, +Pittsburg, 1902. Member of the Pennsylvania Academy, the Plastic Club, +and the Pennsylvania Society of Miniature Painters. Born in Baltimore. +Studied at Boston Museum of Fine Arts <a name="Page_6"></a>under Grundmann, Champney, and +Stone; Pennsylvania Academy under Thomas Eakins; Drexel Institute under +Howard Pyle.</p> + +<p>Many of her portraits are in private hands. That called "Sewing," a prize +picture, will be in the St. Louis Exhibition. Her portrait of Mr. Ellwood +Johnson is in the Pennsylvania Academy. That of Mary Ballard—a +miniature—was solicited for exhibition by the Copley Society, Boston.</p> + +<p>Miss Ahrens is also favorably known as a designer for stained-glass +windows.</p> + +<br> + +<p><b>Alcott, May—Mme. Nieriker.</b> Born in Concord, Massachusetts, 1840-79. +A sister of the well-known author, Louisa M. Alcott. This artist studied +in the Boston School of Design, in Krug's Studio, Paris, and under +Müller. She made wonderful copies of Turner's pictures, both in oil and +water colors, which were greatly praised by Ruskin and were used in the +South Kensington Art Schools for the pupils to copy. Her still-life and +flower pictures are in private collections and much valued.</p> + +<p>She exhibited at the Paris Salon and in the Dudley Gallery, London, and, +student as she still was, her works were approved by art critics on both +sides of the Atlantic, and a brilliant future as an artist was foretold +for her. Her married life was short, and her death sincerely mourned by a +large circle of friends, as well as by the members of her profession who +appreciated her artistic genius and her enthusiasm for her work.</p> + +<br> + +<p><b>Alexander, Francesca.</b> Born in Florence, Italy. Daughter of the +portrait painter, Francis Alexander.<a name="Page_7"></a> Her pen-and-ink drawing is her best +work. The exquisite conceits in her illustrations were charmingly +rendered by the delicacy of her work. She thus illustrated an unpublished +Italian legend, writing the text also.</p> + +<p>Mr. Ruskin edited her "Story of Ida" and brought out "Roadside Songs of +Tuscany," collected, translated, and illustrated by this artist. A larger +collection of these songs, with illustrations, was published by Houghton, +Mifflin & Co., entitled "Tuscan Songs."</p> + +<br> + +<p><b>Alippi-Fabretti, Quirina.</b> Silver medal at Perugia in 1879; honorary +member of the Royal Academy in Urbino and of the Academy of Fine Arts in +Perugia. Born in Urbino, 1849. She was the daughter of the jurisconsult +Luigi Alippi. She studied drawing and painting in Rome with Ortis and De +Sanctis. Following her father to Perugia in 1874, whither he had been +called to the Court of Appeals, she continued her study under Moretti. +She married Ferdinando Fabretti in 1877. She made admirable copies of +some of the best pictures in Perugia, notably Perugino's "Presepio" for a +church in Mount Lebanon, Syria. She was also commissioned to paint an +altar-piece, representing St. Stephen, for the same church. Her interiors +are admirable. She exhibited an "Interior of the Great Hall of the +Exchange of Perugia" in 1884, at Turin. She painted two interior views of +the church of San Giovanni del Cambio in Perugia, and an interior of the +vestibule of the Confraternity of St. Francis. Her other works, besides +portraits, include an "Odalisk," an "Old Woman Fortune-teller," and a +"St. Catherine."</p> + +<br> + +<p><b>Allingham, Helen.</b> Honorable mention at Paris Ex<a name="Page_8"></a>hibition, 1900; +silver medal from Brussels Exhibition, 1901; bronze medal from the +Columbian Exhibition, Chicago. Member of the Royal Society of Painters in +Water Colors, London. Born near Burton-on-Trent, 1848. Began the study of +art at fourteen, in Birmingham School of Art, where she remained about +five years, when she entered the schools of the Royal Academy, where +instruction is given by the Royal Academicians in turn. In 1868 she went +to Italy.</p> + +<p>Her first exhibition at the Royal Academy occurred in 1874, under the +name Helen Patterson; her pictures were "Wait for Me" and "The Milkmaid." +Since that time Mrs. Allingham has constantly exhibited at the Academy +and many other exhibitions.</p> + +<p>Her pictures are of genre subjects, chiefly from English rural life and +landscapes. She has also been successful as an illustrator for the +<i>Graphic</i>, the <i>Cornhill Magazine</i>, and other publications. Her +water-color portraits of Carlyle in his later years are well known. She +introduced his cat "Tib" into a portrait taken in his Chelsea garden.</p> + +<p>Among her most ambitious works are the "Young Customers," the "Old Men's +Garden, Chelsea Hospital," the "Lady of the Manor," "Confidences," +"London Flowers," and others of kindred motives.</p> + +<p>The "Young Customers," water-color, was exhibited at Paris in 1878. When +seen at the Academy in 1875, Ruskin wrote of it: "It happens curiously +that the only drawing of which the memory remains with me as a possession +out of the Old Water-Color Exhibition of this year—Mrs. Allingham's +'Young Customers'—should be <a name="Page_9"></a>not only by an accomplished designer of +woodcuts, but itself the illustration of a popular story. The drawing +with whatever temporary purpose executed, is forever lovely; a thing +which I believe Gainsborough would have given one of his own paintings +for—old-fashioned as red-tipped dresses are, and more precious than +rubies."—<i>Notes of the Academy</i>, 1875.</p> + +<br> + +<p><b>Alma-Tadema, Lady Laura Therese.</b> Gold medal at International Art +Exhibition, Berlin, 1876; medal at Chicago, 1893; second-class medal at +Paris Exhibition, 1900. Born in London. From early childhood this artist +was fond of drawing and had the usual drawing-class lessons at school and +also drew from the antique in the British Museum. Her serious study, +however, began at the age of eighteen, under the direction of Laurenz +Alma-Tadema.</p> + +<p>Her pictures are principally of domestic scenes, child-life, and other +genre subjects. "Battledore and Shuttlecock" is an interior, with a +graceful girl playing the game, to the amusement of a young child sitting +on a nurse's lap. The room is attractive, the accessories well painted, +and a second girl just coming through the door and turning her eyes up to +the shuttlecock is an interesting figure.</p> + +<p>Of quite a different character is the picture called "In Winter." The +landscape is very attractive. In a sled, well wrapped up, is a little +girl, with a doll on her lap; the older boy—brother?—who pushes the +sled from behind, leaning over the child, does his part with a will, and +the dignified and serious expression on the face of the little <a name="Page_10"></a>girl in +the sled indicates her sense of responsibility in the care of the doll as +well as a feeling of deep satisfaction in her enjoyable outing.</p> + +<p>Among the more important pictures by Lady Alma-Tadema are "Hush-a-Bye," +"Parting," in the Art Gallery at Adelaide, New South Wales, "Silent +Persuasion," "The Carol," and "Satisfaction." Her picture in the Academy +Exhibition, 1903, a Dutch interior with a young mother nursing "The +Firstborn," was much admired and was in harmony with the verse,</p> + +<div class="poem"><div class="stanza"> +<p>Lie on mother's knee, my own,</p> +<p class="i2">Dance your heels about me!</p> +<p>Apples leave the tree, my own.</p> +<p class="i2">Soon you'll live without me."</p> +</div></div> + +<br> + +<p><b>Amen, Madame J.</b> Honorable mention, Paris, 1901.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Anguisciola, Lucia.</b> A pupil of her sister Sofonisba, painted a +life-size portrait of Piermaria, a physician of Cremona. It is in the +gallery of the Prado, Madrid, and is signed, "Lucia Angvisola Amilcares. +F. Adolescens."</p> + +<p>Lucia's portrait of her sister Europa is at Brescia. Some authorities +believe that the small portrait in the Borghese Gallery is by Lucia, +although it has been attributed to Sofonisba.</p> + +<p>Vasari relates that Europa and a younger sister, Anna Maria, were +artists. A picture of the Holy Family, inscribed with Europa's name, was +formerly in the possession of a vicar of the church of San Pietro; it was +of far less merit than the works of her sisters.</p><a name="Page_11"></a> + +<br> + +<p><b>Anguisciola, Sofonisba.</b> Born in Cremona, about 1539. Daughter of the +patrician, Amilcare Anguisciola, whose only fame rests on the fact that +he was the father of six daughters, all of whom were distinguished by +unusual talents in music and painting. Dear old Vasari was so charmed by +his visit to their palace that he pronounced it "the very home of +painting and of all other accomplishments."</p> + +<p>Sofonisba was the second daughter. The actual date of her birth is +unknown, but from various other dates that we have concerning her, that +given above is generally adopted. She was educated with great care and +began her study of drawing and painting when but seven years old, under +the care of Bernardino Campi, the best artist of the five Campi of +Cremona. Later she was a pupil of Bernardino Gatti, "il Sojaro," and in +turn she superintended the artistic studies of her sisters.</p> + +<p>Sofonisba excelled in portraits, and when twenty-four years old was known +all over Italy as a good artist. Her extraordinary proficiency at an +early age is proved by a picture in the Yarborough collection, London—a +portrait of a man, signed, and dated 1551, when she was not more than +twelve years old.</p> + +<p>When presented at the court of Milan, then under Spanish rule, Sofonisba +was brought to the notice of Philip II., who, through his ambassador, +invited her to fill the office of court painter at Madrid. Flattering as +this invitation must have been to the artist and her family, it is not +surprising that she hesitated and required time for consideration of this +honorable proposal.</p><a name="Page_12"></a> + +<p>The reputation of the ceremonious Spanish court, under its gloomy and +exacting sovereign, was not attractive to a young woman already +surrounded by devoted admirers, to one of whom she had given her heart. +The separation from her family, too, and the long, fatiguing journey to +Spain, were objections not easily overcome, and her final acceptance of +the proposal was a proof of her energy and strength of purpose.</p> + +<p>Her journey was made in 1560 and was conducted with all possible care for +her comfort. She was attended by two noble ladies as maids of honor, two +chamberlains, and six servants in livery—in truth, her mode of +travelling differed but little from that of the young ladies of the royal +family. As she entered Madrid she was received by the king and queen, and +by them conducted to the royal palace.</p> + +<p>We can imagine Sofonisba's pleasure in painting the portrait of the +lovely Isabella, and her pictures of Philip and his family soon raised +her to the very summit of popularity. All the grandees of Madrid desired +to have their portraits from her hand, and rich jewels and large sums of +money were showered upon her.</p> + +<p>Gratifying as was her artistic success, the affection of the queen, which +she speedily won, was more precious to her. She was soon made a +lady-in-waiting to her Majesty, and a little later was promoted to the +distinguished position of governess to the Infanta Clara Eugenia.</p> + +<p>That Sofonisba fully appreciated her gentle mistress is shown in her +letter to Pope Pius IV., who had requested her to send him a portrait of +the queen. She wrote that <a name="Page_13"></a>no picture could worthily figure the royal +lady, and added: "If it were possible to represent to your Holiness the +beauty of the Queen's soul, you could behold nothing more wonderful."</p> + +<p>The Pope bestowed rich gifts on Sofonisba, among which were sacred +relics, set with gems. He also wrote an autograph letter, still in +existence, in which he assured her that much as he admired her skill in +painting, he had been led to believe this the least of her many gifts.</p> + +<p>Sofonisba soon gained the approval of the serious and solemn King, for +while Philip was jealous of the French ladies of the court and desired +Isabella to be wholly under Spanish influence, he proposed to the artist +a marriage with one of his nobles, by which means she would remain +permanently in the Queen's household. When Philip learned that Sofonisba +was already betrothed to Don Fabrizio de Monçada—a Sicilian nobleman—in +spite of his disappointment he joined Isabella in giving her a dowry of +twelve thousand crowns and a pension of one thousand.</p> + +<p>It would seem that one who could so soften the heart and manners of +Philip II. as did Queen Isabella, must have had a charm of person and +character that no ordinary mortal could resist. One is compelled to a +kindly feeling for this much-hated man, who daily visited the Queen when +she was suffering from smallpox. In her many illnesses he was tenderly +devoted to her, and when we remember the miseries of royal ladies whose +children are girls, we almost love Philip for comforting Isabella when +her first baby was not a son. Philip declared him<a name="Page_14"></a>self better pleased +that she had given him a daughter, and made the declaration good by +devotion to this child so long as he lived.</p> + +<p>Isabella, in a letter to her mother, wrote: "But for the happiness I have +of seeing the King every day I should find this court the dullest in the +world. I assure you, however, madame, that I have so kind a husband that +even did I deem this place a hundredfold more wearisome I should not +complain."</p> + +<p>While Sofonisba was overwhelmed with commissions in Spain, her sisters +were far from idle in Cremona. Europa sent pictures to Madrid which were +purchased for private collections, and a picture by Lucia is now in the +Gallery of the Queen at Madrid.</p> + +<p>When the time for Sofonisba's marriage came she was sorry to leave her +"second home," as she called Madrid, and as Don Fabrizio lived but a +short time, the King urged her return to Spain; but her desire to be once +more with her family impelled her to return to Italy.</p> + +<p>The ship on which she sailed from Sicily was commanded by one of the +Lomellini, a noble family of Genoa, with whom Sofonisba fell so +desperately in love that she offered him her hand—which, says her +biographer, "he accepted like a generous man." Does this mean that she +had been ungenerous in depriving him of the privilege of asking for what +she so freely bestowed?</p> + +<p>In Genoa she devotedly pursued her art and won new honors, while she was +not forgotten in Madrid. Presents were sent her on her second marriage, +and later the Infanta Clara Eugenia and other Spaniards of exalted rank +<a name="Page_15"></a>visited her in Genoa. Her palace became a centre of attraction to +Genoese artists and men of letters, while many strangers of note sought +her acquaintance. She contributed largely to the restoration of art and +literature to the importance that had been accorded them in the most +brilliant days of Genoese power.</p> + +<p>We have not space to recount all the honors conferred on Sofonisba, both +as a woman and an artist. She lived to an extreme old age, and, although +she lost her sight, her intellect was undimmed by time or blindness. +Vandyck, who was frequently her guest, more than once declared that he +"was more benefited by the counsels of the blind Sofonisba than by all +his studies of the masters of his art!" From a pupil of Rubens this was +praise indeed!</p> + +<p>The chief characteristics of Sofonisba's painting were grace and spirit. +Her portrait of herself when at her best is in possession of the +Lomellini. A second is the splendid picture at Althorpe, in which she is +represented as playing the harpsichord. One can scarcely imagine a place +in which a portrait would be more severely tested than in the gallery of +the Earl of Spencer, beside portraits of lovely women and famous men, +painted by master artists. Yet this work of Sofonisba's is praised by +discerning critics and connoisseurs. Of the other portraits of herself, +that in the Uffizi is signed by her as "of Cremona," which suggests that +it was painted before she went to Spain. That in the Vienna Gallery is +dated 1551, and inscribed Sophonisba Anguissola. Virgo. Sc. Ipsam Fecit. +Still another, in which a man stands beside her, <a name="Page_16"></a>is in the Sienna +Gallery. He holds a brush in his hand, and is probably one of her +masters.</p> + +<p>Her portrait of her sisters playing chess, while an old duenna looks on, +was in the collection of Lucien Bonaparte and is said to be now in a +private gallery in England. Her religious pictures are rare; a "Marriage +of St. Catherine" is in the gallery at Wilton House.</p> + +<p>She painted several pictures of three of her sisters on one canvas; one +is in the National Museum of Berlin, and a second, formerly in the +Leuchtenberg Gallery, is in the Hermitage at Petersburg. A small Holy +Family, signed and dated 1559, belonged to the art critic and author, +Morelli.</p> + +<p>One regrets that so remarkable a woman left no record of her unusual +experiences. How valuable would be the story of Don Carlos from so +disinterested a person. How interesting had she told us of the <i>bal +masqué</i>, given by Isabella in the fashion of her own country, when Philip +condescended to open the ball with the Queen; or of the sylvan fêtes at +Aranjuez, and of the gardens made under the direction of Isabella. Of all +this she has told us nothing. We glean the story of her life from the +works of various authors, while her fame rests securely on her +superiority in the art to which she was devoted.</p> + +<br> + +<p><b>Ancher, Anna Kristine.</b> Genre painter, won high praise at Berlin in +1900 for two pictures: "Tischgebet," which was masterly in its smoothness +and depth of expression, and "Eine blinde Frau in ihrer Stube," in which +the full sunlight streaming through the open window produced an affecting +contrast. She was born at Skagen, 1859, the <a name="Page_17"></a>daughter of Erik Brondum, +and early showed her artistic tendencies. Michael Ancher (whom she +married in 1880) noticed and encouraged her talent, which was first +displayed in small crayons treating pathetic or humorous subjects. From +1875-78 she studied with Khyn, and later more or less under the direction +of her husband. She has painted exclusively small pictures, dealing with +simple and natural things, and each picture, as a rule, contains but a +single figure. She believes that a dilapidated Skagen hovel may meet +every demand of beauty. "Maageplukkerne"—"Gull plucking"—exhibited in +1883, has been called one of the most sympathetic and unaffected pieces +of genre painting ever produced by a Danish artist.</p> + +<p>An "Old Woman of Skagen," "A Mother and Child," and "Coffee is Ready" +were among the most attractive of her pictures of homely, familiar Danish +life. The last represents an old fisher, who has fallen asleep on the +bench by the stove, and a young woman is waking him with the above +announcement.</p> + +<p>"A Funeral Scene" is in the Copenhagen Gallery. The coffin is hung with +green wreaths; the walls of the room are red; the people stand around +with a serious air. The whole story is told in a simple, homely way.</p> + +<p>In the "History of Modern Painters" we read: "All her pictures are softly +tender and full of fresh light. But the execution is downright and +virile. It is only in little touches, in fine and delicate traits of +observation which would probably have escaped a man, that these paintings +are recognized as the work of a feminine artist."</p> + +<br> + +<p><b>Antigna, Mme. Hélène Marie.</b> Born at Melun. Pupil <a name="Page_18"></a>of her husband, +Jean Pierre Antigna, and of Delacroix. Her best works are small genre +subjects, which are excellent and much admired by other artists.</p> + +<p>In 1877 she exhibited at the Paris Salon "On n'entre pas!" and the "New +Cider"; in 1876, an "Interior at Saint Brieuc" and "A Stable"; in 1875, +"Tant va la cruche à l'eau," etc.</p> + +<br> + +<p><b>Appia, Mme. Thérèse.</b> Member of the Society of the Permanente +Exposition of the Athénée, Geneva. Born at Lausanne. Pupil of Mercié and +Rodin at Paris.</p> + +<p>Mme. Appia, before her marriage, exhibited at the Paris Salon several +years continuously. Since then she has exhibited at Turin and Geneva.</p> + +<p>She has executed many portrait busts; among them are those of M. +Guillaume Monod, Paris, Commander Paul Meiller, and a medallion portrait +of Père Hyacinthe, etc.</p> + +<br> + +<p><a name="Argyll"></a><b>Argyll, Her Royal Highness, the Princess Louise, Duchess of.</b> This +artist has exhibited her work since, 1868. Although her sketches in +water-color are clever and attractive, it is as a sculptor that her best +work has been done. Pupil of Sir J. E. Boehne, R.A., her unusual natural +talent was carefully developed under his advice, and her unflagging +industry and devotion to her work have enabled her to rival sculptors who +live by their art.</p> + +<p>Her busts and lesser subjects are refined and delicate, while possessing +a certain individuality which this lady is known to exercise in her +direction of the assistant she is forced to employ. Her chief attainment, +the large seated figure of Queen Victoria in Kensington Gardens, is a +work of which she may well be proud.</p><a name="Page_19"></a> + +<p>Of this statue Mr. M. H. Spielmann writes: "The setting up of the figure, +the arrangement of the drapery, the modelling, the design of the +pedestal—all the parts, in fact—are such that the statue must be added +to the short list of those which are genuine embellishments to the city +of London."</p> + +<p>The Duchess of Argyll has been commissioned to design a statue of heroic +size, to be executed in bronze and placed in Westminster Abbey, to +commemorate the colonial troops who gave up their lives in South Africa +in the Boer war.</p> + +<br> + +<p><b>Arnold, Annie R. Merrylees.</b> Born at Birkenhead. A Scotch miniature +painter. Studied in Edinburgh, first in the School of Art, under Mr. +Hodder, and later in the life class of Robert Macgregor; afterward in +Paris under Benjamin-Constant.</p> + +<p>Mrs. Arnold writes me that she thinks it important for miniature painters +to do work in a more realistic medium occasionally, and something of a +bolder character than can be done in their specialty. She never studied +miniature painting, but took it up at the request of a patroness who, +before the present fashion for this art had come about, complained that +she could find no one who painted miniatures. This lady gave the artist a +number of the <i>Girls' Own Journal,</i> containing directions for miniature +painting, after which Mrs. Arnold began to work in this specialty. She +has painted a miniature of Lady Evelyn Cavendish, owned by the Marquis of +Lansdowne; others of the Earl and Countess of Mar and Kellie, the first +of which belongs to the Royal Scottish Academy; one of<a name="Page_20"></a> Lady Helen +Vincent, one of the daughter of Lionel Phillips, Esquire, and several for +prominent families in Baltimore and Washington. Her work is seen in the +exhibitions of the Royal Academy, London.</p> + +<p>In 1903 she exhibited miniatures of Miss M. L. Fenton, the late Mrs. +Cameron Corbett, and the Hon. Thomas Erskine, younger son of the Earl of +Mar and Kellie.</p> + +<br> + +<p><b>Ashe, Margaret L.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Assche, Amélie van.</b> Portrait painter and court painter to Queen +Louise Marie of Belgium. She was born in 1804, and was the daughter of +Henri Jean van Assche. Her first teachers were Mlle. F. Lagarenine and D' +Antissier; she later went to Paris, where she spent some time as a pupil +of Millet. She made her début at Ghent in 1820, and in Brussels in 1821, +with water-colors and pastels, and some of her miniatures figured in the +various exhibitions at Brussels between 1830 and 1848, and in Ghent +between 1835 and 1838. Her portraits, which are thought to be very good +likenesses, are also admirable in color, drawing, and modelling; and her +portrait of Leopold I., which she painted in 1839, won for her the +appointment at court.</p> + +<br> + +<p><b>Assche, Isabel Catherine van.</b> She was born at Brussels, 1794. +Landscape painter. She took a first prize at Ghent in 1829, and became a +pupil of her uncle, Henri van Assche, who was often called the painter of +waterfalls. As early as 1812 and 1813 two of her water-colors were +displayed in Ghent and Brussels respectively, and <a name="Page_21"></a>she was represented in +the exhibitions at Ghent in 1826, 1829, and 1835; at Brussels in 1827 and +1842; at Antwerp in 1834, 1837, and 1840; and at Lüttich in 1836. Her +subjects were all taken from the neighborhood of Brussels, and one of +them belongs to the royal collection in the Pavilion at Haarlem. In 1828 +she married Charles Léon Kindt.</p> + +<br> + +<p><b>Athes-Perrelet, Louise.</b> First prize and honorable mention, class +Gillet and Hébert, 1888; class Bovy, first prize, 1889; Academy class, +special mention, 1890; School of Arts, special mention, hors concours, +1891; also, same year, first prize for sculpture, offered by the Society +of Arts; first prize offered by the Secretary of the Theatre, 1902. +Member of the Union des Femmes and Cercle Artistique. Born at Neuchâtel. +Studies made at Geneva under Mme. Carteret and Mme. Gillet and Professors +Hébert and B. Penn, in drawing and painting; M. Bovy, in sculpture; and +of various masters in decorative work and engraving. Has executed +statues, busts, medallion portraits; has painted costumes, according to +an invention of her own, for the Theatre of Geneva, and has also made +tapestries in New York. All her works have been commended in the journals +of Geneva and New York.</p> + +<br> + +<p><b>Austen, Winifred.</b> Member of Society of Women Artists, London. Born +at Ramsgate. Pupil of Mrs. Jopling-Rowe and Mr. C. E. Swan. Miss Austen +exhibits in the Royal Academy exhibitions; her works are well hung—one +on the line.</p> + +<p>Her favorite subjects are wild animals, and she is successful in the +illustration of books. Her pictures are in <a name="Page_22"></a>private collections. At the +Royal Academy in 1903 she exhibited "The Day of Reckoning," a wolf +pursued by hunters through a forest in snow. A second shows a snow scene, +with a wolf baying, while two others are apparently listening to him. +"While the wolf, in nightly prowl, bays the moon with hideous howl," is +the legend with the picture.</p> + +<br> + +<p><b>Auzon, Pauline.</b> Born in Paris, where she died. 1775-1835. She was a +pupil of Regnault and excelled in portraits of women. She exhibited in +the Paris Salon from 1793, when but eighteen years old. Her pictures of +the "Arrival of Marie Louise in Compiègne" and "Marie Louise Taking Leave +of her Family" are in the Versailles Gallery.</p> + +<br> + +<p><b>Babiano y Mendez Nuñez, Carmen.</b> At the Santiago Exposition, 1875, +this artist exhibited two oil paintings and two landscapes in crayon; at +Coruña, 1878, a portrait in oil of the Marquis de Mendez Nuñez; at +Pontevedra, 1880, several pen and water-color studies, three life-size +portraits in crayon, and a work in oil, "A Girl Feeding Chickens."</p> + +<br> + +<p><b>Baily, Caroline A. B.</b> Gold medal, Paris Exposition, 1900; +third-class medal, Salon, 1901.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Baker, Elizabeth Gowdy.</b> Medal at Cooper Union. Member of Boston Art +Students' Association and Art Workers' Club for Women, New York. Born at +Xenia, Ohio. Pupil of the Cooper Union, Art Students' League, New York +School of Art, Philadelphia Academy of Fine<a name="Page_23"></a> Arts, Cowles Art School, +Boston; under Frederick Freer, William Chase, and Siddons Mowbray.</p> + +<p>This artist has painted numerous portraits and has been especially +successful with pictures of children. She has a method of her own of +which she has recently written me.</p> + + +<a name="image-002"></a> +<p class="ctr"><a href="./images/002.jpg"><img src="./images/002_th.jpg" alt="A PORTRAIT. Elizabeth Gowdy Baker"></a></p> +<p class="ctr">A PORTRAIT</p> +<p class="ctr">Elizabeth Gowdy Baker</p> + +<p>She claims that it is excellent for life-size portraits in water-colors. +The paper she uses is heavier than any made in this country, and must be +imported; the water-colors are very strong. Mrs. Baker claims that in +this method she gets "the strength of oils with the daintiness of +water-colors, and that it is <i>beautiful</i> for women and children, and +sufficiently strong for portraits of men."</p> + +<p>She rarely exhibits, and her portraits are in private houses.</p> + +<br> + +<p><b>Bakhuyzen, Juffrouw Gerardina Jacoba van de Sande.</b> Silver medal at +The Hague, 1857; honorary medal at Amsterdam, 1861; another at The Hague, +1863; and a medal of distinction at Amsterdam Colonial Exhibition, 1885. +Daughter of the well-known animal painter. From childhood she painted +flowers, and for a time this made no especial impression on her family or +friends, as it was not an uncommon occupation for girls. At length her +father saw that this daughter, Gerardina—for he had numerous daughters, +and they all desired to be artists—had talent, and when, in 1850, the +Minerva Academy at Groningen gave out "Roses and Dahlias" as a subject, +and offered a prize of a little more than ten dollars for the best +example, he encouraged Gerardina to enter the contest. She received the +contemptible reward, and found, <a name="Page_24"></a>to her astonishment, that the Minerva +Academy considered the picture as belonging to them.</p> + +<p>However, this affair brought the name of the artist to the knowledge of +the public, and she determined to devote herself to the painting of +flowers and fruit, in which she has won unusual fame. There is no +sameness in her pictures, and her subjects do not appear to be +"arranged"—everything seems to have fallen into its place by chance and +to be entirely natural.</p> + +<p>Gerardina Jacoba and her brother Julius van de Sande Bakhuyzen, the +landscape painter, share one studio. She paints with rapidity, as one +must in order to picture the freshness of fast-fading flowers.</p> + +<p>Johan Gram writes of her: "If she paints a basket of peaches or plums, +they look as if just picked by the gardener and placed upon the table, +without any thought of studied effect; some leaves covering the fruit, +others falling out of the basket in the most natural way. If she paints +the branch of a rose-tree, it seems to spring from the ground with its +flowers in all their luxurious wantonness, and one can almost imagine +one's self inhaling their delightful perfume. This talented artist knows +so well how to depict with her brush the transparency and softness of the +tender, ethereal rose, that one may seek in vain among a crowd of artists +for her equal.... The paintings are all bright and sunny, and we are +filled with enthusiasm when gazing at her powerful works."</p> + +<p>This artist was born in 1826 and died in 1895. She lived and died in her +family residence. In 1850, at Groningen, she took for her motto, "Be true +to nature and you <a name="Page_25"></a>will produce that which is good." To this she remained +faithful all her days.</p> + +<br> + +<p><b>Baldwin, Edith Ella.</b> Born at Worcester, Massachusetts. Studied in +Paris at Julian Academy, under Bouguereau and Robert-Fleury; at the +Colarossi studios under Courtois, also under Julius Rolshoven and Mosler.</p> + +<p>Paints portraits and miniatures. At the Salon of the Champ de Mars she +exhibited a portrait in pastel, in 1901; at exhibitions of the Society of +American Artists in 1898 and 1899 she exhibited miniatures; also pictures +in oils at Worcester, 1903.</p> + +<br> + +<p><b>Ball, Caroline Peddle.</b> Honorable mention at Paris Exhibition, 1900. +Member of the Guild of Arts and Crafts and of Art Students' League. Born +at Terre Haute, Indiana. Pupil at the Art Students' League, under +Augustus St. Gaudens and Kenyon Cox.</p> + +<p>This sculptor exhibited at Paris a Bronze Clock. She designed for the +Tiffany Glass Company the figure of the Young Virgin and that of the +Christ of the Sacred Heart.</p> + +<p>A memorial fountain at Flushing, Long Island, a medallion portrait of +Miss Cox of Terre Haute, a monument to a child in the same city, a +Victory in a quadriga, seen on the United States Building, Paris, 1900, +and also at the Buffalo Exhibition, 1901, are among her important works.</p> + +<br> + +<p><b>Bañuelos, Antonia.</b> At the Paris Exposition of 1878 several portraits +by this artist attracted attention, one of them being a portrait of +herself. At the Exposition of 1880 she exhibited "A Guitar Player."</p> + +<br> + +<p><b>Barrantes Manuel de Aragon, Maria del Cármen.</b> Mem<a name="Page_26"></a>ber of the Academy +of San Fernando, Madrid, 1816. This institution possesses a drawing by +her of the "Virgin with the Christ-Child" and a portrait in oil of a +person of the epoch of Charles III.</p> + +<br> + +<p><b>Bashkirtseff, Marie.</b> Born in Russia of a noble family. 1860-84. This +remarkable young woman is interesting in various phases of her life, but +here it is as an artist that she is to be considered. Her journal, she +tells us, is absolutely truthful, and it is but courteous to take the +story of her artistic career from that. She had lessons in drawing, as +many children do, but she gives no indication of a special love for art +until she visits Florence when fourteen years old, and her love of +pictures and statues is awakened. She spent hours in galleries, never +sitting down, without fatigue, in spite of her delicacy. She says: "That +is because the things one loves do not tire one. So long as there are +pictures and, better still, statues to be seen, I am made of iron." After +questioning whether she dare say it, she confides to her readers: "I +don't like the Madonna della Sedia of Raphael. The countenance of the +Virgin is pale, the color is not natural, the expression is that of a +waiting-maid rather than of a Madonna. Ah, but there is a Magdalen of +Titian that enchanted me. Only—there must always be an only—her wrists +are too thick and her hands are too plump—beautiful hands they would be +on a woman of fifty. There are things of Rubens and Vandyck that are +ravishing. The 'Mensonge' of Salvator Rosa is very natural. I do not +speak as a connoisseur; what most resembles nature pleases me most. Is it +not the aim of painting to copy nature? I <a name="Page_27"></a>like very much the full, fresh +countenance of the wife of Paul Veronese, painted by him. I like the +style of his faces. I adore Titian and Vandyck; but that poor Raphael! +Provided only no one knows what I write; people would take me for a fool; +I do not criticise Raphael; I do not understand him; in time I shall no +doubt learn to appreciate his beauties. The portrait of Pope Leo X.—I +think it is—is admirable, however." A surprising critique for a girl of +her age!</p> + +<p>When seventeen she made her first picture of any importance. "While they +were playing cards last night I made a rough sketch of the players—and +this morning I transferred the sketch to canvas. I am delighted to have +made a picture of persons sitting down in different attitudes; I copied +the position of the hands and arms, the expressions of the countenance, +etc. I had never before done anything but heads, which I was satisfied to +scatter over the canvas like flowers."</p> + +<p>Her enthusiasm for her art constantly increased. She was not willing to +acknowledge her semi-invalidism and was filled with the desire to do +something in art that would live after her. She was opposed by her +family, who wished her to be in fashionable society. At length she had +her way, and when not quite eighteen began to study regularly at the +Julian Academy. She worked eight and nine hours a day. Julian encouraged +her, she rejoiced in being with "real artists who have exhibited in the +Salon and whose pictures are bought," and declared herself "happy, +happy!" Before long M. Julian told her that she might become a great +artist, and the first time that Robert-<a name="Page_28"></a>Fleury saw her work and learned +how little she had studied, and that she had never before drawn from a +living model, he said: "Well, then, you have extraordinary talent for +painting; you are specially gifted, and I advise you to work hard."</p> + +<p>Her masters always assured her of her talent, but she was much of the +time depressed. She admired the work of Mlle. Breslau and acknowledged +herself jealous of the Swiss artist. But after a year of study she took +the second prize in the Academy, and admitted that she ought to be +content.</p> + +<p>Robert-Fleury took much interest in her work, and she began to hope to +equal Breslau; but she was as often despondent as she was happy, which no +doubt was due to her health, for she was already stricken with the malady +from which she died. Julian wondered why, with her talent, it was so +difficult for her to paint; to herself she seemed paralyzed.</p> + +<p>In the autumn of 1879 she took a studio, and, besides her painting, she +essayed modelling. In 1880 her portrait of her sister was exhibited at +the Salon, and her mother and other friends were gratified by its +acceptance.</p> + +<p>At one time Mlle. Bashkirtseff had suffered with her eyes, and, getting +better of that, she had an attack of deafness. For these reasons she +went, in the summer of 1880, to Mont-Dore for treatment, and was much +benefited in regard to her deafness, though not cured, and now the +condition of her lungs was recognized, and what she had realized for some +time was told to her family. She suffered greatly from the restrictions +of her condition.<a name="Page_29"></a> She could not read very much, as her eyes were not +strong enough to read and paint; she avoided people because of her +deafness; her cough was very tiresome and her breathing difficult.</p> + +<p>At the Salon of 1881 her picture was well hung and was praised by +artists. In the autumn of that year she was very ill, but happily, about +the beginning of 1882, she was much better and again enthusiastic about +her painting. She had been in Spain and excited admiration in Madrid by +the excellence of her copy of "Vulcan," by Velasquez. January 15th she +wrote: "I am wrapped up in my art. I think I caught the sacred fire in +Spain at the same time that I caught the pleurisy. From being a student I +now begin to be an artist. This sudden influx of power puts me beside +myself with joy. I sketch future pictures; I dream of painting an +Ophelia. Potain has promised to take me to Saint-Anne to study faces of +the mad women there, and then I am full of the idea of painting an old +man, an Arab, sitting down singing to the accompaniment of a kind of +guitar; and I am thinking also of a large affair for the coming Salon—a +view of the Carnival; but for this it would be necessary that I should go +to Nice—to Naples first for the Carnival, and then to Nice, where I have +my villa, to paint it in open air."</p> + +<p>She now met Bastien-Lepage, who, while he was somewhat severe in his +criticism of her work, told her seriously that she was "marvellously +gifted." This gave her great pleasure, and, indeed, just at this time the +whole tone of the journal and her art enthusiasm are most comforting +after the preceding despairing months. From this time <a name="Page_30"></a>until her death +her journal is largely occupied with her health, which constantly failed, +but her interest in art and her intense desire to do something worthy of +a great artist—something that Julian, Robert-Fleury, and, above all, +Bastien-Lepage, could praise, seemed to give her strength, and, in spite +of the steady advance of the fell tuberculosis from which she was dying, +she worked devotedly.</p> + +<p>She had a fine studio in a new home of the family, and was seized with an +ardent desire to try sculpture—she did a little in this art—but that +which proved to be her last and best work was her contribution to the +Salon of 1884. This brought her to the notice of the public, and she had +great pleasure, although mingled with the conviction of her coming death +and the doubts of her ability to do more. Of this time she writes: "Am I +satisfied? It is easy to answer that question; I am neither satisfied nor +dissatisfied. My success is just enough to keep me from being unhappy. +That is all."</p> + +<p>Again: "I have just returned from the Salon. We remained a long time +seated on a bench before the picture. It attracted a good deal of +attention, and I smiled to myself at the thought that no one would ever +imagine the elegantly dressed young girl seated before it, showing the +tips of her little boots, to be the artist. Ah, all this is a great deal +better than last year! Have I achieved a success, in the true, serious +meaning of the word? I almost think so."</p> + +<p>The picture was called the "Meeting," and shows seven gamins talking +together before a wooden fence at the corner of a street. François Coppée +wrote of it: "It is a<a name="Page_31"></a> <i>chef d'oeuvre</i>, I maintain. The faces and the +attitudes of the children are strikingly real. The glimpse of meagre +landscape expresses the sadness of the poorer neighborhoods."</p> +<br> + +<p>Previous to this time, her picture of two boys, called "Jean and +Jacques," had been reproduced in the Russian <i>Illustration</i>, and she now +received many requests for permission to photograph and reproduce her +"Meeting," and connoisseurs made requests to be admitted to her studio. +All this gratified her while it also surprised. She was at work on a +picture called "Spring," for which she went to Sèvres, to paint in the +open.</p> + +<p>Naturally she hoped for a Salon medal, and her friends encouraged her +wish—but alas! she was cruelly disappointed. Many thought her unfairly +treated, but it was remembered that the year before she had publicly +spoken of the committee as "idiots"!</p> + +<p>People now wished to buy her pictures and in many ways she realized that +she was successful. How pathetic her written words: "I have spent six +years, working ten hours a day, to gain what? The knowledge of all I have +yet to learn in my art, and a fatal disease!"</p> + +<p>It is probable that the "Meeting" received no medal because it was +suspected that Mlle. Bashkirtseff had been aided in her work. No one +could tell who had originated this idea, but as some medals had been +given to women who did not paint their pictures alone, the committee were +timid, although there seems to have been no question as to superiority.</p> + +<p>A friendship had grown up between the families Bash<a name="Page_32"></a>kirtseff and +Bastien-Lepage. Both the great artist and the dying girl were very ill, +but for some time she and her mother visited him every two or three days. +He seemed almost to live on these visits and complained if they were +omitted. At last, ill as Bastien-Lepage was, he was the better able of +the two to make a visit. On October 16th she writes of his being brought +to her and made comfortable in one easy-chair while she was in another. +"Ah, if I could only paint!" he said. "And I?" she replied. "There is the +end to this year's picture!"</p> + +<p>These visits were continued. October 20th she writes of his increasing +feebleness. She wrote no more, and in eleven days was dead.</p> + +<p>In 1885 the works of Marie Bashkirtseff were exhibited. In the catalogue +was printed François Coppée's account of a visit he had made her mother a +few months before Marie's death. He saw her studio and her works, and +wrote, after speaking of the "Meeting," as follows:</p> + +<p>"At the Exhibition—Salon—before this charming picture, the public had +with a unanimous voice bestowed the medal on Mlle. B., who had been +already 'mentioned' the year before. Why was this verdict not confirmed +by the jury? Because the artist was a foreigner? Who knows? Perhaps +because of her wealth. This injustice made her suffer, and she +endeavored—the noble child—to avenge herself by redoubling her efforts.</p> + +<p>"In one hour I saw there twenty canvases commenced; a hundred +designs—drawings, painted studies, the cast of a statue, portraits which +suggested to me the name of<a name="Page_33"></a> Frans Hals, scenes made from life in the +open streets; notably one large sketch of a landscape—the October mist +on the shore, the trees half stripped, big yellow leaves strewing the +ground. In a word, works in which is incessantly sought, or more often +asserts itself, the sentiment of the sincerest and most original art, and +of the most personal talent."</p> + +<p>Mathilde Blind, in her "Study of Marie Bashkirtseff," says: "Marie loved +to recall Balzac's questionable definition that the genius of observation +is almost the whole of human genius. It was natural it should please her, +since it was the most conspicuous of her many gifts. As we might expect, +therefore, she was especially successful as a portrait painter, for she +had a knack of catching her sitter's likeness with the bloom of nature +yet fresh upon it. All her likenesses are singularly individual, and we +realize their character at a glance. Look, for example, at her portrait +of a Parisian swell, in irreproachable evening dress and white kid +gloves, sucking his silver-headed cane, with a simper that shows all his +white teeth; and then at the head and bust of a Spanish convict, painted +from life at the prison in Granada. Compare that embodiment of +fashionable vacuity with this face, whose brute-like eyes haunt you with +their sadly stunted look. What observation is shown in the painting of +those heavily bulging lips, which express weakness rather than wickedness +of disposition—in those coarse hands engaged in the feminine occupation +of knitting a blue and white stocking!"</p> + +<br> + +<p><b>Bauck, Jeanna.</b> Born in Stockholm in 1840. Portrait <a name="Page_34"></a>and landscape +painter. In 1863 she went to Dresden, and studied figure work with +Professor Ehrhardt; later she moved to Düsseldorf, where she devoted +herself to landscape under Flamm, and in 1866 she settled in Munich, +where she has since remained, making long visits to Paris, Venice, and +parts of Switzerland. Her later work is marked by the romantic influence +of C. Ludwig, who was for a time her instructor, but she shows unusual +breadth and sureness in dealing with difficult subjects, such as dusky +forests with dark waters or bare ruins bordered with stiff, ghost-like +trees. Though not without talent and boldness, she lacks a feeling for +style.</p> + +<br> + +<p><b>Bauerlé, Miss A.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Baxter, Martha Wheeler.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Beale, Mary.</b> 1632-97. This artist was the daughter of the Rev. Mr. +Cradock. She married Mr. Beale, an artist and a color-maker. She studied +under Sir Peter Lely, who obtained for her the privilege of copying some +of Vandyck's most famous works.</p> + +<p>Mrs. Beale's portraits of Charles II., Cowley, and the Duke of Norfolk +are in the National Portrait Gallery, London, and that of Archbishop +Tillotson is in Lambeth Palace. This portrait was the first example of an +ecclesiastic represented as wearing a wig instead of the usual silk coif.</p> + +<p>Her drawing was excellent and spirited, her color strong <a name="Page_35"></a>and pure, and +her portraits were sought by many distinguished persons.</p> + +<p>Several poems were written in praise of this artist, in one of which, by +Dr. Woodfall, she is called "Belasia." Her husband, Charles Beale, an +inferior artist, was proud of his wife, and spent much time in recording +the visits she received, the praises lavished on her, and similar matters +concerning her art and life. He left more than thirty pocket-notebooks +filled with these records, and showed himself far more content that his +wife should be appreciated than any praise of himself could have made +him.</p> + +<br> + +<p><b>Beaury-Saurel, Mme. Amélie.</b> Prize of honor at Exposition of Black +and White, 1891; third-class medal, Salon, 1883; bronze medal, +Exposition, 1889. Born at Barcelona, of French parents. Pupil of Julian +Academy. Among her principal portraits are those of Léon Say, Félix +Voisin, Barthélemy Saint-Hilaire, Mme. Sadi-Carnot, Coralie Cohen, +Princess Ghika, etc. She has also painted the "Two Vanquished Ones," "A +Woman Physician," and a "Souvenir of a Bull-Fight," pastel, etc.</p> + +<p>This artist has also contributed to several magazines. At the Salon of +the Artistes Français, 1902, she exhibited a portrait and a picture of +"Hamlet"; in 1903 a picture, "In the Train." Mme. Beaury-Saurel is also +Mme. Julian, wife of the head of the Academy in which she was educated.</p> + +<br> + +<p><b>Beaux, Cecilia.</b> Mary Smith prize at the Pennsylvania Academy of Fine +Arts, 1885, 1887, 1891, 1892; gold medal, Philadelphia Art Club, 1893; +Dodge prize, National Academy of Design, 1893; bronze medal, Carnegie +Insti<a name="Page_36"></a>tute, 1896; first-class gold medal, $1,500, Carnegie Institute, +1899; Temple gold medal, Pennsylvania Academy, 1900; gold medal, Paris +Exposition, 1900; gold medal, (?) 1901. Associate of National Academy of +Design, member of Society of American Artists, associate of Société des +Beaux-Arts, Paris. Born in Philadelphia. Studied under Mrs. T. A. +Janvier, Adolf van der Weilen, and William Sartain in Philadelphia; under +Robert-Fleury, Bouguereau, and Benjamin-Constant, in Paris.</p> + +<p>Her portraits are numerous. In 1894 she exhibited a portrait of a child +at the Exhibition of the Society of American Artists, which was much +admired and noticed in the <i>Century Magazine</i>, September, 1894, as +follows: "Few artists have the fresh touch which the child needs and the +firm and rapid execution which allows the painter to catch the fleeting +expression and the half-forms which make child portraits at once the +longing and the despair of portrait painters. Miss Beaux's technique is +altogether French, sometimes reminding me a little of Carolus Duran and +of Sargent; but her individuality has triumphed over all suggestions of +her foreign masters, and the combination of refinement and strength is +altogether her own."</p> + +<p>Seven years later, in the <i>International Studio</i>, September, 1901, we +read: "The mention of style suggests a reference to the portraits by Miss +Cecilia Beaux, while the allusion to characterization suggests at the +same time their limitation. The oftener one sees her 'Mother and +Daughter,' which gained the gold medal at Pittsburg in 1899 and the gold +medal also at last year's Paris Exposition, the less one feels inclined +to accept it as a satisfactory <a name="Page_37"></a>example of portraiture. Magnificent +assurance of method it certainly has, controlled also by a fine sobriety +of feeling, so that no part of the ensemble impinges upon the due +importance of the other parts; it is a balanced, dignified picture. But +in its lack of intimacy it is positively callous. One has met these +ladies on many occasions, but with no increase of acquaintanceship or +interest on either side—our meetings are sterile of any human interest. +So one turns with relief to Miss Beaux's other picture of 'Dorothea and +Francesca'—an older girl leading a younger one in the steps of a dance. +They are not concerned with us, but at least interested in one another; +and we can attach ourselves, if only as outsiders, to the human interest +involved.</p> + +<p>"These pictures suggest a moment's consideration of the true meaning of +the term 'style' as applied to painting. Is it not more than the mere +ableness of method, still more than the audacity of brush work, that +often passes for style? Is it possible to dissociate the manner of a +picture from its embodiment of some fact or idea? For it to have style in +the full sense of the word, surely it must embody an expression of life +as serious and thorough as the method of record."—<i>Charles H. Caffin</i>.</p> + +<p>In the <i>International Studio</i> of March, 1903, we read: "The portrait of +Mrs. Roosevelt, by Miss Cecilia Beaux, seemed to me to be one of the +happiest of her creations. Nothing could exceed the skill and daintiness +with which the costume is painted, and the characterization of the head +is more sympathetic than usual, offering a most winsome type of +beautiful, good womanhood. A little child <a name="Page_38"></a>has been added to the +picture—an afterthought, I understand, and scarcely a fortunate one; at +least in the manner of its presentment. The figure is cleverly merged in +half shadow, but the treatment of the face is brusque, and a most +unpleasant smirk distorts the child's mouth. It is the portrait of the +mother that carries the picture, and its superiority to many of Miss +Beaux's portraits consists in the sympathy with her subject which the +painter has displayed."—<i>Charles H. Caffin</i>.</p> + +<p>A writer in the <i>Mail and Express</i> says: "Miss Beaux has approached the +task of painting the society woman of to-day, not as one to whom this +type is known only by the exterior, but with a sympathy as complete as a +similar tradition and an artistic temperament will allow. Thus she starts +with an advantage denied to all but a very few American portrait +painters, and this explains the instinctive way in which she gives to her +pictured subjects an air of natural ease and good breeding."</p> + +<p>Miss Beaux's picture of "Brighton Cats" is so excellent that one almost +regrets that she has not emulated Mme. Ronner's example and left +portraits of humans to the many artists who cannot paint cats!</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Beck, Carol H.</b> Mary Smith prize at Pennsylvania Academy of Fine +Arts, 1899. Fellow of above Academy and member of the Plastic Club, +Philadelphia. Born in Philadelphia. Studied in schools of Pennsylvania +Academy, and later in Dresden and Paris.</p> + +<p>Miss Beck paints portraits and her works have been <a name="Page_39"></a>frequently exhibited. +Her portraits are also seen in the University of Pennsylvania, in the +Woman's Medical College, Philadelphia, in Wesleyan College, at the +capitols of Pennsylvania and New Jersey, and other public places, as well +as in many private homes.</p> + +<p>Miss Beck edited the Catalogue of the Wilstach Collection of Paintings in +Memorial Hall, Fairmount Park, Philadelphia.</p> + +<br> + +<p><b>Beckington, Alice.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Beernaerts, Euphrosine.</b> Landscape painter. In 1873 she won a medal +at Vienna, in 1875 a gold medal at the Brussels Salon, and still other +medals at Philadelphia (1876), Sydney (1879), and Teplitz (1879). She was +made Chévalier de l'Ordre de Léopold in 1881. Mlle. Beernaerts was born +at Ostend, 1831, and studied under Kuhner in Brussels. She travelled in +Germany, France, and Italy, and exhibited admirable landscapes at +Brussels, Antwerp, and Paris, her favorite subjects being Dutch. In 1878 +the following pictures by her were shown in Paris: "Lisière de bois dans +les Dunes (Zélande)," "Le Village de Domburg (Zélande)," and "Intérieur +de bois à Oost-Kapel (Holland)." Other well-known works are "Die Campine" +and "Aus der Umgebung von Oosterbeck."</p> + +<br> + +<p><b>Begas, Luise Parmentier.</b> Born in Vienna. Pupil of Schindler and +Unger. She travelled extensively in Europe and the Orient, and spent some +time in Sicily. She married Adalbert Begas in 1877 and then established +<a name="Page_40"></a>her studio in Berlin. Her subjects are landscape, architectural +monuments, and interiors. Some of the latter are especially fine. Her +picture of the "Burial Ground at Scutari" was an unusual subject at the +time it was exhibited and attracted much attention.</p> + +<p>Her rich gift in the use of color is best seen in her pictures of still +life and flowers. In Berlin, in 1890, she exhibited "Before the Walls of +Constantinople" and "From Constantinople," which were essentially +different from her earlier works and attracted much attention. "Taormina +in Winter" more nearly resembled her earlier pictures.</p> + +<p>Fräulein Parmentier also studied etching, in which art Unger was her +instructor. In her exquisite architectural pictures and landscapes she +has represented Italian motives almost exclusively. Among these are her +views of Venice and other South Italian sketches, which are also the +subjects of some of her etchings.</p> + +<br> + +<p><b>Belle, Mlle. Andrée.</b> Member of the Société Nationale des Beaux Arts. +Born in Paris. Pupil of Cazin. Paints in oils and pastels, landscapes +especially, of which she exhibited seventeen in June, 1902. The larger +part of these were landscape portraits, so to speak, as they were done on +the spots represented with faithfulness to detail. The subjects were +pleasing, and the various hours of day, with characteristic lighting, +unusually well rendered.</p> + +<p>At the Salon des Beaux Arts, 1902, this artist exhibited a large pastel, +"A Halt at St. Mammès" and a "Souvenir of Bormes," showing the tomb of +Cazin. In 1903 she exhibited a pastel called "Calvary," now in the Museum +<a name="Page_41"></a>at Amiens, which has been praised for its harmony of color and the +manner in which the rainbow is represented. Her pictures of "Twilight" +and "Sunset" are unusually successful.</p> + +<br> + +<p><b>Benato-Beltrami, Elisabetta.</b> Painter and sculptor of the nineteenth +century, living in Padua since 1858. Her talent, which showed itself +early, was first developed by an unknown painter named Soldan, and later +at the Royal Academy in Venice. She made copies of Guido, Sassoferrato +and Veronese, the Laokoon group, and the Hercules of Canova, and executed +a much-admired bas-relief called "Love and Innocence." Among her original +paintings are an "Atala and Chactas," "Petrarch's First Meeting with +Laura," a "Descent from the Cross" for the church at Tribano, a "St. +Sebastian," "Melancholy," a "St. Ciro," and many Madonnas. Her pictures +are noble in conception and firm in execution.</p> + +<br> + +<p><b>Benito y Tejada, Benita.</b> Born in Bilboa, where she first studied +drawing; later she went to Madrid, where she entered the Escuela +superior. In the Exposition of 1876 at Madrid "The Guardian" was shown, +and in 1881 a large canvas representing "The First Step."</p> + +<br> + +<p><b>Bernhardt, Sarah.</b> In 1869 this famous actress watched +Mathieu-Meusnier making a bust. She made her criticisms and they were +always just. The sculptor told her that she had the eye of an artist and +should use her talent in sculpture. Not long after she brought to him a +medallion portrait of her aunt. So good was it that Mathieu-Meusnier +seriously encouraged her to persevere in her art. She was fascinated by +the thought of what might be pos<a name="Page_42"></a>sible for her, took a studio, and sent +to the Salon in 1875 a bust, which attracted much attention. In 1876 she +exhibited "After the Tempest," the subject taken from the story of a poor +woman who, having buried two sons, saw the body of her last boy washed +ashore after a storm. This work was marvellously effective, and a great +future as a sculptress was foretold for the "divine Sara." At the Salon +of 1878 she exhibited two portrait busts in bronze.</p> + +<p>This remarkable woman is a painter also, and exhibited a picture called +"La jeune Fille et la Mort." One critic wrote of it: "Sarah's picture +shows very considerable feeling for color and more thought than the vast +majority of modern paintings. The envious and evil speakers, who always +want to say nasty things, pretend to trace in the picture very frequent +touches of Alfred Stevens, who has been Sarah's master in painting, as +Mathieu-Meusnier was in sculpture. However that may be, Sarah has posed +her figures admirably and her coloring is excellent. It is worthy of +notice that, being as yet a comparative beginner, she has not attempted +to give any expression to the features of the young girl over whose +shoulder Death is peeping."</p> + +<p>One of the numerous ephemeral journals which the young and old jeunesse +of the Latin Quarter is constantly creating has made a very clever +caricature of the picture in a sort of Pompeian style. Death is +represented by the grinning figure of Coquelin ainé. The legend is "'La +Jeune Fille et la Mort,' or Coquelin ainé, presenting Sarah Bernhardt the +bill of costs of her fugue." In other words, Coquelin is Death, handing +to Sarah the undertaker's bill—300,000 <a name="Page_43"></a>francs—for her civil burial at +the Comédie Française.</p> + +<br> + +<p><b>Bethune, Louise.</b> This architect, whose maiden name was Blanchard, +was born in Waterloo, New York, 1856. She studied drawing and +architecture, and in 1881 opened an office, being the first woman +architect in the United States. Since her marriage to Robert A. Bethune +they have practised their art together. Mrs. Bethune is the only woman +holding a fellowship in the American Institute of Architects.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Beveridge, Kühne.</b> Honorable mention in Paris twice. Born in +Springfield, Illinois. Studied under William R. O'Donovan in New York, +and under Rodin in Paris.</p> + +<p>Among her works are a statue called "Rhodesia," "Rough Rider Monument," a +statue called "Lascire," which belongs to Dr. Jameson, busts of Cecil +Rhodes, King Edward VII., Grover Cleveland, Vice-President Stevenson, +Joseph Jefferson, Buffalo Bill, General Mahon, hero of Mafeking, Thomas +L. Johnson, and many others.</p> + +<p>Miss Beveridge was first noticed as an artist in this country in 1892, +when her busts of ex-President Cleveland and Mr. Jefferson called +favorable attention to her.</p> + +<p>In 1899 she married Charles Coghlan, and soon discovered that he had a +living wife at the time of her marriage and obtained a divorce. Before +she went to South Africa Miss Beveridge had executed several commissions +for Cecil Rhodes and others living in that country.</p> + +<p>Her mother is now the Countess von Wrede, her home <a name="Page_44"></a>being in Europe, +where her daughter has spent much time. She has married the second time, +an American, Mr. Branson, who resides at Johannesburg, in the Transvaal.</p> + +<br> + +<p><b>Biffin, Sarah.</b> 1784-1850. It seems a curious fact that several +persons born without arms and hands have become reputable artists. This +miniature painter was one of these. Her first teacher, a man named Dukes, +persuaded her to bind herself to live in his house and give her time to +his service for some years. Later, when the Earl of Morton made her +acquaintance, he proved to her that her engagement was not legally +binding and wished her to give it up; but Miss Biffin was well treated by +the Dukes and preferred to remain with them.</p> + +<p>The Earl of Morton, however, caused her to study under Mr. Craig, and she +attained wonderful excellence in her miniatures. In 1821 the Duke of +Sussex, on behalf of the Society of Arts, presented her with a prize +medal for one of her pictures.</p> + +<p>She remained sixteen years with the Dukes, and during this time never +received more than five pounds a year! After leaving them she earned a +comfortable income. She was patronized by George III. and his successors, +and Queen Victoria and the Prince Consort were her generous patrons, as +well as many other distinguished persons.</p> + +<p>After the death of the Earl of Morton she had no other friend to aid her +in getting commissions or selling her finished pictures, and she moved to +Liverpool. A small annuity was purchased for her, which, in addition to +the few orders she received, supported her until her death at <a name="Page_45"></a>the age of +sixty-six. Her miniatures have been seen in loan collections in recent +years. Her portrait of herself, on ivory, was exhibited in such a +collection at South Kensington.</p> + +<br> + +<p><b>Bilders, Marie.</b> Family name Van Bosse. Born in Amsterdam, 1837; died +in Wiesbaden, 1900. Pupil of Van de Sande-Bakhuyzen, Bosboom, and +Johannes W. Bilders. Settled in Oosterbeck, and painted landscapes from +views in the neighborhood. This artist was important, and her works are +admired especially by certain Dutch artists who are famous in all +countries. These facts are well known to me from good authority, but I +fail to find a list of her works or a record of their present +position.<a name="FNanchor_1_1"></a><a href="#Footnote_1_1"><sup>[1]</sup></a></p> + +<a name="Footnote_1_1"></a><a href="#FNanchor_1_1">[1]</a><div class="note"><p> See <a href="#SUPPLEMENT">Supplement.</a></p></div> +<br> + +<p><b>Bilinska, Anna.</b> Received the small gold medal at Berlin in 1891, and +won distinguished recognition at other international exhibitions in +Berlin and Munich by her portraits and figure studies. She was born in +Warsaw in 1858, and died there in 1893. She studied in Paris, where she +quickly became a favorite painter of aristocratic Russians and Poles. Her +pictures are strong and of brilliant technique.</p> + +<br> + +<p><b>Biondi, Nicola.</b> Born at Capua, 1866. This promising young Italian +painter was a pupil of the Institute of Fine Arts in Naples. One of her +pictures, called "Una partita," was exhibited at Naples and attracted +much attention. It was purchased by Duke Martini. Another, "Ultima +Prova," was exhibited in Rome and favorably noticed.</p> + +<br> + +<p><b>Blau, Tina.</b> Honorable mention in Paris, 1883, for her<a name="Page_46"></a> "Spring in +the Prater." Her "Land Party" is in the possession of the Emperor of +Austria, and "In Spring-time" belongs to the Prince Regent of Bavaria. +This talented landscape painter was born in Vienna, 1847. She was a pupil +of Schäffer in Vienna, and of W. Lindenschmitt in Munich. After +travelling in Austria, Holland, and Italy, she followed her predilection +for landscape, and chose her themes in great part from those countries. +In 1884 she married Heinrich Lang, painter of battle scenes (who died in +1891), and she now works alternately in Munich and Vienna. In 1890 she +gave an exhibition of her pictures in Munich; they were thought to show +great vigor of composition and color and much delicacy of artistic +perception. Her foreign scenes, especially, are characterized by unusual +local truth and color. Among her best works are "Studies from the Prater +in Vienna," "Canal at Amsterdam," "Harvest Day in Holland," "The Arch of +Titus in Rome," "Street in Venice," and "Late Summer."</p> + +<br> + +<p><b>Bloch, Mme. Elisa.</b> Honorable mention, 1894. Officer of public +instruction, Commander of the Order of the Liberator; Chevalier of the +Order of the Dragon of Annam. Born at Breslau, Silesia, 1848. Pupil of +Chapu. She first exhibited at the Salon of 1878, a medallion portrait of +M. Bloch; this was followed by "Hope," the "Golden Age," "Virginius +Sacrificing his Daughter," "Moses Receiving the Tables of the Law," etc. +Mme. Bloch has made numerous portrait busts, among them being the kings +of Spain and Portugal, Buffalo Bill, C. Flammarion, etc.</p><a name="Page_47"></a> + +<p>At the Salon of the Artistes Français, 1903, Mme. Bloch exhibited a +"Portrait of M. Frédéric Passy, Member of the Institute."</p> + +<br> + +<p><b>Boccardo, Lina Zerbinah.</b> Rome.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Boemm, Ritta.</b> A Hungarian artist. Has been much talked of in +Dresden. She certainly possesses distinguished talents, and is easily in +the front rank of Dresden women artists. Her gouache pictures dealing +with Hungarian subjects, a "Village Street," a "Peasant Farm," a +"Churchyard," exhibited at Dresden in 1892, were well drawn and full of +sentiment, but lacking in color sense and power. She works unevenly and +seems pleased when she succeeds in setting a scene cleverly. She paints +portraits also, mostly in pastel, which are spirited, but not especially +good likenesses. What she can do in the way of color may be seen in her +"Village Street in Winter," a picture of moderate size, in which the +light is exquisite; unfortunately most of her painting is less admirable +than this.</p> + +<br> + +<p><b>Boissonnas, Mme. Caroline Sordet.</b> Honorable mention at the Salon of +Lyons, 1897. Member of the Exposition Permanente Amis des Beaux-Arts, +Geneva. Born in Geneva. Pupil of the School of Fine Arts, Geneva, under +Prof. F. Gillet and M. E. Ravel.</p> + +<p>This artist paints portraits principally. She has been successful, and +her pictures are in Geneva, Lausanne, Vevey, Paris, Lyons, Marseilles, +Dresden, Naples, etc.</p> + +<br> + +<p><b>Bompiani-Battaglia, Clelia.</b> Born in Rome, 1847.<a name="Page_48"></a> Pupil of her +father, Roberto Bompiani, and of the professors in the Academy of St. +Luke. The following pictures in water-colors have established her +reputation as an artist: "Confidential Communication," 1885; the +"Fortune-Teller," 1887; "A Public Copyist," 1888; and "The Wooing," 1888.</p> + +<br> + +<p><b>Bonheur, Juliette—Mme. Peyrol.</b> Born at Paris. Sister of Rosa +Bonheur, and a pupil of her father. Among her pictures are "A Flock of +Geese," "A Flock of Sheep Lying Down," and kindred subjects. The +last-named work was much remarked at the Salon of 1875. In 1878 she +exhibited "The Pool" and "The Mother's Kiss."</p> + +<p>Mme. Peyrol was associated with her famous sister in the conduct of the +Free School of Design, founded by Rosa Bonheur in 1849.</p> + +<br> + +<p><b>Bonheur, Marie Rosalie.</b> 1822-99. Member of Antwerp Institute, 1868. +Salon medals, 1845, 1848, 1855, 1867; Legion of Honor, 1865; Leopold +Cross, 1880; Commander's Cross, Royal Order of Isabella the Catholic, +1880. Born in Bordeaux. She was taught drawing by her father, who, +perceiving that she had unusual talent, permitted her to give up +dressmaking, to which, much against her will, she had been apprenticed. +From 1855 her fame was established; she was greatly appreciated, and her +works competed for in England and the United States, as well as in +European countries.</p> + +<p>Her chief merit is the actual truthfulness with which she represented +animals. Her skies might be bettered in some cases—the atmosphere of her +pictures was sometimes open to question—but her animals were +anatomi<a name="Page_49"></a>cally perfect and handled with such virility as few men have +excelled or even equalled. Her position as an artist is so established +that no quoted opinions are needed when speaking of her—she was one of +the most famous women of her century.</p> + +<p>Her home at By was near Fontainebleau, where she lived quietly, and for +some years held gratuitous classes for drawing. She left, at her death, a +collection of pictures, studies, etchings, etc., which were sold by +auction in Paris soon after.</p> + +<p>Her "Ploughing in the Nivernais," 1848, is in the Luxembourg Gallery; +"The Horse Fair," 1853, is seen in the National Gallery, London, in a +replica, the original being in the United States, purchased by the late +A. T. Stewart. Her "Hay Harvest in the Auvergne," 1855, is one of her +most important works. After 1867 Mlle. Bonheur did not exhibit at the +Salon until 1899, a few weeks before her death.</p> + +<p>One must pay a tribute to this artist as a good and generous woman. She +founded the Free School of Design for Girls, and in 1849 took the +direction of it and devoted much of her valuable time to its interests. +How valuable an hour was to her we may understand when we remember that +Hamerton says: "I have seen work of hers which, according to the price +given, must have paid her a hundred pounds for each day's labor."</p> + +<p>The story of her life is of great interest, and can be but slightly +sketched here.</p> + +<p>She was afoot betimes in the morning, and often walked ten or twelve +miles and worked hard all day. The diffi<a name="Page_50"></a>culty of reaching her models +proved such a hindrance to her that she conceived the idea of visiting +the abattoirs, where she could see animals living and dead and study +their anatomy.</p> + +<p>It is not easy to imagine all the difficulties she encountered in doing +this—the many repulsive features of such places—while the company of +drovers and butchers made one of the disagreeables of her pursuits. Her +love for the animals, too, made it doubly hard for her to see them in the +death agony and listen to their pitiful cries for freedom.</p> + +<p>In all this experience, however, she met no rude or unkind treatment. Her +drawings won the admiration of the men who watched her make them and they +treated her with respect. She pursued her studies in the same manner in +the stables of the Veterinary School at Alfort and in the Jardin des +Plantes.</p> + +<p>At other times she studied in the country the quiet grazing herds, and, +though often mistaken for a boy on account of the dress she wore, she +inspired only admiration for her simplicity and frankness of manner, +while the graziers and horse-dealers respectfully regarded her and +wondered at her skill in picturing their favorite animals. Some very +amusing stories might be told of her comical embarrassments in her +country rambles, when she was determined to preserve her disguise and the +pretty girls were equally determined to make love to her!</p> + +<p>Aside from all this laborious study of living animals, she obtained +portions of dead creatures for dissection; also moulds, casts, and +illustrated anatomical books; and, <a name="Page_51"></a>in short, she left no means untried +by which she could perfect herself in the specialty she had chosen. Her +devotion to study and to the practice of her art was untiring, and only +the most engrossing interest in it and an indomitable perseverance, +supplemented and supported by a physically and morally healthful +organization, could have sustained the nervous strain of her life from +the day when she was first allowed to follow her vocation to the time +when she placed herself in the front rank of animal painters.</p> + +<p>A most charming picture is drawn of the life of the Bonheur family in the +years when Rosa was making her progressive steps. They lived in an humble +house in the Rue Rumfort, the father, Auguste, Isidore, and Rosa all +working in the same studio. She had many birds and a pet sheep. As the +apartment of the Bonheurs was on the sixth floor, this sheep lived on the +leads, and from time to time Isidore bore him on his shoulders down all +the stairs to the neighboring square, where the animal could browse on +the real grass, and afterward be carried back by one of the devoted +brothers of his mistress. They were very poor, but they were equally +happy. At evening Rosa made small models or illustrations for books or +albums, which the dealers readily bought, and by this means she added to +the family store for needs or pleasures.</p> + +<p>In 1841, when Rosa was nineteen years old, she first experienced the +pleasures, doubts, and fears attendant upon a public exhibition of one's +work. Two small pictures, called "Goats and Sheep" and "Two Rabbits," +were hung at the Salon and were praised by critics and connois<a name="Page_52"></a>seurs. The +next year she sent three others, "Animals in a Pasture," "A Cow Lying in +a Meadow," and "A Horse for Sale." She continued to send pictures to the +Salon and to some exhibitions in other cities, and received several +bronze and silver medals.</p> + +<p>In 1845 she sent twelve works to the Salon, accompanied by those of her +father and her brother Auguste, who was admitted that year for the first +time. In 1848 Isidore was added to the list, exhibiting a picture and a +group in marble, both representing "A Combat between a Lioness and an +African Horseman." And, finally, the family contributions were completed +when Juliette, now Madame Peyrol, added her pictures, and the works of +the five artists were seen in the same Exhibition.</p> + +<p>In 1849 Rosa Bonheur's "Cantal Oxen" was awarded the gold medal, and was +followed by "Ploughing in the Nivernais," so well known the world over by +engravings and photographs. When the medal was assigned her, Horace +Vernet proclaimed her triumph to a brilliant assemblage, and also +presented to her a magnificent vase of Sèvres porcelain, in the name of +the French Government. This placed her in the first rank of living +artists, and the triumph was of double value to her on account of the +happiness it afforded her father, to see this, his oldest child, of whose +future he had often despaired, taking so eminent a place in the artistic +world.</p> + +<p>This year of success was also a year of sorrow, for before its end the +old Raymond had died. He had been for some time the director of the +Government School of Design for Girls, and, being freed from pecuniary +anxiety, <a name="Page_53"></a>he had worked with new courage and hope. After her father's +death Rosa Bonheur exhibited nothing for two years, but in 1853 she +brought out her "Horse Fair," which added to her fame.</p> + +<p>She was perfectly at home in the mountains, and spent much time in the +huts of charcoal burners, huntsmen, or woodcutters, contented with the +food they could give her and happy in her study. Thus she made her +sketches for "Morning in the Highlands," "The Denizens of the Mountains," +etc. She once lived six weeks with her party on the Spanish side of the +Pyrenees, where they saw no one save muleteers going and coming, with +their long lines of loaded mules. Their only food was frogs' legs, which +they prepared themselves, and the black bread and curdled milk which the +country afforded. At evening the muleteers would amuse the strangers by +dancing the national dances, and then repose in picturesque groups just +suited to artistic sketching. In Scotland and in Switzerland, as well as +in various portions of her own country, she had similar experiences, and +her "Hay-Making in Auvergne" proves that she was familiar with the more +usual phases of country life. At the Knowles sale in London, in 1865, her +picture of "Spanish Muleteers Crossing the Pyrenees," one of the results +of the above sojourn in these mountains, sold for two thousand guineas, +about ten thousand dollars. I believe that, in spite of the large sums of +money that she received, her habitual generosity and indifference to +wealth prevented her amassing a large fortune, but her fame as an artist +and her womanly virtues brought the rewards which she valued above +any<a name="Page_54"></a>thing that wealth could bestow—such rewards as will endure through +centuries and surround the name of Rosa Bonheur with glory, rewards which +she untiringly labored to attain.</p> + +<br> + +<p><b>Bonsall, Elizabeth F.</b> First Toppan prize, and Mary Smith prize +twice, at Pennsylvania Academy of Fine Arts. Member of Plastic Club, +Philadelphia. Born at Philadelphia. Studied at the above-named Academy +and in Paris; also at the Drexel Institute, Philadelphia, under Eakins, +Courtois, Collin, and Howard Pyle.</p> + +<p>Miss Bonsall is well known for her pictures of cats. She illustrated the +"Fireside Sphinx," by Agnes Repplier. Her picture of "Hot Milk" is in the +Pennsylvania Academy; her "Suspense," in a private gallery in New York.</p> + +<p>An interesting chapter in Miss Winslow's book, "Concerning Cats," is +called "Concerning Cat Artists," in which she writes: "Elizabeth Bonsall +is a young American artist who has exhibited some good cat pictures, and +whose work promises to make her famous some day if she does not 'weary in +well-doing.'"</p> + +<p>Miss Bonsall has prepared a "Cat Calendar" and a "Child's Book about +Cats," which were promised to appear in the autumn of 1903.</p> + +<br> + +<p><b>Bonsall, Mary M.</b> First Toppan prize at Pennsylvania Academy of Fine +Arts. Member of the Plastic Club, Philadelphia. Studied at above academy +under Vonnoh, De Camp, William Chase, and Cecilia Beaux.</p> + +<p>This artist paints portraits, which are in private hands.</p> + +<br> + +<p><b>Bonte, Paula.</b> Born in Magdeburg, 1840, and from 1862 to 1864 was a +pupil of Pape in Berlin. She travelled <a name="Page_55"></a>and studied in Northern Italy and +Switzerland, and from these regions, as well as from Northern Germany, +took her subjects. She has exhibited pictures at various exhibitions, and +among her best works should be mentioned: "The Beach at Clovelly in +Devonshire," "From the Bernese Oberland," "The Riemenstalden Valley," +etc.</p> + +<br> + +<p><b>Boott, Elizabeth.</b> Born in Cambridge. Miss Boott was one of those +pupils of William M. Hunt to whom he imparted a wonderful artistic +enthusiasm, energy, and devotion. After studying in Boston she studied in +Paris under Duveneck—whom she afterward married—and under Couture. Her +subjects were genre, still-life, and flowers, and were well considered. +Among her genre pictures are "An Old Man Reading," an "Old Roman +Peasant," and a "Girl with a Cat." When in Italy she painted a number of +portraits, which were successful. Miss Brewster, who lived in Rome, was +an excellent critic, and she wrote: "I must say a few words about a +studio I have lately visited—Miss Boott's. I saw there three very fine +portraits, remarkable for strength and character, as well as rich +coloring: one of Mr. Boott, one of Bishop Say, and the third of T. +Adolphus Trollope, the well-known writer and brother of the novelist, +Anthony Trollope. All are good likenesses and are painted with vigor and +skill, but the one of Mr. Trollope is especially clever. Trollope's head +and face, though a good study, are not easy to paint, but Miss Boott has +succeeded to perfection. His head and beard are very fine. The face in +nature, but for the melancholy, kindly look about the eyes and mouth, +would be stern; Miss Boott has caught <a name="Page_56"></a>this expression and yet retained +all the firm character of the countenance. It is remarkable that an +artist who paints male heads with such a vigorous character should also +give to flowers softness, transparency, and grace. Nothing can be more +lovely than Miss Boott's flower studies. She has some delicious poppies +among wheat, lilies, thistles. She gets a transparency into these works +that is not facile in oil. A bunch of roses in a vase was as tender and +round and soft-colored as in nature. Among all the many studios of Rome I +do not know a more attractive one than Miss Boott's."</p> + +<br> + +<p><b>Bortolan, Rosa.</b> Born at Treviso. She was placed in the Academy at +Venice by her family, where she had the benefit of such masters as +Grigoletti, Lipparini, Schiavoni, and Zandomeneghi. She early showed much +originality, and after making thorough preliminary studies she began to +follow her own ideas. She was of a mystical and contemplative turn of +mind, and a great proportion of her work has been of a religious nature. +Her pictures began to attract attention about 1847, and she had many +commissions for altar-pieces and similar work. The church of +Valdobbiadene, at Venice, contains "San Venanziano Fortunatus, Bishop." +"Saint Louis" was painted as a commission of Brandolin da Pieve; "Comte +Justinian Replying to Bonaparte in Treviso" was a subscription picture +presented to Signor Zoccoletto. Portraits of the Countess +Canossa-Portalupi and her son, of Luigia Codemo, and of Luigi Giacomelli +are thought to possess great merit; while those of Dr. Pasquali (in the +Picture Gallery at Treviso) and Michelangelo Codemo have been <a name="Page_57"></a>judged +superior to those of Rosalba Carriera and Angelica Kauffmann. Her sacred +pictures, strong and good in color, are full of a mystical and spiritual +beauty. Her drawing is admirable and her treatment of detail highly +finished.</p> + +<br> + +<p><b>Borzino, Leopoldina.</b> Milanese water-color painter. Has shown +excellent genre pictures at various exhibitions. "The Holiday" and the +"Return from Mass" were both exhibited and sold at Rome in 1883; "The Way +to Calvary" was seen at Venice in 1887. "The Rosary," "Anguish," and +"Going to the Fountain" are all distinguished by good color as well as by +grace and originality of composition.</p> + +<br> + +<p><b>Bouguereau, Mme. Elizabeth Jane.</b> See <a href="#Gardner">Gardner</a>.</p> + +<br> + +<p><b>Boulanger, Mme. Marie Elizabeth.</b> Medals at the Paris Salon in 1836 +and 1839. Born in Paris, 1810. Her family name was Blavot, and after the +death of M. Boulanger she married M. Cavé, director of the Academy of the +Beaux-Arts. Her picture of "The Virgin in Tears" is in the Museum of +Rouen; and "The Children's Tournament," a triptych, was purchased by the +Government.</p> + +<br> + +<p><b>Bourrillon-Tournay, Mme. Jeanne.</b> Medal of the second class at +Exposition Universelle at Lyons; silver medal at Versailles; honorable +mention at Paris Salon, 1896; the two prizes of the Union des Femmes +Peintres et Sculpteurs—les Palmes Académique, 1895; the Rosette of an +Officer of the Public Instruction in 1902. Member of the Société des +Artistes Français, of the Union des Femmes Peintres et Sculpteurs, and of +the Association <a name="Page_58"></a>de Baron Taylor. Born at Paris, 1870. Pupil of Ferdinand +Humbert and G. C. Saintpierre.</p> + +<p>This artist paints portraits, and among them are those of a "Young Girl," +which belongs to the general Council of the Seine; one of the Senator +Théophile Roussel, of the Institute, and a portrait of an "Aged Lady," +both purchased by the Government; one of M. Auguste Boyer, councillor of +the Court of Cassation, and many others.</p> + +<p>At the Salon des Artistes Français, 1902, Mme. Bourrillon-Tournay +exhibited two portraits, one being that of her mother; in 1903, that of +M. Boyer and one of Mme. B.</p> + +<br> + +<p><b>Bowen, Lota.</b> Member of Society of Women Artists, London, the Tempera +Society, and the "91" Art Club. Born at Armley, Yorkshire. Studied in +Ludovici's studio, London; later in Rome under Santoro, and in the night +classes of the Circolo Artistico.</p> + +<p>Her pictures are principally landscapes, and are chiefly in private +collections in England. Among the most important are "On the Venetian +Lagoons," "Old Stone Pines, Lido, Venice," "Evening on Lake Lugano," +"Evening Glow on the Dolomites," "The Old Bird Fancier," "Moonrise on +Crowborough, Sussex." All these have been exhibited at the Academy.</p> + +<p>"Miss Lota Bowen constantly receives most favorable notices of her works +in magazines and journals. She is devotedly fond of her art, and has +sought subjects for her brush in many European byways, as well as in +North Africa, Turkey, and Montenegro. She paints portraits and figure +subjects; has a broad, swinging brush and <a name="Page_59"></a>great love of 'tone.' Miss +Bowen has recently built a studio, in Kensington, after her own design. +She is in London from Christmas time to August, when she makes an annual +journey for sketching."</p> + +<br> + +<p><b>Bozzino, Candida Luigia.</b> Silver medal at Piacenza. Born at Piacenza, +1853. Pupil of her father. Her portrait of Alessandro Manzoni was her +prize picture. The "Madonna of the Sacred Heart of Jesus" was painted on +a commission from the Bishop of Piacenza, who presented it to Pope Pius +IX.; after being exhibited at the Vatican, it was sent to the Bishop of +Jesi, for the church of Castelplanio. Other celebrated works of hers are +a "Holy Family," the "Madonna of Lourdes," and several copies of the "Viâ +Crucis," by Viganoni.</p> + +<p>In 1881 this artist entered the Ursuline Convent at Piacenza, where she +continues to paint religious pictures.</p> + +<br> + +<p><b>Bracken, Julia M.</b> First prize for sculpture, Chicago, 1898; +appointed on staff of sculptors for the St. Louis Exposition. Member of +Arts Club, Western Society of Artists, Municipal Art League, and Krayle +Workshop, Chicago. Born at Apple River, Ill., 1871. Pupil of Chicago Art +Institute. Acted as assistant to Lorado Taft, 1887-92. Was much occupied +with the decorations for the Columbian Exposition, and executed on an +independent commission the statue of "Illinois Welcoming the Nations." +There are to be five portrait statues placed in front of the Educational +Building at St. Louis, each to be executed by a well-known artist. One of +these is to be the work of Miss Bracken, who is the only woman among +them. Miss Bracken has modelled an heroic por<a name="Page_60"></a>trait statue of President +Monroe; beside the figure is a globe, on which he points out the junction +of the Mississippi and Missouri rivers.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Bracquemond, Mme. Marie.</b> Pupil of Ingres. A portrait painter, also +painter of genre subjects. At the Salon of 1875 she exhibited "The +Reading"; in 1874 "Marguerite." She has been much occupied in the +decoration of the Haviland faience, a branch of these works, at Auteuil, +being at one time in charge of her husband, Félix Bracquemond. In 1872 M. +Bracquemond was esteemed the first ceramic artist in France. An eminent +French critic said of M. and Mme. Bracquemond: "You cannot praise too +highly these two artists, who are as agreeable and as clever as they are +talented and esteemed."</p> + +<p>Mme. Bracquemond had the faculty of employing the faience colors so well +that she produced a clearness and richness not attained by other artists. +The progress made in the Haviland faience in the seventies was very +largely due to Mme. Bracquemond, whose pieces were almost always sold +from the atelier before being fired, so great was her success.</p> + +<br> + +<p><b>Brandeis, Antoinetta.</b> Many prizes at the Academy of Venice. Born of +Bohemian parents in Miscova, Galitza, 1849. Pupil of Iavurek, of Prague, +in the beginning of her studies, but her father dying and her mother +marrying again, she was taken to Venice, where she studied in the Academy +several years under Grigoletti, Moja, Bresolin, Nani, and Molmenti. +Although all her artistic training <a name="Page_61"></a>was received in Italy and she made +her first successes there, most of her works have been exhibited in +London, under the impression that she was better understood in England.</p> + +<p>Annoyed by the commendation of her pictures "as the work of a woman," she +signed a number of her canvases Antonio Brandeis. Although she painted +religious subjects for churches, her special predilection is for views of +Venice, preferably those in which the gondola appears. She has studied +these in their every detail. "Il canale Traghetto de' San Geremia" is in +the Museum Rivoltella at Trieste. This and "Il canale dell' Abbazia della +Misericordia" have been much commended by foreign critics, especially the +English and Austrians. Other Venetian pictures are "La Chiese della +Salute," "Il canale de' Canalregio," and "La Pescaria."</p> + +<br> + +<p><b>Breslau, Louisa Catherine.</b> Gold medal at Paris Exposition, 1889; +gold medal at Paris Exposition, 1900. Chevalier of the Legion of Honor, +1901. Member of the Société Nationale des Beaux-Arts. A Swiss artist, who +made her studies at the Julian Academy under Robert-Fleury.</p> + +<p>She has painted many portraits. Her picture "Under the Apple-Tree" is in +the Museum at Lausanne; the "Little Girls" or "The Sisters" and the +"Child Dreamer"—exhibited at Salon, 1902—are in the Gallery of the +Luxembourg; the "Gamins," in the Museum at Carpentras; the "Tea Party," +at the Ministry of the Interior, Paris.</p> + +<p>At the Salon of 1902 Mlle. Breslau exhibited six pict<a name="Page_62"></a>ures, among which +were landscapes, two representing September and October at Saint-Cloud; +two of fruit and flowers; all of which were admired, while the "Dreamer" +was honored with a place in the Luxembourg. In the same Salon she +exhibited six pictures in pastel: four portraits, and heads of a gamin +and of a little girl. The portrait of Margot is an ideal picture of a +happy child, seated at a table, resting her head on her left hand while +with the right she turns the leaves of a book. A toy chicken and a doll +are on the table beside her. In the Salon of 1903 she exhibited five +pictures of flowers and another called the "Child with Long Hair."</p> + +<p>I was first interested in this artist by the frequent references to her +and her work in the journal of Marie Bashkirtseff. They were +fellow-pupils in the Julian Academy. Soon after she began her studies +there Marie Bashkirtseff writes: "Breslau has been working at the studio +two years, and she is twenty; I am seventeen, but Breslau had taken +lessons for a long time before coming here.... How well that Breslau +draws!"</p> + +<p>"That miserable Breslau has composed a picture, 'Monday Morning, or the +Choice of a Model.' Every one belonging to the studio is in it—Julian +standing between Amalie and me. It is correctly done, the perspective is +good, the likenesses—everything. When one can do a thing like that, one +cannot fail to become a great artist. You have guessed it, have you not? +I am jealous. That is well, for it will serve as a stimulus to me."</p> + +<p>"I am jealous of Breslau. She does not draw at all like a woman."</p><a name="Page_63"></a> + +<p>"I am terrified when I think of the future that awaits Breslau; it fills +me with wonder and sadness. In her compositions there is nothing +womanish, commonplace, or disproportioned. She will attract attention at +the Salon, for, in addition to her treatment of it, the subject itself +will not be a common one."</p> + +<p>The above prophecy has been generously fulfilled. Mlle. Breslau is indeed +a poet in her ability to picture youth and its sweet intimacies, and she +does this so easily. With a touch she reveals the grace of one and the +affectations of another subject of her brush, and skilfully renders the +varying emotions in the faces of her pictures. Pleasure and suffering, +the fleeting thought of the child, the agitation of the young girl are +all depicted with rare truthfulness.</p> + +<br> + +<p><b>Brewster, Ada Augusta.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Brickdale, Miss Eleanor Fortescue.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Bricci or Brizio, Plautilla.</b> Very little is known of this Roman +artist of the seventeenth century, but that little marks her as an +unusually gifted woman, since she was a practical architect and a painter +of pictures. She was associated with her brother in some architectural +works in and near Rome, and was the only woman of her time in this +profession.</p> + +<p>She is believed to have erected a small palace near the Porta San +Pancrazio, unaided by her brother, and is credited with having designed +in the Church of San Luigi <a name="Page_64"></a>de' Francesi the third chapel on the left +aisle, dedicated to St. Louis, and with having also painted the +altar-piece in this chapel.</p> + +<br> + +<p><b>Bridges, Fidelia.</b> Associate of the National Academy of Design in +1878, when but three other women were thus honored. Born in Salem, +Massachusetts. Studied with W. T. Richards in Philadelphia, and later in +Europe during one year. She exhibited her pictures from 1869 in +Philadelphia, New York, and Boston. Her subjects were landscapes and +flowers. In 1871 she first painted in water-colors, which suited many of +her pictures better than oils. She was elected a member of the +Water-Color Society in 1875. To the Philadelphia Exposition, 1876, she +sent a "Kingfisher and Catkins," a "Flock of Snow Birds," and the "Corner +of a Rye-Field." Of the last a writer in the <i>Art Journal</i> said: "Miss +Bridges' 'Edge of a Rye-Field,' with a foreground of roses and weeds, is +a close study, and shows that she is as happy in the handling of oil +colors as in those mixed with water."</p> + +<p>Another critic wrote: "Her works are like little lyric poems, and she +dwells with loving touches on each of her buds, 'like blossoms atilt' +among the leaves."</p> + +<p>Her pictures are in private collections, and are much valued by their +owners.</p> + +<br> + +<p><b>Brooks, Maria.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Brownscombe, Jennie.</b> Pupil of the National Academy and the Art +Students' League, New York, and of Henry Mosler in Paris.</p> + +<p><a name="Page_65"></a>Paints genre subjects, among which are: "Love's Young Dream," "Colonial +Minuet," "Sir Roger de Coverly at Carvel Hall," "Battle of Roses," etc.</p> + +<p>The works of this artist have been reproduced in engravings and etchings, +and are well known in black and white. Her water-colors, too, have been +published in photogravure.</p> + +<p>Miss Brownscombe exhibits at many American exhibitions and has had her +work accepted at the Royal Academy, London.</p> + +<br> + +<p><b>Browne, Matilda.</b> Honorable mention at Chicago, 1893; Dodge prize at +National Academy of Design, 1899; Hallgarten prize, 1901. Born in Newark, +New Jersey. Pupil of Miss Kate Greatorex; of Carleton Wiggins, New York; +of the Julian Academy, Paris; of H. S. Birbing in Holland, and of Jules +Dupré on the coast of France. When a child this artist lived very near +Thomas Moran and was allowed to spend much time in his studio, where she +learned the use of colors.</p> + +<p>She exhibited her first picture at the National Academy of Design when +twelve years old, and has been a constant contributor to its exhibitions +since that time; also to the exhibitions of the American Water-Color +Society.</p> + +<p>Her earliest pictures were of flowers, and during several years she had +no teacher. At length she decided to study battle painting, and, after a +summer under Carleton Wiggins, she went abroad, in 1890, and remained two +years, painting in the schools in winter and out of doors in summer. Miss +Browne exhibited at the Salon des Beaux-Arts in 1890, and many of her +works have been <a name="Page_66"></a>seen in exhibits in this country. The Dodge prize was +awarded to a picture called "The Last Load," and the Hallgarten prize to +"Repose," a moonlight scene with cattle. Her pictures are in private +collections.</p> + +<br> + +<p><b>Brown, Mrs. Agnes—Mrs. John Appleton Brown.</b> Born in Newburyport. +This artist paints in oils. Her subjects are landscapes, flowers, and +still life. She has also painted cats successfully.</p> + +<p>I have a winter landscape by Mrs. Brown which is unusually attractive and +is often admired. She sends her works to the exhibitions of the Boston +Art Club and to some exhibitions in New York.</p> + +<br> + +<p><b>Browne, Mme. Henriette.</b> Born at Paris; 1829-1901. Pupil of Chaplin. +The family name of this artist was Bouteiller, and she married M. Jules +de Saux, but as an artist used the name of an ancestress. Her pictures of +genre subjects very early attracted attention, especially in 1855, when +she sent to the Salon "A Brother of the Christian School," "School for +the Poor at Aix," "Mutual Instruction," and "Rabbits." Her works were +popular and brought good prices. In 1868 "The Sisters of Charity" sold +for £1,320.</p> + +<p>In 1878 she exhibited "A Grandmother" and "Convalescence." Her Oriental +scenes were much admired. Among these were "A Court in Damascus," "Nubian +Dancing Girls," and a "Harem in Constantinople." Mme. Browne was also +skilful as an engraver.</p> + +<p>T. Chasrel wrote in <i>L'Art</i>: "Her touch without over-minuteness has the +delicacy and security of a fine work of the needle. The accent is just +without that seeking <a name="Page_67"></a>for virile energy which too often spoils the most +charming qualities. The sentiment is discreet without losing its +intensity in order to attract public notice. The painting of Mme. +Henriette Browne is at an equal distance from grandeur and insipidity, +from power and affectation, and gathers from the just balance of her +nature some effects of taste and charm of which a parvenu in art would be +incapable."</p> + +<p>The late Rev. Charles Kingsley wrote of the picture of the "Sisters of +Charity," of the sale of which I have spoken, as follows: "The picture +which is the best modern instance of this happy hitting of this golden +mean, whereby beauty and homely fact are perfectly combined, is in my +eyes Henrietta Browne's picture of the 'Sick Child and the Sisters of +Charity.' I know not how better to show that it is easy to be at once +beautiful and true, if one only knows how, than by describing that +picture. Criticise it, I dare not; for I believe that it will surely be +ranked hereafter among the very highest works of modern art. If I find no +fault in it, it is because I have none to find; because the first sight +of the picture produced in me instantaneous content and confidence. There +was nothing left to wish for, nothing to argue about. The thing was what +it ought to be, and neither more nor less, and I could look on it, not as +a critic, but as a learner only."</p> + +<p>This is praise indeed from an Englishman writing of a Frenchwoman's +picture—an Englishman with no temptation to say what he did not think; +and we may accept his words as the exact expression of the effect the +picture made on him.</p><a name="Page_68"></a> + +<br> + +<p><b>Brune, Mme. Aimée Pagès.</b> Medal of second class at Salon of 1831; +first class in 1841. Born in Paris. 1803-66. Pupil of Charles Meynier. +Painted historical and genre subjects. In 1831 she exhibited "Undine," +the "Elopement," "Sleep," and "Awakening." In 1841 a picture of "Moses." +She painted several Bible scenes, among which were the "Daughter of +Jairus" and "Jephthah's Daughter."</p> + +<br> + +<p><b>Buechmann, Frau Helene.</b> Her pictures have been seen at some annual +exhibitions in Germany, but she is best known by her portraits of +celebrated persons. Born in Berlin, 1849. Pupil of Steffeck and Gussow. +Among her portraits are those of Princess Carolath-Beuthen, Countess +Brühl, Prince and Princess Biron von Kurland, and the youngest son of +Prince Radziwill. She resides in Brussels.</p> + +<br> + +<p><b>Butler, Mildred A.</b> Associate of the Royal Society of Painters in +Water-Colors and of the Society of Lady Artists. Pupil of Naftel, +Calderon, and Garstin. Has exhibited at the Royal Academy and New +Gallery. Her picture called the "Morning Bath," exhibited at the Academy +in 1896, was purchased under the Chantry Bequest and is in the Tate +Gallery. It is a water-color, valued at £50.</p> + +<p>Miss Butler exhibited "A Corner of the Bargello, Florence," at the London +Academy in 1903.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Butler, Lady Elizabeth.</b> Born in Lausanne about 1844. Elizabeth +Southerden Thompson. As a child this artist <a name="Page_69"></a>was fond of drawing soldiers +and horses. She studied at the South Kensington School, at Florence under +Bellucci, and in Rome. She worked as an amateur some years, first +exhibiting at the Academy in 1873 her picture called "Missing," which was +praised; but the "Roll-Call," of the following year, placed her in the +front rank of the Academy exhibitors. It was purchased by the Queen and +hung in Windsor Castle. She next exhibited the "Twenty-Eighth Regiment at +Quatre Bras," the "Return from Inkerman," purchased by the Fine Art +Society for £3,000. This was followed by kindred subjects.</p> + +<p>In 1890 Lady Butler exhibited "Evicted," in 1891 the "Camel Corps," in +1892 "Halt in a Forced March," in 1895 the "Dawn of Waterloo," in 1896 +"Steady the Drums and Fifes," in 1902 "Tent Pegging in India," in 1903 +"Within Sound of the Guns."</p> + +<p>In 1869 she painted a religious picture called the "Magnificat." In +water-colors she has painted "Sketches in Tuscany" and several pictures +of soldiers, among which are "Scot's Grays Advancing" and "Cavalry at a +Gallop."</p> + +<p>Lady Butler has recently appeared as an author, publishing "Letters from +the Holy Land," illustrated by sixteen most attractive drawings in +colors. The <i>Spectator</i> says: "Lady Butler's letters and diary, the +outcome of a few weeks' journeyings in Palestine, express simply and +forcibly the impressions made on a devout and cultivated mind by the +scenes of the Holy Land."</p> + +<p>In 1875 Ruskin wrote in "Notes of the Academy": "I never approached a +picture with more iniquitous prejudice against it than I did Miss +Thompson's—'Quatre Bras'—partly <a name="Page_70"></a>because I have always said that no +woman could paint, and secondly because I thought what the public made +such a fuss about <i>must</i> be good for nothing. But it is Amazon's work +this, no doubt of it, and the first fine pre-Raphaelite picture of battle +we have had; profoundly interesting, and showing all manner of +illustrative and realistic faculty.... The sky is most tenderly painted, +and with the truest outline of cloud of all in the Exhibition; and the +terrific piece of gallant wrath and ruin on the extreme left, when the +cuirassier is catching round the neck of his horse as he falls, and the +convulsed fallen horse, seen through the smoke below, is wrought through +all the truth of its frantic passion with gradations of color and shade +which I have not seen the like of since Turner's death."</p> + +<p>The <i>Art Journal</i>, 1877, says: "'Inkerman' is simply a marvellous +production when considered as the work of a young woman who was never on +the field of battle.... No matter how many figures she brings into the +scene, or how few, you may notice character in each figure, each is a +superb study."</p> + +<p>Her recent picture, "Within Sound of the Guns," shows a company of +mounted soldiers on the confines of a river in South Africa.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Cameron, Katherine.</b> Member of the Royal Scottish Society of Painters +in Water-Colors; Modern Sketch Club, London; Ladies' Art Club, Glasgow. +Born in Glasgow. Studied at Glasgow School of Art under Pro<a name="Page_71"></a>fessor +Newbery, and at the Colarossi Academy, Paris, under Raphael Collin and +Gustave Courtois.</p> + +<p>Her pictures are of genre subjects principally, and are in private +collections. "'The Sea Urchin,'" Miss Cameron writes, "is in one of the +public collections of Germany. I cannot remember which." She also says: +"Except for my diploma R. S. W. and having my drawings sometimes in +places of honor, usually on the line, and often reproduced in magazines, +I have no other honors. I have no medals."</p> + +<p>In the <i>Magazine of Art</i>, June, 1903, her picture of a "Bull Fight in +Madrid" is reproduced. It is full of action and true to the life of these +horrors as I have seen them in Madrid. Doubtless the color is brilliant, +as the costumes of the toreadors are always so, and there are two in this +picture. This work was displayed at the exhibition of the Royal Scottish +Academy, June, 1903—of which a writer says: "A feeling for color has +always been predominant in the Scottish school, and it is here +conspicuously displayed, together with a method of handling, be it in the +domain of figure or landscape, which is personal to the artist and not a +mere academic tradition."</p> + +<p>In the <i>Studio</i> of May, 1903, J. L. C., who writes of the same +exhibition, calls this picture "admirable in both action and color."</p> + +<br> + +<p><b>Carl, Kate A.</b> Honorable mention, Paris Salon, 1890; Chevalier of the +Legion of Honor, 1896; honorable mention, Paris Exposition, 1900. Associé +de la Société Nationale des Beaux-Arts. Born in New Orleans. Pupil of +Julian Academy and of Courtois in Paris.</p><a name="Page_72"></a> + +<p>This artist's name has been made prominent by the fact of her being +selected to paint a portrait of the Empress of China. Miss Carl has +frequently exhibited at the Salon. In 1902 she sent portraits in both oil +and water-colors. One of these works, called "Angelina," impresses one as +a faithful portrait of a model. She is seated and gracefully posed—the +face is in a full front view, the figure turned a little to one side and +nude to the waist, the hands are folded on the lap and hold a flower, a +gauze-like drapery falls about the left shoulder and the arms, but does +not conceal them; the background is a brocade or tapestry curtain.</p> + +<p>I have seen a reproduction only, and cannot speak of the color. The whole +effect of the picture is attractive. For the purpose of painting the +portrait of the Chinese Empress, Miss Carl was assigned an apartment in +the palace. It is said that the picture was to be finished in December, +1903, and will probably be seen at the St. Louis Exhibition.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Carlisle, Mistress Anne.</b> Died in 1680. Was a favorite artist of King +Charles I. It is said that on one occasion the King bought a quantity of +ultramarine, for which he paid £500, and divided it between Vandyck and +Mistress Carlisle. Her copies after the Italian masters were of great +excellence.</p> + +<p>She painted in oils as well as in water-colors. One of her pictures +represents her as teaching a lady to use the brush. When we remember that +Charles, who was so <a name="Page_73"></a>constantly in contact with Vandyck, could praise +Mistress Carlisle, we must believe her to have been a good painter.</p> + +<p>Mistress Anne has sometimes been confounded with the Countess of +Carlisle, who was distinguished as an engraver of the works of Salvator +Rosa, etc.</p> + +<br> + +<p><b>Carpenter, Margaret Sarah.</b> The largest gold medal and other honors +from the Society of Arts, London. Born at Salisbury, England. 1793-1872. +Pupil of a local artist in Salisbury when quite young. Lord Radnor's +attention was called to her talent, and he permitted her to copy in the +gallery of Longford Castle, and advised her sending her pictures to +London, and later to go there herself. She made an immediate success as a +portrait painter, and from 1814 during fifty-two years her pictures were +annually exhibited at the Academy with a few rare exceptions.</p> + +<p>Her family name was Geddis; her husband was Keeper of the Prints and +Drawings in the British Museum more than twenty years, and after his +death his wife received a pension of £100 a year in recognition of his +services.</p> + +<p>Her portraits were considered excellent as likenesses; her touch was +firm, her color brilliant, and her works in oils and water-colors as well +as her miniatures were much esteemed. Many of them were engraved. Her +portrait of the sculptor Gibson is in the National Portrait Gallery, +London. A life-size portrait of Anthony Stewart, miniature painter, +called "Devotion," and the "Sisters," portraits of Mrs. Carpenter's +daughters, with a picture of "Ockham Church," are at South Kensington.</p> + +<p>She painted a great number of portraits of titled ladies <a name="Page_74"></a>which are in +the collections of their families. Among the more remarkable were those +of Lady Eastnor, 1825; Lady King, daughter of Lord Byron, 1835; Countess +Ribblesdale, etc.</p> + +<p>Her portraits of Fraser Tytler, John Girkin, and Bonington are in the +National Portrait Gallery, London. In the South Kensington Gallery are +her pictures of "Devotion—St. Francis," which is a life-size study of +Anthony Stewart, the miniature painter; "The Sisters," "Ockham Church," +and "An Old Woman Spinning."</p> + +<br> + +<p><b>Carpentier, Mlle. Madeleine.</b> Honorable mention, 1890; third-class +medal, 1896. Born in Paris, 1865. Pupil of Bonnefoy and of Jules Lefebvre +at the Julian Academy. Since 1885 this artist has exhibited many +portraits as well as flower and fruit pieces, these last in water-colors. +In 1896 her pictures were the "Communicants" and the "Candles," a pastel, +purchased by the city of Paris; "Among Friends" is in the Museum of +Bordeaux.</p> + +<p>At the Salon of the Artistes Français, 1902, Mlle. Carpentier exhibited a +picture called "Reflection," and in 1903 a portrait of Mme. L. T. and the +"Little Goose-Herders."</p> + +<br> + +<p><a name="Carriera"></a><b>Carriera, Rosalba</b>, better known as Rosalba. Born in Venice +1675-1757—and had an eventful life. Her artistic talent was first +manifested in lace-weaving, which as a child she preferred before any +games or amusements. She studied painting under several masters, +technique under Antonio Balestra, pastel-painting with Antonio Nazari and +Diamantini, and miniature painting, in which she was especially +distinguished, was taught her by her <a name="Page_75"></a>brother-in-law, Antonio Pellegrini, +whom she later accompanied to Paris and London and assisted in the +decorative works he executed there.</p> + +<p>Rosalba's fame in Venice was such that she was invited to the courts of +France and Austria, where she painted many portraits. She was honored by +election to the Academies of Rome, Bologna, and Paris.</p> + +<p>This artist especially excelled in portraits of pretty women, while her +portraits of men were well considered. Among the most important were +those of the Emperor Charles, the kings of France and Denmark, and many +other distinguished persons, both men and women.</p> + +<p>The Grand Duke of Tuscany asked for her own portrait for his gallery. She +represented herself with one of her sisters. Her face is noble and most +expressive, but, like many of her pictures, while the head is spirited +and characteristic, the rest of the figure and the accessories are weak. +A second portrait of herself—in crayons—is in the Dresden Gallery, and +is very attractive.</p> + +<p>While in England Rosalba painted many portraits in crayon and pastel, in +which art she was not surpassed by any artist of her day.</p> + +<p>Her diary of two years in Paris was published in Venice. It is curious +and interesting, as it sets forth the customs of society, and especially +those of artists of the period.</p> + +<p>Returning to Venice, Rosalba suffered great depression and was haunted by +a foreboding of calamity. She lived very quietly. In his "Storia della +Pittura Veneziana," Zanetti writes of her at this time: "Much of interest +<a name="Page_76"></a>may be written of this celebrated and highly gifted woman, whose spirit, +in the midst of her triumphs and the brightest visions of happiness, was +weighed down by the anticipation of a heavy calamity. On one occasion she +painted a portrait of herself, the brow wreathed with leaves which +symbolized death. She explained this as an image of the sadness in which +her life would end."</p> + +<p>Alas, this was but too prophetic! Before she was fifty years old she lost +her sight, and gradually the light of reason also, and her darkness was +complete.</p> + +<p>An Italian writer tells the following story: "Nature had endowed Rosalba +with lofty aspirations and a passionate soul; her heart yearned for the +admiration which her lack of personal attraction forbade her receiving. +She fully realized her plainness before the Emperor Charles XI. rudely +brought it home to her. When presented to him by the artist Bertoli, the +Emperor exclaimed: 'She may be clever, Bertoli mio, this painter of +thine, but she is remarkably ugly.' From which it would appear that +Charles had not believed his mirror, since his ugliness far exceeded that +of Rosalba! Her dark eyes, fine brow, good expression, and graceful pose +of the head, as shown in her portrait, impress one more favorably than +would be anticipated from this story."</p> + +<p>Many of Rosalba's works have been reproduced by engravings; a collection +of one hundred and fifty-seven of these are in the Dresden Gallery, +together with several of her pictures.</p> + +<br> + +<p><b>Cassatt, Mary.</b> Born in Pittsburg. Studied in Pennsylvania schools, +and under Soyer and Bellay in Paris. She <a name="Page_77"></a>has lived and travelled much in +Europe, and her pictures, which are of genre subjects, include scenes in +France, Italy, Spain, and Holland.</p> + +<p>Among her principal works are "La tasse de thé," "Le lever du bébé," +"Reading," "Mère et Enfant," and "Caresse Maternelle."</p> + +<p>Miss Cassatt has exhibited at the Paris Salon, the National Academy, New +York, and various other exhibitions, but her works are rarely if ever +exhibited in recent days. It is some years since William Walton wrote of +her: "But in general she seems to have attained that desirable condition, +coveted by artists, of being able to dispense with the annual +exhibitions."</p> + +<p>Miss Cassatt executed a large, decorative picture for the north tympanum +of the Woman's Building at the Columbian Exhibition.</p> + +<p>A writer in the <i>Century Magazine</i>, March, 1899, says: "Of the colony of +American artists, who for a decade or two past have made Paris their +home, few have been more interesting and none more serious than Miss +Cassatt.... Miss Cassatt has found her true bent in her recent pictures +of children and in the delineation of happy maternity. These she has +portrayed with delicacy, refinement, and sentiment. Her technique appeals +equally to the layman and the artist, and her color has all the +tenderness and charm that accompanies so engaging a motif."</p> + +<p>In November, 1903, Miss Cassatt held an exhibition of her works in New +York. At the winter exhibition of the Philadelphia Academy, 1904, she +exhibited a group, a mother and children, one child quite nude. Arthur<a name="Page_78"></a> +Hoeber described it as "securing great charm of manner, of color, and of +grace."</p> + +<br> + +<p><a name="Cattaneo"></a><b>Cattaneo, Maria.</b> Bronze medal at the National Exposition, Parma, +1870; silver medal at Florence, 1871; silver medal at the centenary of +Ariosto at Ferrara. Made an honorary member of the Brera Academy, Milan, +1874, an honor rarely conferred on a woman; elected to the Academy of +Urbino, 1875. Born in Milan. Pupil of her father and of Angelo Rossi.</p> + +<p>She excels in producing harmony between all parts of her works. She has +an exquisite sense of color and a rare technique. Good examples of her +work are "The Flowers of Cleopatra," "The Return from the Country," "An +Excursion by Gondola." She married the artist, Pietro Michis. Her picture +of the "Fish Market in Venice" attracted much attention when it appeared +in 1887; it was a most accurate study from life.</p> + +<br> + +<p><b>Charpentier, Constance Marie.</b> Pupil of David. Her best known works +were "Ulysses Finding Young Astyanax at Hector's Grave" and "Alexander +Weeping at the Death of the Wife of Darius." These were extraordinary as +the work of a woman. Their size, with the figures as large as life, made +them appear to be ambitious, as they were certainly unusual. Her style +was praised by the admirers of David, to whose teaching she did credit. +The disposition of her figures was good, the details of her costumes and +accessories were admirably correct, but her color was hard and she was +generally thought to be wanting in originality and too close a follower +of her master.</p><a name="Page_79"></a> + +<br> + +<p><b>Charretie, Anna Maria.</b> 1819-75. Her first exhibitions at the Royal +Academy, London, were miniatures and flower pieces. Later she painted +portraits and figure subjects, as well as flowers. In 1872 "Lady Betty +Germain" was greatly admired for the grace of the figure and the +exquisite finish of the details. In 1873 she exhibited "Lady Betty's +Maid" and "Lady Betty Shopping." "Lady Teazle Behind the Screen" was +dated 1871, and "Mistress of Herself tho' China Fall" was painted and +exhibited in the last year of her life.</p> + +<br> + +<p><b>Chase, Adelaide Cole.</b> Member of Art Students' Association. Born in +Boston. Daughter of J. Foxcroft Cole. Studied at the School of the Museum +of Fine Arts, under Tarbell, and also under Jean Paul Laurens and Carolus +Duran in Paris; and with Vinton in Boston.</p> + +<p>Mrs. Chase has painted portraits entirely, most of which are in or near +Boston; her artistic reputation among painters of her own specialty is +excellent, and her portraits are interesting aside from the persons +represented, when considered purely as works of art.</p> + +<a name="image-003"></a> +<p class="ctr"><a href="./images/003.jpg"><img src="./images/003_th.jpg" alt="From a Copley Print. A PORTRAIT. Adelaide Cole Chase"></a></p> +<p class="ctr">From a Copley Print.</p> +<p class="ctr">A PORTRAIT</p> +<p class="ctr">Adelaide Cole Chase</p> + +<p>A portrait called a "Woman with a Muff," exhibited recently at the +exhibition of the Society of American Artists, in New York, was much +admired. At the 1904 exhibition of the Philadelphia Academy Mrs. Chase +exhibited a portrait of children, Constance and Gordon Worcester, of +which Arthur Hoeber writes: "She has painted them easily, with deftness +and feeling, and apparently caught their character and the delicacy of +infancy."</p> + +<br> + +<p><b>Chauchet, Charlotte.</b> Honorable mention at the Salon, 1901; +third-class medal, 1902. Member of the Société <a name="Page_80"></a>des Artistes Français and +of l'Union des femmes peintres et sculpteurs. Born at Charleville, +Ardennes, in 1878. Pupil of Gabriel Thurner, Benjamin-Constant, Jean Paul +Laurens, and Victor Marec. Her principal works are "Marée"—Fish—1899, +purchased for the lottery of the International Exposition at Lille; +"Breton Interior," purchased by the Society of the Friends of the Arts, +at Nantes; "Mother Closmadenc Dressing Fish," in the Museum of Brest; +"Interior of a Kitchen at Mont," purchased by the Government; "Portrait +of my Grandmother," which obtained honorable mention; "At the Corner of +the Fire," "A Little Girl in the Open Air," medal of third class.</p> + +<p>The works of Mlle. Chauchet have been much praised. The <i>Petit Moniteur</i>, +June, 1899, says: "Mlle. Chauchet, a very young girl, in her picture of a +'Breton Interior' shows a vigor and decision very rare in a woman." Of +the "Marée," the <i>Dépêche de Brest</i> says: "On a sombre background, in +artistic disorder, thrown pell-mell on the ground, are baskets and a +shining copper kettle, with a mass of fish of all sorts, of varied forms, +and changing colors. All well painted. Such is the picture by Mlle. +Chauchet."</p> + +<p>In the <i>Courrier de l'Est</i> we read: "Mlle. Chauchet, taking her +grandmother for her model, has painted one of the best portraits of the +Salon. The hands, deformed by disease and age, are especially effective; +the delicate tone of the hair in contrast with the lace of the cap makes +an attractive variation in white."</p> + +<p>In the <i>Union Républicaine de la Marne</i>, H. Bernard <a name="Page_81"></a>writes: "'Le +retour des champs' is a picture of the plain of Berry at evening. We see +the back of a peasant, nude above the blue linen pantaloons, with the +feet in wooden sabots. He is holding his tired, heavy cow by the tether. +The setting sun lights up his powerful bronzed back, his prominent +shoulders, and the hindquarters of the cow. It is all unusually strong; +the drawing is firm and very bold in the foreshortening of the animal. +The effect of the whole is a little sad; the sobriety of the execution +emphasizes this effect, and, above all, there is in it no suggestion of +the feminine. I have already noticed this quality of almost brutal +sincerity, of picturesque realism, in the works of Mlle. Chauchet who +successfully follows her methods."</p> + +<p>Chaussée, Mlle. Cécile de.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Chéron, Elizabeth Sophie.</b> Born in Paris in 1648. Her father was an +artist, and under his instruction Elizabeth attained such perfection in +miniature and enamel painting that her works were praised by the most +distinguished artists. In 1674 Charles le Brun proposed her name and she +was elected to the Academy.</p> + +<p>Her exquisite taste in the arrangement of her subjects, the grace of her +draperies, and, above all, the refinement and spirituality of her +pictures, were the characteristics on which her fame was based.</p> + +<p>Her life outside her art was interesting. Her father was a rigid +Calvinist, and endeavored to influence his daughter to adopt his +religious belief; but her mother, <a name="Page_82"></a>who was a fervent Roman Catholic, +persuaded Elizabeth to pass a year in a convent, during which time she +ardently embraced the faith of her mother. She was an affectionate +daughter to both her parents and devoted her earnings to her brother +Louis, who made his studies in Italy.</p> + +<p>In her youth Elizabeth Chéron seemed insensible to the attractions of the +brilliant men in her social circle, and was indifferent to the offers of +marriage which she received; but when sixty years old, to the surprise of +her friends, she married Monsieur Le Hay, a gentleman of her own age. One +of her biographers, leaving nothing to the imagination, assures us that +"substantial esteem and respect were the foundations of their matrimonial +happiness, rather than any pretence of romantic sentiment."</p> + +<p>Mlle. Chéron's narrative verse was much admired and her spiritual poetry +was thought to resemble that of J. B. Rousseau. In 1699 she was elected +to the Accademia dei Ricovrati of Padua, where she was known as Erato. +The honors bestowed on her did not lessen the modesty of her bearing. She +was simple in dress, courteous in her intercourse with her inferiors, and +to the needy a helpful friend.</p> + +<p>She died when sixty-three and was buried in the church of St. Sulpice. I +translate the lines written by the Abbé Bosquillon and placed beneath her +portrait: "The unusual possession of two exquisite talents will render +Chéron an ornament to France for all time. Nothing save the grace of her +brush could equal the excellencies of her pen."</p> + +<p>Pictures by this artist are seen in various collections in<a name="Page_83"></a> France, but +the larger number of her works were portraits which are in the families +of her subjects.</p> + +<br> + +<p><b>Cherry, Emma Richardson.</b> Gold medal from Western Art Association in +1891. Member of above association and of the Denver Art Club. Born at +Aurora, Illinois, 1859. Pupil of Julian and Delécluse Academies in Paris, +also of Merson, and of the Art Students' League in New York.</p> + +<p>Mrs. Cherry is a portrait painter, and in 1903 was much occupied in this +art in Chicago and vicinity. Among her sitters were Mr. Orrington Lunt, +the donor of the Library of the Northwestern University, and Bishop +Foster, a former president of the same university; these are to be placed +in the library. A portrait by Mrs. Cherry of a former president of the +American Society of Civil Engineers, Mr. O. Chanute, is to be placed in +the club rooms of the society in New York. It has been done at the +request of the society.</p> + +<p>An exhibition of ten portraits by this artist was held in Chicago in +1903, and was favorably noticed. Mrs. Cherry resides in Houston, Texas.</p> + +<br> + +<p><b>Clement, Ethel.</b> This artist has received several awards from +California State fair exhibits, and her pastel portrait of her mother was +hung on the line at the Salon of 1898. Member of San Francisco Art +Association and of the Sketch Club of that city. Born in San Francisco in +1874. Her studies began in her native city with drawing from the antique +and from life under Fred Yates. At the Cowles Art School, Boston, and the +Art Students' League, New York, she spent three winters, and at the<a name="Page_84"></a> +Julian Academy, Paris, three other winters, drawing from life and +painting in oils under the teaching of Jules Lefebvre and Robert-Fleury, +supplementing these studies by that of landscape in oils under George +Laugée in Picardie.</p> + +<p>Her portraits, figure subjects, and landscapes are numerous, and are +principally in private collections, a large proportion being in San +Francisco. Her recent work has been landscape painting in New England. In +1903 she exhibited a number of pictures in Boston which attracted +favorable attention.</p> + +<br> + +<p><b>Cohen, Katherine M.</b> Honorary member of the American Art Association, +Paris, and of the New Century Club, Philadelphia. Born in Philadelphia, +1859. Pupil of School of Design, Pennsylvania Academy of Fine Arts, and +of St. Gaudens at Art Students' League; also six years in Paris schools.</p> + +<p>This artist executed a portrait of General Beaver for the Smith Memorial +in Fairmount Park. She has made many portraits in busts and bas-reliefs, +as well as imaginary subjects and decorative works. "The Israelite" is a +life-size statue and an excellent work.</p> + +<br> + +<p><b>Collaert, Marie.</b> Born in Brussels, 1842. Is called the Flemish Rosa +Bonheur and the Muse of Belgian landscape. Her pictures of country life +are most attractive. Her powerful handling of her brush is modified by a +tender, feminine sentiment.</p> + +<p>I quote from the "History of Modern Painters": "In Marie Collaert's +pictures may be found quiet nooks beneath clear sky-green stretches of +grass where the cows <a name="Page_85"></a>are at pasture in idyllic peace. Here is to be +found the cheery freshness of country life."</p> + +<br> + +<p><b>Coman, Charlotte B.</b> Bronze medal, California Mid-Winter Exposition, +1894. Member of New York Water-Color Club. Born in Waterville, N. Y. +Pupil of J. R. Brevoort in America, of Harry Thompson and Émile Vernier +in Paris. This artist has painted landscapes, and sent to the +Philadelphia Exposition in 1876 "A French Village"; to the Paris +Exposition, 1878, "Near Fontainebleau." In 1877 and 1878 she exhibited in +Boston, "On the Borders of the Marne" and "Peasant House in Normandy."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Comerre-Paton, Mme. Jacqueline.</b> Honorable mention, 1881; medal at +Versailles; officer of the Academy. Born at Paris, 1859. Pupil of +Cabanel. Her principal works are: "Peau d'Ane, Hollandaise," in the +Museum of Lille; "Song of the Wood," Museum of Morlaix; "Mignon," +portrait of Mlle. Ugalde; the "Haymaker," etc.</p> + +<br> + +<p><b>Cookesley, Margaret Murray.</b> Decorated by the Sultan of Turkey with +the Order of the Chefakat, and with the Medaille des Beaux Arts, also a +Turkish honor. Medal for the "Lion Tamers in the Time of Nero." Member of +the Empress Club. Born in Dorsetshire. Studied in Brussels under Leroy +and Gallais, and spent a year at South Kensington in the study of +anatomy. Mrs. Cookesley has lived in Newfoundland and in San Francisco. A +visit to Constantinople brought her a commission to paint a portrait of +the son of the Sultan. No sit<a name="Page_86"></a>tings were accorded her, the Sultan +thinking a photograph sufficient for the artist to work from. Fortunately +Mrs. Cookesley was able to make a sketch of her subject while following +the royal carriage in which he was riding. The portrait proved so +satisfactory to the Sultan that he not only decorated the artist, but +invited her to make portraits of some of his wives, for which Mrs. +Cookesley had not time. Her pictures of Oriental subjects have been +successful. Among these are: "An Arab Café in the Slums of Cairo," much +noticed in the Academy Exhibition of 1895; "Noon at Ramazan," "The +Snake-Charmer," "Umbrellas to Mend—Damascus," and a group of the +"Soudanese Friends of Gordon." Her "Priestess of Isis" is owned in Cairo.</p> + +<p>Among her pictures of Western subjects are "The Puritan's Daughter," +"Deliver Us from Evil," "The Gambler's Wife." "Widowed" and "Miss Calhoun +as Salome" were purchased by Maclean, of the Haymarket Theatre; "Death of +the First-Born" is owned in Russia; and "Portrait of Ellen Terry as +Imogen" is in a private collection.</p> + +<p>"Lion Tamers in the Time of Nero" is one of her important pictures of +animals, of which she has made many sketches.</p> + +<br> + +<p><b>Cooper, Emma Lampert.</b> Awarded medal at World's Columbian Exposition, +1893; bronze medal, Atlanta Exposition, 1895. Member of Water-Color Club +and Woman's Art Club, New York; Water-Color Club and Plastic Club, +Philadelphia; Woman's Art Association, Canada; Women's International Art +Club, London.</p><a name="Page_87"></a> + +<p>Born in Nunda, N. Y. Studied under Agnes D. Abbatt at Cooper Union and at +the Art Students' League, New York; in Paris under Harry Thompson and at +Delécluse and Colarossi Academies.</p> + +<a name="image-004"></a> +<p class="ctr"><a href="./images/004.jpg"><img src="./images/004_th.jpg" alt="A CANADIAN INTERIOR. Emma Lampert Cooper"></a></p> +<p class="ctr">A CANADIAN INTERIOR</p> +<p class="ctr">Emma Lampert Cooper</p> + +<p>Mrs. Cooper's work is principally in water-colors. After several years +abroad, in the spring of 1903 she exhibited twenty-two pictures, +principally of Dutch interiors, with some sketches in English towns, +which last, being more unusual, were thought her best work. Her picture, +"Mother Claudius," is in the collection of Walter J. Peck, New York; +"High Noon at Cape Ann" is owned by W. B. Lockwood, New York; and a +"Holland Interior" by Dr. Gessler, Philadelphia. Of her recent exhibition +a critic writes: "The pictures are notable for their careful attention to +detail of drawing. Architectural features of the rich old Gothic churches +are faithfully indicated instead of blurred, and the treatment is almost +devotional in tone, so sympathetic is the quality of the work. There is a +total absence of the garish coloring which has become so common, the +religious subjects being without exception in a minor key, usually soft +grays and blues. It is indeed in composition and careful drawing that +this artist excels rather than in coloring, although this afterthought is +suggested by the canvasses treating of secular subjects."—<i>Brooklyn +Standard Union</i>.</p> + +<br> + +<p><b>Corazzi, Giulitta.</b> Born at Fivizzano, 1866. Went to Florence when +still a child and early began to study art. She took a diploma at the +Academy in 1886, having been a pupil of Cassioli. She is a portrait +painter, and among her best works are the portraits of the Counts +Francesco <a name="Page_88"></a>and Ottorino Tenderini, Giuseppe Erede, and Raffaello +Morvanti. Her pictures of flowers are full of freshness and spirit and +delightful in color. Since 1885 she has spent much time in teaching in +the public schools and other institutions and in private families.</p> + +<br> + +<p><b>Correlli, Clementina.</b> Member of the Society for the Promotion of the +Fine Arts, in Naples. Born in Lesso, 1840. This artist is both a painter +and a sculptor. Pupil of Biagio Molinari, she supplemented his +instructions by constant visits to galleries and museums, where she could +study masterpieces of art. A statue called "The Undeceived" and a group, +"The Task," did much to establish her reputation. They were exhibited in +Naples, Milan, and Verona, and aroused widespread interest.</p> + +<p>Her pictures are numerous. Among them are "St. Louis," "Sappho," +"Petrarch and Laura," "Romeo and Juliet," "Hagar and Ishmael in the +Desert," "A Devotee of the Virgin," exhibited at Turin in 1884; a series +illustrating the "Seasons," and four others representing the arts.</p> + +<br> + +<p><b>Cosway, Maria</b>. The artist known by this name was born Maria +Hadfield, the daughter of an Englishman who acquired a fortune as a +hotel-keeper in Leghorn, which was Maria's birthplace. She was educated +in a convent, and early manifesting unusual artistic ability, was sent to +Rome to study painting. Her friends there, among whom were Battoni, +Raphael Mengs, and Fuseli, found much to admire and praise in her art.</p> + +<p>After her father's death Maria ardently desired to become a nun, but her +mother persuaded her to go to Eng<a name="Page_89"></a>land. Here she came under the influence +of Angelica Kauffman, and devoted herself assiduously to painting.</p> + +<p>She married Richard Cosway, an eminent painter of miniatures in +water-colors. Cosway was a man of fortune with a good position in the +fashionable circles of London. For a time after their marriage Maria +lived in seclusion, her husband wishing her to acquire the dignity and +grace requisite for success in the society which he frequented. Meantime +she continued to paint in miniature, and her pictures attracted much +attention in the Academy exhibitions.</p> + +<p>When at length Cosway introduced her to the London world, she was greatly +admired; her receptions were crowded, and the most eminent people sat to +her for their portraits. Her picture of the Duchess of Devonshire in the +character of Spenser's Cynthia was very much praised. Cosway did not +permit her to be paid for her work, and as a consequence many costly +gifts were made her in return for her miniatures, which were regarded as +veritable treasures by their possessors.</p> + +<p>Maria Cosway had a delicious voice in singing, which, in addition to her +other talent, her beauty, and grace, made her unusually popular in +society, and her house was a centre for all who had any pretensions to a +place in the best circles. Poets, authors, orators, lords, ladies, +diplomats, as well as the Prince of Wales, were to be seen in her +drawing-rooms. A larger house was soon required for the Cosways, and the +description of it in "Nollekens and His Times" is interesting:</p> + +<p>"Many of the rooms were more like scenes of enchant<a name="Page_90"></a>ment pencilled by a +poet's fancy, than anything perhaps before displayed in a domestic +habitation. Escritoires of ebony, inlaid with mother-of-pearl, and rich +caskets for antique gems, exquisitely enamelled and adorned with onyx, +opals, rubies, and emeralds; cabinets of ivory, curiously wrought; mosaic +tables, set with jasper, blood-stone, and lapis-lazuli, their feet carved +into the claws of lions and eagles; screens of old raised Oriental Japan; +massive musical clocks, richly chased with ormulu and tortoise-shell; +ottomans superbly damasked; Persian and other carpets, with corresponding +hearth-rugs bordered with ancient family crests and armorial ensigns in +the centre, and rich hangings of English tapestry. The carved +chimney-pieces were adorned with the choicest bronzes and models in wax +and terra-cotta. The tables were covered with Sèvres, blue Mandarin, +Nankin, and Dresden china, and the cabinets were surmounted with crystal +cups, adorned with the York and Lancaster roses, which might have graced +the splendid banquets of the proud Wolsey."</p> + +<p>In the midst of all this fatiguing luxury, Maria Cosway lost her health +and passed several years travelling in Europe. Returning to London, she +was again prostrated by the death of her only daughter. She then went to +Lodi, near Milan, where she founded a college for the education of girls. +She spent much time in Lodi, and after the death of her husband +established herself there permanently. A goodly circle of friends +gathered about her, and she found occupation and solace for her griefs in +the oversight of her college.</p><a name="Page_91"></a> + +<p>She continued her painting and the exhibition of her pictures at the +Royal Academy. She made illustrations for the works of Virgil, Homer, +Spenser, and other poets, and painted portraits of interesting and +distinguished persons, among whom were Mme. Le Brun and Mme. Récamier. +The life and work of Maria Cosway afford a striking contradiction of the +theory that wealth and luxury induce idleness and dull the powers of +their possessors. Hers is but one of the many cases in which a woman's a +woman "for a' that."</p> + +<p>At an art sale in London in 1901, an engraving by V. Green after Mrs. +Cosway's portrait of herself, first state, brought $1,300, and a second +one $200 less.</p> + +<br> + +<p><a name="Coudert"></a><b>Coudert, Amalia Küssner.</b> Born in Terre Haute, Indiana. This +distinguished miniaturist writes me that she "never studied." Like Topsy, +she must have "growed." By whatever method they are produced or by +whatever means the artist in her has been evolved, her pictures would +seem to prove that study of a most intelligent order has done its part in +her development.</p> + +<p>She has executed miniature portraits of the Czar and Czarina of Russia, +the Grand Duchess Vladimir, King Edward VII., the late Cecil Rhodes, many +English ladies of rank, and a great number of the beautiful and +fashionable women of America.</p> + +<br> + +<p><b>Coutan-Montorgueil, Mme. Laure Martin.</b> Honorable mention, Salon des +Artistes Français, 1894. Born at Dun-sur-Auron, Cher. Pupil of Alfred +Boucher.</p> + +<p>This sculptor has executed the monument to André Gill, Père Lachaise; +that of the Poet Moreau, in the <a name="Page_92"></a>cemetery Montparnasse; bust of Taglioni, +in the foyer of the Grand Opera House, Paris; bust of the astronomer +Leverrier, at the Institute, Paris; a statue, "The Spring," Museum of +Bourges; "Sirius," in the Palais of the Governor of Algiers. Also busts +of Prince Napoleon, General Boulanger, the Countess de Choiseul, the +Countess de Vogué, and numerous statuettes and other compositions.</p> + +<p>At the Salon, Artistes Français, 1903, she exhibited "Fortune" and "A +Statuette."</p> + +<br> + +<p><b>Cowles, Genevieve Almeda.</b> Member of the Woman's Art Club, New York; +Club of Women Art Workers, New York; and the Paint and Clay Club of New +Haven. Born in Farmington, Connecticut, 1871. Pupil of Robert Brandagee; +of the Cowles Art School, Boston; and of Professor Niemeyer at the Yale +Art School.</p> + +<p>Together with her twin sister, Maud, this artist has illustrated various +magazine articles. Also several books, among which are "The House of the +Seven Gables," "Old Virginia," etc.</p> + +<p>Miss G. A. Cowles designed a memorial window and a decorative border for +the chancel of St. Michael's Church, Brooklyn. Together with her sister, +she designed a window in the memory of the Deaconess, Miss Stillman, in +Grace Church, New York City. These sisters now execute many windows and +other decorative work for churches, and also superintend the making and +placing of the windows.</p> + +<p>Regarding their work in the Chapel of Christ Church, New Haven, Miss +Genevieve Cowles writes me: "These <a name="Page_93"></a>express the Prayer of the Prisoner, +the Prayer of the Soul in Darkness, and the Prayer of Old Age. These are +paintings of states of the soul and of deep emotions. The paintings are +records of human lives and not mere imagination. We study our characters +directly from life."</p> + +<p>These artists are now, November, 1903, engaged upon a landscape frieze +for a dining-room in a house at Watch Hill.</p> + +<p>Miss Genevieve Cowles writes: "We feel that we are only at the beginning +of our life-work, which is to be chiefly in mural decoration and stained +glass. I desire especially to work for prisons, hospitals, and +asylums—for those whose great need of beauty seems often to be +forgotten."</p> + +<br> + +<p><b>Cowles, Maud Alice.</b> Twin sister of Genevieve Cowles. Bronze medal at +Paris Exposition, 1900, and a medal at Buffalo, 1901. Her studies were +the same as her sister's, and she is a member of the same societies. +Indeed, what has been said above is equally true of the two sisters, as +they usually work on the same windows and decorations, dividing the +designing and execution between them.</p> + +<br> + +<p><b>Cox, Louise—Mrs. Kenyon Cox.</b> Third Hallgarten prize, National +Academy of Design; bronze medal, Paris Exposition, 1900; silver medal at +Buffalo, 1901; medal at Charleston, 1902; Shaw Memorial prize, Society of +American Artists, 1903. Member of Society of American Artists, and an +associate of the Academy of Design. Born at San Francisco, 1865. Studies +made at Academy of Design, Art Students' League, under C. Turner, George +de Forest Brush, and Kenyon Cox.</p><a name="Page_94"></a> + +<p>Mrs. Cox paints small decorative pictures and portraits, mostly of +children. The Shaw prize was awarded to a child's portrait, called +"Olive." Among other subjects she has painted an "Annunciation," the +"Fates," and "Angiola," reproduced in this book.</p> + +<a name="image-005"></a> +<p class="ctr"><a href="./images/005.jpg"><img src="./images/005_th.jpg" alt="From a Copley Print. ANGIOLA. Louise Cox"></a></p> +<p class="ctr">From a Copley Print.</p> +<p class="ctr">ANGIOLA</p> +<p class="ctr">Louise Cox</p> + +<p>A writer in the <i>Cosmopolitan</i> says: "Mrs. Cox is an earnest worker and +her method is interesting. Each picture is the result of many sketches +and the study of many models, representing in a composite way the +perfections of all. For the Virgin in her 'Annunciation' a model was +first posed in the nude, and then another draped, the artist sketching +the figure in the nude, draping it from the second model. The hands are +always separately sketched from a model who has a peculiar grace in +folding them naturally."</p> + +<p>Mrs. Cox gives her ideas about her picture of the "Fates" as follows: "My +interpretation of the Fates is not the one usually accepted. The idea +took root in my mind years ago when I was a student at the League. It +remained urgently with me until I was forced to work it out. As you see, +the faces of the Fates are young and beautiful, but almost +expressionless. The heads are drooping, the eyes heavy as though half +asleep. My idea is, that they are merely instruments under the control of +a higher power. They perform their work, they must do it without will or +wish of their own. It would be beyond human or superhuman endurance for +any conscious instrument to bear for ages and ages the horrible +responsibility placed upon the Fates."</p> + +<br> + +<p><b>Crespo de Reigon, Asuncion.</b> Honorable mention at <a name="Page_95"></a>the National +Exhibition, Madrid, 1860. Member of the Academy of San Fernando, 1839. +Pupil of her father. To the exhibition in 1860 she sent a "Magdalen in +the Desert," "The Education of the Virgin," "The Divine Shepherdess," "A +Madonna," and a "Venus." Her works have been seen in many public +exhibitions. In 1846 she exhibited a miniature of Queen Isabel II. Many +of her pictures are in private collections.</p> + +<br> + +<p><b>Cromenburch, Anna von.</b> In the Museum of Madrid are four portraits by +this artist: "A Lady of the Netherlands," which belonged to Philip IV.; +"A Lady and Child," "A Lady with her Infant before Her," and another +"Portrait of a Lady." The catalogue of the Museum gallery says: "It is +not known in what place or in what year this talented lady was born. She +is said to have belonged to an old and noble family of Friesland. At any +rate, she was an excellent portrait painter, and flourished about the end +of the sixteenth century. The Museo del Prado is the only gallery in +Europe which possesses works signed by this distinguished artist."</p> + +<br> + +<p><b>Dahn-Fries, Sophie.</b> Born in Munich. 1835-98. This artist was endowed +with unusual musical and artistic talent. After the education of her only +son, she devoted herself to painting, principally of landscape and +flowers. After 1868, so long as she lived she was much interested in Frau +von Weber's Art School for Girls. In 1886, when a financial crisis came, +Mme. Dahn-Fries saved the enterprise from ruin. She exhibited, in 1887, +two pictures which are well known—"Harvest Time" and "Forest Depths."</p><a name="Page_96"></a> + +<br> + +<p><b>Damer, Mrs. Anne Seymour.</b> Family name Conway. 1748-1828. She was a +granddaughter of the Duke of Argyle, a relative of the Marquis of +Hertford, and a cousin of Horace Walpole. Her education was conducted +with great care; the history of ancient nations, especially in relation +to art, was her favorite study. She had seen but few sculptures, but was +fascinated by them, and almost unconsciously cherished the idea that she +could at least model portraits and possibly give form to original +conceptions.</p> + +<p>Allan Cunningham wrote of her thus: "Her birth entitled her to a life of +ease and luxury; her beauty exposed her to the assiduity of suitors and +the temptations of courts; but it was her pleasure to forget all such +advantages and dedicate the golden hours of her youth to the task of +raising a name by working in wet clay, plaster of Paris, stubborn marble, +and still more intractable bronze."</p> + +<p>Before she had seriously determined to attempt the realization of her +dreams, she was brought to a decision by a caustic remark of the +historian, Hume. Miss Conway was one day walking with him when they met +an Italian boy with plaster vases and figures to sell. Hume examined the +wares and talked with the boy. Not long after, in the presence of several +other people, Miss Conway ridiculed Hume's taste in art; he answered her +sarcastically and intimated that no woman could display as much science +and genius as had entered into the making of the plaster casts she so +scorned.</p> + +<p>This decided her to test herself, and, obtaining wax and the proper +tools, she worked industriously until she <a name="Page_97"></a>had made a head that she was +willing to show to others. She then presented it to Hume; it has been +said that it was his own portrait, but we do not know if this is true. At +all events, Hume was forced to commend her work, and added that modelling +in wax was very easy, but to chisel in marble was quite another task. +Piqued by this scant praise she worked on courageously, and before long +showed her critic a copy of the wax head done in marble.</p> + +<p>Though Hume genuinely admired certain portions of this work, it is not +surprising that he also found defects in it. Doubtless his critical +attitude stimulated the young sculptress to industry; but the true +art-impulse was awakened, and her friends soon observed that Miss Conway +was no longer interested in their usual pursuits. When the whole truth +was known, it caused much comment. Of course ladies had painted, but to +work with the hands in wet clay and be covered with marble dust—to say +the least, Miss Conway was eccentric.</p> + +<p>She at once began the study of anatomy under Cruikshanks, modelling with +Cerrachi, and the handling of marble in the studio of Bacon.</p> + +<p>Unfortunately for her art, she was married at nineteen to John Darner, +eldest son of Lord Milton, a fop and spendthrift, who had run through a +large fortune. He committed suicide nine years after his marriage. It is +said that Harrington, in Miss Burney's novel of "Cecilia," was drawn from +John Damer, and that his wardrobe was sold for $75,000—about half its +original cost!</p> + +<p>Mrs. Damer was childless, and very soon after her husband's death she +travelled in Europe and renewed her <a name="Page_98"></a>study and practice of sculpture with +enthusiasm. By some of her friends her work was greatly admired, but +Walpole so exaggerated his praise of her that one can but think that he +wrote out of his cousinly affection for the artist, rather than from a +judicial estimate of her talent. He bequeathed to her, for her life, his +villa of Strawberry Hill, with all its valuables, and £2,000 a year for +its maintenance.</p> + +<p>Mrs. Damer executed many portrait busts, some animal subjects, two +colossal heads, symbolic of the Thames and the Isis, intended for the +adornment of the bridge at Henley. Her statue of the king, in marble, was +placed in the Register Office in Edinburgh. She made a portrait bust of +herself for the Uffizi Gallery, in Florence. Her portrait busts of her +relatives were numerous and are still seen in private galleries. She +executed two groups of "Sleeping Dogs," one for Queen Caroline and a +second for her brother-in-law, the Duke of Richmond. Napoleon asked her +for a bust of Fox, which she made and presented to the Emperor. A bust of +herself which she made for Richard Payne Knight was by him bequeathed to +the British Museum. Her "Death of Cleopatra" was modelled in relief, and +an engraving from it was used as a vignette on the title-page of the +second volume of Boydell's Shakespeare.</p> + +<p>Those who have written of Mrs. Darner's art have taken extreme views. +They have praised <i>ad nauseam</i>, as Walpole did when he wrote: "Mrs. +Darner's busts from life are not inferior to the antique. Her shock dog, +large as life and only not alive, rivals the marble one of Bernini in +<a name="Page_99"></a>the Royal Collection. As the ancients have left us but five animals of +equal merit with their human figures—viz., the Barberini Goat, the +Tuscan Boar, the Mattei Eagle, the Eagle at Strawberry Hill, and Mr. +Jennings' Dog—the talent of Mrs. Damer must appear in the most +distinguished light."</p> + +<p>Cerrachi made a full length figure of Mrs. Damer, which he called the +Muse of Sculpture, and Darwin, the poet, wrote:</p> + +<div class="poem"><div class="stanza"> +<p>"Long with soft touch shall Damers' chisel charm,</p> +<p>With grace delight us, and with beauty warm."</p> +</div></div> + +<p>Quite in opposition to this praise, other authors and critics have +severely denied the value of her talent, her originality, and her ability +to finish her work properly. She has also been accused of employing an +undue amount of aid in her art. As a woman she was unusual in her day, +and as resolute in her opinions as those now known as strong-minded. +Englishwoman as she was, she sent a friendly message to Napoleon at the +crisis, just before the battle of Waterloo. She was a power in some +political elections, and she stoutly stood by Queen Caroline during her +trial.</p> + +<p>Mrs. Damer was much esteemed by men of note. She ardently admired Charles +Fox, and, with the beautiful Duchess of Devonshire and Mrs. Crewe, she +took an active part in his election; "rustling their silks in the lowest +sinks of sin and misery, and in return for the electors' 'most sweet +voices' submitting, it is said, their own sweet cheeks to the salutes of +butchers and bargemen."<a name="Page_100"></a> She did not hesitate to openly express her +sympathy with the American colonies, and bravely defended their cause.</p> + +<p>At Strawberry Hill Mrs. Damer dispensed a generous hospitality, and many +distinguished persons were her guests; Joanna Baillie, Mrs. Siddons, Mrs. +Garrick, and Mrs. Berry and her daughters were of her intimate circle.</p> + +<p>She was fond of the theatre and frequently acted as an amateur in private +houses. She was excellent in high comedy and recited poetry effectively. +Mrs. Damer was one of the most interesting of Englishwomen at a period of +unusual excitement and importance.</p> + +<p>When seventy years old she was persuaded to leave Strawberry Hill, and +Lord Waldegrave, on whom it was entailed, took possession. Mrs. Damer +then purchased York House, the birthplace of Queen Anne, where she spent +ten summers, her winter home being in Park Lane, London.</p> + +<p>She bequeathed her artistic works to a relative, directed that her apron +and tools should be placed in her coffin, and all her letters destroyed, +by which she deprived the world of much that would now be historically +valuable, since she had corresponded with Nelson and Fox, as well as with +other men and women who were active in the important movements of her +time. She was buried at Tunbridge, Kent.</p> + +<br> + +<p><b>Dassel, Mrs. Herminie,</b> whose family name was Borchard. Daughter of a +Prussian gentleman, who, having lost his fortune, came to the United +States in 1839. His children had enjoyed the advantages of education and +of an excellent position in the world, but here, in a strange <a name="Page_101"></a>land, were +forced to consider the means of their support. Herminie determined to be +a painter, and in some way earned the money to go to Düsseldorf, where +she studied four years under Sohn, all the time supporting herself. Her +pictures were genre subjects introducing children, which found a ready +sale.</p> + +<p>She returned to America, determined to earn money to go to Italy. In a +year she earned a thousand dollars, and out of it paid some expenses for +a brother whom she wished to take with her. Herminie was still young, and +so petite in person that her friends were alarmed by her ambitions and +strenuously opposed her plans. However, she persevered and reached Italy, +but unfortunately the Revolution of 1848 made it impossible for her to +remain, and she had many unhappy experiences in returning to New York.</p> + +<p>Her pictures were appreciated, and several of them were purchased by the +Art Union, then existing in New York. Soon after her return to America +she married Mr. Dassel, and although she had a large family she continued +to paint. Her picture of "Othello" is in the Düsseldorf Gallery. Her +painting of "Effie Deans" attracted much attention.</p> + +<p>Mrs. Dassel interested herself in charities and was admired as an artist +and greatly respected as a woman. She died in 1857.</p> + +<br> + +<p><b>Dealy, Jane Mary—Mrs. W. Llewellyn Lewis.</b> Silver medal at Royal +Academy School and prize for best drawing of the year. Member of Royal +Institute of Painters in Water-Colors. Born in Liverpool. Studied at +Slade<a name="Page_102"></a> School and Royal Academy School. Has exhibited several years at +the Royal Academy Exhibition and Institute of Painters in Water-Colors.</p> + +<p>In 1901 her picture, "A Dutch Bargain," was etched and engraved. +"Hush-a-Bye Baby" and "Good-by, Summer," have been published by Messrs. +De la Rue et Cie. She has successfully illustrated the following +children's books: "Sixes and Sevens," "The Land of Little People," +"Children's Prayers," and "Children's Hymns."</p> + +<p>To the Academy Exhibition of 1903 Mrs. Lewis sent "On the Mountain-side, +Engelberg."</p> + +<br> + +<p><b>De Angelis, Clotilde.</b> This Neapolitan artist has made a good +impression in at least two Italian exhibitions. To the National +Exposition, Naples, 1877, she sent "Studio dal Vero" and "Vallata di +Porrano," showing costumes of Amalfi. Both her drawing and color are +good.</p> + +<br> + +<p><b>Debillemont-Chardon, Mme. Gabrielle.</b> Third-class medal, Salon, 1894; +honorable mention at Paris Exposition, 1900; second-class medal, Salon, +1901. This miniaturist is well known by her works, in which so much +grace, freshness, skill, and delicacy are shown; in which are represented +such charming subjects with purity of tone and skilful execution in all +regards, as well as with an incomparable spirit of attractiveness.</p> + +<p>This artist is one of the three miniaturists whose works have a place in +the Museum of the Luxembourg. She has had many pupils, and by her +influence and example—for they endeavor to imitate their teacher—she +has done much to improve and enlarge the style in miniature painting.</p><a name="Page_103"></a> + +<br> + +<p><b>De Haas, Mrs. Alice Preble Tucker.</b> Born in Boston. Studied at the +Cooper Union and with M. F. H. de Haas, Swain Gifford, William Chase, and +Rhoda Holmes Nicholls. Painter of water-color pictures and miniatures.</p> + +<p>Her pictures are in private hands in Washington, New York, and Boston.</p> + +<p>The following article written at the time of an exhibition by Mrs. de +Haas gives a just estimate of her work:</p> + +<p>"Mrs. de Haas is especially devoted to the painting in water-color of +landscape and sea views, for which the Atlantic coast affords such a wide +and varied range. A constant and keen observer of Nature, she has seized +her marvellous witchery of light and color, and reproduced them in the +glow of the moonlight on the water when in a stormy mood, and the silvery +gleam has become an almost vivid orange tint. She is most happy in the +tender opalescent hues of the calm sea and the soft sky above, while the +little boats seem to rock quietly on the water, barely stirred by the +unruffled tide beneath.</p> + +<p>"The sunset light is a never-failing source of variety and beauty, and +Mrs. de Haas has found a most attractive subject in the steeple of the +old church in York Village—whose graceful curves are said to have been +designed by Sir Christopher Wren—as it rises above the soft mellow glow +of the sky or is pictured against the dark clouds.</p> + +<p>"In another mood the artist paints the low rocks among the reeds, with +the breakers playing about them, while the distant sea stretches out to a +horizon, with dark, stormy clouds brooding over the solitary waste. A +remarkable union of the beauty of land and water is produced by <a name="Page_104"></a>a +foreground of brilliant fancy flowers relieved by a scrubby tree in the +background, with the faint responsive touch of yellow in the clouds over +a calm sea, where gentle motion is only indicated by the little boat +floating on its surface.</p> + +<p>"The schooners on the Magnolia Shore with Norman's Woe in the distance +suggest alike the tragic story of the past and the present beauty, for +now the sea is calm and the sails are drying in the sun after the storm +is over.</p> + +<p>"Many other pictures might be mentioned—a quaint old house at +Gloucester, a view of Ten Pound Island, with its picturesque +surroundings, and the familiar beach, with Fort Head at York Harbor. As a +specimen of landscape I would mention a picturesque group of trees at +Gerrish Island, full of sunshine.</p> + +<p>"But Mrs. de Haas has added another most attractive style of art to her +resources, and her miniatures, besides their charm of simplicity of +treatment and delicacy of coloring, are said to have the merit of +faithful likeness to their originals. Of course portraits, being painted +on commission, are not generally available for exhibition, but Mrs. de +Haas has a few specimens of her work which warrant all that has been said +in their praise.</p> + +<p>"One is a charming picture of a child, which for beauty of delineation +and delicacy of tinting recalls the memory of our greatest of miniature +painters, Malbone.</p> + +<p>"Another is the portrait of the artist's father, and is represented with +such truth of nature and so much vitality of expression and character as +at once to give rise to the remark, 'I must have known that man, he seems +so living to me.'"</p><a name="Page_105"></a> + +<br> + +<p><b>De Kay, Helena—Mrs. R. Watson Gilder.</b> This artist has exhibited at +the National Academy of Design, New York, since 1874, flower pieces and +decorative panels. In 1878 she sent "The Young Mother." She was the first +woman elected to the Society of American Artists, and to its first +exhibition in 1878 she contributed "The Last Arrow," a figure subject, +also a portrait and a picture of still-life.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Delacroix-Garnier, Mme. P.</b> Honorable mention, Salon des Artistes +Français; medal at Exposition, Paris, 1900, for painting in oils; and a +second medal for a treatise on water-colors. Member of the Société des +Artistes Français, of the Union of women painters and sculptors, and +vice-president from 1894 to 1900. Pupil of Henry Delacroix in painting in +oils and of Jules Garnier in water-colors.</p> + +<p>Mme. Delacroix-Garnier has painted numerous portraits; among them those +of the Dowager Duchess d'Uzès, Jules Garnier, and the Marquis Guy de +Charnac, the latter exhibited at the Salon des Artistes Français, 1903. +At the same Salon in 1902 she exhibited the portrait of J. J. Masset, +formerly a professor in the Paris Conservatory.</p> + +<p>Among her pictures are the "Happy Mother," "Temptation," "Far from +Paris," "Maternal Joys," and in the Salon des Artistes Français, 1903, +"Youth which Passes."</p> + +<br> + +<p><b>Delasalle, Angèle.</b> Honorable mention, Salon des Artistes Français, +1895; third-class medal, 1897; second-<a name="Page_106"></a>class medal, 1898; travelling +purse, 1899; Prix Piot, of the Institute, 1899; silver medal, Paris +Exposition, 1900. Member of the Société des Artistes Français, the +Société Nationale des Beaux-Arts, Société des prix du Salon et boursiers +de voyage de la Société Nationale. Born in Paris. Pupil of Jean Paul +Laurens and Benjamin-Constant.</p> + +<p>Her picture of "Diana in Repose" is in the collection of Alphonse de +Rothschild; "Return from the Chase," a prehistoric scene, purchased by +the Government; "The Forge," in the Museum of Rouen, where is also a +"Souvenir of Amsterdam." Portrait of Benjamin-Constant and several other +works of Mlle. Delasalle are in the Luxembourg; other pictures in the +collections Demidoff, Coquelin, Georges Petit, etc.</p> + +<p>At the Salon des Artistes Français, 1902, this artist exhibited the +portrait of M. Constant and the "Roof-Maker." At the Salon des +Beaux-Arts, 1903, "The Park at Greenwich," "The Pont Neuf," "On the +Thames," and a portrait in oils; and in water-colors, "The Coliseum, +Rome," "A Tiger Drinking," "A Lion Eating," "Head of a Lion," "The +Forge," etc.</p> + +<p>In the <i>Magazine of Art</i>, June, 1902, B. Dufernex writes of Mlle. +Delasalle essentially as follows: This artist came into notice in 1895 by +means of her picture of "Cain and Enoch's Daughters." Since then her +annual contributions have demonstrated her gradual acquirement of +unquestionable mastery of her art. Her characteristic energy is such that +her sex cannot be detected in her work; in fact, she was made the first +and only woman <a name="Page_107"></a>member of the International Association of Painters under +the impression that her pictures—signed simply A. Delasalle—were the +work of a man. Attracted by the dramatic aspects of human nature, she +finds congenial subjects in the great efforts of humanity in the struggle +for life. Her power of observation enables her to give freshness to +hackneyed subjects, as in "La Forge." The attitudes of the workmen, so +sure and decided, turning the half-fused metal are perfect in the +precision of their combined efforts; the fatigue of the men who are +resting, overwhelmed and stupefied by their exhausting labor, indicates +the work of a profound thinker; whilst the atmosphere, the play of the +diffused glow of the molten metal, are the production of an innate +colorist. Her portrait of Benjamin-Constant represents not only the +masterful man, but is also the personification of the painter. The +attentive attitude, discerning eye, the openness of the absorbing look, +the cerebral mask where rests so much tranquil power, the impressive +shape of the leonine face, all combine to make the painting one of the +finest portraits of the French school.</p> + +<p>She has a perfect and rare knowledge of the art of drawing and a faculty +for seizing the character of things. Mlle. Delasalle exhibited her +pictures at the Grafton Gallery, London, in 1902.</p> + +<br> + +<p><b>Delorme, Berthe.</b> Medals at Nîmes, Montpellier, Versailles, and +London. Member of the Société des Artistes Français. Born at Paris. Pupil +of A. Chaplin.</p> + +<p>Mlle. Delorme has painted a great number of portraits, which are in the +hands of her subjects. Her works are <a name="Page_108"></a>exhibited in the Salon au Grand +Palais. In 1902 she exhibited a "Portrait of Mlle. Magdeleine D."</p> + +<br> + +<p><b>Demont-Breton, Virginie.</b> Paris Salon, honorable mention, 1880; +medals of third and second class, 1881, 1883; Hors Concours; gold medal +at Universal Exposition, Amsterdam, 1883; Paris Expositions, 1889 and +1900, gold medals; medal of honor at Exposition at Antwerp; Chevalier of +the Legion of Honor and of the Belgian Order of Leopold; officer of the +Nichan Iftikhar, a Turkish order which may be translated "A Sign of +Glory"; member and honorary president of the Union des femmes peintres et +sculpteurs de France, of the Alliance Feminine, of the Alliance +Septentrionale; fellow of the Royal Academy, Antwerp; member of the +Société des Artistes Français; member of the committee of the Central +Union of Decorative Arts and of the American National Institute; member +of the Verein der Schriftstellerinnen und Künstlerinnen of Vienna; one of +the founders of the Société Populaire des Beaux-Arts and of the Société +de bienfaisance l'Allaitement Maternel, etc. Born at Courrière, Pas de +Calais, 1859. Pupil of her father, Jules Breton.</p> + +<p>The works of this artist are in a number of museums and in private +collections in several countries. "La Plage" is in the Gallery of the +Luxembourg, "Les Loups de Mer" in the Museum of Ghent, "Jeanne d'Arc at +Domrémy" in a gallery at Lille; other pictures are in New York, +Minneapolis, and other American cities; also in Berlin and Alexandria, +Egypt.</p> + +<p>At the Salon des Artistes Français, in 1902, Mme.<a name="Page_109"></a> Demont-Breton +exhibited a picture of "Les Meduses bleues." The fish were left on the +beach by the retreating water, and two nude children, a boy and a girl, +are watching them with intense interest. The children are very +attractive.</p> + +<p>At the Salon of 1903 she exhibited "Seaweed." A strong young fisherwoman, +standing in the water, draws out her net filled with shells, seaweed, and +other products of the sea, while two nude children—again a boy and a +girl—are selecting what pleases them in the mother's net.</p> + +<p>At the exhibition of Les Femmes Peintres et Sculpteurs, in February, +1903, Mme. Demont-Breton exhibited the "Head of a Young Girl," which +attracted much attention. Gray and sober in color, with a firmly closed +mouth and serious eyes denoting great strength of character, it is +admirably studied and designed and proves the unusual excellence of the +art of this gifted daughter of Jules Breton. At the Exposition of +Limoges, May to November, 1903, Mme. Demont-Breton was pronounced hors +concours in painting.</p> + +<br> + +<p><b>Dickson, Mary Estelle.</b> Honorable mention, Paris Salon, 1896; bronze +medal, Paris Exposition, 1900; honorable mention, Buffalo Exposition, +1901; third-class medal, Paris Salon, 1902.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Diéterle, Mme. M.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Dietrich, Adelheid.</b> Born in Wittemberg, 1827. Daughter and pupil of +Edward Dietrich, whose teaching she sup<a name="Page_110"></a>plemented by travel in Italy and +Germany. She made her home in Erfurt after her journeys and painted +flower and fruit subjects. Her pictures were of forest, field, and garden +flowers. They are much valued by their owners and are mostly in private +collections.</p> + +<br> + +<p><b>Dietrichsen, Mathilde—née Bonneire.</b> Born in Christiania, 1847. When +but ten years old she began the study of art at Düsseldorf, under the +direction of O. Mengelberg and Tideman. When but fifteen she married, at +Stockholm, the historian of art, Dietrichsen. She travelled extensively, +visiting Germany, France, Italy, and Greece. She passed three years in +Rome. Her pictures show refined, poetic feeling as well as good taste and +humor.</p> + +<br> + +<p><b>Dillaye, Blanche.</b> Silver medal at Atlanta Exposition, 1895; medal at +American Art Society, 1902. Member of New York and Philadelphia +Water-Color Clubs, American Women's Art Association, Paris; first +president of Plastic Club, Philadelphia. Pupil of Philadelphia Academy of +Fine Arts; has also studied in Europe.</p> + +<p>This artist makes a specialty of etching, and the medal she received at +Atlanta was for a group of works in that art. She paints in water-colors, +and has exhibited at the principal American exhibitions, in London, and +in both Paris Salons. Her etchings have been widely noticed. At an early +age she showed talent, and preferring etching as a mode of expression, +she soon became noted for the qualities which have since made her famous, +and is one of the best known among a group of women etchers. Her work, +exhibited at the New York Etching Club, is con<a name="Page_111"></a>spicuous on account of its +strength, directness, and firmness, allied to delicacy of touch.</p> + +<p>"In Miss Dillaye's work one sees the influence of her wanderings in many +lands; the quaintness of Holland landscapes, the quiet village life in +provincial France, the sleepy towns in Norway, and the quietude of +English woods."—<i>Success</i>, September, 1902.</p> + +<br> + +<p><b>Dina, Elisa.</b> A Venetian figure and portrait painter. Is known +through the pictures she has shown at many Italian exhibitions. At +Venice, in 1881, she exhibited a graceful, well-executed work called +"Caldanino della Nonna." "Di Ritorno dalla Chiesa" appeared at Milan in +the same year. The latter, which represented a charming young girl coming +out of church, prayer-book in hand, is full of sentiment. She sent to +Turin, in 1884, "Popolana," which was much admired. Her portraits are +said to be exceedingly life-like.</p> + +<br> + +<p><b>Dringlinger, Sophie Friedericke.</b> Born in Dresden, 1736; died 1791. +Pupil of Oeser in Leipzig. In the Dresden Gallery are seven miniatures by +her of different members of the Dringlinger family. The head of this +house was John Melchior Dringlinger, court jeweller of Augustus the +Strong.</p> + +<br> + +<p><b>Dubourg, Victoria—Mme. Fantin-Latour.</b> Honorable mention, Paris +Salon, 1894; medal third class, 1895; picture in Gallery of Luxembourg, +1903. Member of the Société des Artistes Français. Born in Paris, 1840. +Studies made at the Museum of the Louvre.</p> + +<p>Mme. Dubourg has exhibited her works at the Salons regularly since 1868, +and her pictures are now seen in <a name="Page_112"></a>the Museums of Grenoble and Pau, as +well as in many private collections. Her subjects are of still life.</p> + +<p>At the Salon of the Artistes Français, in 1902, Mme. Dubourg exhibited a +"Basket of Flowers."</p> + +<br> + +<p><b>Dubray, Charlotte Gabrielle.</b> Born at Paris, and was the pupil of her +father, Gabriel Vital-Dubray. In 1874 she exhibited at the Salon a marble +bust of a "Fellah Girl of Cairo"; in 1875, a silvered bronze bust called +the "Study of a Head," in the manner of Florence, sixteenth century; in +1876, "The Daughter of Jephthah Weeping on the Mountain," a plaster +statue, a bust in bronze, and "A Neapolitan"; in 1877, "The Coquette," a +bust in terra-cotta, and a portrait bust, in bronze, of M. B.</p> + +<br> + +<p><b>Ducoudray, Mlle. M.</b> Honorable mention, 1898; honorable mention, +Paris Exposition, 1900. At the Salon des Artistes Français, in 1902, this +sculptor exhibited "Mon Maître Zacharie Astruc," and in 1903, "En +Bretagne."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Dufau, Clémentine Hélène.</b> Awards from the Salon, Bashkirtseff prize, +1895; medal third class, 1897; travelling purse, 1898; medal second +class, 1902; Hors Concours; silver medal, Paris Exposition, 1900. Picture +in the Luxembourg, 1902. Member of the Société des Artistes Français and +of the Società Heleno Latina, Rome. Born at Quinsac (Gironde).</p> + +<p>Studies made at Julian Academy, under Bouguereau and Robert-Fleury. Mlle. +Dufau calls her works illus<a name="Page_113"></a>trations and posters, and gives the following +as the principal examples:</p> + +<p>"Fils des Mariniers," in Museum of Cognac; "Rhythme," "Dryades," +"Automne," a study, Manzi collection; "Espagne," "Été," Behourd +collection; "Automne," Gallery of the Luxembourg. The latter is a +decorative work of rare interest. At the Salon of 1903 Mlle. Dufau +exhibited two works—"La grande Voix" and "Une Partie de Pelotte, au Pays +basque." The latter was purchased by the Government, and will be hung in +the Luxembourg.</p> + +<br> + +<p><b>Duhem, Marie.</b> Officer of the Academy, 1895; member of the Société +Nationale des Beaux-Arts; medal at the Paris Exposition, 1900; diploma of +honor at Exposition of Women Artists, London, 1900. Born at Guemps +(Pas-de-Calais). Has had no masters, has studied and worked by herself.</p> + +<p>Her pictures are in several museums: "The Communicants," at Cambrai; +"Easter Eve," at Calais; "Death of a White Sister," at Arras, etc. The +picture of St. Francis of Assisi was exhibited at the Salon of the +Beaux-Arts, 1903. The saint, with a large aureole, is standing in the +midst of a desolate landscape; his left hand raised, as if +speaking—perhaps to some living thing, though nothing is revealed in the +reproduction in the illustrated catalogue of the Salon.</p> + +<p>The other exhibits by Mme. Duhem are flower pictures—jonquils and +oranges, chrysanthemums and roses. In 1902 she exhibited "The House with +Laurels" in water-colors, and in oils "The High Road" and "The Orison."<a name="Page_114"></a> +The first is a scene at nightfall and is rendered with great delicacy and +refinement.</p> + +<br> + +<p><b>Dupré, Amalia.</b> Corresponding member of the Academy of Fine Arts, +Florence, and of the Academy of Perugia. Born in Florence, 1845. Pupil of +her father, Giovanni Dupré, who detected her artistic promise in her +childish attempts at modelling. She has executed a number of notable +sepulchral monuments, one for Adèle Stiacchi; one for the daughter of the +Duchess Ravaschieri, in Naples, which represents the "Madonna Receiving +an Angel in her Arms"; it is praised for its subject and for the action +of the figures. "A Sister of Charity" for the tomb of the Cavaliere +Aleotti is her work, and for the tomb of her parents, at Fiesole, she +reproduced "La Pietà," one of her father's most famous sculptures.</p> + +<p>For the facade of the Florence Cathedral she made a statue of "Saint +Reparata," and finished the "San Zenobi" which her father did not live to +complete.</p> + +<p>She has a wide reputation in Italy for her statues of the "Young Giotto," +"St. Peter in Prison," and "San Giuseppe Calasanzio."</p> + +<br> + +<p><b>Durant, Susan D.</b> This English sculptor was educated in Paris, and +died there in 1873. She first exhibited at the Royal Academy in 1847. She +was the teacher of the Princess Louise, and executed medallion portraits +and busts of many members of the royal family of England. Her works were +constantly exhibited at the Royal Academy. The <i>Art Journal</i>, March, +1873, spoke of her as "one of our most accomplished female sculptors." +Her bust of Queen Victoria is in the Middle Temple, London; <a name="Page_115"></a>the +"Faithful Shepherdess," an ideal figure, executed for the Corporation of +London, is in the Mansion House. Among her other works are "Ruth," a bust +of Harriet Beecher Stowe, and a monument to the King of Belgium, at +Windsor.</p> + +<br> + +<p><b>D'Uzès, Mme. la Duchesse.</b> Honorable mention, Paris Salon, 1889. Born +in Paris, 1847. Pupil of Bonnassieux and Falguière. The principal works +of this artist are "Diana Surprised," in marble; "Saint Hubert," in the +church of the Sacré-Coeur; the same subject for a church in Canada; "The +Virgin," a commission from the Government, in the church at Poissy; +"Jeanne d'Arc," at Mousson; the monument to Émile Augier, the commission +for which was obtained in a competition with other sculptors; and many +busts and statuettes.</p> + +<p>In the spring of 1903, at the twenty-second exhibition of the Society of +Women Painters and Sculptors, the Duchesse d'Uzès exhibited a large +statue of the Virgin which is to be erected in the church of St. +Clothilde. It is correct anatomically and moulded with great delicacy.</p> + +<br> + +<p><b>Earl, Maud.</b> A painter of animals, whose "Early Morning" was +exhibited at the Royal Academy in 1885, and has been followed by "In the +Drifts," "Old Benchers," "A Cry for Help," etc. In 1900 she exhibited +"The Dogs of Death"; in 1901, "On Dian's Day."</p> + +<p>Miss Earl has painted portraits of many dogs on the Continent and in +Great Britain, notably those belonging to Queen Victoria and to the +present King and Queen.</p> + +<p>This artist exhibits in the United States as well as in the chief cities +of England, and has held private exhibi<a name="Page_116"></a>tions in Graves' Galleries. In +1902 her principal work was "British Hounds and Gun-Dogs." Many of her +pictures have been engraved and published in both England and the United +States. Among them are the last-named picture, "Four by Honors," "The +Absent-Minded Beggar," and "What We Have We'll Hold."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Egloffstein, Countess Julia.</b> Born at Hildesheim. 1786-1868. This +painter of portraits and genre subjects belonged to a family of +distinction in the north of Germany. She was a maid of honor at the court +of Weimar. Her pictures were praised by Cornelius and other Munich +artists. Her portrait of Goethe, in his seventy-seventh year, is in the +Museum at Weimar. She also painted portraits of Queen Theresa Charlotte +of Bavaria and of the Grand Duchess of Saxe-Weimar. Her picture of "Hagar +and Ishmael in the Desert" is well known in Germany.</p> + +<br> + +<p><b>Egner, Marie.</b> Pupil of Schindler in Vienna. She has exhibited her +pictures at the exhibitions of the Vienna Water-Color Club. In 1890 an +exquisite series of landscapes and flowers, in 1894 "A Mill in Upper +Austria," in gouache, and in 1895 other work in the same medium, +confirming previous impressions of her fine artistic ability.</p> + +<br> + +<p><b>Eisenstein, Rosa von.</b> Born in Vienna, 1844. This artist is one of +the few Austrian women artists who made all her studies in her native +city. She was a pupil of Mme. Wisinger-Florian, Schilcher, C. Probst, and +Rudolf Huber. Her pictures are of still-life. She is especially <a name="Page_117"></a>fond of +painting birds and is successful in this branch of her art.</p> + +<br> + +<p><b>Ellenrieder, Anna Marie.</b> Born at Constance. 1791-1863. A pupil of +Einsle, a miniaturist, and later of Langer, in Munich. In Rome, where +this artist spent several years, she became a disciple of Overbeck. +Returning to Switzerland, she received the appointment of Court painter +at Baden in 1829.</p> + +<p>Her works are portraits and pictures of historical subjects, many of the +latter being Biblical scenes. Among her best works are the "Martyrdom of +Saint Stephen," in the Catholic church at Carlsruhe; a "Saint Cecilia," a +"Madonna," and "Mary with the Christ-Child Leaving the Throne of Heaven" +are in the Carlsruhe Gallery. "Christ Blessing Little Children" is in the +church at Coburg. Among her other works are "John Writing his Revelation +at Patmos," "Peter Awaking Tabitha," and "Simeon in the Temple."</p> + +<p>Her religious subjects sometimes verge on the sentimental, but are of +great sweetness, purity, and tenderness. She was happier in her figures +of women than in those of men. She also made etchings of portraits and +religious subjects in the manner of G. F. Schmidt.</p> + +<br> + +<p><b>Emmet, Lydia Field.</b> Medal at Columbian Exhibition, Chicago, 1893; +medal at Atlanta Exhibition, 1895; honorable mention at Pan-American +Exposition, Buffalo, 1901. Member of the Art Students' League and Art +Workers' Club for Women. Born at New Rochelle, New York. Studied at Art +Students' League under Chase, Mowbray, Cox, and Reid; at the Julian +Academy,<a name="Page_118"></a> Paris, under Robert-Fleury, Giacomotti, and Bouguereau; at the +Shinnecock School of Art under W. M. Chase; at Académie Vieté, Paris, +under Collin, and in a private studio under Mac Monnies.</p> + +<a name="image-006"></a> +<p class="ctr"><a href="./images/006.jpg"><img src="./images/006_th.jpg" alt="From a Copley Print. DOROTHY. Lydia Field Emmet"></a></p> +<p class="ctr">From a Copley Print.</p> +<p class="ctr">DOROTHY</p> +<p class="ctr">Lydia Field Emmet</p> + +<p>Miss Emmet has painted many portraits, which are in private hands in New +York, Chicago, Boston, and elsewhere. She executed a decorative painting +for the Woman's Building at Chicago which is still in that city.</p> + +<br> + +<p><b>Emmet, Rosina—Mrs. Arthur Murray Sherwood.</b> Silver medal, Paris +Exposition, 1889; the Art Department medal, Chicago, 1893; bronze medal, +Buffalo, 1901. Member of the Society of American Artists, American +Water-Color Society, New York Water-Color Club. Born in New York City. +Studied two years under William M. Chase and six months at Julian +Academy, Paris.</p> + +<p>Miss Emmet exhibited at the National Academy of Design, in 1881, a +"Portrait of a Boy"; in 1882, a "Portrait of Alexander Stevens" and +"Waiting for the Doctor"; in 1883, "Red Rose Land" and "La Mesciana"; her +picture called "September" belongs to the Boston Art Club. The greater +number of her works are in private collections.</p> + +<br> + +<p><b>Escallier, Mme. Éléonore.</b> Medal at Salon, 1868. A pupil of Ziegler. +A painter of still-life whose pictures of flowers and birds were much +admired. "Chrysanthemums," exhibited in 1869, was purchased by the +Government. "Peaches and Grapes," 1872, is in the Museum at Dijon; and in +1875 she executed decorative panels for the Palais de la Légion +d'Honneur.</p> + +<br> + +<p><b>Esch, Mathilde.</b> Born at Kletten, Bohemia, 1820.<a name="Page_119"></a> Pupil of +Waldmüller in Vienna. She also studied a long time in Düsseldorf and +several years in Paris, finally settling in Vienna. She painted charming +scenes from German and Hungarian life, as well as flowers and still-life. +Most of her works are in private galleries.</p> + +<br> + +<p><b>Esinger, Adèle.</b> Born in Salzburg, 1846. In 1874 she became a student +at the Art School in Stuttgart, where she worked under the special +direction of Funk, and later entered the Art School at Carlsruhe, where +she was a pupil of Gude. She also received instruction from Hansch. Her +pictures are remarkable for their poetic feeling; especially is this true +of "A Quiet Sea," "The Gollinger Waterfall," and "A Country Party."</p> + +<br> + +<p><b>Eyck, Margaretha van.</b> In Bruges, in the early decades of the +fifteenth century, the Van Eycks were inventing new methods in the +preparation of colors. Their discoveries in this regard assured them an +undying fame, second only to that of their marvellous pictures.</p> + +<p>Here, in the quaint old city—a large part of which we still describe as +mediæval—in an atmosphere totally unlike that of Italy, beside her +devout brothers, Hubert and Jan, was Margaretha. When we examine the +minute detail and delicate finish of the pictures of Jan van Eyck, we see +a reason why the sister should have been a miniaturist, and do not wonder +that with such an example before her she should have excelled in this +art. The fame of her miniatures extended even to Southern Italy, where +her name was honorably known.</p> + +<p>We cannot now point to any pictures as exclusively hers, as she worked in +concert with her brothers. It is, <a name="Page_120"></a>however, positively known that a +portion of an exquisite Breviary, in the Imperial Library in Paris, was +painted by Margaretha, and that she illustrated other precious and costly +manuscripts.</p> + +<p>She was held in high esteem in Bruges and was honored in Ghent by burial +in the Church of St. Bavo, where Hubert van Eyck had been interred. Karl +van Mander, an early writer on Flemish art, was poetically enthusiastic +in praise of Margaretha, calling her "a gifted Minerva, who spurned Hymen +and Lucina, and lived in single blessedness."</p> + +<p>A Madonna in the National Gallery in London is attributed to Margaretha +van Eyck.</p> + +<br> + +<p><b>Facius, Angelika.</b> Born at Weimar. 1806-87. This artist was +distinguished as an engraver of medals and gems. Pupil of her father, +Friedrich Wilhelm Facius. Goethe recommended her to Rauch, and in 1827 +she went to Berlin to study in his studio. Under her father's instruction +she engraved the medal for the celebration at Weimar, 1825, of the +jubilee of the Grand Duke Charles Augustus. Under Rauch's direction she +executed the medal to commemorate the duke's death. In 1841 she made the +medal for the convention of naturalists at Jena.</p> + +<p>After Neher's designs, she modelled reliefs for the bronze doors at the +castle of Weimar.</p> + +<br> + +<p><b>Farncomb, Caroline.</b> Several first prizes in exhibitions in London, +Toronto, Montreal, and Ottawa. Member of Women's Art Club, London, +Ontario. Born near Toronto, Canada. Pupil of Mr. Judson and Mlle. van +den<a name="Page_121"></a> Broeck in London, Canada, and later of William Chase in New York. +Now studying in Paris.</p> + +<br> + +<p><b>Fassett, Cornelia Adèle.</b> 1831-1898. Member of the Chicago Academy of +Design and the Washington Art Club. Born in Owasco, New York. Studied +water-color painting in New York under an English artist, J. B. +Wandesforde. Pupil in Paris of Castiglione, La Tour, and Mathieu. Her +artistic life was spent in Chicago and Washington, D. C.</p> + +<p>She painted numerous portraits in miniature and a large number in oils. +Among those painted from life were Presidents Grant, Hayes, and Garfield; +Vice-President Henry Wilson; Charles Foster, when Governor of Ohio, now +in the State House at Columbus, Ohio; Dr. Rankin, president of Howard +University, Washington; and many other prominent people of Chicago and +Washington.</p> + +<p>Her chief work and that by which she is best remembered hangs in the +Senate wing of the United States Capitol. No picture in the Capitol +attracts more attention, and large numbers of people view it daily. It is +the "Electoral Commission in Open Session." It represents the old Senate +Chamber, now the Supreme Court Room, with William M. Evarts making the +opening argument. There are two hundred and fifty-eight portraits of +notable men and women, prominent in political, literary, scientific, and +social circles. Many of these were painted from life.</p> + +<p>The <i>Arcadian</i>, New York, December 15, 1876, in speaking of this picture, +says: "Mr. Evarts is addressing the court, and the large number of people +present are natu<a name="Page_122"></a>rally and easily grouped. There is no stiffness nor +awkwardness in the positions, nothing forced in the whole work. There +are, in the crowd, ladies in bright colors to relieve the sombreness of +the black-coated men, and the effect of the whole picture is pleasing and +artistic, aside from its great value as an historical work."</p> + +<p>The <i>Washington Capital</i>, March 17, 1878: "Mrs. Fassett's 'Electoral +Commission' gives evidence of great merit, and this illustration in oil +of an historical event in the presidential annals of the country, by the +preservation of the likenesses in groups of some of the principal actors, +and a few leading correspondents of the press, will be valuable. This +picture we safely predict will be a landmark in the history of the nation +that will never be erased. It memorizes a most remarkable crisis in our +life, and perpetuates, both by reason of its intrinsic value as a chapter +of history and its intrinsic worth as an art production, the incident it +represents and the name of the artist."</p> + +<p>In the <i>Washington Star</i>, October, 1903, an article appeared from which I +quote as follows: "On the walls of the beautiful tessellated corridor of +the eastern gallery floor of the Senate wing of the Capitol at +Washington, just opposite the door of the caucus room of the Senate +Democrats, hangs a large oil painting that never fails to attract the +keenest curiosity of sightseers and legislators alike. And for good +reason: that painting depicts in glowing colors a scene of momentous +import, a chapter of American political history of graver consequence and +more far-reaching results than any other since the Civil War. The printed +legend on the frame of the picture reads:</p><a name="Page_123"></a> + +<p>"'The Florida case before the electoral commission, February 5, 1877. +Painted from life sittings in the United States Supreme Court room by +Cornelia Adèle Fassett.'"</p> + +<p>"The painting belongs to Congress, having been purchased from the artist +for $15,000. As you face the picture the portraits of two hundred and +fifty-eight men and women, who, twenty-six years ago, were part and +parcel of the legislative, executive, judicial, social, and journalistic +life of Washington, look straight at you as if they were still living and +breathing things, as, indeed, many of them are. As a work of art the +picture is unique, for each face is so turned that the features can +easily be studied, and the likenesses of nearly all are so faithful as to +be a source of constant wonder and delight."—<i>David S. Barry</i>, in +<i>Pearson's Magazine</i>.</p> + +<br> + +<p><b>Fauveau, Félicie de.</b> Second-class medal at Florence in 1827, when +she made her début by exhibiting a statue, "The Abbot," and a group, +"Queen Christine and Monaldeschi." Born in Florence, of French parents, +about 1802. For political reasons she was forced to leave Florence about +1834, when she went to Belgium, but later returned to her native city.</p> + +<p>Among her best works are "St. George and the Dragon," bronze; the +"Martyrdom of St. Dorothea," "Judith with the Head of Holofernes," "St. +Genoveva," marble, and a monument to Dante.</p> + +<p>Her works display a wonderful skill in the use of drapery and a purity of +taste in composition. She handled successfully the exceedingly difficult +subject, a "Scene between Paolo and Francesca da Rimini."</p><a name="Page_124"></a> + +<br> + +<p><b>Faux-Froidure, Mme. Eugénie Juliette.</b> Honorable mention at Salon, +1898; the same at the Paris Exposition, 1900; third-class medal at Salon, +1903; first prize of the Union of Women Painters and Sculptors, 1902; +chevalier of the Order Nichan Iftikar; Officer of Public Instruction. +Member of the Association of Baron Taylor, of the Société des Artistes +Français, of the Union of Women Painters and Sculptors, and of the +Association of Professors of Design of the City of Paris. Born at Noyen +(Sarthe). Pupil of P. V. Galland, Albert Maignan, and G. Saintpierre.</p> + +<p>Mme. Faux-Froidure's pictures are principally of fruit and flowers, and +three have been purchased by the Government. One, "Raisins" (Grapes), is +in the Museum at Commerey; a second, "Hortensias" (Hydrangeas), is in the +Museum of Mans; the third, which was in the Salon of 1903, has not yet +been placed. In 1899 she exhibited a large water-color called "La Barque +fleurie," which was much admired and was reproduced in "L'Illustration." +Her water-color of "Clematis and Virginia Creeper" is in the Museum at +Tunis. In the summer exhibition of 1903, at Évreux, this artist's +"Peonies" and "Iris" were delightfully painted—full of freshness and +brilliancy, such as would be the despair of a less skilful hand.</p> + +<p>At the Limoges Exposition, May to November, 1903, Mme. Faux-Froidure was +announced as hors concours in water-colors.</p> + +<p>La Société Français des Amis des Arts purchased from the Salon, 1903, two +water-colors by Mme. Faux-Froidure—"Roses" and "Loose Flowers," or +"Jonchée fleurie."</p><a name="Page_125"></a> + +<p>Her pictures at the Exposition at Toulouse, spring of 1903, were much +admired. In one she had most skilfully arranged "Peaches and Grapes." The +color was truthful and delicate. The result was a most artistic picture, +in which the art was concealed and nature alone was manifest. A second +picture of "Zinnias" was equally admirable in the painting of the +flowers, while that of the table on which they were placed was not quite +true in its perspective.</p> + +<p>Of a triptych, called the "Life of Roses," exhibited at the Salon des +Artistes Français, 1903, Jules de Saint Hilaire writes: "Mme. +Faux-Froidure was inspired when she painted her charming triptych of +'Rose Life.' In the compartment on the left the roses are twined in a +crown resembling those worn in processions; in the centre, in all its +dazzling beauty, the red rose, the rose of love, is enthroned; while the +panel on the right is consecrated to the faded rose—the souvenir rose, +shrivelled, and lying beside the little casket which it still perfumes +with its old-time sweetness."</p> + +<br> + +<p><b>Fischer, Clara Elizabeth.</b> Born in Berlin, 1856. Studied under +Biermann six years, and later under Julius Jacob. Her pictures are +portraits and genre subjects. Among the latter are "What Will Become of +the Child?" 1886; "Orphaned," "In the Punishment Corner," and "Morning +Devotion."</p> + +<br> + +<p><b>Fischer, Helene von.</b> Born in Bremen, 1843. She first studied under a +woman portrait painter in Berlin; later she was a pupil of Frische in +Düsseldorf, of Robie in Brussels, and of Hertel and Skarbina in Berlin.</p><a name="Page_126"></a> + +<p>She makes a specialty of flowers, fruit, and still-life; her fruit and +flower pieces are beautiful, and her pictures of the victims of the chase +are excellent.</p> + +<br> + +<p><b>Flesch-Brunnengen, Luma von.</b> Born in Brünn in 1856. In Vienna she +worked under Schöner, the interpreter of Venetian and Oriental life, and +later in Munich she acquired technical facility under Frithjof Smith. +Travels in Italy, France, and Northern Africa furnished many of her +themes—mostly interiors with figures, in which the entering light is +skilfully managed. "The Embroiderers," showing three characteristic +figures, who watch the first attempt of their seriously earnest pupil, is +full of humor. In sharp contrast to this is a "Madonna under the Cross," +exhibited at Berlin in 1895, in which the mother's anguish is most +sympathetically rendered. "Devotion," "Shelterless," and the "Kitchen +Garden" are among the paintings which have won her an excellent +reputation as a genre painter.</p> + +<br> + +<p><b>Fleury, Mme. Fanny.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Focca, Signora Italia Zanardelli.</b> Silver medal at Munich, 1893; +diploma of gold medal at Women's Exhibition, London, 1900. Member of +Società Amatorie Pittori di Belle Arti, of the Unione degli Artisti, and +of the Società Cooperativa, all in Rome.</p> + +<p>Born in Padua, 1872. Pupil of Ottin in Paris, and of the Academy of Fine +Arts in Rome.</p> + +<p>The principal works of this sculptor are a "Bacchante," now in St. +Petersburg; "Najade," sold in London; "The<a name="Page_127"></a> Virgin Mother," purchased by +Cavaliere Alinari of Florence; portrait of the Minister Merlo, which was +ordered by the Ministry of Public Instruction. Many other less important +works are in various Italian and foreign cities.</p> + +<p>Signora Focca is a professor of drawing in the Normal Schools of Rome.</p> + +<br> + +<p><b>Foley, Margaret E.</b> A native of New Hampshire. Died in 1877. Without +a master, in the quiet of a country village, Miss Foley modelled busts in +chalk and carved small figures in wood. At length she made some +reputation in Boston, where she cut portraits and ideal heads in cameo. +She went to Rome and remained there. She became an intimate friend of Mr. +and Mrs. Howitt, and died at their summer home in the Austrian Tyrol.</p> + +<p>Among her works are busts of Theodore Parker, Charles Sumner, and others; +medallions of William and Mary Howitt, Longfellow, and Bryant; and +several ideal statues and bas-reliefs.</p> + +<p>In a critical estimate of Miss Foley we read: "Her head of the somewhat +impracticable but always earnest senator from Massachusetts—Sumner—is +unsurpassable and beyond praise. It is simple, absolute truth, embodied +in marble."—<i>Tuckerman's Book of the Artists.</i></p> + +<p>"Miss Foley's exquisite medallions and sculptures ought to be reproduced +in photograph. Certainly she was a most devoted artist, and America has +not had so many sculptors among women that she can afford to forget any +one of them."—<i>Boston Advertiser,</i> January, 1878.</p> + +<br> + +<p><b>Fontaine, Jenny.</b> Silver medal, Julian Academy, 1889; silver medal at +Amiens Exposition, 1890 and 1894; hon<a name="Page_128"></a>orable mention, Paris Salon, 1892; +gold medal at Rouen Exposition, 1893; third-class medal, Salon, 1896; +bronze medal, Paris Exposition, 1900. Officer of the Academy, 1896; +Officer of Public Instruction, 1902. Member of the Société des Artistes +Français, Paris; Société de l'Union Artistique, du Pas-de-Calais, at +Arras; corresponding member of the Academy of Arras. Pupil of Jules +Lefebvre and Benjamin-Constant.</p> + +<p>Mlle. Fontaine paints portraits only—of these she has exhibited +regularly at the Salons for sixteen years. Among her sitters have been +many persons of distinction, both men and women.</p> + +<p>At the Salon of 1902 she exhibited her own portrait; in 1903, portraits +of MM. Rene et Georges D. The <i>Journal des Arts</i>, giving an account of +the exhibition at Rheims, summer, 1903, says: "The portraits here are not +so numerous as one might expect, but they are too fine to be overlooked. +Mlle. Jenny Fontaine has, for a long time, held a distinguished place as +a <i>portraitiste</i> in our Salons, and two of her works are here: a portrait +of a young girl and one of General Jeanningros."</p> + +<br> + +<p><b>Fontana, Lavinia.</b> Born in Bologna, 1552. Her father was a +distinguished portrait painter in Rome in the time of Pope Julius III., +but the work of his daughter was preferred before his own. She was +elected to the Academy of Rome, while her charms were extolled in poetry +and prose.</p> + +<p>Pope Gregory XIII. made her his painter-in-ordinary. Patrician ladies, +cardinals, and Roman nobles contended for the privilege of having their +portraits from her hand.<a name="Page_129"></a> Men of rank and scholars paid court to her, +but, with a waywardness not altogether uncommon, she married a man who +was even thought to be lacking in sense.</p> + +<p>One of her two daughters was blind of one eye, and her only son was so +simple that the loungers in the antechamber of the Pope were accustomed +to amuse themselves with his want of wit. She is said to have died of a +broken heart after the death of this son, and her portrait of him is +considered her masterpiece.</p> + +<p>Her own portrait was one of her most distinguished works, and though it +is in possession of her husband's family, the Zappi, of Imola, it may be +judged by an engraving after it in Rossini's "History of Italian +Painting."</p> + +<p>Many portraits by Lavinia Fontana are in the private collections of +Italian families for whom they were painted. In the Gallery of Bologna +there is a night-scene, the "Nativity of the Virgin," by her, and in the +Escorial is a Madonna lifting a veil to regard the sleeping Jesus, while +SS. Joseph and John stand near by.</p> + +<p>In the churches of San Giacomo Maggiore and of the Madonna del Baracano, +both in Bologna, are Fontana's pictures of the "Madonna with Saints." In +Pieve di Cento are two of her works—a "Madonna" and an "Ascension." It +is said that several pictures by this artist are in England, but I have +failed to find to what collections they belong.</p> + +<p>Lavinia Fontana was a distinguished woman in a notable age, and if, in +translating the tributes that were paid her by the authors of her day, we +should faithfully render their superlatives, these writings would seem +absurd in <a name="Page_130"></a>their exaggerations, and our comparatively cold adjectives +would be taxed beyond their power of expression.</p> + +<br> + +<p><b>Fontana, Veronica.</b> Born in 1576. A pupil of Elisabetta Sirani, who +devoted herself to etching and wood-engraving. She is known from her +exceedingly fine, delicate portraits on wood and etchings of scenes from +the life of the Madonna.</p> + +<br> + +<p><b>Foord, Miss J.</b> A painter of plants and flowers, which are much +praised. An article in the <i>Studio</i>, July, 1901, says: "Miss Foord, by +patient and observant study from nature, has given us a very pleasing, +new form of useful work, that has traits in common; with the +illustrations to be found in the excellent botanical books of the +beginning of the nineteenth century." After praising the works of this +artist, attention is called to her valuable book, "Decorative Flower +Studies," illustrated with forty plates printed in colors.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Foote, Mary Hallock.</b> Born in Milton, New York. At New York School of +Design for Women this artist studied anatomy and composition under +William Rimmer, and drawing on wood and black and white under William J. +Linton. Mrs. Foote is a member of the Alumni of the School of Design.</p> + +<p>Her illustrations have been exhibited by the publishers for whom they +were made. In the beginning her work was suited to the taste and custom +of the time. She illustrated the so-called "Gift Books" and poems in the +elaborate fashion of the period. Later she was occupied <a name="Page_131"></a>principally in +illustrations for the Century Company and Houghton, Mifflin & Co. Mrs. +Foote writes that Miss Regina Armstrong—now Mrs. Niehaus—in a series of +articles on "Women Illustrators of America," whom she divided into +classes, placed her with the "Story-Tellers."</p> + +<br> + +<p><b>Forbes, Mrs. Stanhope.</b> Mr. Norman Gastin, in an article upon the +work of the Royal Academician, Stanhope Forbes, in the <i>Studio</i>, July, +1901, pays the following tribute to the wife of the artist, whose maiden +name was Elizabeth Armstrong:</p> + +<p>"Mrs. Stanhope Forbes's work does not ask you for any of that chivalrous +gentleness which is in itself so derogatory to the powers of women. As an +artist she stands shoulder to shoulder with the very best; she has taste +and fancy, without which she could not be an artist. But what strikes one +about her most is summed up in the word 'ability.' She is essentially +able. The work which that wonderful left hand of hers finds to do, it +does with a certainty that makes most other work look tentative beside +hers. The gestures and poses she chooses in her models show how little +she fears drawing, while the gistness of her criticism has a most solvent +effect in dissolving the doubts that hover round the making of pictures."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Forti, Enrica.</b> Rome.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Fortin de Cool, Delfina.</b> Third-class medal, Madrid, 1864, for the +following works reproduced on porcelain:<a name="Page_132"></a> the "Conception" of Murillo, +the "Magdalen" of Antolinez, and the portrait of Alonso Cano by +Velazquez; also a portrait on ivory of a young girl.</p> + +<p>This artist, who was French by birth, was a pupil of her father. For +paintings executed in the imperial works at Sèvres, she was awarded +prizes at Blois, Besançon, Rouen, Perigueux, and Paris.</p> + +<br> + +<p><b>Foulques, Elisa.</b> Born in Pjatigorsk, in the Caucasus. She came under +Italian influence when but four years old, and was taken to Naples. At +the Institute of the Fine Arts she was a pupil of Antoriello, Mancinelli, +Perrisi, and Solari. She received a diploma when leaving the Institute. +Her picture, "Mendica," was exhibited in Naples, 1886; "Un ultimo +Squardo" and "Sogno," 1888. In London, in 1888, "Tipo Napoletano," +"Studio dal vero," and "Ricordi" were exhibited. Since 1884 this artist +has taught drawing in the Municipal School for Girls in Naples, and has +executed many portraits in oil, as well as numerous pastels and +water-colors. Among her later works are "La Figlia del Corsaro," "Chiome +nere," "Una Carezza al Nonno," and "Di Soppiatto."</p> + +<br> + +<p><b>Frackleton, Susan Stuart.</b> Medal at Antwerp Exposition, 1894; at +Paris Exposition, 1900. Founder and first president of National League of +Mineral Painters; member of Park and Outdoor Association. Born at +Milwaukee, 1848. Pupil of private studios in Milwaukee and New York.</p> + +<p>Mrs. Frackleton's gas-kilns for firing decorated china and glass are well +known; also her book, "Tried by Fire," a treatise on china painting. As a +ceramic artist she has <a name="Page_133"></a>exhibited in various countries, and has had +numerous prizes for her work. She declined the request of the Mexican +Government to be at the head of a National School of Ceramic Decoration, +etc. She is also a lecturer on topics connected with the so-called arts +and crafts.</p> + +<br> + +<p><b>Freeman, Florence.</b> Born in Boston. 1836-1883. Pupil of Richard S. +Greenough in Boston and of Hiram Powers in Florence, Italy. After a year +in Florence she went to Rome, where she made her home. Among her works +are a bust of "Sandalphon," which belonged to Mr. Longfellow, bas-reliefs +of Dante, and a statue of the "Sleeping Child."</p> + +<p>She sent to the Exhibition in Philadelphia, 1876, a chimney-piece on +which were sculptured "Children and the Yule-Log and Fireside Spirits." +This was purchased by Mrs. Hemenway, of Boston.</p> + +<p>"Her works are full of poetic fancy; her bas-reliefs of the seven days of +the week and of the hours are most lovely and original in conception. Her +sketches of Dante in bas-reliefs are equally fine. Her designs for +chimney-pieces are gems, and in less prosaic days than these, when people +were not satisfied with the work of mechanics, but demanded artistic +designs in the commonest household articles, they would have made her +famous."—<i>The Revolution</i>, May, 1871.</p> + +<br> + +<p><b>French, Jane Kathleen.</b> Member of the Water-Color Society of Ireland. +Born in Dublin. Studied in Brussels under M. Bourson, and in Wiesbaden +under Herr Kögler. Miss French is a miniaturist and exhibited at the +Royal Academy, London, in 1901, a case of her works which <a name="Page_134"></a>she was later +specially invited to send to an exhibition in Liverpool, and several +other exhibits.</p> + +<p>The last two years she has exhibited in Ireland only, as her commissions +employ her time so fully that she cannot prepare for foreign expositions.</p> + +<br> + +<p><b>Freyberg, Baroness Marie Electrine.</b> Elected to the Academy of St. +Luke, 1822. Born in Strassburg. 1797-1847. Daughter and pupil of the +landscape painter, Stuntz. After travelling in France and Italy, making +special studies in Rome, she settled in Munich. She painted historical +and religious subjects, and a few portraits. "Zacharias Naming the Little +St. John" is in the New Picture Gallery, Munich; in the same gallery is +also a portrait called the "Boy Playing a Flute"; in the Leuchtenberg +Gallery, Petersburg, is her "Three Women at the Sepulchre." She painted a +picture called the "Glorification of Religion through Art" and a "Madonna +in Prayer." She also executed a number of lithographs and etchings.</p> + +<br> + +<p><b>Friedländer, Camilla.</b> Born in Vienna, 1856. She was instructed by +her father, Friedrich Friedländer. Among her numerous paintings of house +furniture, antiquities, and dead animals should be especially mentioned +her picture in the Rudolfinum at Prague, which represents all sorts of +drinking-vessels, 1888. Some critics affirm that she has shown more +patience and industry than wealth of artistic ideas, but her still-life +pictures demanded those qualities and brought her success and artistic +recognition.</p> + +<br> + +<p><b>Friedrich, Caroline Friederike.</b> Born in Dresden. 1749-1815. Honorary +member of Dresden Academy.<a name="Page_135"></a> In the Dresden Gallery is a picture by this +artist, "Pastry on a Plate with a Glass of Wine," signed 1799.</p> + +<br> + +<p><b>Friedrichson, Ernestine.</b> Born in Dantzig, 1824. Pupil of Marie +Wiegmann in Düsseldorf, and later of Jordan and Wilhelm Sohn. While still +a student she visited Holland, Belgium, England, and Italy. Her favorite +subjects were scenes from the every-day life of Poles and Jews.</p> + +<p>Her best pictures were sold to private collectors. Among these are +"Polish Raftsmen Resting in the Forest," 1867; "Polish Raftsmen before a +Crucifix," 1869; "A Jew Rag-picker," 1870; "The Jewish Quarter in +Amsterdam on Friday Evening," 1881; "A Goose Girl," 1891.</p> + +<br> + +<p><b>Fries, Anna.</b> Silver medal at Berne, 1857; two silver medals from the +Academy of Urbino; silver medal at the National Exposition by Women in +Florence. Honorary member of the Academy Michael Angela, Florence, and of +the Academy of Urbino. Born in Zürich, 1827. She encountered much +opposition to her desire to study art, but her talent was so manifest +that at length she was permitted to study drawing in Zürich, and her +rapid progress was finally recognized and she was taken to Paris, where +the great works of the masters were an inspiration to her. She has great +individuality in her pictures, which have been immoderately praised. She +visited Italy, and in 1857 went to Holland, where she painted portraits +of Queen Sophia and the Prince of Orange. She returned to Zürich and was +urged to remain in Switzerland, but she was ambitious of further study, +and went again to<a name="Page_136"></a> Florence. She there painted a portrait of the Grand +Duchess Marie of Russia. She turned her attention to decorative painting, +and her success in this may be seen in the facades of the Schmitz villa, +the Schemboche establishment, and her own home. When we consider the +usual monotony of this art, the charming effects which Mme. Fries has +produced make her distinguished in this specialty.</p> + +<br> + +<p><b>Frishmuth, Harriet Whitney.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Fritze, Margarethe Auguste.</b> Born in Magdeburg, 1845. This genre +painter worked first in Bremen, and went in 1873 to Munich, where she +studied with Grützner and Liezen-Meyer. The most significant of her +pictures is "The Little Handorgan-Player with His Monkey." She has also +executed many strong portraits, and her painting is thought to show the +influence of A. von Kotzebue and Alexander Wagner. In 1880 she spent some +time in Stuttgart, and later settled in Berlin.</p> + +<br> + +<p><b>Froriep, Bertha.</b> Born in Berlin, 1833. Pupil of Martersteig and +Pauwels in Weimar. This artist's pictures were usually of genre subjects. +Her small game pictures with single figures are delightful. She also +painted an unusually fine portrait of Friedrich Rückert. At an exhibition +by the women artists of Berlin, 1892, a pen study by Fräulein Froriep +attracted attention and was admired for its spirit and its clear +execution.</p> + +<br> + +<p><b>Frumerie, Mme. de.</b> Honorable mention at the Salon des Artistes +Français in 1893 and 1895. Born in Sweden, <a name="Page_137"></a>she studied in the School of +Fine Arts in Stockholm. There she gained a prize which entitled her to +study abroad during four years.</p> + +<p>She has exhibited her works in Paris, and to the Salon of Les Femmes +Peintres et Sculpteurs, in February, 1903, she contributed a bust of +Strindberg which was a delightful example of life-like portraiture.</p> + +<br> + +<p><b>Fuller, Lucia Fairchild.</b> Bronze medal, Paris Exposition, 1900; +silver medal, Buffalo Exposition, 1901. Member of the Society of American +Artists and of the American Society of Miniature Painters. Born in +Boston. Studied at the Cowles Art School, Boston, under Denis M. Bunker, +and at the Art Students' League, New York, under H. Siddons Mowbray and +William M. Chase.</p> + +<p>Mrs. Fuller is a most successful miniature painter. Among her principal +works are "Mother and Child," in the collection of Mrs. David P. Kimball, +Boston; "Girl with a Hand-Glass," owned by Hearn; and "Girl Drying Her +Feet," for which the medal was given in Paris.</p> + +<p>Mrs. Fuller's miniatures are portraits principally, and are in private +hands. Some of her sitters in New York are Mrs. J. Pierpont Morgan and +her children, Mrs. H. P. Whitney and children, J. J. Higginson, Esq., Dr. +Edwin A. Tucker, and many others.</p> + +<br> + +<p><b>Gaggiotti-Richards, Emma.</b> Historical and portrait painter, of the +middle of the nineteenth century, is known by her portrait of Alexander +von Humboldt (in possession of the Emperor William II.) and by her +portrait of herself before her easel. Her historical paintings include +"The Crusader" and a "Madonna."</p><a name="Page_138"></a> + +<br> + +<p><b>Galli, Emira.</b> Reproduces with great felicity the customs of the +lagoons, the boys and fishermen of which she represents with marvellous +fidelity. She depicts not only characteristics of features and dress, but +of movement. "Giovane veneziana" and "Ragazzo del Popolo" were exhibited +at Turin in 1880, and were much admired. "Il Falconiere" was exhibited at +both Turin and Milan. "Un Piccolo Accattone" has also been accorded warm +praise.</p> + +<br> + +<p><a name="Gardner"></a><b>Gardner, Elizabeth Jane.</b> Honorable mention, Paris Salon, 1879; gold +medal, 1889; hors concours. Born in Exeter, New Hampshire, 1851, her +professional life has been spent in Paris, where she was a pupil of +Hugues Merle, Lefebvre, and M. William A. Bouguereau, whom she married.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Garrido y Agudo, Maria de la Soledad.</b> Born in Salamanca. Pupil of +Juan Peyró. She exhibited two works at the National Exposition, 1876—a +portrait and a youth studying a picture. In 1878 she sent to the same +exposition "The Sacrifice of the Saguntine Women." At the Philadelphia +Exposition, 1876, she exhibited her "Messenger of Love." Her "Santa +Lucia" is in the church of San Roque de Gardia.</p> + +<br> + +<p><b>Gasso y Vidal, Leopolda.</b> Honorable mention, 1876. Prizes, 1876, for +two works sent to the Provincial Exposition of Leon. Member of the +Association of Authors and Artists, 1876. Born in the Province of Toledo. +Pupil of Manuel Martinez Ferrer and Isidoro Lozano. At Madrid, in 1881, +she exhibited "A Pensioner," "A<a name="Page_139"></a> Beggar," a portrait of Señorita M. J., +and a landscape; in 1878, "A Coxcomb," "Street Venders of Ávila," and a +landscape; and in 1881, at an exhibition held by D. Ricardo Hernandez, +were seen a landscape and a portrait of D. Lucas Aguirre y Juarez.</p> + +<br> + +<p><b>Geefs, Mme. Fanny Isabelle Marie.</b> Born at Brussels. 1814-1883. Wife +of the sculptor, Guillaume Geefs. A painter of portraits and genre +subjects which excel the historical pictures she also painted. Her +"Assumption of the Virgin" is in a church at Waterloo; "Christ Appearing +to His Disciples," in a church at Hauthem. "The Virgin Consoling the +Afflicted" was awarded a medal in Paris, and is in the Hospital of St. +John at Brussels. The "Virgin and Child" was purchased by the Belgian +Government. Her portraits are good, and among her genre subjects the +"Young Mother," the "Sailor's Daughter," and "Ophelia" are attractive and +artistic in design and execution.</p> + +<br> + +<p><b>Gelder, Lucia van.</b> Born in Wiesbaden. 1864-1899. This artist was the +daughter of an art dealer, and her constant association as a child with +good pictures stimulated her to study. In Berlin she had lessons in +drawing with Liezenmayer, and in color with Max Thedy. She was also a +constant student at the galleries. She began to work independently when +eighteen, and a number of her pictures achieved great popularity, being +reproduced in many art magazines. "The Little Doctor," especially, in +which a boy is feeling, with a grave expression of knowledge, the pulse +of his sister's pet kitten, has been widely copied in photographs, +wood-engravings, and in <a name="Page_140"></a>colors. She repeated the picture in varying +forms. She died in Munich, where she was favorably known through such +works as "The Village Barber," "Contraband," "The Wonderful Story," "At +the Sick Bed," and "The Violin Player," the last painted the year before +her death.</p> + +<br> + +<p><b>Gentileschi, Artemisia.</b> 1590-1642. A daughter of Orazio Gentileschi, +whom she accompanied to England when he was invited to the court of +Charles I. Artemisia has been called the pupil, and again the friend, of +Guido Reni. Whatever the relation may have been, there is no doubt that +the manner of her painting was influenced by Guido, and also by her study +of the works of Domenichino.</p> + +<p>Wagner says that she excelled her father in portraits, and her own +likeness, in the gallery at Hampton Court, is a powerful and life-like +picture. King Charles had several pictures from her hand, one of which, +"David with the Head of Goliath," was much esteemed. Her "Mary Magdalene" +and "Judith with the Head of Holofernes" are in the Pitti Palace. The +latter work is a proof of her talent. Lanzi says: "It is a picture of +strong coloring, of a tone and intensity which inspires awe." Mrs. +Jameson praised its execution while she regretted its subject.</p> + +<a name="image-007"></a> +<p class="ctr"><a href="./images/007.jpg"><img src="./images/007_th.jpg" alt="Alinari, Photo. In the Pitti Gallery, Florence. JUDITH WITH THE HEAD OF HOLOFERNES. Artemisia Gentileschi"></a></p> +<p class="ctr">Alinari, Photo.</p> +<p class="ctr">In the Pitti Gallery, Florence</p> +<p class="ctr">JUDITH WITH THE HEAD OF HOLOFERNES</p> +<p class="ctr">Artemisia Gentileschi</p> + +<p>Her picture of the "Birth of John the Baptist," in the Gallery of the +Prado, is worthy of attention, even in that marvellous collection, where +is also her "Woman Caressing Pigeons." The Historical Society of New York +has her picture of "Christ among the Doctors."</p> + +<p>After her return to Italy from England, this artist was <a name="Page_141"></a>married and +resided in Naples. Several of her letters are in existence. They tell of +the manner of her life and give an interesting picture of Neapolitan +society in her day.</p> + +<br> + +<p><b>Gessler de Lacroix, Alejandrena</b>—known in art circles as Madame +Anselma. Gold medal at Cadiz, 1880. Honorary member of the Academy of +Cadiz. She has spent some years in Paris, where her works are often seen +in exhibitions. Her medal picture at Cadiz was an "Adoration of the +Cross." One of her most successful works is called "The Choir Boys."</p> + +<br> + +<p><b>Giles, Miss—Mrs. Bernard Jenkin.</b> This sculptor exhibited a +life-size marble group, called "In Memoriam," at the Royal Academy in +1900, which attracted much attention. It was graceful in design and of a +sympathetic quality. At an open competition in the London Art Union her +"Hero" won the prize. In 1901 she exhibited an ambitious group called +"After Nineteen Hundred Years, and still They Crucify." It was excellent +in modelling, admirable in sentiment, and displayed strength in +conception and execution.</p> + +<br> + +<p><b>Ginassi, Caterina.</b> Born in Rome, 1590. This artist was of noble +family, and one of her uncles, a Cardinal, founded the Church of Santa +Lucia, in which Caterina, after completing her studies under Lanfranco, +painted several large pictures. After the death of the Cardinal, with +money which he had given her for the purpose, Caterina founded a +cloister, with a seminary for the education of girls.</p> + +<p>As Abbess of this community she proved herself to be <a name="Page_142"></a>of unusual ability. +In her youth she had been trained in practical affairs as well as in art, +and, although she felt that "the needle and distaff were enemies to the +brush and pencil," her varied knowledge served her well in the +responsibilities she had assumed, and at the head of the institution she +had founded she became as well known for her executive ability as for her +piety.</p> + +<p>Little as the works of Lanfranco appeal to us, he was a notable artist of +the Carracci school; Caterina did him honor as her master, and, in the +esteem of her admirers, excelled him as a painter.</p> + +<br> + +<p><b>Girardet, Berthe.</b> Gold medal at the Paris Exposition, 1900; +honorable mention, Salon des Artistes Français, 1900; ten silver medals +from foreign exhibitions. Member of the Société des Artistes Français and +the Union des femmes peintres et sculpteurs. Born at Marseilles. Her +father was Swiss and her mother a Miss Rogers of Boston. She was a pupil +for three months of Antonin-Carlès, Paris. With this exception, Mme. +Girardet writes: "I studied mostly alone, looking to nature as the best +teacher, and with energetic perseverance trying to give out in a concrete +form all that filled my heart."</p> + +<a name="image-008"></a> +<p class="ctr"><a href="./images/008.jpg"><img src="./images/008_th.jpg" alt="GIVE US THIS DAY OUR DAILY BREAD. Berthe Girardet"></a></p> +<p class="ctr">GIVE US THIS DAY OUR DAILY BREAD</p> +<p class="ctr">Berthe Girardet</p> + +<p>Among her works are: "L'Enfant Malade," bought by the city of Paris and +placed in the Petit Palais des Champs Élysées; a group called the +"Grandmother's Blessing," purchased by the Government and placed in a +public museum; the bust of an "Old Woman," acquired by the Swiss +Government and placed in the Museum of Neuchâtel; a group, the "Madonna +and Child," for which the artist received the gold medal; and two groups +illustrat<a name="Page_143"></a>ing the prayer, "Give us this day our daily bread." Also +portrait statues and busts belonging to private collections.</p> + +<p>At the Salon des Artistes Français, 1902, Mme. Girardet exhibited the +"Grandmother's Blessing" and "L'Enfant Malade." At the same Salon, 1903, +the two groups illustrating the Lord's Prayer.</p> + +<p>A writer, G. M., in the <i>Studio</i> of December, 1902, writes: "Prominent +among the women artists of the day whose talents are attracting attention +is Mme. Berthe Girardet. She has a very delicate and very tender vision +of things, which stamps her work with genuine originality. She does not +seek her subjects far from the life around her; quite the reverse; and +therein lies the charm of her sculpture—a great, sincere, and simple +charm, which at once arouses one's emotion. What, for instance, could be +more poignantly sad than this 'Enfant Malade' group, with the father, +racked with anxiety, bending over the pillow of his fragile little son, +and the mother, already in an attitude of despair, at the foot of the +bed? The whole thing is great in its profound humanity.</p> + +<p>"The 'Bénédiction de l'Aïeule' is less tragic. Behind the granddaughter, +delightful in her white veil and dress of a <i>première communicante</i>, +stands the old woman, her wrinkled face full of quiet joy. She is +thinking of the past, moved by the melancholy of the bells, and she is +happy with a happiness with which is mingled something of sorrow and +regret. It is really exquisite. By simple means Mme. Berthe Girardet +obtains broad emotional effects. She won a great and legitimate success +at the Salon of the Société des Artistes Français."</p><a name="Page_144"></a> + +<br> + +<p><b>Gleichen, Countess.</b> Bronze medal at Paris Exposition, 1900. +Honorable member of Royal Institute of Painters in Water-Colors, of Royal +Society of Painter Etchers. Sculptor. Pupil of her father, Prince Victor +of Hohenlohe, and of the Slade School, London; also of Professor Legros. +She has exhibited regularly at the Royal Academy since 1893.</p> + +<p>In 1895 she completed a life-size statue of Queen Victoria for the +Victoria Hospital, Montreal. The Queen is represented in royal robes, +with one child asleep on her knee, while another, with its arm in a +sling, stands on the steps of the throne. Shortly before the Queen's +death she gave sittings to Countess Gleichen, who then executed a bust of +her majesty, now at the Cheltenham Ladies' College. The Constitutional +Club, London, has her bust of Queen Alexandra, which was seen at the +Academy in 1895. Her "Satan" attracted much attention when exhibited in +1894. He is represented as seated on a throne composed of snakes, while +he has scales and wings and is armed like a knight. In 1899 her statue of +"Peace" was more pleasing, while a hand-mirror of jade and bronze was +much admired both in London and Paris, where it was seen in the +Exposition of 1900. In 1901 she executed a fountain with a figure of a +nymph for a garden in Paris; a year later, a second fountain for W. +Palmer, Esq., Ascot. She has made a half-length figure of Kubelik. Her +sculptured portraits include those of Sir Henry Ponsonby, Mme. Calvé, +Mrs. Walter Palmer, and a bust of the late Queen, in ivory, which she +exhibited in 1903.</p><a name="Page_145"></a> + +<br> + +<p><b>Gleichen, Countess Helena.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Gloag, Isobel Lilian.</b> Born in London, the daughter of Scotch +parents. Her early studies were made at St. John's Wood Art School, +preparatory to entering the School of the Royal Academy, but the +conservative and academic training of these institutions so displeased +her that she went to the Slade School. Ill health compelled her to put +aside all plans for regular study, and she entered Ridley's studio for +private instruction, following this with work at the South Kensington +Museum. After still further study with Raphael Collin in Paris, she +returned to London and soon had her work accepted at the Royal Academy. +Miss Gloag is reported as saying that women have little sense of +composition, a failing which she does not seem to share; in this respect +and as a colorist she is especially strong. "Rosamond," in which the +charming girl in a purple robe, sitting before an embroidery frame, is +startled by the shadow of Queen Eleanor bearing the poisoned cup, +displays these qualities to great advantage. The leafy bower, the hanging +mantle, show great skill in arrangement and a true instinct for color. +"The Magic Mantle," "Rapunzel," and the "Miracle of the Roses" have +all—especially, the first named—made an impression; another and +strikingly original picture, called the "Quick and the Dead," represents +a poorhouse, in the ward of which is a group of old women surrounded by +the ghosts of men and children. Miss Gloag has also made some admirable +designs for stained-glass windows. She has <a name="Page_146"></a>been seriously hampered by +ill health, and her achievements in the face of such a drawback are all +the more remarkable.</p> + +<br> + +<p><b>Godewyck, Margaretta.</b> Born at Dort, 1627. A pupil of the celebrated +painter, Nicholas Maas. She excelled as a painter of flowers, and was +proficient in both ancient and modern languages. She was called by +authors of her time, "the lovely flower of Art and Literature of the +Merwestrom," which is a poetical way of saying Dordrecht!</p> + +<br> + +<p><b>Golay, Mary—Mme. Speich Golay.</b> Silver medal at Geneva Exposition, +1896; eighteen medals and rewards gained in the Art Schools of Geneva, +and the highest recompense for excellence in composition and decoration. +Member of the Amis des Beaux-Arts, Geneva; Société vaudoise des Beaux +Arts, Lausanne. Born in Geneva and studied there under Mittey for flower +painting, composition, and ceramic decoration; under Gillet for figure +painting.</p> + +<p>Mme. Golay has executed a variety of pictures both in oil and +water-colors. In an exhibition at the Athénée in Geneva, in the autumn of +1902, she exhibited two pictures of sleep, which afforded an almost +startling contrast. They were called "Sweet Sleep" and the "Eternal +Sleep." The first was a picture of a beautiful young woman, nude, and +sleeping in the midst of roses, while angels watching her inspire rosy +dreams of life and love. The roses are of all possible shades, rendered +with wonderful freshness—scarlet roses, golden roses—and in such masses +and so scattered about the nude figure as to give it a character <a name="Page_147"></a>of +purity and modesty. The flesh tints are warm, the figure is supple in +effect, and the whole is a happy picturing of the sleep and dream of a +lovely young woman who has thrown herself down in the carelessness of +solitude.</p> + +<p>It required an effort of will to turn to the second picture. Here lies +another young woman, in her white shroud, surrounded with lilies as white +as her face, on which pain has left its traces. In the artistic speech of +the present day, it is a symphony in white. The figure is as rigid as the +other is supple; it is frightfully immovable—and yet the drawing is not +exaggerated in its firmness. Certainly these contrasting pictures witness +to the skill of the artist. Without doubt the last is by far the most +difficult, but Mme. Golay has known how to conquer its obstacles.</p> + +<p>A third picture by this artist in the exhibition is called the "Abundance +of Spring." Mme. Golay's reputation as a flower painter has been so long +established that one need not dwell on the excellence of the work. A +writer in the Geneva <i>Tribune</i> exclaims: "One has never seen more +brilliant peonies, more vigorous or finer branches of lilacs, or iris +more delicate and distinguished. How they breathe—how they live—how +they smile—these ephemeral blossoms!"</p> + +<br> + +<p><b>Gonzalez, Inés.</b> Member of the Academy San Carlos of Valencia. In the +expositions of 1845 and 1846 in that city she was represented by several +miniatures, one of which, "Dido," was much admired. Another—the portrait +of the Baron of Santa Barbara—was acquired by <a name="Page_148"></a>the Economic Society of +Valencia. In the Provincial Museum is her picture of the "Two Smokers."</p> + +<br> + +<p><b>Granby, Marchioness of.</b> Replies as follows to circular: "Lady Granby +has been written about by Miss Tomlinson, 20 Wigmore Street, London, W. +And I advise you if you really want any information to get it from her. +V. G."</p> + +<p>I was not "<i>really</i>" anxious enough to be informed about Lady Granby—who +drops so readily from the third person to the first—to act on her +advice, which I give to my readers, in order that any one who does wish +to know about her will be able to obtain the information!</p> + +<br> + +<p><b>Grant, Mary R.</b> This sculptor studied in Paris and Florence, as well +as in London, where she was a pupil of J. H. Foley, R.A. She has +exhibited at the Royal Academy since 1870. She has executed portraits of +Queen Victoria, Georgina, Lady Dudley, the Duke of Argyll, Mr. C. +Parnell, M.P., and Sir Francis Grant, P.R.A.</p> + +<p>Her memorial work includes a relief of Dean Stanley, Royal Chapel, +Windsor; and a relief of Mr. Fawcett, M.P., on the Thames Embankment. The +late Queen gave Miss Grant several commissions. In Winchester Cathedral +is a screen, on the exterior of Lichfield Cathedral a number of figures, +and in the Cathedral of Edinburgh a reredos, all the work of this artist. +At the Royal Academy, 1903, she exhibited a medallion portrait in bronze.</p> + +<br> + +<p><b>Gratz, Marie.</b> Born at Karlsruhe, 1839. This portrait painter was a +pupil of Bergmann, and later of Schick and Canon. Among her best-known +portraits are those <a name="Page_149"></a>of Prince and Princess Lippe-Detmold, Princess +Hohenlohe-Langenburg, Prince Wittgenstein, the hereditary Princess Reuss, +and Princess Biron von Kurland.</p> + +<br> + +<p><b>Gray, Sophie de Butts.</b> First honor, Maryland Institute; second +honor, World's Fair, New Orleans; gold medal, Autumn Exhibition, +Louisville, 1898; first and second premiums, Nelson County Fair, 1898.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Greatorex, Eliza.</b> In 1869 Mrs. Greatorex was elected associate +member of the National Academy, New York, and was the first woman member +of the Artists' Fund Society of New York. Born in Ireland. 1820-1897. +Studied under Witherspoon and James and William Hart in New York; under +Lambinet in Paris; and at the Pinakothek in Munich. Mrs. Greatorex +visited England, Paris, Italy, and Germany, spending a summer in +Nuremberg and one in Ober-Ammergau.</p> + +<p>Among her most important works are "Bloomingdale," which was purchased by +Mr. Robert Hoe; "Château of Madame Cliffe," the property of Dykeman van +Doren; "Landscape, Amsterdam"; pictures of "Bloomingdale Church," "St. +Paul's Church," and the "North Dutch Church," all painted on panels taken +from these churches.</p> + +<p>Mrs. Greatorex illustrated the "Homes of Ober-Ammergau" with etchings, +published in Munich in 1871; also "Summer Etchings in Colorado," +published in 1874; and "Old New York from the Battery to Bloomingdale," +published in 1875. Eighteen of the drawings for the "Old New York" were +at the Philadelphia Exhibition, 1876.</p><a name="Page_150"></a> + +<br> + +<p><b>Greenaway, Kate.</b> Member of the Royal Institute of Painters in +Water-Colors, 1890. Born in London. 1846-1901. Her father was a +well-known wood-engraver. Miss Greenaway first studied her art at the +South Kensington School; then at Heatherley's life class and at the Slade +School. She began to exhibit at the Dudley Gallery in 1868.</p> + +<p>Her Christmas cards first attracted general attention to her as an +artist. Their quaint beauty and truthful drawing in depicting children, +young girls, flowers, and landscape soon made them more popular than the +similar work of other artists. These cards sold by thousands on both +sides of the Atlantic and secured consideration for any other work she +might do.</p> + +<p>She soon made illustrations for <i>Little Folks</i> and the <i>London News</i>. In +1879 "Under the Window" appeared, and one hundred and fifty thousand +copies were sold; it was also translated into French and German. The +"Birthday Book," "Mother Goose," and "Little Ann" followed and were +accorded the heartiest welcome. It is said that for the above four toy +books she received $40,000. Wherever they went—and they were in all +civilized countries—they were applauded by artists and critics and loved +by all classes of women and children. One can but hope that Kate +Greenaway realized the world-wide pleasure she gave to children.</p> + +<p>The exhibition of her works at the Gallery of the Fine Arts Society, +since her death, was even more beautiful than was anticipated. The grace, +delicacy, and tenderness with which her little people were created +impressed <a name="Page_151"></a>one in an entire collection as no single book or picture could +do.</p> + +<p>It has been said that "Kate Greenaway dressed the children of two +continents," and, indeed, her revival of the costumes of a hundred years +ago was delightful for the children and for everybody who saw them.</p> + +<p>Among her papers after her death many verses were found. Had she lived +she would doubtless have acquired the courage to give them to the world. +She was shy of strangers and the public; had few intimates, but of those +few was very fond; the charm of her character was great—indeed, her +friends could discover no faults in her; her personality and presence +were as lovely to them as were her exquisite flowers.</p> + +<br> + +<p><b>Greene, Mary Shepard.</b> Third-class medal, 1900, second-class medal, +1902, at Salon des Artistes Français. Her picture of 1902 is thus spoken +of in <i>Success</i>, September of that year:</p> + +<p>"'Une Petite Histoire' is the title of Miss Mary Shepard Greene's +graceful canvas. The lithe and youthful figure of a girl is extended upon +a straight-backed settle in somewhat of a Récamier pose. She is intently +occupied in the perusal of a book. The turn of the head, the careless +attitude, and the flesh tints of throat and face are all admirably +rendered. The diaphanous quality of the girlish costume is skilfully +worked out, as are also the accessories of the room. Miss Greene's work +must commend itself to those who recognize the true in art. Technical +dexterity and a fine discrimination of color are attributes of this +conscientious artist's <a name="Page_152"></a>work. She has a rare idea of grace and great +strength of treatment.</p> + +<p>"Miss Greene's canvas has a charm all its own, and is essentially +womanly, while at the same time it is not lacking in character. Hailing +from New England, her first training was in Brooklyn, under Professor +Whittaker, from whom she received much encouragement. Afterward she came +under the influence of Herbert Adams, and, after pursuing her studies +with that renowned artist, she went to Paris, where she was received as a +pupil by Raphael Collin. She has exhibited at Omaha, Pittsburg, and at +the Salon. Her first picture, called 'Un Regard Fugitif,' won for her a +medal of the third class."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Grey, Mrs. Edith F.</b> Member of the Society of Miniaturists, Royal +Institute of Painters in Water-Colors, Bewick Club, and Northumbrian Art +Institute, Newcastle-on-Tyne. Born at the last-named place, where she +also made her studies in the Newcastle School of Art, and later under +private masters in London.</p> + +<p>Mrs. Grey has exhibited miniatures and pictures in both oils and +water-colors at the Royal Society of British Artists, the Royal Academy, +the Royal Institute of Painters in Water-Colors, and the exhibitions at +Liverpool, Manchester, and York. Since 1890 she has continuously +exhibited at the Academy of the Royal Institute, London, except in 1895 +and 1902.</p> + +<p>Mrs. Grey was fortunate in having the first picture she sent to London +sold, and has continued to find purchasers <a name="Page_153"></a>for her exhibited works, +which are now in many private collections and number about one hundred +and fifty. "Empty," a child study in oils, 1897, and a water-color, "A +Silver Latch," 1900, are among her important works.</p> + +<p>To the Academy Exhibition, 1903, she sent a picture of "Nightfall, +Cullercoats," and a portrait of "Lily, daughter of Mrs. J. B. Firth."</p> + +<br> + +<p><b>Guild, Mrs. Cadwallader.</b> I quote from the Boston <i>Transcript</i> a +portion of an article relative to this sculptor, some of whose works were +exhibited in Boston in 1903:</p> + +<p>"In spite of the always suspected journalistic laudations of Americans +abroad, in spite of the social vogue and intimacy with royalty which +these chronicle, the work of Mrs. Guild shows unmistakable talent and +such a fresh, free spirit of originality that one can almost accept the +alleged dictum of Berlin that Mrs. Guild 'is the greatest genius in +sculpture that America has ever had.'</p> + +<p>"The list of Mrs. Guild's works executed abroad include a painting +belonging to the very beginning of her career, of still-life in oils, +which was accepted and well hung at the Royal Academy in London; but it +is in Berlin that she has been especially successful. To her credit there +are: A bust of her royal highness the Princess Christian of +Schleswig-Holstein; Mr. Gladstone, in marble and bronze; G. F. Watts, in +bronze, for the 'Permanent Manchester Art Exhibition'; Mr. Peter +Brotherhood, inventor of a torpedo engine, in marble and bronze, which +held the place of honor at the Royal Academy the year of its exhibition; +Princess Henry of Prussia, in marble; her highness Princess Helena of +Saxe-Altenburg; his excel<a name="Page_154"></a>lency the Baron von Rheinbaben, minister of +finance; his excellency Dr. Studt, minister of education in art; Prof. +Dr. Henry Thode, of the Heidelberg University; Hans Thoma and Joachim, +the violinist; Felix Weingartner; statuette of her royal highness +Princess Henry with her little son Prince Henry."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Gunther-Amberg, Julie.</b> Born in Berlin, 1855. Daughter and pupil of +Wilhelm Amberg; later she studied under Gussow. She painted attractive +scenes of domestic life, the setting for these works often representing a +landscape characteristic of the shore of the Baltic Sea. Among these +pictures are "Schurr-Meer," "The Village Coquette," "Sunday Afternoon," +"At the Garden Gate," and "Harvest Day in Misdroy." In 1886 this artist +married Dr. Gunther, of Berlin.</p> + +<br> + +<p><b>Guyon, Maximiliènne.</b> Medal of third class, Paris salon, 1888; +honorable mention and medal of third class at Exposition Universelle, +1889; travelling purse, 1894—first woman to whom the purse was given; +bronze medal, Paris Exposition, 1900; gold medal at Exposition of Black +and White, Paris; medal in silver-gilt at Amiens. Mme. Guyon is hors +concours at Lyons, Versailles, Rouen, etc. Member of the Société des +Artistes Français, Société des Aquarellistes Français, and of the Société +des Prix du Salon et Boursiers de Voyage. Born at Paris. Pupil of the +Julian Academy under Robert-Fleury, Jules Lefebvre, and Gustave +Boulanger.</p> + +<p>Mme. Guyon is a successful portrait painter, and her <a name="Page_155"></a>works are numerous. +Among her pictures of another sort are the "Violinist" and "The River." +In the Salon des Artistes Français, 1902, she exhibited two portraits. In +1903 she exhibited "Mending of the Fish Nets, a scene in Brittany," and +"A Study." The net-menders are three peasant women, seated on the shore, +with a large net thrown across their laps, all looking down and working +busily. They wear the white Breton caps, and but for these—in the +reproduction that I have—it seems a gloomy picture; but one cannot judge +of color from the black and white. The net is well done, as are the +hands, and the whole work is true to the character of such a scene in the +country of these hard-working women.</p> + +<p>Mme. Guyon is much esteemed as a teacher. She has been an instructor and +adviser to the Princess Mathilde, and has had many young ladies in her +classes.</p> + +<p>In her portraits she succeeds in revealing the individual characteristics +of her subjects and bringing out that which is sometimes a revelation to +themselves in a pronounced manner. Is not this the key to the charm of +her works?</p> + +<br> + +<p><b>Haanen, Elizabeth Alida—Mme. Kiers.</b> Member of the Academy of +Amsterdam, 1838. Born in Utrecht. 1809-1845. Pupil of her brother, Georg +G. van Haanen. The genre pictures by this artist are admirable. "A Dutch +Peasant Woman" and "The Midday Prayer of an Aged Couple" are excellent +examples of her art and have been made familiar through reproductions.</p> + +<br> + +<p><b>Hale, Ellen Day.</b> Medal at exhibition of Mechanics' Charitable +Association. Born in Worcester, Massachu<a name="Page_156"></a>setts. Pupil of William M. Hart +and of Dr. Rimmer, in Boston, and of the Julian Academy, Paris.</p> + +<p>Her principal works are decorative. The "Nativity" is in the South +Congregational Church, Boston; "Military Music," decorative, is in +Philadelphia. She also paints figure subjects.</p> + +<br> + +<p><b>Hallowell, May.</b> See <a href="#Loud">Loud</a>.</p> + +<br> + +<p><b>Halse, Emmeline.</b> This artist, when in the Royal Academy Schools, was +awarded two silver medals and a prize of £30. Her works have been +accepted at the Academy Exhibitions since 1888, and occasionally she has +sent them to the Paris Salons. Born in London. Studied under Sir +Frederick Leighton, at Academy Schools, and in Paris under M. Bogino.</p> + +<p>Miss Halse executed the reredos in St. John's Church, Notting Hill, +London; a terra-cotta relief called "Earthward Board" (?) is in St. +Bartholomew's Hospital, London; a relief, the "Pleiades," was purchased +by the Corporation of Glasgow for the Permanent Exhibition; her +restoration of the "Hermes" was placed in the British Museum beside the +cast from the original.</p> + +<p>This artist has made many life-size studies of children, portraits in +marble, plaster, and wax, in all sizes, poetical reliefs, and tiny wax +figures.</p> + +<br> + +<p><b>Hammond, Gertrude Demain.</b> Several prizes at the School of the Royal +Academy, 1886, 1887, and in 1889 the prize for decorative design; bronze +medal at Paris Exposition in 1900. Member of Institute of Painters in +Water-Colors. Born at Brixton. After gaining the prize for decorative +design Miss Hammond was commissioned <a name="Page_157"></a>to execute her design, in a public +building. This was the third time that such a commission was given to a +prize student, and the first time it was accorded to a woman.</p> + +<p>More recently Miss Hammond has illustrated books and magazines; in 1902 +she illustrated the "Virginians" in a new American edition of Thackeray's +novels. At the Academy, 1903, she exhibited "A Reading from Plato."</p> + +<br> + +<p><b>Harding, Charlotte.</b> George W. Childs gold medal at Philadelphia +School of Design for Women; silver medal at Women's Exposition, London, +1900. Born in Newark, New Jersey, 1873. Pupil of Philadelphia Academy of +Fine Arts and School of Design for Women. In the latter was awarded the +Horstman fellowship. Miss Harding is an illustrator whose works are seen +in a number of the principal magazines.</p> + +<br> + +<p><b>Hart, Letitia B.</b> Dodge prize, National Academy of Design, 1898. Born +in New York, 1857. Pupil of her father, James M. Hart, and Edgar M. Ward.</p> + +<p>Her principal works are "The Keepsake," "Unwinding the Skein," "In Silk +Attire," and "The Bride's Bouquet."</p> + +<br> + +<p><b>Havens, Belle.</b> Awarded third Hallgarten prize at National Academy of +Design, winter of 1903. Born in Franklin County, Ohio. Studied at Art +Students' League, New York, and at Colarossi Atelier, Paris. In New York +Miss Havens was directed by William Chase, and by Whistler in Paris. In +Holland she studied landscape under Hitchcock, and a picture called +"Going Home" was accepted at the Salon and later exhibited at the +Philadelphia Academy; it is owned by Mr. Caldwell, of Pittsburg.</p><a name="Page_158"></a> + +<p>Mr. Harrison N. Howard, in <i>Brush and Pencil</i>, writing of the exhibition +of the National Academy of Design, says: "'Belle Havens' the 'Last Load' +is part and parcel with her other cart-and-horse compositions, +commonplace and prosaic in subject, but rendered naturally and forcefully +and with no small measure of atmospheric effect. The picture is not one +of the winsome sort, and it doubtless makes less appeal to the spectator +than any other of the prize-winners."</p> + +<br> + +<p><b>Hazleton, Mary Brewster.</b> First Hallgarten prize, 1896; first prize +travelling scholarship, School of Museum of Fine Arts, Boston, 1899; +honorable mention, Buffalo, 1901.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Hedinger, Elise.</b> Family name Neumann. Born in Berlin, 1854. Pupil of +Hoguet, Hertel, and Gussow in Berlin, and of Bracht in Paris. In recent +years she has exhibited in Berlin and other cities many exquisite +landscapes and admirable pictures of still-life, which have been +universally praised.</p> + +<br> + +<p><b>Heeren, Minna.</b> Born in Hamburg; living in Düsseldorf. In the Gallery +at Hamburg is her "Ruth and Naomi," 1854; other important works are "The +Veteran of 1813 and His Grandson, Wounded in 1870," "The Little Boaster," +"A Troubled Hour of Rest," etc.</p> + +<br> + +<p><b>Helena.</b> A Greek painter of the fourth century B. C. Daughter of +Timon, an Egyptian. She executed a picture of the "Battle of Issus," +which was exhibited in the Temple of Peace, in the time of Vespasian, 333 +B. C.</p><a name="Page_159"></a> + +<br> + +<p><b>Herbelin, Mme. Jeanne Mathilde.</b> Third-class medal, Paris Salon, +1843; second class, 1844; and first class, 1847, 1848, and 1855. Born in +Brunoy, 1820. A painter of miniatures. One of these works by Mme. +Herbelin was the first miniature admitted to the Luxembourg Gallery.</p> + +<br> + +<p><b>Hereford, Laura.</b> 1831-1870. This artist is distinguished by the fact +that she was the first woman to whom the schools of the Royal Academy +were opened. She became a pupil there in 1861 or 1862, and in 1864 sent +to the Exhibition "A Quiet Corner"; in 1865, "Thoughtful"; in 1866, +"Brother and Sister"; and in 1867, "Margaret."</p> + +<br> + +<p><b>Herman, Hermine von.</b> Born in Komorn, Hungary, 1857. Studied under +Darnaut in Vienna, where she made her home. She is a landscape painter +and is known through her "Evening Landscape," "Spring," "Eve," and a +picture of roses.</p> + +<br> + +<p><b>Heustis, Louise Lyons.</b> Member of Art Workers' Club for Women and the +Art Students' League. Born in Mobile, Alabama. Pupil of Art Students' +League, New York, under Kenyon Cox and W. M. Chase; at Julian Academy, +Paris, under Charles Lasar.</p> + +<a name="image-009"></a> +<p class="ctr"><a href="./images/009.jpg"><img src="./images/009_th.jpg" alt="From a Copley Print. THE DEPARTURE OF SUMMER. Louise L. Heustis"></a></p> +<p class="ctr">From a Copley Print.</p> +<p class="ctr">THE DEPARTURE OF SUMMER</p> +<p class="ctr">Louise L. Heustis</p> + +<p>A portrait painter. At a recent exhibition of the Society of American +Artists, Miss Heustis's genre portrait called "The Recitation" was most +attractive and well painted. She has painted portraits of Mr. Henry F. +Dimock; Mr. Edward L. Tinker, in riding clothes, of which a critic says, +"It is painted with distinction and charm"; the portrait of a little boy +in a Russian blouse <a name="Page_160"></a>is especially attractive; and a portrait of Miss +Soley in riding costume is well done. These are but a small number of the +portraits by this artist. She is clever in posing her sitters, manages +the effect of light with skill and judgement, and renders the various +kinds of textures to excellent advantage.</p> + +<p>As an illustrator Miss Heustis has been employed by <i>St. Nicholas, +Scribner's</i>, and <i>Harper's Magazine</i>.</p> + +<br> + +<p><b>Hill, Amelia R.</b> A native of Dunfermline, she lived many years in +Edinburgh. A sister of Sir Noel and Walter H. Paton, she married D. O. +Hill, of the Royal Scottish Academy. Mrs. Hill made busts of Thomas +Carlyle, Sir David Brewster, Sir Noel Paton, Richard Irven, of New York, +and others. She also executed many ideal figures. She was the sculptor of +the memorial to the Regent Murray at Linlithgow, of the statue of Captain +Cook, and that of Dr. Livingstone; the latter was unveiled in Prince's +Gardens, Edinburgh, in 1876, and is said to be the first work of this +kind executed by a woman and erected in a public square in Great Britain.</p> + +<p>"Mrs. Hill has mastered great difficulties in becoming a sculptor in +established practice."—<i>Mrs. Tytler's "Modern Painters."</i></p> + +<p>"Mrs. Hill's Captain Cook—R. Scottish Academy, 1874—is an interesting +figure and a perfectly faithful likeness, according to extant portraits +of the great circumnavigator."—<i>Art Journal</i>, April, 1874.</p> + +<br> + +<p><b>Hills, Laura Coombs.</b> Medal at Art Interchange, 1895; bronze medal, +Paris Exposition, 1900; silver medal, Pan-American Exposition, 1901; +second prize, Corcoran Art<a name="Page_161"></a> Gallery, Washington, D. C, 1901. Member of +Society of American Artists, Women's Art Club, New York, American Society +of Miniature Painters, and Water-Color Club, Boston. Born in Newburyport, +Massachusetts. Studied in Helen M. Knowlton's studio and at Cowles Art +School, Boston, and at Art Students' League, New York.</p> + +<a name="image-010"></a> +<p class="ctr"><a href="./images/010.jpg"><img src="./images/010_th.jpg" alt="MINIATURE OF PERSIS BLAIR. Laura Coombs Hills"></a></p> +<p class="ctr">MINIATURE OF PERSIS BLAIR</p> +<p class="ctr">Laura Coombs Hills</p> + +<p>Miss Hills is a prominent and successful miniaturist, and her numerous +pictures are in the possession of her subjects. They are decidedly +individual in character. No matter how simple her arrangements, she gives +her pictures a cachet of distinction. It may be "a lady in a black gown +with a black aigrette in her hair and a background of delicate turquoise +blue, or the delicate profile of a red-haired beauty, outlined against +tapestry, the snowy head and shoulders rising out of dusky brown velvet; +but the effect is gem-like, a revelation of exquisite coloring that is +entirely artistic."</p> + +<p>"An attractive work," reproduced here, "may be called a miniature +picture. It is a portrait of a little lady, apparently six or seven years +old, in an artistic old-fashioned gown, the bodice low in neck and cut in +sharp point at the waist line in front; elbow sleeves, slippers with +large rosettes, just peeping out from her dress, her feet not touching +the floor, so high is she seated. Her hair, curling about her face, is +held back by a ribbon bandeau in front; one long, heavy curl rests on the +left side of her neck, and is surmounted by a big butterfly bow. The +costume and pose are delightful and striking at first sight, but the more +the picture is studied the more the face <a name="Page_162"></a>attracts the attention it +merits. It is a sweet little girl's face, modest and sensible. She is +holding the arm of her seat with a sort of determination to sit that way +and be looked at so long as she must, but her expression shows that she +is thinking hard of something that she intends to do so soon as she can +jump down and run away to her more interesting occupations."</p> + +<br> + +<p><b>Hinman, Leana McLennan.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Hitz, Dora.</b> Born at Altdorf, near Nuremberg, 1856. During eight +years she worked under the direction of Lindenschmit, 1870-1878. She was +then invited to Bucharest by the Queen of Roumania, "Carmen Sylva." Here +the artist illustrated the Queen's poem, "Ada," with a series of +water-color sketches, and painted two landscapes from Roumanian scenery. +Between 1883 and 1886 she made sketches for the mural decoration of the +music-room at the castle of Sinoia. Later, in Brittany and Normandy, she +made illustrations for the fisher-romances of Pierre Loti. At Berlin, in +1891-1892, she painted portraits, and then retired to Charlottenburg. Her +exhibition of two beautiful pictures in gouache, at Dresden, in 1892, +brought her into notice, and her grasp of her subjects and her method of +execution were much commended.</p> + +<p>Fräulein Hitz could not stem the "classic" art creed of Berlin, where the +"new idealism" is spurned. She ventured to exhibit some portraits and +studies there in 1894, and was most unfavorably criticised. At Munich, +<a name="Page_163"></a>however, in 1895, her exhibition was much admired at the "Secession." +Again, in 1898, she exhibited, in Berlin, at the Union of Eleven, a +portrait of a young girl, which was received with no more favor than was +shown her previous works. In the same year, at the "Livre Esthetique," in +Brussels, her pictures were thought to combine a charming grace with a +sure sense of light effects, in which the predominating tone was a deep +silver gray. A portrait by this artist was exhibited at a Paris Salon in +1895.</p> + +<br> + +<p><b>Hoffmann, Felicitas.</b> Born in Venice, she died in Dresden, 1760. +Pupil of Rosalba Camera. There are four pictures in the Dresden Gallery +attributed to her—"St. George," after Correggio; "Diana with an Italian +Greyhound," after Camera; "Winter," a half-length figure by herself; and +her own portrait. Her principal works were religious subjects and +portraits.</p> + +<br> + +<p><b>Hoffmann-Tedesco, Giulia.</b> Prize at the Beatrice Exposition, Naples. +Born at Wurzburg, 1850. This artist has lived in Italy and made her +artistic success there, her works having been seen in many exhibitions. +Her prize picture at Naples was called "A Mother's Joy." In 1877 she +exhibited in the same city "Sappho" and "A Mother," which were much +admired; at Turin, 1880, "On the Water" and "The Dance" were seen; at +Milan, 1881, she exhibited "Timon of Athens" and a "Sunset"; at Rome, +1883, "A Gipsy Girl" and "Flowers." Her flower pictures are excellent; +they are represented with truth, spirit, and grace.</p> + +<br> + +<p><b>Hogarth, Mary.</b> Exhibits regularly at the New English<a name="Page_164"></a> Art Club, and +occasionally at the New Gallery. Born at Barton-on-Humber, Lincolnshire. +Pupil of the Slade School under Prof. Fred Brown and P. Wilson Steer.</p> + +<p>Miss Hogarth's contribution to the exhibition of the New English Art +Club, 1902, was called "The Green Shutters," a very peculiar title for +what was, in fact, a picture of the Ponte Vecchio and its surroundings, +in Florence. It was interesting. It was scarcely a painting; a tinted +sketch would be a better name for it. It was an actual portrait of the +scene, and skilfully done.</p> + +<br> + +<p><b>Hormuth-Kollmorgen, Margarethe.</b> Born at Heidelberg, 1858. Pupil of +Ferdinand Keller at Carlsruhe. Married the artist Kollmorgen, 1882. This +painter of flowers and still-life has also devoted herself to decorative +work, mural designs, fire-screens, etc., in which she has been +successful. Her coloring is admirable and her execution careful and firm.</p> + +<br> + +<p><b>Hosmer, Harriet G.</b> Born in Watertown, Massachusetts, 1830. Pupil in +Boston of Stevenson, who taught her to model; pupil of her father, a +physician, in anatomy, taking a supplementary course at the St. Louis +Medical School.</p> + +<p>Since 1852 she has resided in Rome, where she was a pupil of Gibson. Two +heads, "Daphne" and "Medusa," executed soon after she went to Rome, were +praised by critics of authority. "Will-o'-the-Wisp," "Puck," "Sleeping +Faun," "Waking Faun," and "Zenobia in Chains" followed each other +rapidly.</p> + +<p>Miss Hosmer made a portrait statue of "Maria Sophia, Queen of the +Sicilies," and a monument to an English <a name="Page_165"></a>lady to be placed in a church in +Rome. Her "Beatrice Cenci" has been much admired; it is in the Public +Library at St. Louis, and her statue of Thomas H. Benton is in a square +of the same city.</p> + +<p>For Lady Ashburton Miss Hosmer made her Triton and Mermaid Fountains, and +a Siren Fountain for Lady Marian Alford.</p> + +<br> + +<p><b>Houston, Caroline A.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Houston, Frances C.</b> Bronze medal at Atlanta Exposition; honorable +mention at Paris Exposition, 1900. Member of the Water-Color Club, +Boston, and of the Society of Arts and Crafts. Born in Hudson, Michigan, +1851. Studied in Julian Academy under Lefebvre and Boulanger.</p> + +<p>A portrait painter whose pictures are in private hands. They have been +exhibited in Paris, London, Naples, New York, Philadelphia, and Boston.</p> + +<p>Mrs. Houston writes me: "I have not painted many pictures of late years, +but always something for exhibition every year." She first exhibited at +Paris Salon in 1889, in London Academy in 1890, and annually sends her +portraits to the Boston, New York, and Philadelphia Exhibitions.</p> + +<br> + +<p><a name="Hoxie"></a><b>Hoxie, Vinnie Ream.</b> Born in Madison, Wisconsin, 1847. This sculptor +was but fifteen years old when she was commissioned to make a life-size +statue of Abraham Lincoln, who sat for his bust; her completed statue of +him is in the rotunda of the Capitol at Washington. Con<a name="Page_166"></a>gress then gave +her the commission for the heroic statue of Admiral Farragut, now in +Farragut Square, Washington. These are the only two statues that the +United States Government has ordered of a woman.</p> + +<p>This artist has executed ideal statues and several bust portraits of +distinguished men. Of these the bust of Ezra Cornell is at Cornell +University; that of Mayor Powell in the City Hall of Brooklyn, etc.</p> + +<br> + +<p><b>Hudson, Grace.</b> Gold medal at Hopkins Institute, San Francisco; +silver medal at Preliminary World's Fair Exhibition of Pacific States; +and medals and honorable mention at several California State exhibitions. +Born in Potter Valley, California. Studied at Hopkins Art Institute, San +Francisco, under Virgil Williams and Oscar Kunath.</p> + +<p>Paints genre subjects, some of which are "Captain John," in National +Museum; "Laughing Child," in C. P. Huntington Collection; "Who Comes?" in +private hands in Denver, etc.</p> + +<p>Mrs. Hudson's pictures of Indians, the Pomas especially, are very +interesting, although when one sees the living article one wonders how a +picture of him, conscientiously painted and truthful in detail, can be so +little repulsive—or, in fact, not repulsive at all. At all events, Mrs. +Hudson has no worthy rival in painting California Indians. If we do not +sympathize with her choice of subjects, we are compelled to acknowledge +that her pictures are full of interest and emphasize the power of this +artist in keeping them above a wearisome commonplace.</p> + +<p>Her Indian children are attractive, we must admit, and <a name="Page_167"></a>her "Poma Bride," +seated in the midst of the baskets that are her dower, is a picture which +curiously attracts and holds the attention. Her compositions are simple, +and it can only be a rare skill in their treatment that gives them the +value that is generally accorded them by critics, who, while approving +them, are all the time conscious of surprise at themselves for doing so, +and of an unanswered Why? which persists in presenting itself to their +thought when seeing or thinking of these pictures.</p> + +<br> + +<p><b>Hulbert, Mrs. Katherine Allmond.</b> Born in Sacramento Valley, +California. Pupil of the San Francisco School of Design under Virgil +Williams; National Academy of Design, New York, under Charles Noel Flagg; +Artist Artisan Institute, New York, under John Ward Stimson.</p> + +<p>This artist paints in water-colors and her works are much admired. Among +the most important are "The Stream, South Egremont," which is in a +private gallery in Denver; "In the Woods" belongs to Mr. Whiting, of +Great Barrington; and "Sunlight and Shadow" to Mr. Benedict, Albany, New +York.</p> + +<p>Mrs. Hulbert is also favorably known as an illustrator and decorative +designer.</p> + +<br> + +<p><b>Hunter, Mary Y.</b> Four silver medals at Royal Academy Schools +Exhibitions; diploma for silver medal, Woman's International Exhibition, +Earl's Court, London. Member of Society of Painters in Tempera. Born in +New Zealand. Studied at Royal Academy Schools.</p> + +<p>The following list of the titles of Mrs. Hunter's works will give an idea +of the subjects she affects: "Dante and<a name="Page_168"></a> Beatrice," "Joy to the Laborer," +"An Italian Garden," "Where shall Wisdom be Found?" and the +"Roadmenders," in Academy Exhibition, 1903.</p> + +<p>The only work of Mrs. Hunter's that I have seen is the "Dante and +Beatrice," Academy, 1900, and the impression I received leads me to think +an article in the <i>Studio,</i> June, 1903, a just estimate of her work. It +is by A. L. Baldry, who writes: "In the band of young artists who are at +the present time building up sound reputations which promise to be +permanent, places of much prominence must be assigned to Mr. J. Young +Hunter and his wife. Though neither of them has been before the public +for any considerable period, they have already, by a succession of +notable works, earned the right to an amount of attention which, as a +rule, can be claimed only by workers who have a large fund of experience +to draw upon. But though they have been more than ordinarily successful +in establishing themselves among the few contemporary painters whose +performances are worth watching, they have not sprung suddenly into +notice by some special achievement or by doing work so sensational that +it would not fail to set people talking. There has been no spasmodic +brilliancy in their progress, none of that strange alternation of +masterly accomplishment and hesitating effort which is apt at times to +mark the earlier stages of the life of an artist who may or may not +attain greatness in his later years. They have gone forward steadily year +by year, amplifying their methods and widening the range of their +convictions; and there has been no moment since they made their first +appeal to the public <a name="Page_169"></a>at which they can be said to have shown any +diminution in the earnestness of their artistic intentions.</p> + +<p>"The school to which they belong is one which has latterly gathered to +itself a very large number of adherents among the younger painters—a +school that, for want of a better name, can be called that of the new +Pre-Raphaelites. It has grown up, apparently, as an expression of the +reaction which has recently set in against the realistic beliefs taught +so assiduously a quarter of a century ago. At the end of the seventies +there was a prevailing idea that the only mission of the artist was to +record with absolute fidelity the facts of nature.... To-day the fallacy +of that creed is properly recognized, and the artists on whom we have to +depend in the immediate future for memorable works have substituted for +it something much more reasonable.... There runs through this new school +a vein of romantic fantasy which all thinking people can appreciate, +because it leads to the production of pictures which appeal, not only to +the eye by their attractiveness of aspect, but also to the mind by their +charm of sentiment.... It is because Mr. Young Hunter and his wife have +carried out consistently the best principles of this school that they +have, in a career of some half-dozen years, established themselves as +painters of noteworthy prominence. Their romanticism has always been free +from exaggeration and from that morbidity of subject and treatment which +is occasionally a defect in the work of young artists. They have kept +their art wholesome and sincere, and they have cultivated judiciously +those tendencies in it which justify most com<a name="Page_170"></a>pletely the development of +the new Pre-Raphaelitism. They are, indeed, standing examples of the +value of this movement, which seems destined to make upon history a mark +almost as definite as that left by the original Brotherhood in the middle +of the nineteenth century. By their help, and that of the group to which +they belong, a new artistic fashion is being established, a fashion of a +novel sort, for its hold upon the public is a result not of some +irrational popular craze, but of the fascinating arguments which are put +into visible shape by the painters themselves."</p> + +<br> + +<p><b>Hyatt, Harriet Randolph—Mrs. Alfred L. Mayer.</b> Silver medal at +Exposition in Atlanta, Georgia, 1895. Member of National Art Club, New +York. Born at Salem, Massachusetts. Studied at Cowles Art School and with +Ross Turner; later under H. H. Kitson and Ernest L. Major.</p> + +<p>Among this artist's pictures are "Shouting above the Tide," "Primitive +Fishing," "The Choir Invisible," etc.</p> + +<p>The plaster group called the "Boy with Great Dane" was the work of this +artist and her sister, Anna Vaughan Hyatt, and is at the Bureau of the +Society for the Prevention of Cruelty to Animals, in New York.</p> + +<br> + +<p><b>Hyatt, Anna Vaughan.</b> Member of the Copley Society, Boston. Born in +Cambridge, Massachusetts. Studied nature at Bostock's Animal Arena, +Norumbega Park, and at Sportsman's Exhibition. Criticism from H. H. +Kitson.</p> + +<p>The principal works of this artist are the "Boy with Great Dane," already +mentioned, made in conjunction <a name="Page_171"></a>with her sister; a "Bison," in a private +collection in Boston; and "Playing with Fire."</p> + +<p>In November, 1902, Miss Hyatt held an exhibition of her works, in plaster +and bronze, at the Boston Art Club. There were many small studies taken +from life.</p> + +<br> + +<p><b>Hyde, Helen.</b> Member of the Art Association, San Francisco. Born in +Lima, New York, but has lived so much in California that she is +identified with that State, and especially with San Francisco. She made +her studies in San Francisco, Philadelphia, New York, and Paris, where +she was a pupil of Felix Regamy and Albert Sterner. She then went to +Holland, where she also studied. On her return to San Francisco she +became so enamoured of the Oriental life she saw there that she +determined to go to Japan to perfect herself in colored etching. Miss +Hyde devoted herself to the study she had chosen during three years. She +lived in an old temple at Tokio, made frequent excursions into the +country, was a pupil of the best Japanese teachers, adapted herself to +the customs of the country, worked on low tables, sitting on the floor, +and so gained the confidence of the natives that she easily obtained +models, and, in a word, this artist was soon accorded honors in Japanese +exhibitions, where her pictures were side by side with those of the best +native artists.</p> + +<a name="image-011"></a> +<p class="ctr"><a href="./images/011.jpg"><img src="./images/011_th.jpg" alt="CHILD OF THE PEOPLE. Helen Hyde"></a></p> +<p class="ctr">CHILD OF THE PEOPLE</p> +<p class="ctr">Helen Hyde</p> + +<p>Miss Hyde has made a visit to America and received many commissions which +decided her to return to Japan. A letter from a friend in Tokio, written +in October, 1903, says that she will soon return to California.</p> + +<br> + +<p><b>Ighino, Mary.</b> A sculptor residing in Genoa. Since<a name="Page_172"></a> 1884 she has +exhibited a number of busts, bas-reliefs, and statues. At Turin in the +above-named year she exhibited a group in plaster, "Love Dominating +Evil." She is especially successful in bas-relief portraits; one of these +is of the Genoese sculptor, Santo Varin. She has also made a bust of +Emanuele Filiberto; and in terra-cotta a bust of Oicetta Doria, the +fifteenth-century heroine of Mitylene. She has executed a number of +decorative and monumental works, and receives many commissions from both +Italians and foreigners.</p> + +<br> + +<p><b>Inglis, Hester.</b> This artist lived in the last half of the sixteenth +and in the early decades of the seventeenth century. In the Library of +Christ Church College, Oxford, there is an example of the Psalms, in +French, written and decorated by her, which formerly belonged to Queen +Elizabeth. In the Royal Library of the British Museum there is also a +"Book of Emblems" from her hand.</p> + +<br> + +<p><b>Itasse, Jeanne.</b> Honorable mention, Paris Salon, 1888, and the purse +of the city of Paris; at Paris Exposition, honorable mention, 1889; +travelling purse, 1891; medal at Chicago Exposition, 1893; medal third +class, Salon, 1896; medal second class, 1899; silver medal, Paris +Exposition, 1900. Member of Société des Artistes Français, Société Libre, +Société des prix du Salon et boursiers de voyage. Born in Paris. Pupil of +her father.</p> + +<p>Several works of this sculptor have been purchased by the Government and +are in the Bureaux of Ministers or in provincial museums. A "Bacchante" +is in the Museum at Agen; a portrait bust in the Museum of Alger.<a name="Page_173"></a> At +the Salon of 1902 Mlle Itasse exhibited a "Madonna"; in 1903, a portrait +of M, W.</p> + +<p>Mlle Itasse knows her art thoroughly. When still a child, at the age when +little girls play with dolls, she was in her father's atelier, working in +clay with an irresistible fondness for this occupation, and without +relaxation making one little object after another, until she acquired +that admirable surety of execution that one admires in her work—a +quality sometimes lacking in the work of both men and women sculptors.</p> + +<p>Since her début at the Salon of 1886 she has annually exhibited important +works. In 1887 her bust of the danseuse, Marie Salles, was purchased by +the Government for the Opera; in 1888 she exhibited a plaster statue, the +"Young Scholar," and the following year the bust of her father; in 1890 a +"St. Sebastian" in high relief; in 1891 an "Egyptian Harpist," which +gained her a traveller's purse and an invitation from the Viceroy of +Egypt; in 1893 a Renaissance bas-relief; in 1894 the superb funeral +monument dedicated to her father; in 1896 she exhibited, in plaster, the +"Bacchante," which in marble was a brilliant success and gained for her a +second-class medal and the palmes académique, while the statue was +acquired by the Government. Mlle. Itasse has also gained official +recompenses in provincial exhibitions and has richly won the right to +esteem herself mistress of her art.</p> + +<br> + +<p><b>Jacquemart, Mlle. Nélie.</b> Medals at Paris Salon, 1868, 1869, and +1870. Born in Paris. A very successful portrait painter. Among the +portraits she has exhibited at the Paris Salon are those of Marshal +Canrobert, Gen<a name="Page_174"></a>eral d'Aurelle de Paladines, General de Palikao, Count de +Chambrun, M. Dufaure, and many others, both ladies and gentlemen. Her +portrait of Thiers in 1872 was greatly admired.</p> + +<p>Paul d'Abrest wrote of Mlle. Jacquemart, in the <i>Zeitschrift für bildende +Kunst:</i> "One feels that this artist does not take her inspirations alone +from the sittings of her subjects, but that she finds the best part of +her work in her knowledge of character and from her close study of the +personnelle of those whom she portrays."</p> + +<br> + +<p><b>Janda, Herminie von.</b> Born at Klosterbruch, 1854. Pupil of Ludwig +Holanska and Hugo Darnaut. Since 1886 her landscapes have been seen in +various Austrian exhibitions. One of these was bought for the +"Franzens-Museum" at Brünn, while several others were acquired by the +Imperial House of Austria.</p> + +<br> + +<p><b>Jenks, Phoebe A. Pickering.</b> Born in Portsmouth, New Hampshire, 1849. +Mrs. Jenks writes that she has had no teachers.</p> + +<p>Her works, being portraits, are mostly in the homes of their owners, but +that of the son of T. Jefferson Coolidge, Jr., has been exhibited in the +Museum of Fine Arts, Boston, and that of Mrs. William Slater and her son +is in the Slater Museum at Norwich.</p> + +<a name="image-012"></a> +<p class="ctr"><a href="./images/012.jpg"><img src="./images/012_th.jpg" alt="MOTHER AND CHILD. Phoebe Jenks"></a></p> +<p class="ctr">MOTHER AND CHILD</p> +<p class="ctr">Phoebe Jenks</p> + +<p>Mrs. Jenks has been constantly busy in portrait painting for twenty-seven +years, and has had no time for clubs and societies. She esteems the fact +of her constant commissions the greatest honor that she could have. She +has probably painted a greater number of portraits than any other Boston +contemporary artist.</p><a name="Page_175"></a> + +<br> + +<p><b>Jerichau-Baumann, Elizabeth.</b> 1819-1881. Honorable mention, Paris +Salon, 1861. Member of the Academy of Copenhagen. Born in Warsaw. Pupil +of Karl Sohne and Stilke, in Düsseldorf. In Rome she married the Danish +sculptor Jerichau and afterward lived in Copenhagen. She travelled in +England, France, Russia, Greece, Turkey, and Egypt.</p> + +<p>Her picture of a "Polish Woman and Children Leaving Their Home, which had +been Destroyed," is in the Raczynski Collection, Berlin; "Polish Peasants +Returning to the Ruins of a Burnt House," in the Lansdowne Collection, +London; "A Wounded Soldier Nursed by His Betrothed," in the Gallery at +Copenhagen, where is also her portrait of her husband; "An Icelandic +Maiden," in the Kunsthalle, Hamburg. Her picture, "Reading the Bible," +was painted for Napoleon III. at his request. Mme. Jerichau painted a +portrait of the present Queen of England, in her wedding dress. A large +number of her works are in private houses in Copenhagen.</p> + +<p>One of her most important pictures was a life-size representation of +"Christian Martyrs in the Catacombs." This picture was much talked of in +Rome, where it was painted, and the Pope desired to see it. Madame +Jerichau took the picture to the Vatican. On seeing it the Pope expressed +surprise that one who was not of his Church could paint this picture. +Mme. Jerichau, hearing this, replied: "Your Holiness, I am a Christian."</p> + +<p>Hans Christian Andersen was an intimate friend in the Jerichau family. He +attended the wedding in Rome, and wrote the biographies of Professor and +Mme. Jerichau.</p><a name="Page_176"></a> + +<p>Théophile Gautier once said that but three women in Europe merited the +name of artists—Rosa Bonheur, Henrietta Brown, and Elizabeth Jerichau; +and Cornelius called her "the one woman in the Düsseldorf School," +because of her virile manner of painting.</p> + +<p>Among her important portraits are those of Frederick VII. of Denmark, the +brothers Grimm, and "Hans Christian Andersen Reading His Fairy Tales to a +Child."</p> + +<p>Mme. Jerichau was also an author. In 1874 she published her "Memories of +Youth," and later, with her son, the illustrated "Pictures of Travel."</p> + +<br> + +<p><b>Jopling-Rowe, Louise.</b> Member of Royal Society of British Artists, +Society of Portrait Painters, Pastel Society, Society of Women Artists. +Born at Manchester, 1843. Pupil of Chaplin in Paris; also studied with +Alfred Stevens.</p> + +<p>Since 1871 Mrs. Jopling has been a constant exhibitor at the Royal +Academy and other London exhibitions, and frequently also at the Paris +Salon.</p> + +<a name="image-013"></a> +<p class="ctr"><a href="./images/013.jpg"><img src="./images/013_th.jpg" alt="MISS ELLEN TERRY AS "PORTIA". Louise Jopling Rowe"></a></p> +<p class="ctr">MISS ELLEN TERRY AS "PORTIA"</p> +<p class="ctr">Louise Jopling Rowe</p> + +<p>Her pictures are principally portraits and genre subjects. Her first +decided success was gained in 1874, when she exhibited at the Academy the +"Japanese Tea Party," and from that time she was recognized as an +accomplished artist and received as many commissions as she could +execute. The Baroness de Rothschild had been convinced of Mrs. Jopling's +talent before she became an artist, and had given her great encouragement +in the beginning of her career. The portrait of Lord Rothschild, painted +for Lord Beaconsfield, is thought to be her best work of this kind, but +its owner would not allow it to be <a name="Page_177"></a>exhibited. Her portrait of Ellen +Terry, which hangs in the Lyceum Theatre, was at the Academy in 1883. It +is in the costume of Portia. Mrs. Jopling's pastels are of an unusual +quality, delicate, strong, and brilliant. Her portraits are numerous, and +from time to time she has also executed figure subjects.</p> + +<p>Of late years Mrs. Jopling has been much occupied with a School of +Painting. The large number of pupils who wished to study with her made a +school the best means of teaching them, and has been successful. From the +beginning they draw from life, and at the same time they also study from +the antique.</p> + +<p>Many of her pupils receive good prices for their works, and also earn +large sums for their portraits in black and white.</p> + +<p>Mrs. Jopling writes: "What I know I chiefly learned alone. Hard work and +the genius that comes from infinite pains, the eye to see nature, the +heart to feel nature, and the courage to follow nature—these are the +best qualifications for the artist who would succeed."</p> + +<p>In the <i>Art Journal,</i> July, 1874, I read: "'The Five-o'Clock Tea' is the +largest and most important design we have seen from Mrs. Jopling's hand, +and in the disposition of the various figures and the management of color +it certainly exhibits very remarkable technical gifts. Especially do we +notice in this lady's work a correct understanding of the laws of tone, +very rare to find in the works of English painters, giving the artist +power to bring different tints, even if they are not harmonious, into +right relations with one another."</p><a name="Page_178"></a> + +<p>The above-named picture was sold to the Messrs. Agnew, and was followed +by "The Modern Cinderella," which was seen at the Paris Exposition in +1878; at the Philadelphia Exposition in 1876 she exhibited "Five Sisters +of York."</p> + +<p>Mrs. Jopling is also known as the founder and president of the Society of +the Immortals. She has written several short tales, some poems, and a +book called "Hints to Amateurs."</p> + +<p>At the Royal Academy, 1903, she exhibited "Hark! Hark! the Lark at +Heaven's Gate Sings," which is a picture of a poor girl beside a table, +on which she has thrown her work, and leaning back in her chair, with +hands clasped behind her head, is lost in thought.</p> + +<br> + +<p><b>Joris, Signorina Agnese</b>—pseudonym, Altissimi. Was accorded the +title of professor at the Institute of the Fine Arts, Rome, 1881. She was +successful in a competition for a position in the Scuole Tecniche, Rome, +1888. Honorable mention, Florence, 1890; same at Palermo, 1891 and 1892; +silver medal of first class and diploma of silver medal, Rome, 1899 and +1900. Member of the Società Cooperativa, Rome. Born in the same city, and +pupil of the Institute of Fine Arts and of her brother, Cavaliere +Professore Pio Joris.</p> + +<p>This artist writes that a list of her works would be too long and require +too much time to write it. They are in oils, pastel, and water-colors, +with various applications of these to tapestries, etc. She also gives +lessons in these different methods of painting. In a private collection +in New York is her "Spanish Scene in the Eighteenth Century."</p><a name="Page_179"></a> + +<p>She painted a "portrait of the late King Humbert, arranged in the form of +a triptych surrounded by a wreath of flowers, painted from some which had +lain on the King's bier." She sent this picture to Queen Margharita, "who +not only graciously accepted it, but sent the artist a beautiful letter +and a magnificent jewel on which was the Royal Cipher."</p> + +<br> + +<p><b>Kaerling, Henriette.</b> Born about 1832. Daughter of the artist, J. T. +Kaerling, who was her principal teacher. She practised her art as a +painter of portraits, genre subjects, and still-life in Budapest during +some years before her marriage to the pianist Pacher, with whom she went +to Vienna. She there copied some of the works of the great painters in +the Gallery, besides doing original work of acknowledged excellence. In +addition to her excellent portraits, she painted in 1851 "The +Grandmother"; in 1852, "A Garland with Religious Emblems"; in 1855, "A +Crucifix Wound with Flowers."</p> + +<br> + +<p><b>Kalckreuth, Countess Maria.</b> Medal at Chicago Exposition, 1893. +Member of the Society of Women Artists in Berlin. Born at Düsseldorf. +1857-1897. Much of her artistic life was passed in Munich. Her picture at +Chicago was later exhibited at Berlin and was purchased for the +Protestant Chapel at Dachau. It represented "Christ Raising a Repentant +Sinner"—a strong work, broadly painted. Among her important pictures are +"In the Sunshine," "Fainthearted," "Discontented," and several portraits, +all of which show the various aspects of her artistic talent.</p> + +<br> + +<p><b>Kauffman, Angelica.</b> An original member of the<a name="Page_180"></a> London Academy. She +was essentially an Italian artist, since from the age of eleven she lived +in Italy and there studied her art. Such different estimates have been +made of her works that one may quote a good authority in either praise or +blame of her artistic genius and attainment.</p> + +<p>Kugler, a learned, unimpassioned critic, says: "An easy talent for +composition, though of no depth; a feeling for pretty forms, though they +were often monotonous and empty, and for graceful movement; a coloring +blooming and often warm, though occasionally crude; a superficial but +agreeable execution, and especially a vapid sentimentality in harmony +with the fashion of the time—all these causes sufficiently account for +her popularity."</p> + +<a name="image-014"></a> +<p class="ctr"><a href="./images/014.jpg"><img src="./images/014_th.jpg" alt="Alinari, Photo. In the Uffizi, Florence. PORTRAIT OF ANGELICA KAUFFMAN. Painted By Herself"></a></p> +<p class="ctr">Alinari, Photo</p> +<p class="ctr">In the Uffizi, Florence</p> +<p class="ctr">PORTRAIT OF ANGELICA KAUFFMAN</p> +<p class="ctr">Painted By Herself</p> + +<p>Raphael Mengs, himself an artist, thus esteems her: "As an artist she is +the pride of the female sex in all times and all nations. Nothing is +wanting—composition, coloring, fancy—all are here."</p> + +<p>Miss Kate Thompson writes: "Her works showed no originality nor any great +power of execution, and, while sometimes graceful, were generally weak +and insipid."</p> + +<p>For myself I do not find her worthy of superlative praise or +condemnation; one cannot deny her grace in design, which was also +creditably correct; her poetical subjects were pleasing in arrangement; +her historical subjects lacked strength and variety in expression; her +color was as harmonious and mellow as that of the best Italian colorists, +always excepting a small number of the greatest masters, and in all her +pictures there is a something—it <a name="Page_181"></a>must have been the individuality of +the artist—that leads one to entertain a certain fondness for her, even +while her shortcomings are fully recognized.</p> + +<p>The story of Angelica Kauffman's life is of unusual interest. She was +born at Coire, in the Grisons. 1742-1807. Her father, an artist, had gone +from Schwarzenburg to Coire to execute some frescoes in a church, and had +married there. When Angelica was a year old the family settled in +Morbegno, in Lombardy. Ten years later, when the child had already shown +her predilection for painting and music, a new home was made for her in +Como, where there were better advantages for her instruction.</p> + +<p>Her progress in music was phenomenal, and for a time she loved her two +arts—one as well as the other—and could make no choice between them. In +one of her pictures she represented herself as a child, standing between +allegorical figures of Music and Painting.</p> + +<p>The exquisite scenery about Como, the stately palaces, charming villas, +the lake with its fairy-like pleasure boats, and the romantic life which +there surrounded this girl of so impressionable a nature, rapidly +developed the poetic element born with her, which later found expression +through her varied talents. During her long life the recollections of the +two years she passed at Como were among the most precious memories +associated with her wandering girlhood.</p> + +<p>From Como she was taken to Milan, where she had still better advantages +for study, and a world of art was opened to her which far exceeded her +most ardent imaginings.<a name="Page_182"></a> Leonardo had lived and taught in Milan, and his +influence with that of other Lombard masters stirred Angelica to her very +soul.</p> + +<p>Her pictures soon attracted the attention of Robert d'Este, who became +her patron and placed her in the care of the Duchess of Carrara. This +early association with a circle of cultured and elegant men and women was +doubtless the origin of the self-possession and modest dignity which +characterized Angelica Kauffman through life and enabled her becomingly +to accept the honors that were showered upon her.</p> + +<p>Her happy life at Milan ended all too soon. Her mother died, and her +father decided to return to his native Schwarzenburg to execute some +extensive decorative works in that vicinity. In the interior decoration +of a church Angelica painted in fresco the figures of the twelve apostles +after engravings from the works of Piazetta.</p> + +<p>The coarse, homely life of Schwarzenburg was in extreme contrast to that +of Milan and was most uncongenial to a sensitive nature; but Angelica was +saved from melancholy by the companionship she felt in the grand pine +forests, which soothed her discontent, while her work left her little +time to pine for the happiness she had left or even to mourn the terrible +loss of her mother.</p> + +<p>Her father's restlessness returned, and they were again in Milan for a +short time, and then in Florence. Here she studied assiduously awhile, +but again her father's discontent drove him on, and they went to Rome.</p> + +<p>Angelica was now eighteen years old, and in a measure <a name="Page_183"></a>was prepared to +profit by the aid and advice of Winckelmann. He conceived an ardent +friendship for the young artist, and, though no longer young, and engaged +in most important and absorbing research, he found time to interest +himself in Angelica's welfare, and allowed her to paint his portrait, to +which she gave an expression which proved that she had comprehended the +spirit of this remarkable man of threescore years.</p> + +<p>While at Rome Angelica received a commission to copy some pictures in +Naples. After completing these she returned to Rome, in 1764, and +continued her studies for a time, but her interests were again sacrificed +to her father's unreasonable capriciousness, and she was taken to Bologna +and then to Venice. This constant change was disheartening to Angelica +and of the greatest disadvantage to her study, and it was most fortunate +that she now met Lady Wentworth, who became her friend and afterward took +her to England.</p> + +<p>Angelica had already executed commissions for English families of rank +whom she had met in various cities of Italy, and her friends hoped that +she would be able to earn more money in England than in Italy, where +there were numberless artists and copyists. After visiting Paris she went +to London, where a brilliant career awaited her, not only as an artist, +but in the social world as well.</p> + +<p>De Rossi thus describes her at this time: "She was not very tall, but +slight, and her figure was well proportioned. She had a dark, clear +complexion, a gracious mouth, white and equal teeth, and well-marked +features;... above all, <a name="Page_184"></a>her azure eyes, so placid and so bright, charmed +you with an expression it is impossible to write; unless you had known +her you could not understand how eloquent were her looks."</p> + +<p>Her English friends belonged to the most cultivated circles, many of them +being also of high rank. Artists united to do her honor—showing no +professional envy and making no opposition to her election to the +Academy. Many interesting incidents in her association with London +artists are related, and it is said that both Fuseli and Sir Joshua +Reynolds were unsuccessful suitors for her hand. Miss Thackeray, in her +novel, "Miss Angel," makes Angelica an attractive heroine.</p> + +<p>The royal family were much interested in her, and the mother of the King +visited her—an honor never before accorded to an artist—and the +Princess of Brunswick gave her commissions for several pictures.</p> + +<p>De Rossi says that her letters at this time were those of a person at the +summit of joy and tranquillity. She was able to save money and looked +hopefully forward to a time when she could make a home for her unthrifty +father. But this happy prosperity was suddenly cut short by her own +imprudence.</p> + +<p>After refusing many eligible offers of marriage, she was secretly married +to an adventurer who personated the Count de Horn, and succeeded by +plausible falsehoods in convincing her that it was necessary, for good +reasons, to conceal their marriage. One day when painting a portrait of +Queen Charlotte, who was very friendly to the artist, Angelica was moved +to confide the secret of her marriage <a name="Page_185"></a>to the Queen. Until this time no +one save her father had known of it.</p> + +<p>Her Majesty, who loved Angelica, expressed her surprise and interest and +desired that Count de Horn should appear at Court. By this means the +deceit which had been practised was discovered, and the Queen, as gently +as possible, told Angelica the truth. At first she felt that though her +husband was not the Count de Horn and had grossly deceived her, he was +the man she had married and the vows she had made were binding. But it +was soon discovered that the villain had a living wife when he made his +pretended marriage with Angelica, who was thus released from any +consideration for him. This was a time to prove the sincerity of friends, +and Angelica was comforted by the steadfastness of those who had devoted +themselves to her in her happier days. Sir Joshua Reynolds was untiring +in his friendly offices for her and for her helpless old father.</p> + +<p>There were as many differing opinions in regard to Angelica Kauffman, the +woman, as in regard to the quality of her art. Some of her biographers +believed her to be perfectly sincere and uninfluenced by flattery. +Nollekens takes another view; he calls her a coquette, and, among other +stories, relates that when in Rome, "one evening she took her station in +one of the most conspicuous boxes in the theatre, accompanied by two +artists, both of whom, as well as many others, were desperately enamoured +of her. She had her place between her two adorers, and while her arms +were folded before her in front of the box, over which she leaned, she +managed to <a name="Page_186"></a>clasp a hand of both, so that each imagined himself the +cavalier of her choice."</p> + +<p>When Angelica could rise above the unhappiness and mortification of her +infatuation for the so-called De Horn, she devoted herself to her art, +and during twelve years supported her father and herself and strengthened +the friendships she had gained in her adopted land. At length, in 1781, +her father's failing health demanded their return to Italy; and now, when +forty years old, she married Antonio Zucchi, an artist who had long loved +her and devoted himself to her and to her father with untiring affection.</p> + +<p>The old Kauffman lived to visit his home in Schwarzenburg and to reach +Southern Italy, but died soon after.</p> + +<p>Signor Zucchi made his home in Rome. He was a member of the Royal +Academy, London, and was in full sympathy with his wife in intellectual +and artistic pursuits and pleasures. De Rossi says: "It was interesting +to see Angelica and her husband before a picture. While Zucchi spoke with +enthusiasm Angelica remained silent, fixing her eloquent glance on the +finest portions of the work. In her countenance one could read her +emotions, while her observations were limited to a few brief words. +These, however, seldom expressed any blame—only the praises of that +which was worthy of praise. It belonged to her nature to recognize the +beauty alone—as the bee draws honey only out of every flower."</p> + +<p>Her home in Rome was a centre of attraction to the artistic and literary +society of the city, and few persons of note passed any time there +without being presented to <a name="Page_187"></a>her. Goethe and Herder were her friends, and +the former wrote: "The good Angelica has a most remarkable, and for a +woman really unheard-of, talent; one must see and value what she does and +not what she leaves undone. There is much to learn from her, particularly +as to work, for what she effects is really marvellous." In his work +called "Winckelmann and His Century," Goethe again said of her: "The +light and pleasing in form and color, in design and execution, +distinguish the numerous works of our artist. <i>No living painter</i> excels +her in dignity or in the delicate taste with which she handles the +pencil."</p> + +<p>In the midst of the social demands on her time in Rome, she continued to +devote herself to her art, and Signor Zucchi, hoping to beguile her into +idleness, purchased a charming villa at Castel Gondolfo; but in spite of +its attractions she was never content to be long away from Rome and her +studio.</p> + +<p>Thus in her maturer years her life flowed on in a full stream of +prosperity until, in 1795, Signor Zucchi died. Angelica survived him +twelve years—years of deep sadness. Not only was her personal sorrow +heavy to bear, but the French invasion of her beloved Italy disquieted +her. Hoping to regain her usual spirits, she revisited the scenes of her +youth and remained some time in Venice with the family of Signor Zucchi. +Returning to Rome she resumed her accustomed work, so far as her health +permitted.</p> + +<p>She held fast to the German spirit through all the changes in her life, +with the same determination which made it possible, in her strenuous +labors, to retain her <a name="Page_188"></a>gentle womanliness. Just before she died she +desired to hear one of Gellert's spiritual odes.</p> + +<p>She was buried in Sant' Andrea dei Frati, beside her husband. All the +members of the Academy of St. Luke attended her obsequies, and her latest +pictures were borne in the funeral procession. Her bust was placed in the +Pantheon, and every proper tribute and honor were paid to her memory in +Rome, where she was sincerely mourned.</p> + +<p>Although Angelica lived and worked so long in London and was one of the +thirty-six original members of the Royal Academy, I do not think her best +pictures are in the public galleries there. Of course many of the +portraits painted in London are in private collections. Her pictures are +seen in all the important galleries of Europe. Her etchings, executed +with grace and spirit, are much esteemed and sell for large prices. +Engravings after her works by Bartolozzi are most attractive; numerous as +they were, good prints of them are now rare and costly.</p> + +<p>She painted several portraits of herself; one is in the National Portrait +Gallery, London, one at Munich, and a third in the Uffizi, Florence. The +last is near that of Madame Le Brun, and the contrast between the two is +striking. Angelica is still young, but the expression of her face is so +grave as to be almost melancholy; she is sitting on a stone in the midst +of a lonely landscape; she has a portfolio in one hand and a pencil in +the other, and so unstudied is her pose, and so lacking in any attempt to +look her best, that one feels that she is entirely absorbed in her work. +The Frenchwoman could not forget to be <a name="Page_189"></a>interesting; Angelica was +interesting with no thought of being so.</p> + +<p>I regard three works by this artist, which are in the Dresden Gallery, as +excellent examples of her work; they are "A Young Vestal," "A Young +Sibyl," and "Ariadne Abandoned by Theseus."</p> + +<p>On the margin of one of her pictures she wrote: "I will not attempt to +express supernatural things by human inspiration, but wait for that till +I reach heaven, if there is painting done there."</p> + +<p>In 1784 Angelica Kauffman painted "Servius Tullius as a Child" for the +Czar of Russia; in 1786 "Hermann and Thusnelda" and "The Funeral of +Pallas" for Joseph II. These are now in the Vienna Gallery. Three +pictures, "Virgil Reading the Æneid to the Empress Octavia," "Augustus +Reading Verses on the Death of Marcellus," and "Achilles Discovered by +Ulysses, in Female Attire," were painted for Catherine II. of Russia. +"Religion Surrounded by Virtues," 1798, is in the National Gallery, +London. A "Madonna" and a "Scene from the Songs of Ossian" are in the +Aschaffenburg Gallery. A "Madonna in Glory" and the "Women of Samaria," +1799, are in the New Pinakothek, Munich, where is also the portrait of +Louis I. of Bavaria, as Crown Prince, 1805. The "Farewell of Abelard and +Heloise," together with other works of this artist, are in the Hermitage, +St. Petersburg. A "Holy Family," and others, in the Museo Civico, Venice. +"Prudence Warning Virtue against Folly," in the Pennsylvania Academy, +Philadelphia. Portraits of Winckelmann in the Städel Institute, +Frankfort, <a name="Page_190"></a>and in the Zürich Gallery. Portrait of a Lady, Stuttgart +Museum; the Duchess of Brunswick, Hampton Court Palace; the architect +Novosielski, National Gallery, Edinburgh. In addition to the portraits of +herself mentioned above, there are others in Berlin Museum, the Old +Pinakothek, Munich, the Ferdinandeum, Innsbruck, and in the Philadelphia +Academy.</p> + +<br> + +<p><b>Kaula, Mrs. Lee Lufkin.</b> Member of the Woman's Art Club, New York. +Born in Erie, Pennsylvania. Pupil in New York of Charles Melville Dewey +and the Metropolitan Art Schools; in Paris, during three years, pupil of +Girardot, Courtois, the Colarossi Academy, and of Aman-Jean.</p> + +<p>Mrs. Kaula is essentially a portrait painter, although she occasionally +paints figure subjects. Her portraits are in private hands in various +cities, and her works have been exhibited in Paris, New York, +Philadelphia, Chicago, Boston, etc. She paints in both oil and +water-colors.</p> + +<br> + +<p><b>Kayser, Ebba.</b> Medals in Vienna, Dresden, and Cologne for landscapes +and flower pieces. Born in Stockholm, 1846. When twenty years old she +went to Vienna, where she studied under Rieser, Geyling, and Karl +Hannold. She did not exhibit her works until 1881, since when she has +been favorably known, especially in Austria. A water-color of a "Mill +near Ischl" and several other pictures by this artist have been purchased +for the Imperial Collections.</p> + +<br> + +<p><b>Keith, Dora Wheeler.</b></p> + +<p>[<i>No reply to circular</i>.]</p><a name="Page_191"></a> + +<br> + +<p><b>Kemp-Welch, Lucy Elizabeth.</b> Fellow and Associate of Herkomer School, +and member of the Royal Society of British Artists. Born at Bournemouth, +1869. Has exhibited annually at the Royal Academy since 1894. In 1897 her +picture of "Colt Hunting in the New Forest" was purchased by the trustees +of the Chantrey Bequest; in 1900 that of "Horses Bathing in the Sea" was +bought for the National Gallery at Victoria. In 1901 she exhibited "Lord +Dundonald's Dash on Lady-smith."</p> + +<p>In July, 1903, in his article on the Royal Academy Exhibition, the editor +of the <i>Magazine of Art</i>, in enumerating good pictures, mentions: "Miss +Lucy Kemp-Welch's well-studied 'Village Street' at dusk, and her clever +'Incoming Tide,' with its waves and rocks and its dipping, wheeling sea +gulls."</p> + +<p>Mr. Frederick Wetmore, in writing of the Spring Exhibition of the Royal +Painter Etchers, says: "Miss Kemp-Welch, whose best work, so delicate +that it could only lose by the reduction of a process block, shows the +ordinary English country, the sign-post of the crossways, and the sheep +along the lane."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Kendell, Marie von.</b> Born in Lannicken, 1838. Pupil of Pape, Otto von +Kameke, and Dressier. She travelled in England, Italy, and Switzerland, +and many of her works represent scenes in these countries. In 1882 she +painted the Cadinen Peaks near Schluderbach, in the Ampezzo Valley. At +the exhibition of the Women Ar<a name="Page_192"></a>tists in Berlin, 1892, she exhibited two +mountain landscapes and a view of "Clovelly in Devonshire." The last was +purchased by the Emperor. To the same exhibition in 1894 she contributed +two Swiss landscapes, which were well considered.</p> + +<br> + +<p><b>Kielland, Kitty.</b> Sister of the famous Norwegian novelist, Alexander +Kielland. Her pictures of the forests and fjords of Norway are the best +of her works and painted <i>con amore.</i> Recently she exhibited a portrait +which was much praised and said to be so fresh and life-like in +treatment, so flexible and vivacious in color, that one is involuntarily +attracted by it, without any knowledge of the original.</p> + +<br> + +<p><b>Killegrew, Anne.</b> Was a daughter of Dr. Henry Killegrew, a prebendary +of Westminster Cathedral. Anne was born in 1660, and when still quite +young was maid of honor to the Duchess of York, whose portrait she +painted as well as that of the future King James II. She also painted +historical subjects and still-life.</p> + +<p>One of her admirers wrote of her as "A grace for beauty and a muse for +wit." A biographer records her death from smallpox when twenty-five years +old, "to the unspeakable reluctancy of her relatives." She was buried in +the Savoy Chapel, now a "Royal Peculiar," and a mural tablet set forth +her beauty, accomplishments, graces, and piety in a Latin inscription.</p> + +<p>Anne Killigrew was notable for her poetry as well as for her painting. +Dryden wrote an ode in her memory which Dr. Johnson called "the noblest +our language has produced." It begins: "Thou youngest virgin daugh<a name="Page_193"></a>ter of +the skies." After praising her poetry Dryden wrote:</p> + +<div class="poem"><div class="stanza"> +<p>"Her pencil drew whate'er her soul designed,</p> +<p>And oft the happy draught surpassed the image of her mind."</p> +</div></div> + +<p>Of her portrait of James II. he says:</p> + +<div class="poem"><div class="stanza"> +<p>"For, not content to express his outward part,</p> +<p>Her hand called out the image of his heart;</p> +<p>His warlike mind—his soul devoid of fear—</p> +<p>His high designing thoughts were figured there."</p> +</div></div> + +<p>Having repeated these panegyrics, it is but just to add that two opinions +existed concerning the merit of Mistress Killigrew's art and of Dryden's +ode, which another critic called "a harmonious hyperbole, composed of the +Fall of Adam—Arethusa—Vestal Virgins—Dian—Cupid—Noah's Ark—the +Pleiades—the fall of Jehoshaphat—and the last Assizes."</p> + +<p>Anthony Wood, however, says: "There is nothing spoken of her which she +was not equal to, if not superior, and if there had not been more true +history in her praises than compliment, her father never would have +suffered them to pass the press."</p> + +<br> + +<p><b>Kindt, Adele.</b> This painter of history and of genre subjects won her +first prize at Ghent when less than twenty-two, and received medals at +Douai, Cambrai, Ghent, and Brussels before she was thirty-two. Was made a +member of the Brussels, Ghent, and Lisbon Academies. Born in Brussels, +1805. Pupil of Sophie Frémiet and of Navez. Her picture of the "Last +Moments of Egmont" is in the Ghent Museum; among her other <a name="Page_194"></a>historical +pictures are "Melancthon Predicting Prince Willem's Future" and +"Elizabeth Sentencing Mary Stuart," which is in the Hague Museum. The +"Obstinate Scholar" and "Happier than a King" are two of her best genre +pictures.</p> + +<br> + +<p><b>King, Jessie M.</b> A most successful illustrator and designer of +book-covers, who was educated as an artist in the Glasgow School of +Decorative Art. In this school and at that of South Kensington she was +considered a failure, by reason of her utterly unacademic manner. She did +not see things by rule and she persistently represented them as she saw +them. Her love of nature is intense, and when she illustrated the "Jungle +Book" she could more easily imagine that the animals could speak a +language that Mowgli could understand, than an academic artist could +bring himself to fancy for a moment. Her work is full of poetic +imagination, of symbolism, and of the spirit of her subject.</p> + +<p>Walter P. Watson, in a comprehensive critique of her work, says: "Her +imaginations are more perfect and more minutely organized than what is +seen by the bodily eye, and she does not permit the outward creation to +be a hindrance to the expression of her artistic creed. The force of +representation plants her imagined figures before her; she treats them as +real, and talks to them as if they were bodily there; puts words in their +mouths such as they should have spoken, and is affected by them as by +persons. Such creation is poetry in the literal sense of the term, and +Miss King's dreamy and poetical nature enables her to create the persons +of the drama, to invest <a name="Page_195"></a>them with appropriate figures, faces, costumes, +and surroundings; to make them speak after their own characters."</p> + +<p>Her important works are in part the illustrations of "The Little +Princess," "The Magic Grammar," "La Belle Dame sans Merci," "L'Evangile +de l'Enfance," "The Romance of the Swan's Nest," etc.</p> + +<p>She also makes exquisite designs for book-covers, which have the spirit +of the book for which they are made so clearly indicated that they add to +the meaning as well as to the beauty of the book.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Kirchsberg, Ernestine von.</b> Medal at Chicago Exposition, 1893. Born +in Verona, 1857. Pupil of Schäffer and Darnaut. This artist has exhibited +in Vienna since 1881, and some of her works have been purchased for the +royal collection. Her landscapes, both in oil and water-colors, have +established her reputation as an excellent artist, and she gains the same +happy effects in both mediums. Her picture shown at Chicago was "A +Peasant Home in Southern Austria."</p> + +<br> + +<p><b>Kirschner, Marie.</b> Born at Prague, 1852. Pupil of Adolf Lier in +Munich, and Jules Dupré and Alfred Stevens in Paris. In 1883 she +travelled in Italy, and has had her studio in Berlin and in Prague. The +Rudolfinum at Prague contains her "Village Tulleschitz in Bohemia." She +is also, known by many flower pieces and by the "Storm on the Downs of +Heyst," "Spring Morning," and a "Scene on the Moldau."</p><a name="Page_196"></a> + +<br> + +<p><b>Kitson, Mrs. H. H.</b> Honorable mention, Paris Exposition, 1889; and +the same at Paris Salon, 1890; two medals from Massachusetts Charitable +Association; and has exhibited in all the principal exhibitions of the +United States. Born in Brookline. Pupil of her husband, Henry H. Kitson, +and of Dagnan-Bouveret in Paris.</p> + +<p>The women of Michigan commissioned Mrs. Kitson to make two bronze statues +representing the woods of their State for the Columbian Exhibition at +Chicago. Her principal works are the statue of a volunteer for the +Soldiers' Monument at Newburyport; Soldiers' Monument at Ashburnham; +Massachusetts State Monument to 29th, 35th, and 36th Massachusetts +Volunteer Infantry at National Military Park at Vicksburg; also medallion +portraits of Generals Dodge, Ransom, Logan, Blair, Howard, A. J. Smith, +Grierson, and McPherson, for the Sherman Monument at Washington.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Klumpke, Anna Elizabeth.</b> Honorable mention, Paris Salon, 1885; +silver medal, Versailles, 1886; grand prize, Julian Academy, 1889; Temple +gold medal, Pennsylvania Academy of Fine Arts, 1889; bronze medal, Paris +Exposition, 1889. Member of the Copley Society, Boston; of the Society of +Baron Taylor, Paris; and of the Paris Astronomical Society. Born in San +Francisco. Pupil of the Julian Academy, under Robert-Fleury, and Jules +Lefebvre, where she received, in 1888, the prize of the silver medal and +one hundred francs—the highest award <a name="Page_197"></a>given at the annual Portrait +Concours, between the men and women students of the above Academy.</p> + +<a name="image-015"></a> +<p class="ctr"><a href="./images/015.jpg"><img src="./images/015_th.jpg" alt="PORTRAIT OF ROSA BONHEUR. Anna E. Klumpke"></a></p> +<p class="ctr">PORTRAIT OF ROSA BONHEUR</p> +<p class="ctr">Anna E. Klumpke</p> + +<p>Among Miss Klumpke's principal works are: "In the Wash-house," owned by +the Pennsylvania Academy of Fine Arts; portrait of Mrs. Nancy Foster, at +the Chicago University; "Maternal Instruction," in the collection of Mr. +Randolph Jefferson Coolidge, Boston; many portraits, among which are +those of Madame Klumpke, Rosa Bonheur, Mrs. Thorp, Mrs. Sargent, Count +Kergaradec, etc.</p> + +<p>In writing me of her own life-work and that of her family, she says, what +we may well believe: "Longfellow's thought, 'Your purpose in life must be +to accomplish well your task,' has been our motto from childhood."</p> + +<p>Anna Klumpke, being the eldest of the four daughters of her mother, had a +double duty: her own studies and profession and the loving aid and care +of her sisters. In the beginning of her art studies it was only when her +home duties were discharged that she could hasten to the Luxembourg, +where, curiously enough, her time was devoted to copying "Le Labourage +Nivernais," by Rosa Bonheur, whose beloved and devoted friend she later +became.</p> + +<p>Meantime Anna Klumpke had visited Boston and other cities of her native +land, and made a success, not only as an artist, but as a woman, whose +intelligence, cheerfulness, and broad interests in life made her a +delightful companion. Sailing from Antwerp one autumn, I was told by a +friend that a lady on board had a letter of introduction to me from +Madame Bouguereau. It proved to <a name="Page_198"></a>be Miss Klumpke, and the acquaintance +thus begun, as time went on, disclosed to me a remarkable character, +founded on a remarkable experience, and it was no surprise to me that the +great and good Rosa Bonheur found in Anna Klumpke a sympathetic and +reliable friend and companion for her last days.</p> + +<p>The history of this friendship and its results are too well known to +require more than a passing mention. Miss Klumpke is now established in +Paris, and writes me that, in addition to her painting, she is writing of +Rosa Bonheur. She says: "This biography consists of reminiscences of Rosa +Bonheur's life, her impressions of Nature, God, and Art, with perhaps a +short sketch of how I became acquainted with the illustrious woman whose +precious maternal tenderness will remain forever the most glorious event +of my life."</p> + +<p>At the Salon des Artistes Français, 1903, Miss Klumpke exhibited a +picture called "Maternal Affection."</p> + +<br> + +<p><b>Knobloch, Gertrude.</b> Born at Breslau, 1867. Pupil of Skirbina in +Berlin. Her studio is in Brussels. She paints in oil and water-colors. +Among her best pictures are "In the Children's Shoes," "The Forester's +Leisure Hours," and a "Madonna with the Christ Child."</p> + +<p>Two of her works in gouache are worthy of mention: "An Effeminate" and +"Children Returning from School."</p> + +<br> + +<p><b>Kollock, Mary.</b> Born at Norfolk, Virginia, 1840. Studied at the +Pennsylvania Academy under Robert Wylie, and in New York under J. B. +Bristol and A. H. Wynant. Her landscapes have been exhibited at the +National Academy, New York. Several of these were scenes about<a name="Page_199"></a> Lake +George and the Adirondack regions. "Morning in the Mountains" and "On the +Road to Mt. Marcy" were exhibited in 1877; "A November Day" and an +"Evening Walk," in 1878; "A House in East Hampton, Two Hundred and Twenty +Years Old," in 1880; "On Rondout Creek," in 1881; and "The Brook," in +1882.</p> + +<br> + +<p><b>Koker, Anna Maria de.</b> A Dutch etcher and engraver of the seventeenth +century, who pursued her art from pure love of it, never trying to make +her works popular or to sell them. A few of her landscapes fell into the +hands of collectors and are much valued for their rarity and excellence. +Three examples are the "Landscape with a View of a Village," "The Square +Tower," and "Huts by the Water."</p> + +<br> + +<p><b>Komlosi, Irma.</b> Born in Prague, 1850. Pupil of Friederich Sturm. This +flower painter resides in Vienna, where her pictures are much appreciated +and are seen in good collections. They have been purchased for the Art +Associations of Brünn, Prague, and Budapest.</p> + +<br> + +<p><b>Kondelka, Baroness Pauline von</b>—Frau von Schmerling. Born at Vienna. +1806-1840. She inherited from her father a strong inclination for art, +and was placed by him under the instruction of Franz Potter. In the Royal +Gallery, Vienna, is her picture called "Silence," 1834. It represents the +Virgin with her finger on her lip to warn against disturbing the sleep of +the Infant Jesus. The picture is surrounded by a beautiful arrangement of +flowers. In 1836 she painted a charming picture called "A Bunch of +Flowers." Her favorite subjects were floral, and her works of this sort +are much admired.</p><a name="Page_200"></a> + +<br> + +<p><b>Konek, Ida.</b> Born at Budapest, 1856. Her early art studies were under +G. Vastagh, C. von Telepy, W. Lindenschmit, and Munkácsy; later she was a +pupil at the Julian Academy in Paris and the Scuola libera in Florence. +In the Parish Church at Köbölkut are three of her pictures of sacred +subjects, and in the Hungarian National Museum a picture of still-life. +Her "Old Woman," 1885, is mentioned as attracting favorable notice.</p> + +<br> + +<p><b>Kora or Callirhoë.</b> It is a well-authenticated fact that in the Greek +city of Sicyonia, about the middle of the seventh century before Christ, +there lived the first woman artist of whom we have a reliable account.</p> + +<p>Her story has been often told, and runs in this wise: Kora, or Callirhoë, +was much admired by the young men of Sicyonia for her grace and beauty, +of which they caught but fleeting glimpses through her veil when they met +her in the flower-market. By reason of Kora's attraction the studio of +her father, Dibutades, was frequented by many young Greeks, who watched +for a sight of his daughter, while they praised his models in clay.</p> + +<p>At length one of these youths begged the modeller to receive him as an +apprentice, and, his request being granted, he became the daily companion +of both Kora and her father. As the apprentice was skilled in letters, it +soon came about that he was the teacher and ere long the lover of the +charming maiden, who was duly betrothed to him.</p> + +<p>The time for the apprentice to leave his master came all too soon. As he +sat with Kora the evening before <a name="Page_201"></a>his departure, she was seized by an +ardent wish for a portrait of her lover, and, with a coal from the +brazier, she traced upon the wall the outline of the face so dear to her. +This likeness her father instantly recognized, and, hastening to bring +his clay, he filled in the sketch and thus produced the first portrait in +bas-relief! It is a charming thought that from the inspiration of a pure +affection so beautiful an art originated, and doubtless Kora's influence +contributed much to the artistic fame which her husband later achieved in +Corinth.</p> + +<p>In the latter city the portrait was preserved two hundred years, and +Dibutades became so famous for the excellence of his work that at his +death several cities claimed the honor of having been his birthplace.</p> + +<br> + +<p><b>Krafft, Anna Barbara.</b> Member of the Vienna Academy. She was born at +Igto in 1764, and died at Bamberg in 1825. She received instruction from +her father, J. N. Steiner, of which she later made good use. Having +married an apothecary, she went for a time to Salsburg, and again, after +nine years in Prague, spent eighteen years in Salsburg, retiring finally +to Bamberg. In the Gallery at Bamberg may be seen her portrait of the +founder, J. Hemmerlein; in the Nostitz Gallery, Prague, a portrait of the +Archduke Charles; in Strahow Abbey, Prague, a "Madonna"; and in the +church at Owencez, near Prague, an altar-piece.</p> + +<br> + +<p><b>Kuntze, Martha.</b> Born in Heinrichsdorf, Prussia, 1849. Pupil of +Steffeck and Gussow in Berlin. In 1881 she went to Paris and studied +under Carolus Duran and Henner, and later travelled in Italy, pursuing +her art in<a name="Page_202"></a> Florence, Rome, and Southern Italy. She has an excellent +reputation as a portrait painter, and occasionally paints subjects of +still-life.</p> + +<br> + +<p><b>Küssner, Amalia.</b> See <a href="#Coudert">Coudert, Amalia Küssner</a>.</p> + +<br> + +<p><a name="Labille"></a><b>Labille, Adelaide Vertus.</b> Was born in Paris in 1749. She early +developed a taste for art and a desire to study it. J. E. Vincent was her +master in miniature painting, while Latour instructed her in the use of +pastels. She was successful as a portrait painter and as a teacher, +having some members of the royal family as pupils, who so esteemed her +that they became her friends. She is known as Madame Vincent, having +married the son of her first master in painting.</p> + +<p>Her portrait of the sculptor Gois gained a prize at the Academy, and in +1781 she was made a member of that institution. We know the subjects of +some large, ambitious works by Madame Vincent, on which she relied for +her future fame, but unhappily they were destroyed in the time of the +French Revolution, and she never again had the courage to attempt to +replace them. One of these represented the "Reception of a Member to the +Order of St. Lazare," the Grand Master being the brother of the King, who +had appointed Madame Vincent Painter to the Court. Another of these works +was a portrait of the artist before her easel, surrounded by her pupils, +among whom was the Duchesse d'Angoulême and other noble ladies.</p> + +<p>As Madame Vincent and her husband were staunch royalists, they suffered +serious losses during the Revolution; the loss of her pictures was +irreparable. She was <a name="Page_203"></a>so disheartened by the destruction of the result of +the labors of years that she never again took up her brush with her +old-time ambition and devotion.</p> + +<p>She died in 1803, at the age of fifty-four, having received many honors +as an artist, while she was beloved by her friends and esteemed by all as +a woman of noble character.</p> + +<br> + +<p><b>Laing, Mrs. J. G.</b> Principal studies made in Glasgow under Mr. F. H. +Newbery; also in Paris under Jean-Paul Laurens and Aman-Jean.</p> + +<p>This artist is especially occupied with portraits of children and their +mothers. She has, however, exhibited works of another sort. Her "Sweet +Repose" and "Masquerading" were sold from the exhibitions in London and +Glasgow, where they were shown. "Bruges Lace-Makers" was exhibited in +Munich in 1903.</p> + +<p>The Ladies' Club of Glasgow is enterprising and its exhibitions are +interesting, but Mrs. Laing is not a member of any club, and sends her +pictures by invitation to exhibitions on the Continent as well as in +Great Britain, and sometimes has a private exhibition in Glasgow.</p> + +<p>Her study at Aman-Jean's and Colarossi's gave a certain daintiness and +grace to her work, which is more Parisian than British in style. There is +great freedom in her brush and a delicacy well suited to the painting of +children's portraits; her children and their mothers really smile, not +grin, and are altogether attractive. I cannot say whether the portraits I +have seen are good likenesses, but they have an air of individuality +which favors that idea.</p><a name="Page_204"></a> + +<br> + +<p><b>Lamb, Ella Condie</b>—Mrs. Charles R. Lamb. Dodge prize, National +Academy, New York; medal at Columbian Exposition, Chicago, 1893; gold +medal, Atlanta Exposition; medal at Pan-American Exposition, 1901. Member +of Art Students' League, Woman's Art Club, National Art Club. Born in New +York City. Pupil of National Academy of Design and of Art Students' +League, New York, under C. Y. Turner, William M. Chase, and Walter +Shirlaw; in Paris, pupil of R. Collin and R. Courtois; in England, of +Hubert Herkomer, R.A.</p> + +<p>Among Mrs. Lamb's works are "The Advent Angel"; "The Christ Child," a +life-size painting, copied in mosaic for the Conrad memorial, St. Mary's +Church, Wayne, Pennsylvania; "The Arts" and "The Sciences," executed in +association with Charles R. Lamb, for the Sage Memorial Apse designed by +him for Cornell University.</p> + +<p>Of recent years Mrs. Lamb is much occupied in collaborating with her +husband in decorative designs for public edifices. One of the works thus +executed is a memorial window to Mrs. Stella Goodrich Russell in Wells +College at Aurora. It represents three female figures against a landscape +background. Literature is seated in the centre, while Science and Art +stand in the side panels. It has the effect of a triptych.</p> + +<br> + +<p><b>Lamb, Rose.</b> Two bronze medals in Boston exhibitions, 1878 and 1879. +Member of the Copley Society. Born in Boston, where her studies have been +made, chiefly under William M. Hunt.</p> + +<p>Miss Lamb has painted portraits principally, a large number of which are +in Boston in the homes of the fam<a name="Page_205"></a>ilies to which they belong. Among them +are Mrs. Robert C. Winthrop, Jr., and her children; Mr. J. Ingersoll +Bowditch, Mr. Horace Lamb, the three sons of the late Governor Roger +Wolcott, the daughters of Mrs. Shepherd Brooks, the children of Mrs. +Walter C. Baylies, etc.</p> + +<p>In 1887 Miss Lamb painted an admirable portrait of Mohini Mohun +Chatterji, a Brahmin, who spent some months in Boston.</p> + +<br> + +<p><b>Lanciani, Marcella.</b> Born in Rome, where her studies were made under +Professor Giuseppe Ferrari in figure drawing, and under Signor Onorato +Carlandi—the great water-color artist of the Roman Campagna—in +landscape and coloring.</p> + +<p>At the annual spring exhibition in the Palazzo delle Belle Arti, Rome, +1903, this artist exhibited four works: a life-size "Study of the Head of +an old Roman Peasant"; a "Sketch near the Mouth of the Tiber at +Finniscino"; "An Old Stairway in the Villa d'Este, at Tivoli"; "A View +from the Villa Colonna, Rome."</p> + +<p>Two of her sketches, one of the "Tiber" and one of the "Villa Medici," +are in the collection of Mrs. Pierpont Morgan; two similar sketches are +in the collection of Mrs. James Leavitt, New York; a copy of a "Madonna" +in an old Umbrian church is in a private gallery in Rome; a "Winter Scene +in the Villa Borghese" and two other sketches are owned in Edinburgh; the +"Lake in the Villa Borghese" is in the collection of Mr. Richard Corbin, +Paris; and several other pictures are in private collections in New York.</p> + +<br> + +<p><b>Lander, Louisa.</b> Born in Salem, 1826. Manifested a <a name="Page_206"></a>taste for +sculpture when quite young, and modelled likenesses of the members of her +family. In 1855 she became the pupil of Thomas Crawford in Rome. Among +her earlier works are figures in marble of "To-day" and "Galatea," the +first being emblematic of America.</p> + +<p>She executed many portrait busts, one of them being of Nathaniel +Hawthorne. "The Captive Pioneer" is a large group. Among her ideal works +are a statue of Virginia Dare—the first child born in America of English +parents; "Undine," "Evangeline," "Virginia," etc.</p> + +<br> + +<p><b>Laukota, Herminie.</b> Born in Prague, 1853. After having studied in +Prague, Amsterdam, and Munich, she was a pupil of Doris Raab in etching. +She paints portraits, genre and still-life subjects with artistic taste +and delicacy. Her studio is in Prague. Among her best pictures are +"Battle for Truth," "Sentinels of Peace," "A Contented Old Woman"; and +among her etchings may be named "The Veiled Picture of Saïs," +"Prometheus," "The Microscopist," "Before the Bar of Reason," etc. The +latter was reproduced in <i>Zeitschrift für bildende Kunst</i> in 1893, and +was said to show a powerful fancy.</p> + +<p>In 1875 and 1876 she exhibited her etchings in Vienna. The "Going to +Baptism" in the second exhibition was much admired and aroused unusual +interest.</p> + +<br> + +<p><b>La Villette, Mme. Elodie.</b> Third-class medal, Paris Salon, 1875; +bronze medal, Paris Exposition, 1889; second-class medal, Melbourne +Exposition; numerous diplomas and medals from provincial exhibitions in +France; also from Vienna, Brussels, Antwerp, Amsterdam, London, +Copenhagen, Barcelona, Munich, and Chicago. Offi<a name="Page_207"></a>cer of the Academy. Born +at Strasbourg. Educated at Lorient. She began to study drawing and +painting under Coroller, a professor in the school she attended. She then +studied six months in the Atelier School at Strasbourg, and finally +became a pupil of Dubois at Arras. She has exhibited since 1870.</p> + +<p>Her picture of the "Strand at Lohic," 1876, is in the Luxembourg Gallery; +the "Cliffs of Yport" is in the Museum of Lille; "A Calm at Villers," in +the Museum at Lorient; "Coming Tide at Kervillaine," in the museum of +Morlaix, etc. Her marine views are numerous and are much admired.</p> + +<p>At the Salon of the Artistes Français, 1902, Mme. La Villette exhibited +"Twilight, Quiberon, Morbihan"; in 1903, "Fort Penthièvre, Quiberon," and +"A Foaming Wave."</p> + +<br> + +<p><b>Le Brun, Mme.</b> See <a href="#Vignee">Vigée</a>.</p> + +<br> + +<p><b>Lehmann, Charlotte.</b> Born in Vienna, 1860. Daughter of an artist, +Katharine Lehmann. Pupil of Schilcher and Pitner. Her works are +principally portraits and studies of heads, in which she is successful. +Her "Styrian Maiden" belongs to the Austrian Emperor, and is in Gödöllö +castle.</p> + +<p>Her portraits are seen at many exhibitions, and art critics mention her +with respect.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Lemaire, Mme. Jeanne-Madeleine.</b> Honorable mention, 1877; silver +medal, Paris Exposition, 1900. Born at Sainte Rosseline. Pupil of an +aunt, who was a miniatur<a name="Page_208"></a>ist, and later of Chaplin. She first exhibited +at the Salon of 1864, a "Portrait of Madame, the Baroness." She has +painted many portraits, and is extremely successful in her pictures of +flowers and fruit.</p> + +<p>Among her principal works are "Diana and Her Dog," "Going out of Church," +"Ophelia," "Sleep," "The Fall of the Leaves," and "Manon."</p> + +<p>She has also painted many pictures in water-colors. Since 1890 she has +exhibited at the Champ-de-Mars. Her illustrations in water-colors for +"L'Abbé Constantin" and for an edition of "Flirt" are very attractive.</p> + +<p>Her "Roses" at the Salon of 1903 were especially fine, so fresh and +brilliant that they seemed to be actual blossoms.</p> + +<p>This artist, not many months ago, called to mind the celebrated Greek +supper of Mme. Lebrun, which was so famous in the time of that artist. +The following is an account of the entertainment given by Mme. Lemaire:</p> + +<p>"A most fascinating banquet was given in Paris quite recently by +Madeleine Lemaire, in her studio, and Parisians pronounce it the most +artistic fete that has occurred for many a moon. Athens was reconstructed +for a night. A Greek feast, gathering at the same board the most +aristocratic moderns, garbed in the antique peplum, as the caprice of a +great artist. The invitation cards, on which the hostess had drawn the +graceful figure of an Athenian beauty, were worded: 'A Soirée in Athens +in the Time of Pericles. Madeleine Lemaire begs you to honor with your +presence the Greek fête which she will give in her humble abode on +Tuesday. Banquet, dances, <a name="Page_209"></a>games, and cavalcade. Ancient Greek costume de +rigueur.' Every one invited responded yes, and from the Duchess d'Uzès, +in a superb robe of cloth of gold and long veil surmounted by a circlet +of diamonds, to that classic beauty Mme. Barrachin, in white draperies +with a crown of pink laurel, the costumes were beautiful. One graceful +woman went as Tanagra. The men were some of them splendid in the garb of +old Greek warriors, wearing cuirass and helmet of gold. At dessert a bevy +of pretty girls in classic costume distributed flowers and fruits to the +guests, while Greek choruses sung by female choristers alternated with +verses admirably recited by Bartel and Reichenberg. After the banquet +Emma Calvé and Mme. Litoinne sang passages from 'Philémon et Bacus,' and +then there were Greek dances executed by the leading dancers of the +Opera. After supper and much gayety, the evening came to a close by an +animated farandole danced by all present. It takes an artist like +Madeleine Lemaire to design and execute such a fete, and beside it how +commonplace appear the costly functions given by society in Newport and +New York."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Levick, Ruby Winifred.</b> At the South Kensington Royal College of Art +this artist gained the prize for figure design; the medal for a study of +a head from life, besides medals and other awards in the National +Competition; British Institution scholarship for modelling, 1896; gold +medal and the Princess of Wales scholarship, 1897; gold medal in national +competition, 1898. Mem<a name="Page_210"></a>ber of the Ridley Art Club. Born in Llandaff, +Glamorganshire.</p> + +<p>This sculptor has exhibited regularly at the Royal Academy since 1898. +Among her works are "Boys Wrestling," group in the round; "Study of a +Boy," a statuette; "Fishermen Hauling in a Net," "Boys Fishing," "The +Hammer Thrower," "Rugby Football," and the "Sea Urchin," a statuette.</p> + +<p>Miss Levick has executed a panel for the reredos in St. Brelade's Church, +Jersey; and another for St. Gabriel's Church, Poplar. She exhibited at +the Academy, 1903, "Sledgehammers: Portion of a Frieze in Relief."</p> + +<br> + +<p><b>Lewis, Edmonia.</b> Born in the State of New York. This artist descended +from both Indian and African ancestors. She had comparatively no +instruction, when, in 1865, she exhibited in Boston a portrait bust of +Colonel Shaw, which at once attracted much attention. In 1867 she +exhibited a statue called the "Freedwoman." Soon after this she took up +her residence in Rome and very few of her works were seen in the United +States. She sent to the Philadelphia exhibition, in 1876, the "Death of +Cleopatra," in marble. The Marquis of Bute bought her "Madonna with the +Infant Christ," an altar-piece. Her "Marriage of Hiawatha" was purchased +by a New York lady.</p> + +<p>Among her other works are "An Old Arrow-Maker and His Daughter," +"Asleep," and terra-cotta busts of Charles Sumner, Longfellow, John +Brown, and others.</p> + +<p>"Among Miss Lewis's works are two small groups illustrating Longfellow's +poem of Hiawatha. Her first,<a name="Page_211"></a> 'Hiawatha's Wooing,' represents Minnehaha +seated, making a pair of moccasins, and Hiawatha by her side with a world +of love and longing in his eyes. In the 'Marriage' they stand side by +side with clasped hands. In both the Indian type of feature is carefully +preserved, and every detail of dress, etc., is true to nature. The +sentiment equals the execution. They are charming bits, poetic, simple, +and natural, and no happier illustrations of Longfellow's most original +poem were ever made than these by the Indian sculptor."—<i>Revolution</i>, +April, 1871.</p> + +<p>"This was not a beautiful work—'Cleopatra'—but it was very original and +very striking, and it merits particular comment, as its ideal was so +radically different from those adopted by Story and Gould in their +statues of the Egyptian Queen.... The effects of death are represented +with such skill as to be absolutely repellent. Apart from all questions +of taste, however, the striking qualities of the work are undeniable, and +it could only have been produced by a sculptor of very genuine +endowments."—<i>Great American Sculptors.</i></p> + +<br> + +<p><b>Ley, Sophie.</b> Third-class medal at Melbourne; honor diplomas, +Karlsruhe. Member of the Künstlerbund, Karlsruhe. Born at Bodman am +Bodensee, 1859. Pupil of the Art School in Stuttgart, where she received +several prizes; and of Gude and Bracht in Karlsruhe.</p> + +<p>Some flower pieces by this artist are in the collection of the Grand Duke +of Baden; others belong to the Hereditary Grand Duke and to the Queen of +Saxony; still others are in various private galleries.</p> + +<p>A recently published design for the wall decoration of <a name="Page_212"></a>a school, +"Fingerhut im Walde," was awarded a prize. Fräulein Ley receives young +women students in her atelier in Karlsruhe.</p> + +<br> + +<p><b>Licata-Faccioli, Orsola.</b> A first-class and several other medals as a +student of the Academy at Venice. Member of the Academies of Venice and +Perugia, 1864. Born in Venice, 1826. In 1848 she married and made a +journey with her husband through Italy. Three pictures which she +exhibited at Perugia, in 1864, won her election to the Academy; the +Marquis Ala-Ponzoni purchased these. The Gallery at Vicenza has several +of her views of Venice and Rome, and there are others in the municipal +palace at Naples. Her pictures have usually sold immediately upon their +exhibition, and are scattered through many European cities. At Hamburg is +a view of Capodimonte; at Venice a large picture showing a view of San +Marcellino; and at Capodimonte the "Choir of the Capuchins at Rome." +Private collectors have also bought many of her landscapes. Since 1867 +she has taught drawing in the Royal Institute at Naples. Two of the +Signora's later pictures are "Arum Italicum," exhibited at Milan in 1881, +and a "Park at Capodimonte," shown at the International Exposition in +Rome—the latter is a brilliant piece of work. Her style is vigorous and +robust, and her touch sure. Family cares seem never to have interrupted +her art activity, for her work has been constant and of an especially +high order.</p> + +<br> + +<p><b>Lindegren, Amalia.</b> Member of the Academy of Stockholm. Honorary +member of the London Society of Women Artists. Born in Stockholm. +1814-1891. A <a name="Page_213"></a>student in the above-named Academy, she was later a pupil +of Cogniet and Tissier, in Paris, and afterward visited Rome and Munich. +Her pictures are portraits and genre subjects. In the Gallery at +Christiania are her "Mother and Child" and "Grandfather and +Granddaughter." "The Dance in a Peasant Cottage" is in the Museum of +Stockholm, where are also her portraits of Queen Louise and the Crown +Princess of Denmark, 1873.</p> + +<p>"With her unpretentious representations of the joy of children, the +smiling happiness of parents, sorrow resigned, and childish stubbornness, +Amalia Lindegren attained great national popularity, for without being a +connoisseur it is possible to take pleasure in the fresh children's faces +in her pictures."—<i>History of Modern Painters.</i></p> + +<br> + +<p><b>Lippincott, Margarette.</b> Honorable mention and Mary Smith Prize at +Pennsylvania Academy of Fine Arts. Member of Philadelphia Water-Color +Club and Plastic Club. New York Water-Color Club. Born in Philadelphia. +Pupil of Pennsylvania Academy of Fine Arts and Art Students' League, New +York.</p> + +<p>This artist has painted flowers especially, but of late has taken up +genre subjects and landscapes. Among her pictures is one of "Roses," in +the Academy of Fine Arts, and "White Roses," in the Art Club of +Philadelphia. "Sunset in the Hills" is in a private collection, and "The +West Window" is owned in Detroit.</p> + +<br> + +<p><b>Liszewska, Anna Dorothea.</b> Married name was Therbusch. Member of the +Academies of Paris and Vienna and of the Institute of Bologna. Born in +Berlin. 1722-<a name="Page_214"></a>1782. Was court painter at Stuttgart, and later held the +same office under Frederick the Great, whose portrait she painted, 1772. +Her picture of "Diana's Return from the Chase" was also painted for +Frederick. Her early studies were conducted by her father. After leaving +the court of Stuttgart she studied four years in Paris. In the Louvre is +her picture of "A Man Holding a Glass of Water"; in the Brunswick Gallery +is her portrait of herself; and several of her works are in the Schwerin +Gallery. Her pictures of "A Repentant Maiden," 1781, and of "Ariadne at +Naxos" attracted much attention.</p> + +<br> + +<p><b>Liszewska, Anna Rosina.</b> Member of the Dresden Academy. Born in +Berlin. 1716-1783. Pupil of her father. She executed forty portraits of +women for the "Hall of Beauty" at Zerbst. One of her portraits, painted +in 1770, is in the Gallery at Brunswick. She travelled in Holland in +1766, but was too much occupied with commissions to find time for foreign +journeys. She painted a picture called "Artemisia" and a second of +"Monime Pulling Down Her Diadem," which were interesting and excellent +examples of her style of painting.</p> + +<br> + +<p><b>Locatelli, or Lucatelli, Maria Caterina.</b> Of Bologna. Died in 1723. +She studied under Pasinelli, and in the Church of St. Columba in Bologna +are two pictures by her—a "St. Anthony" and a "St. Theresa."</p> + +<br> + +<p><b>Loewenthal, Baroness Anka.</b> Born at Ogulin, Croatia, 1853. Pupil of +Karl von Blaas and Julius von Payer. Some portraits by this artist are in +the Academy of Arts and Sciences at Agram. But religious subjects were +most frequently treated by her, and a number of these are in <a name="Page_215"></a>the +Croatian churches. The "Madonna Immaculata" is in the Gymnasial Kirche, +Meran, and a "Mater Dolorosa" in the Klosterkirche, Bruck a. d. Meer.</p> + +<br> + +<p><b>Longhi, Barbara.</b> Born in Ravenna. 1552-1619(?). Daughter of Luca +Longhi. She was an excellent artist and her works were sought for good +collections. A portrait by her is in the Castellani Collection, dated +1589; "St. Monica," "Judith," and the "Healing of St. Agatha" are in the +Ravenna Academy; a "Virgin and Child" is in the Louvre, and "Mary with +the Children" in the Dresden Gallery.</p> + +<br> + +<p><b>Longman, E. B.</b> This sculptor has a commission to execute a statue of +Victory for a dome at the St. Louis Exposition.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Loop, Mrs. Henry A.</b> Elected an associate of the National Academy of +Design in 1875. Born in New Haven, 1840. Pupil of Professor Louis Bail in +New Haven, of Henry A. Loop in New York, later spending two years in +study in Paris, Venice, and Rome.</p> + +<p>Mrs. Loop is essentially a portrait painter, but occasionally has painted +figure pictures, such as "Baby Belle," "A Little Runaway," "A Bouquet for +Mama," etc. Her portraits of Professors Low and Hadley of New Haven were +much admired; those of Mrs. Joseph Lee, Miss Alexander, and other ladies +were exhibited at the Academy.</p> + +<p>"Mrs. Loop's picture is an honest, unpretending work, well drawn, +naturally posed, and clearly, solidly colored.<a name="Page_216"></a> There is not a trace of +affectation about it. The artistic effects are produced in the most +straightforward way."—<i>Clarence Cook, in New York Tribune.</i></p> + +<p>"Mrs. Loop is certainly the leading portrait painter among our lady +artists. She is vigorous, conscientious, and perceptive."—<i>Chicago +Times,</i> 1875.</p> + +<br> + +<p><b>Lotz, Matilda.</b> Gold medal at School of Design, California. Born in +Franklin, Tennessee. This artist is sometimes called "the Rosa Bonheur of +America." She began to draw pictures of animals when seven years old. +Later she studied under Virgil Williams in San Francisco and under M. +Barrios and Van Marcke in Paris.</p> + +<p>She has travelled extensively in the East, painting camels, dromedaries, +etc. Her work has a vigor and breadth well suited to her subjects, while +she gives such attention to details as make her pictures true to life. +One critic writes: "Her oxen and camels, like Rosa Bonheur's horses, +stand out from canvas as living things. They have been the admiration of +art lovers at the Salon in Paris, the Royal Academy in London, and at +picture exhibitions in Austria-Hungary and Germany."</p> + +<a name="image-016"></a> +<p class="ctr"><a href="./images/016.jpg"><img src="./images/016_th.jpg" alt="A FAMILY OF DOGS. Matilda Lotz"></a></p> +<p class="ctr">A FAMILY OF DOGS</p> +<p class="ctr">Matilda Lotz</p> + +<p>Among her works are "Oxen at Rest," "The Artist's Friends," "Hounds in +the Woods," painted in California. "Mourning for Their Master," "The Sick +Donkey," and other less important pictures are in private collections in +Hungary. "The Early Breakfast" is in a gallery in Washington, D. C. She +has painted portraits of famous horses owned by the Duke of Portland, +which are in England, as is her picture called "By the Fireside."</p> + +<br> + +<p><a name="Loud"></a><b>Loud, May Hallowell.</b> Member of the Copley Society <a name="Page_217"></a>and Boston +Water-Color Club. Born in West Medford, Massachusetts, 1860. Pupil of the +School of Museum of Fine Arts, Boston; Julian Academy, Paris; Cowles Art +School, Boston. In Paris, under Tony Robert-Fleury, Giacomotti, and Louis +Deschamps. Later under Abbott Thayer and Denman W. Ross.</p> + +<p>Mrs. Loud's works are principally portraits, and are in private hands. +Her picture called "The Singer" was purchased by the Atlanta Exposition, +and is in a collection in that city. She works mostly in oils, but has +been successful in portraits in pastel; two admirable examples were +exhibited in Boston recently, and were favorably noticed for their color +and "temperance in the use of high relief."</p> + +<br> + +<p><b>Louise, Princess.</b> See <a href="#Argyll">Argyll</a>.</p> + +<br> + +<p><b>Lusk, Marie K.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Lutmer, Emmy.</b> Medal at Munich, 1888. Born at Elberfeld, 1859. Pupil +of the School of Art Industries at Munich and of the Museums of Berlin +and Vienna. This skilled enamel painter has her studio in Berlin, where +she executes fine and beautiful work.</p> + +<br> + +<p><b>MacChesney, Clara Taggart.</b> Two medals at Chicago Exposition, 1893; +Dodge prize, National Academy, New York, 1894; gold medal, Philadelphia +Art Club, 1900; Hallgarten prize, National Academy, 1901; bronze medal, +Buffalo Exposition, 1901. Three medals at Colarossi School, Paris. Member +of National Art Club, Barnard Club, and Water-Color Club, all of New +York. Born in<a name="Page_218"></a> Brownsville, California. Pupil of Virgil Williams in San +Francisco Art School; of H. C. Mowbray, J. C. Beckwith, and William Chase +in Gotham Art School; and of G. Courtois, A. Girardot, and R. X. Prinet +in Colarossi School, Paris. Exhibited at Paris Salon, Beaux Arts, in +1896, 1898, and at the Exposition in 1900.</p> + +<a name="image-017"></a> +<p class="ctr"><a href="./images/017.jpg"><img src="./images/017_th.jpg" alt="From a Copley Print. FRITZ. Clara T. Macchesney"></a></p> +<p class="ctr">From a Copley Print</p> +<p class="ctr">FRITZ</p> +<p class="ctr">Clara T. Macchesney</p> + +<p>This artist paints figure subjects. Among these are "Retrospection," +Boston Art Club; "Tired," Erie Art Club; "A Good Story," National Arts +Club, New York; "The Old Cobbler," etc.</p> + +<p>Her prize picture at the National Academy, New York, 1894, was called +"The Old Spinner." This picture had been refused by the committee of the +Society of American Artists, only to be thought worthy a prize at the +older institution.</p> + +<br> + +<p><b>Macgregor, Jessie.</b> The gold medal in the Royal Academy Schools for +historical painting, a medal given biennially, and but one other woman +has received it. Born in Liverpool. Pupil of the Schools of the Royal +Academy; her principal teachers were the late Lord Leighton, the late P. +H. Calderon, R.A., and John Pettie, R.A.</p> + +<p>Her principal works are "In the Reign of Terror" and "Jephthah's Vow," +both in the Liverpool Permanent Collection; "The Mistletoe Bough"; +"Arrested, or the Nihilist"; "Flight," exhibited at Royal Academy in +1901; "King Edward VII.," 1902.</p> + +<p>Miss Macgregor is a lecturer on art in the Victoria University Extension +Lecture Scheme, and has lectured on Italian painting and on the National +Gallery in many places.</p><a name="Page_219"></a> + +<p>At the London Academy in 1903 she exhibited "The Nun," "If a Woman Has +Long Hair, it is a Glory to Her," I Cor. xi. 15; "Behind the Curtain," +"Christmas in a Children's Hospital," and "Little Bo-peep."</p> + +<br> + +<p><b>Mackubin, Florence.</b> Bronze medal and diploma, Tennessee Exposition, +1897. Vice-president of Baltimore Water-Color Club. Born in Florence, +Italy. Studied in Fontainebleau under M. Lainé, in Munich under Professor +Herterich, and in Paris under Louis Deschamps and Julius Rolshoven; also +with Mlle. J. Devina in miniature painting.</p> + +<p>Miss Mackubin has exhibited at the Paris Salon, the London Academy, and +the National Academy, New York. Her works are portraits in miniature, +pastel, and oil colors.</p> + +<p>She was appointed by the Board of Public Works of Maryland to copy the +portrait of Queen Henrietta Maria, for whom Maryland was named. The +portrait is by Vandyck and in Warwick Castle. Miss Mackubin's copy is in +the State House at Annapolis.</p> + +<p>Her portraits are numerous. Among them are those of Mrs. Charles J. +Bonaparte, Justice Horace Gray, Hon. George F. Hoar, Mrs. Thomas F. +Bayard, and many others. In England she painted portraits of the Countess +of Warwick, the Marchioness of Bath, and several other ladies.</p> + +<p>Miss Mackubin's portrait of Cardinal Gibbons, exhibited in Baltimore in +1903, is much praised. He is sitting in an armchair near a table on which +are books. The pose of the figure is natural, the drawing excellent, the +flesh tints well handled, and the likeness satisfactory to an <a name="Page_220"></a>unusual +degree. The accessories are justly rendered and the values well +preserved—the texture of the stuffs, the ring on the hand, the hand +delicate and characteristic; in short, this is an excellent example of +dignified portraiture.</p> + +<br> + +<p><b>MacMonnies, Mary Fairchild.</b> Awarded a scholarship in Paris by the +St. Louis School of Fine Arts; medal at Chicago, 1893; bronze medal at +Paris Exposition, 1900; bronze medal at Buffalo, 1901; gold medal at +Dresden, 1902; Julia M. Shaw prize, Society of American Artists, New +York, 1902. Associate member of Société Nationale des Beaux-Arts, Paris; +member of the Society of American Artists, New York. Born at New Haven, +Connecticut, about 1860.</p> + +<p>Pupil of School of Fine Arts, St. Louis, Academy Julian, Paris, and of +Carolus Duran.</p> + +<p>Exhibited at Salon des Beaux-Arts, 1902, "The October Sun," "The Last +Rays," and "The Rain"; in 1903, "A Snow Scene."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Macomber, Mary L.</b> Bronze medal, Massachusetts Charitable Mechanics' +Association, 1895; bronze medal, Cotton State and International +Exposition, 1895; Dodge prize, National Academy, New York, 1897; +honorable mention, Carnegie Institute, 1901. Member of the Copley +Society, Boston. Born in Fall River, Massachusetts, 1861. Pupil of Robert +Dunning, School of Boston Art Museum under Otto Grundmann and F. +Crowninshield, and of Frank Duveneck.</p><a name="Page_221"></a> + +<p>This artist paints figure subjects. Her "Saint Catherine" is in the +Boston Museum of Fine Arts; "Spring Opening the Gate to Love" was in the +collection of the late Mrs. S. D. Warren; "The Annunciation" is in the +collection of Mrs. D. P. Kimball, Boston. Other works of hers are a +triptych, the "Magdalene," "Death and the Captive," "The Virgin of the +Book," etc.</p> + +<a name="image-018"></a> +<p class="ctr"><a href="./images/018.jpg"><img src="./images/018_th.jpg" alt="From a Copley Print. SAINT CATHERINE. Mary L. Macomber"></a></p> +<p class="ctr">From a Copley Print</p> +<p class="ctr">SAINT CATHERINE</p> +<p class="ctr">Mary L. Macomber</p> + +<p>"One feels, on looking at the Madonnas, Annunciation, or any of Miss +Macomber's pictures,... that she must have lived with and in her subject. +Delicate coloring harmonizes with refined, spiritual conceptions.... Her +most generally liked picture is her 'Madonna.' All the figures wear a +sweet, solemn sadness, illumined by immortal faith and love."—<i>Art +Interchange,</i> April, 1899.</p> + +<br> + +<p><b>Magliani, Francesca.</b> Born at Palermo in 1845, and studied painting +there under a private teacher. Going later to Florence she was a pupil of +Bedussi and of Gordigiani. Her early work consisted of copies from the +Italian and other masters, and these were so well done that she soon +began to receive orders, especially for portraits, from well-known +people. Among them were G. Baccelli—the Minister of Public +Instruction—King Humbert, and Queen Margherita, the latter arousing much +interest when exhibited in Florence. Portraits of her mother, and of her +husband, who was the Minister of Finance, were also recognized as +admirable examples of portraiture. "Modesty and Vanity" is one of her +genre pictures.</p> + +<br> + +<p><b>Mangilla, Ada.</b> Gold medal at Ferrara for a "Bacchante," which is now +in the Gallery there; gold medal <a name="Page_222"></a>at Beatrice, in Florence, 1890, for the +"Three Marys." Born in Florence in 1863. Pupil of Cassioli. One of her +early works was a design for two mosaic figures in the left door of the +Cathedral in Florence, representing Bonifazio Lupi and Piero di Luca +Borsi; this was exhibited in 1879, and was received with favor by the +public.</p> + +<p>This artist has had much success with Pompeian subjects, such as "A +Pompeian Lady at Her Toilet," and "A Pompeian Flower-Seller." She catches +with great accuracy the characteristics of the Pompeian type; and this +facility, added to the brilliancy of her color and the spirit and +sympathy of her treatment, has given these pictures a vogue. Two of them +were sold in Holland. "Floralia" was sold in Venice. To an exhibition of +Italian artists in London, in 1889, she contributed "The Young Agrippa," +which was sold to Thomas Walker. Her grace and fancy appear in the +drawings which she finds time to make for "Florentia," and in such +pictures as "The Rose Harvest."</p> + +<p>This highly accomplished woman, who has musical and literary talent, is +the wife of Count Francessetti di Mersenile.</p> + +<br> + +<p><b>Mankiewicz, Henriette.</b> Chevalier of the Legion of Honor. A series of +her mural decorations was exhibited in various German cities, and finally +shown at the Paris Exposition of 1890(?), where they excited such +applause that the above honor was accorded her. These decorations are in +the form of panels, in which water, in its varying natural aspects, +supplies the subordinate features, while the fundamental motive is +vegetation of every description. The artist has evidently felt the +influence of<a name="Page_223"></a> Markart in Vienna, and some of her conceptions remind one +of H. von Preusschen. Her technique is a combination of embroidery, +painting, and applications on silk. Whether this combination of methods +is desirable is another question, but as a means of decoration it is +highly effective.</p> + +<p>At an exhibition of paintings by women of Saxony, held in Dresden under +the patronage of Queen Carola in the fall of 1892, this artist exhibited +another decorative panel, done in the same manner, which seems to have +been a great disappointment to those who had heard wonderful accounts of +the earlier cycle of panels. It was too full of large-leaved flowers, and +the latter were too brilliant to serve as a foreground to the Alhambra +scenes, which were used as the chief motive.</p> + +<br> + +<p><b>Manly, Alice Elfrida.</b> A national gold medal and the Queen's gold +medal, at the Royal Female School of Art, London. Member of the Dudley +Gallery Art Society and the Hampstead Art Society. Born in London. Pupil +of the above-mentioned School and of the Royal Academy Schools.</p> + +<p>This artist has exhibited at the Academy, at the Royal Institute of +Painters in Water Colors, and other exhibitions. Her pictures have +frequently been sold from the exhibitions and reproduced. Among these are +"Sympathy," sold as first prize in Derby Art Union; "Diverse +Attractions"; "Interesting Discoveries"; "Coming," sold from the Royal +Academy; "Gossips"; "The Wedding Gown," etc.</p> + +<p>Miss Manly has done much work for publishers, which <a name="Page_224"></a>has been reproduced +in colors and in black and white. She usually combines figures and +landscape.</p> + +<br> + +<p><b>Mantovani, Signora S. Rome.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Maraini, Adelaide.</b> Gold medal in Florence, at Beatrice Exposition, +1903. Born in 1843. This sculptor resides in Rome, where her works have +been made. An early example of her art, "Camilla," while it gave proof of +her artistic temperament, was unimportant; but her later works, as they +have followed each other, have constantly gained in excellence, and have +won her an enviable reputation. Among her statues are "Amleto," "The +Sulamite Woman," and "Sappho." The last was enthusiastically received in +Paris in 1878, and is the work which gained the prize at Florence, where +it was said to be the gem of the exhibition. She has also executed a +monument to Attilio Lemmi, which represents "Youth Weeping over the Tomb +of the Dead," and is in the Protestant Cemetery at Florence; a +bas-relief, the "Angels of Prayer and of the Resurrection"; a group, +"Romeo and Juliet"; and portraits of Carlo Cattanei, Giuseppe Civinini, +Signora Allievi, Senator Musio, the traveller De Albertis, and Victor +Emmanuel.</p> + +<br> + +<p><b>Marcelle, Adèle,</b> Duchess of Castiglione-Colonna, family name +d'Affry. Born at Fribourg, Switzerland, 1837, and died at Castellamare, +1879. Her early manner was that of the later Cinquecento, but she +afterward adopted a rather bombastic and theatrical style. Her only +statue, a Pythia, in bronze was placed in the Grand Opera at<a name="Page_225"></a> Paris +(1870). In the Luxembourg Museum are marble busts of Bianca Capello +(1863) and an "Abyssinian Sheikh" (1870). A "Gorgon" (1865), a "Saviour" +(1875), "La Bella Romana" (1875) are among her other works. She left her +art treasures, valued at about fifty thousand francs, to the Cantonal +Museum at Fribourg, where they occupy a separate room, called the +Marcello Museum.</p> + +<br> + +<p><b>Marcovigi, Clementina.</b> Born in Bologna, where she resides. Flower +pieces exhibited by her at Turin in 1884 and at Venice in 1887 were +commended for perfection of design and charm of color.</p> + +<br> + +<p><b>Maria Feodorovna,</b> wife of the Czar Peter I. As Princess Dorothea +Auguste Sophie of Würtemberg she was born at Trepton in 1759, and died at +Petersburg in 1858. She studied under Leberecht, and engraved medals and +cameos, many of which are portraits of members of the royal family and +are in the royal collection at Petersburg. She was elected to the Berlin +Academy in 1820.</p> + +<br> + +<p><b>Mariani, Virginia.</b> Honorary member of the Umbrian Academy and of the +Academy of the Virtuosi of the Pantheon. Born in Rome, 1824, where she +has met with much success in decorating pottery, as well as in oil and +water-color paintings. The Provincial Exposition at Perugia in 1875 +displayed her "Mezze Figure," which was highly commended. She has +decorated cornices, with flowers in relief, as well as some vases that +are very beautiful. Besides teaching in several institutions and +receiving private pupils, she has been an inspector, in her own +department of art, of the municipal schools of Rome.</p><a name="Page_226"></a> + +<br> + +<p><b>Marie, Duchess of Würtemberg.</b> Daughter of Louis Philippe, and wife +of Duke Frederick William Alexander of Würtemberg. Born at Palermo, 1813, +and died at Pisa, 1839. She studied drawing with Ary Scheffer. Her statue +of "Jeanne d'Arc" is at Versailles; in the Ferdinand Chapel, in the Bois +de Boulogne, is the "Peri as a Praying Angel"; in the Saturnin Chapel at +Fontainebleau is a stained-glass window with her design of "St. Amalia." +Among her other works are "The Dying Bayard," a relief representing the +legend of the Wandering Jew, and a bust of the Belgian Queen. Many of her +drawings are in possession of her family. She also executed some +lithographs, such as "Souvenirs of 1812," 1831, etc.</p> + +<br> + +<p><b>Marie Louise, Empress of France.</b> 1791-1846. She studied under +Prud'hon. Her "Girl with a Dove" is in the Museum of Besançon.</p> + +<br> + +<p><b>Marlef, Claude.</b> Bronze medal at Paris Exposition, 1900. Associate of +the French National Society of Fine Arts (Beaux-Arts). Born at Nantes. +Pupil of A. Roll, Benjamin Constant, Puvis de Chavannes, and Dagnaux.</p> + +<p>Mme. Marlef is a portrait painter. Her picture, "Manette Salomon," is in +the Hotel de Ville, Paris; the "Nymphe Accroupie" is in the Municipal +Museum of Nantes. Among her portraits of well-known women are those of +Jane Hading, Elsie de Wolfe, Bessie Abbott of the Opera, Rachel Boyer of +the Theatre Français, Marguerite Durand, Editeur de la Fronde, Mlle. +Richepin, and many others.</p> + +<p>Mme. Marlef has the power of keen observation, so necessary to a painter +of portraits. Although there is a <a name="Page_227"></a>certain element of soft tenderness in +her pictures, the bold virility of her drawing misled the critics, who +for a time believed that her name was used to conceal the personality of +a man. A critic in the Paris <i>World</i> writes of this artist: "She has +exquisite color sense and delights in presenting that <i>exaltation de la +vie</i>, that love, radiance, and joy of life, which are at once the secret +of the success and the keynote of the masterful canvases of Roll, in +whose studio were first developed Claude Marlef's delicate qualities of +truthful perception in the portraiture of woman.... Her perceptions being +rapid, she has a remarkable instantaneous insight, enabling her to fix +the dominant feature and soul of expression in each of the various types +among her numerous sitters."</p> + +<p>Mme. Marlef's family name is Lefebure. Her husband died in 1891, the year +after their marriage, and she then devoted herself to the serious study +of painting, which she had practised from childhood. She first exhibited +at the Salon, 1895, and has exhibited annually since then. In 1902 she +sent her own portrait, and in 1903 that of Bessie Abbott, to the +Exhibition of the Société Nationale des Beaux-Arts.</p> + +<br> + +<p><b>Martin de Campo, Victoria.</b> Member of the Academy of Fine Arts of +Cadiz, her native city. In the different expositions of this and other +Andalusian capitals she has exhibited since 1840 many works, including +portraits, genre, historical pictures, and copies. Among them may be +mentioned "Susanna in the Bath," "David Playing the Harp before Saul," a +"Magdalen," a "Cupid," a "Boy with a Linnet," and a "Nativity." Some of +these were <a name="Page_228"></a>awarded prizes. In the Chapel of Relics in the new Cathedral +at Cadiz are her "Martyrdom of St. Lawrence" and a "Mater Dolorosa."</p> + +<br> + +<p><b>Martineau, Edith.</b> Associate of Royal Society of Painters in +Water-Colors; member of the Hampstead Art Society. Born in Liverpool, +where she made her first studies in the School of Art, and later became a +pupil of the Royal Academy Schools, London.</p> + +<p>Her pictures are not large and are principally figures or figures in +landscape, and all in water-colors. She writes very modestly that so many +are sold and in private hands that she will give no list of subjects.</p> + +<br> + +<p><b>Massari, Luigia.</b> Medal at Piacenza, 1869, and several other medals +from art societies. Born at Piacenza, 1810. Pupil of A. Gemmi. Her works +are in a number of churches: "St. Martin" in the church at Altoé; "St. +Philomena" in the church at Busseto; the "Madonna del Carmine" and "St. +Anna" in the church at Monticelli d'Ongina. This artist was also famous +for her beautiful embroidery, as seen in her altar-cloths, one of which +is in the Guastafredda Chapel at Piacenza. The fruits and flowers +produced by her needle are marvellously like those in her pictures.</p> + +<br> + +<p><b>Massey, Mrs. Gertrude.</b> Member of the Society of Miniaturists. Born +in London, 1868. Has studied with private teachers in London and Paris.</p> + +<p>This painter has made a specialty of miniatures and of pictures of dogs. +She has been extensively employed by various members of the royal family, +of whom she painted eleven miniatures, among which was one of the late +Queen.</p><a name="Page_229"></a> + +<p>She sends me a list of several pictures of dogs and "Pets," all belonging +to titled English ladies; also a long list of miniatures of gentlemen, +ladies, and children of high degree, several being of the royal family, +in addition, I suppose, to the eleven mentioned above.</p> + +<p>She writes me: "Constantly met King and Queen and other members. Sittings +took place at Windsor Castle, Sandringham, Marlborough House, Osborne, +and Balmoral. One dog died after first sitting; had to finish from dead +dog. Live in charming little cottage with <i>genuine</i> old-fashioned garden +in St. John's Wood."</p> + +<p>Mrs. Massey has exhibited at the Royal Academy and New Gallery, and has +held a special exhibition of her pictures of dogs at the Fine Art +Society, New Bond Street, London.</p> + +<br> + +<p><b>Massip, Marguerite.</b> Member of the Society of Swiss Painters and +Sculptors and of the Society of Arts and Letters, Geneva. Born at Geneva. +Made her studies in Florence and Paris under the professors in the public +schools. Her picture of "Le Buveur" is in the Museum of Geneva; "Five +o'Clock Tea," also in a Geneva Museum; "La Bohemienne" is at Nice; "The +Engagement"—a dancer—at St. Gall, and a large number of portraits in +various cities, belonging to their subjects and their families.</p> + +<p>Her portrait of Mme. M. L. was very much praised when exhibited in +proximity with the works of some of the famous French artists. One critic +writes: "The painting is firm and brilliant. The hands are especially +beautiful; we scarcely know to whom we can compare<a name="Page_230"></a> Mme. Massip, unless +to M. Paul Dubois. They have the same love of art, the same soberness of +tone, the same scorn of artifice.... The woman who has signed such a +portrait is a great artist." It is well known that the famous sculptor is +a remarkable portraitist.</p> + +<p>In a review of the Salon at Nice we read: "A portrait by Mme. Massip is a +magnificent canvas, without a single stroke of the charlatan. The pose is +simple and dignified; there is the serenity and repose of a woman no +longer young, who makes no pretension to preserve her vanishing beauty; +the costume, in black, is so managed that it would not appear +superannuated nor ridiculous at any period. The execution is that of a +great talent and an artistic conscience. It is not a portrait for a +bedchamber, still less for a studio; it is a noble souvenir for a family, +and should have a place in the salon, in which, around the hearth, three +generations may gather, and in this serene picture may see the wife, the +mother, and the grandmother, when they mourn the loss of her absolute +presence."</p> + +<br> + +<p><b>Massolien, Anna.</b> Born at Görlitz, 1848. A pupil of G. Gräf and of +the School of Women Artists in Berlin. Her portraits of Field Marshal von +Steinmetz, Brückner, and G. Schmidt by their excellence assured the +reputation of this artist, whose later portraits are greatly admired.</p> + +<br> + +<p><b>Mathilde, Princess.</b> Medal at Paris Salon, 1865. Daughter of King +Jerome Bonaparte. Born at Trieste, 1820; died at Paris, 1904. Pupil of +Eugene Giraud. She painted genre subjects in water-colors. Her medal +picture, "Head of a Young Girl," is in the Luxembourg;<a name="Page_231"></a> "A Jewess of +Algiers," 1866, is in the Museum of Lille; "The Intrigue under the +Portico of the Doge's Palace" was painted in 1865.</p> + +<br> + +<p><b>Mathilde Caroline,</b> Grand Duchess of Hesse. Was born Princess of +Bavaria. 1813-1863. Pupil of Dominik Onaglio. In the New Gallery at +Munich are two of her pictures—"View of the Magdalen Chapel in the +Garden at Nymphenburg," 1832, and "Outlook on the Islands, Procida and +Ischia," 1836.</p> + +<br> + +<p><b>Matton, Ida.</b> Two grand prizes and a purse, also a travelling purse +from the Government of Sweden; honorable mention at the Paris Salon, +1896; honorable mention, Paris Exposition, 1900; prize for sculpture at +the Union des femmes peintres et sculpteurs, 1903. Decorated with the +"palmes académique" of President Loubet, 1903. Member of the Union des +femmes peintres et sculpteurs, Paris. Born at Gefle, Sweden. Pupil of the +Technical School, Stockholm, and of H. Chapu, A. Mercie, and D. Puech at +Paris.</p> + +<a name="image-019"></a> +<p class="ctr"><a href="./images/019.jpg"><img src="./images/019_th.jpg" alt="In Cemetery In Gefle, Sweden. MONUMENT FOR A TOMB. Ida Matton"></a></p> +<p class="ctr">In Cemetery In Gefle, Sweden</p> +<p class="ctr">MONUMENT FOR A TOMB</p> +<p class="ctr">Ida Matton</p> + +<p>Among the works of this artist are "Mama!" a statue in marble; "Loké," a +statue; "Dans les Vagues," a marble bust; "Funeral Monument," in bronze, +in Gefle, Sweden; and a great number of portrait busts and various +subjects in bas-relief.</p> + +<p>At the Salon des Artistes Français, 1902, she exhibited four portraits, +and in 1903, "Confidence."</p> + +<br> + +<p><b>Maury, Cornelia F.</b> Member of St. Louis Artists' Guild and Society of +Western Artists. Born in New Orleans, Louisiana. Pupil of St. Louis +School of Fine Arts and of Julian Academy, under Collin and Merson. At +<a name="Page_232"></a>the Salon of 1900 her picture, "Mother and Child," was hung on the line.</p> + +<p>Miss Maury has made an especial study of child life. Among her pictures +are "Little Sister," "Choir Boy," "Late Breakfast," and "First Steps." +The latter picture and the "Baby in a Go-Cart" have been published in the +Copley Prints.</p> + +<p>"Cornelia F. Maury is most successful in portrayals of childhood. Her +small figures are simple, unaffected, with no suggestion of pose. They +convey that delightful feeling of unconsciousness in the subject that is +always so charming either in nature or in artistic expression. The pastel +depicting the flaxen-haired child in blue dress drawing a tiny cart is +exceedingly artistic, and the same may be said of a pastel showing a +small child in a Dutch high-chair near a window. A third picture—also a +pastel—represents a choir-boy in a red robe, red cap, and white +surplice, sitting in a high-backed, carved chair, holding a book in his +hand. Miss Maury really has produced nothing finer than this last. It is +a most excellent work."—<i>The Mirror, St. Louis,</i> April 10, 1902.</p> + +<br> + +<p><b>Mayreder-Obermayer, Rose.</b> Born in Vienna, 1858. Pupil of Darnaut and +Charmont. The works of this successful painter of flowers and still-life +have been exhibited in Berlin, Vienna, Dresden, and Chicago. She has a +broad, sure touch quite unusual in water-colors. She has also executed +some notable decorative works, one of which, "November," has attracted +much attention.</p> + +<br> + +<p><b>McCrossan, Mary.</b> Silver and bronze medals, Liverpool; silver medal +and honorable mention, Paris. Has <a name="Page_233"></a>exhibited at Royal Academy, London, +at Royal Institute of Oil Colors, and many other English and Scotch +exhibitions. Member of Liverpool Academy of Arts and of the Liverpool +Sketching Club. Born in Liverpool. Studied at Liverpool School of Art +under John Finnie; Paris, under M. Delécluse; St. Ives, Cornwall, under +Julius Ollson.</p> + +<p>The principal works of this artist are marine subjects and landscapes, +and are mostly in private collections.</p> + +<p>In the <i>Studio,</i> November, 1900, we read: "Miss McCrossan's exhibition of +pictures and sketches displayed a pleasant variety of really clever work, +mostly in oils, with a few water-colors and pastels. In each medium her +color is strong, rich, and luminous, and her drawing vigorous and +certain.</p> + +<p>"While this artist's landscape subjects are intelligently selected and +attractively rendered, there is unusual merit in her marine pictures, +composed mainly from the fisher-craft of the Isle of Man and the +neighborhood of St. Ives, and recording effects of brilliant sunshine +lighting up white herring boats lying idly on intensely reflective blue +sea, or aground on the harbor mud at low tide. There is a fascination in +the choice color treatment of these characteristic pictures."</p> + +<br> + +<p><b>Mclaughlin, Mary Louise M.</b> Honorable mention, Paris Salon, 1878; +silver medal, Paris Exposition, 1889; gold medal, Atlanta, 1895; bronze +medal, Buffalo, 1900. Member of the Society of Arts, London; honorary +member of National Mineral Painters' League, Cincinnati. Born in +Cincinnati, Ohio. Pupil of Cincinnati Art Acad<a name="Page_234"></a>emy and of H. F. Farny and +Frank Duveneck in private classes.</p> + +<p>Miss McLaughlin has painted in oil and water-colors and exhibited in +various places, as indicated by the honors she has received. Having +practised under- and over-glaze work on pottery, as well as porcelain +etching and decorative etching on metals, she is now devoting herself to +making the porcelain known as Losanti Ware.</p> + +<p>Of a recent exhibition, 1903, a critic wrote: "Perhaps the most beautiful +and distinguished group in the exhibition is that of Miss McLaughlin, one +of the earliest artistic workers in clay of the United States. She sends +a collection of lovely porcelain vases, of a soft white tone and charming +in contour. Some of these have open-work borders, others are decorated in +relief, and the designs are tinted with delicate jade greens, dark blues, +or salmon pinks. This ware goes by the name of Losanti, from the early +name of Cincinnati, L'Osantiville."</p> + +<p>This artist has written several books on china painting and pottery +decoration.</p> + +<br> + +<p><b>McManus Mansfield, Blanche.</b> Diplomas from the New Orleans Centennial +and the Woman's Department, Chicago, 1903. Member of the New Vagabonds, +London, and the Touring Club of France. Born in East Feliciana Parish, +Louisiana, this artist has made her studies in London and Paris. Her +principal work has been done in book illustrations. The following list +gives some of her most important publications:</p> + +<div class="poem"><div class="stanza"> +<p>"Alice in Wonderland" and "Through the Looking-Glass." De</p> +<p class="i4">Luxe edition in color. New York, 1899.</p><a name="Page_235"></a> +</div><div class="stanza"> +<p>"The Calendar of Omar Khayyam." In color. New York, 1900.</p> +</div><div class="stanza"> +<p>"The Altar Service." Thirty-six wood-cut blocks printed on</p> +<p class="i3">Japan vellum. London, 1902.</p> +</div><div class="stanza"> +<p>"The Coronation Prayer-Book." (Wood-cut borders.) Oxford</p> +<p class="i3">University Press, 1902.</p> +</div><div class="stanza"> +<p>"Cathedrals of Northern France." In collaboration with Francis</p> +<p class="i3">Miltoun. Boston and London, 1903.</p> +</div><div class="stanza"> +<p>"Cathedrals of Southern France." In collaboration with Francis</p> +<p class="i3">Miltoun. Sold for publication in London and Boston, 1904.</p> +</div><div class="stanza"> +<p>"A Dante Calendar." London, 1903.</p> +</div><div class="stanza"> +<p>"A Rubaiyat Calendar." Boston, 1903.</p> +</div><div class="stanza"> +<p>"The King's Classics." (Designs and Decorations.) London,</p> +<p class="i3">1902-1903.</p> +</div><div class="stanza"> +<p>"The Book of Days." A Calendar. Sold in London for 1904.</p> +</div></div> + +<p>After speaking of several works by Miss McManus, a notice from London +says: "A more difficult or at least a more intricate series were the +designs cut on wood for 'The Altar Service Book,' just issued in London +by that newly founded venture, the De La More Press; which has drawn unto +itself such scholars as Dr. Furnival, Professor Skeat, and Israel +Gollancz. These designs by Miss McManus were printed direct from the wood +blocks in very limited editions, on genuine vellum, on Japanese vellum, +and a small issue on a real sixteenth-century hand-made paper. The +various editions were immediately taken up in London on publication; +hence it is unlikely that copies will be generally seen in America.</p> + +<a name="image-020"></a> +<p class="ctr"><a href="./images/020.jpg"><img src="./images/020_th.jpg" alt="DELFT. Blanche McManus Mansfield"></a></p> +<p class="ctr">DELFT</p> +<p class="ctr">Blanche McManus Mansfield</p> + +<p>"We learn, however, that the original wood blocks will be shown at the +St. Louis Exposition, in the section to be devoted to the work of +American artists resident abroad. We suggest that all lovers of +latter-day bookmaking 'make a note of it,' recalling meanwhile that it +<a name="Page_236"></a>was this successful American designer who produced also the decorative +wood-cut borders and initials which were used in 'The Coronation +Prayer-Book of King Edward VII.,' issued from the celebrated Oxford +University Press. There were forty initials or headings, embodying the +coronation regalia, including the crown, sceptre, rose, thistle, +shamrock, etc. The magnificent cover for the book was also designed by +this artist.</p> + +<p>"Among the American artists who have made a distinctive place in art +circles, not only in America but on 'the other side,' is Mrs. M. F. +Mansfield, formerly Blanche McManus of Woodville, Mississippi.</p> + +<p>"In London she is widely known as a skilful, able, and versatile artist, +and her remarkable success there is an illustration of 'the American +invasion.' Little has been written in America, especially in the South, +of what this talented Southern woman has accomplished. She has never +sought personal advertisement; on the contrary, she has shrunk from any +kind of publicity—even that which would have accrued from a proper +valuation of her work.</p> + +<p>"She is one of those artists whose talent is equalled only by her +modesty, who, enamoured of her art and aiming at a patient, painstaking +realization of her ideal, has been content to work on in silence. In the +estimation of art connoisseurs, Blanche McManus is an artist of +unquestionable talent and varied composition, who has already done much +striking work. Her execution in the various branches has attracted +international attention.</p> + +<p>"She paints well in water-colors and in oil, and her <a name="Page_237"></a>etching is +considered excellent. Her drawing is stamped good, and every year she has +showed rapid improvement in design. She is a highly cultivated woman, +with a close and accurate observation. A sincere appreciation of nature +was revealed in her earliest efforts, and for some years she devoted much +time to its study."</p> + +<p>Moring's <i>Quarterly</i> says in regard to the special work which Mrs. +Mansfield has done: "It is so seldom that an artist is able to take in +hand what may be termed the entire decoration of a book—including in +that phrase cover, illustration, colophon, head- and tail-pieces, initial +letters, and borders—that it is a pleasure to find in the subject of our +paper a lady who may be said to be capable of taking all these points +into consideration in the embellishment of a volume."</p> + +<br> + +<p><b>Medici, Marie de'.</b> Wife of Henry IV. Born at Florence, 1573; died at +Cologne, 1642. A portrait of herself, engraved on wood, bears the legend, +"Maria Medici F. MDLXXXII." Another portrait of a girl, attributed to +her, is signed, "L. O. 1617." It may be considered a matter of grave +doubt whether the nine-year-old girl drew and engraved with her own hand +the first-named charming picture, which has been credited to her with +such frank insouciance.</p> + +<br> + +<p><b>Mengs, Anna Maria.</b> Member of the Academy of San Fernando. She was a +daughter of Anton Rafael Mengs, and was born in Dresden in 1751, where +she received instruction from her father. In 1777 she married the +engraver Salvador Carmona in Rome, and went with him to Spain, where she +died in 1790. Portraits and miniatures <a name="Page_238"></a>of excellent quality were +executed by her, and on them her reputation rests.</p> + +<br> + +<p><b>Merian, Maria Sibylla.</b> Born at Frankfort-on-the-Main in 1647. This +artist merits our attention, although her art was devoted to an unusual +purpose. Her father was a learned geographer and engraver whose published +works are voluminous. Her maternal grandfather was the eminent engraver, +Theodore de Bry or Brie.</p> + +<p>From her childhood Anna Sibylla Merian displayed an aptitude for drawing +and a special interest in insect life. The latter greatly disturbed her +mother, but she could not turn the child's attention from entomology, and +was forced to allow that study to become her chief pursuit.</p> + +<p>The flower painter, Abraham Mignon, was her master in drawing and +painting; but at an early age, before her studies were well advanced, she +married an architect, John Andrew Graf, of Nuremberg, with whom she lived +unhappily. She passed nearly twenty years in great seclusion, and, as she +tells us in the preface to one of her books, she devoted these years to +the examination and study of various insects, watching their +transformations and making drawings from them. Many of these were in +colors on parchment and were readily sold to connoisseurs.</p> + +<p>Her first published work was called "The Wonderful Transformations of +Caterpillars." It appeared in 1679, was fully illustrated by copper plate +engravings, executed by herself from her own designs. About 1684 she +separated from her husband, and with her daughters returned to Frankfort. +Many interesting stories are told of her life there.</p><a name="Page_239"></a> + +<p>She made a journey to Friesland and was a convert to the doctrines of +Labadie, but she was still devoted to her study and research. She was +associated with the notable men of her time, and became the friend of the +father of Rachel Ruysch. Although Madame Merian, who had taken her maiden +name, was seventeen years older than the gifted flower painter, she +became to her an example of industry and devotion to study.</p> + +<p>Madame Merian had long desired to examine the insects of Surinam, and in +1699, by the aid of the Dutch Government, she made the journey—of which +a French poet wrote:</p> + +<div class="poem"><div class="stanza"> +<p>"Sibylla à Surinam va chercher la nature,</p> +<p>Avec l'esprit d'un Sage, et le coeur d'un Heros"</p> +</div></div> + +<p>—which indicates the view then held of a journey which would now attract +no attention.</p> + +<p>While in Guiana some natives brought her a box filled with "lantern +flies," as they were then called. The noise they made at night was so +disturbing that she liberated them, and the flies, regaining liberty, +flashed out their most brilliant light, for which Madame Merian was +unprepared, and in her surprise dropped the box. From this circumstance a +most exaggerated idea obtained concerning the illuminating power of the +flies.</p> + +<p>The climate of Surinam was so unhealthy for Madame Merian that she could +remain there but two years, and in that time she gathered the materials +for her great work called "Metamorphoses Insectorum Surinamensium," etc. +The illustrations were her own, and she pictured many most interesting +objects—animals and vegetables as well <a name="Page_240"></a>as insects—which were quite +unknown in Europe. Several editions of this book were published both in +German and French. Her plates are still approved and testify to the scope +and thoroughness of her research, as well as to her powers as an artist.</p> + +<p>Her chief work, however, was a "History of the Insects of Europe, Drawn +from Nature, and Explained by Maria Sibylla Merian." The illustrations of +this work were beautiful and of great interest, as the insects, from +their first state to their last, were represented with the plants and +flowers which they loved, each object being correctly and tastefully +pictured. Most of the original paintings for these works are in the +British Museum. In the Vienna Gallery is a "Basket of Flowers" by this +artist, and in the Basle Museum a picture of "Locust and Chafers."</p> + +<p>The daughters of this learned artist naturalist, Joanna Maria Helena and +Dorothea, shared the pursuits and labors of their mother, and it was her +intention to publish their drawings as an appendix to her works. She did +not live to do this, and later the daughters published a separate volume +of their own.</p> + +<p>This extraordinary woman, whose studies and writings added so much to the +knowledge of her time, was neither beautiful nor graceful. Her portraits +present a woman with hard and heavy features, her hair in short curls +surmounted by a stiff and curious headdress, made of folds of some black +stuff.</p> + +<br> + +<p><b>Merritt, Mrs. Anna Lea.</b> Honorable mention, Paris Exposition, 1889; +two medals and a diploma, Chicago<a name="Page_241"></a> Exposition, 1893. In 1890 her picture +of "Love Locked Out" was purchased by the Chantry fund, London, for two +hundred and fifty pounds. This honor has been accorded to few women, and +of these I think Mrs. Merritt was first. Member of the Royal Society of +Painter-Etchers. Born in Philadelphia. Pupil of Heinrich Hoffman in +Dresden, and of Henry Merritt—whom she married—in London.</p> + +<p>Mrs. Merritt has a home in Hampshire, England, but is frequently in +Philadelphia, where she exhibits her pictures, which have also been seen +at the Royal Academy since 1871.</p> + +<p>This artist is represented by her pictures in the National Gallery of +British Art, in the Pennsylvania Academy of Fine Arts, and by her +portrait of Mr. James Russell Lowell in Memorial Hall, Harvard +University.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Michis, Maria.</b> See <a href="#Cattaneo">Cattaneo</a>.</p> + +<br> + +<p><b>Milbacher, Louise von.</b> Prize at Berlin in 1886. Born at +Böhmischbrod, 1845. Pupil of Pönninger and Eisenmenger. A painter of +portraits and of sacred and genre subjects. Three of her portraits are +well known—those of Baron Thienen, General von Neuwirth, and Baron +Eber-Eschenbach. The altar-piece in the chapel of the Vienna Institute, a +"Holy Family," is by this artist. She has also painted still-life and +animal subjects.</p> + +<br> + +<p><b>Modigliani, Signorina Corinna.</b> Silver medal at Turin Exposition, +1898; silver medal at the Exposition of Feminine Art, 1899, 1900; diploma +at Leghorn, 1901; <a name="Page_242"></a>gold medal. Member of the International Artistic +Association. Born in Rome. Pupil of Professore Commendatore Pietro Vanni.</p> + +<p>This artist has exhibited her works in the Expositions of Rome, Turin, +Milan, Leghorn, Munich, Petersburg, and Paris since 1897, and will +contribute to the St. Louis Exposition. Her pictures have been sold in +Paris, London, and Ireland, as well as in Rome and other Italian cities, +where many of them are in the collections of distinguished families.</p> + +<br> + +<p><b>Moldura, Lilla.</b> A Neapolitan painter. Her father was an Italian and +her mother a Spaniard. She was instructed in the elements of art by +various excellent teachers, and then studied oil painting under +Maldarelli and water-color under Mancini. She has often exhibited +pictures in Naples, to the satisfaction of both artists and critics, and +has also won success in London. She has been almost equally happy in +views of the picturesque Campagna, and in interiors, both in oil and +water-colors. The interior of the Chapel of the Immaculate Conception, in +the Church of the Gerolamini, is strong in execution and good in drawing +and color.</p> + +<br> + +<p><b>Möller, Agnes Slott.</b> Born in 1862. Resides in Copenhagen. The +especial work of this artist, by which her reputation is world-wide, is +the illustration of old legends for children's books.</p> + +<br> + +<p><b>Montalba, Clara.</b> Associate of the Society of Painters in +Water-Colors, London, and of the Belgian Society of Water-Colorists. Born +in Cheltenham, 1842. Pupil of Isabey in Paris. Her professional life has +been spent in<a name="Page_243"></a> London and Venice. She has sent her pictures to the +Academy and the Grosvenor Gallery exhibitions since 1879. "Blessing a +Tomb, Westminster," was at the Philadelphia Exposition, 1876; "Corner of +St. Mark's" and "Fishing Boats, Venice," were at Paris, 1878.</p> + +<p>In 1874 she exhibited at the Society of British Artists, "Il Giardino +Publico"—the Public Garden—of which a writer in the <i>Art Journal</i> said: +"'Il Giardino Publico' stands foremost among the few redeeming features +of the exhibition. In delicate perception of natural beauty the picture +suggests the example of Corot. Like the great Frenchman, Miss Montalba +strives to interpret the sadder moods of nature, when the wind moves the +water a little mournfully and the outlines of the objects become +uncertain in the filmy air."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Moretto, Emma.</b> Venetian painter, exhibited at Naples, in 1877, +"Abbey of St. Gregory at Venice"; at Turin, in 1880, a fine view of the +"Canal of the Giudecca," and "Canal of S. Giorgio"; at the National +Exposition in Milan, 1881, "Sunset" and a marine view; at Rome, in 1883, +"Excursion on the Lagoon." Still others of the same general character +are: "A Gondola," "At St. Mark's," "Grand Canal," "Morning at Sea," etc.</p> + +<br> + +<p><b>Moron, Therese Concordia.</b> Born in Dresden, 1725; died in Rome, 1806. +Pupil, of her father, Ismael Mengs. Her attention was divided between +enamel painting and pastel, much of the latter being miniature work. In +the Dresden Gallery are two of her pastel portraits and two <a name="Page_244"></a>copies in +miniature of Correggio, viz., a half-length portrait of herself and a +portrait of her sister, Julie Mengs; a copy of St. Jerome, or "The +Day"—original in Parma—and "The Night."</p> + +<p>A curious story has recently been published to the effect that in 1767 +this artist sent word to Duke Xavier of Saxony that during the Seven +Years' War she painted a copy in miniature of Correggio's "Holy Mother +with the Christ Child, Mary Magdalen, Hieronymus, and Two Angels," which +she sent by Cardinal Albani to the Duke's father—Frederick Augustus II. +of Saxony and Augustus III. of Poland—at Warsaw. It was claimed that two +hundred and fifty ducats were due her. Apparently the demand was not met; +but, on the other hand, the lady seems to have received for some years a +pension of three hundred thalers from the Electorate of Saxony without +making any return. Probably her claim was satisfied by this pension.</p> + +<br> + +<p><b>Moser, Mary.</b> One of the original members of the London Academy. The +daughter of a German artist, who resided in London. She was as well known +for her wit as for her art. A friend of Fuseli, she was said to be as +much in love with him as he was in love with Angelica Kauffman. Dr. +Johnson sometimes met Miss Moser at the house of Nollekens, where they +made merry over a cup of tea.</p> + +<p>Queen Charlotte commissioned this painter to decorate a chamber, for +which work she paid more than nine hundred pounds, and was so well +pleased that she complimented the artist by commanding the apartment to +be called "Miss Moser's Room."</p><a name="Page_245"></a> + +<br> + +<p><b>Mott, Mrs. Alice.</b> Born at Walton on Thames. Pupil of the Slade +School and Royal Academy in London, and of M. Charles Chaplin in Paris in +his studio. A miniaturist whose works are much esteemed. Her work is +life-like, artistic, and strong in drawing, color, and composition. After +finishing her study under masters she took up miniature painting by +herself, studying the works of old miniaturists.</p> + +<p>Recently she writes me: "I have departed from the ordinary portrait +miniature, and am now painting what I call picture miniatures. For +instance, I am now at work on the portrait of Miss D. C., who is in +old-fashioned dress, low bodice, and long leg-of-mutton sleeves. She is +represented as running in the open, with sky and tree background. She has +a butterfly net over her shoulder, which floats out on the wind; she is +looking up and smiling; her hair and her sash are blown out. It is to be +called, 'I'd be a Butterfly.' The dress is the yellow of the common +butterfly. It is a large miniature. I hope to send it, with others, to +the St. Louis Exposition."</p> + +<p>Her miniatures are numerous and in private hands. A very interesting one +belongs to the Bishop of Ripon and is a portrait of Mrs. Carpenter, his +mother.</p> + +<br> + +<p><b>Muntz, Laura A.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Murray, Elizabeth.</b> Member of the Institute of Painters in +Water-Colors, London, and of the American Society of Water-Color +Painters, New York. Her pictures are of genre subjects, many of them +being of Oriental fig<a name="Page_246"></a>ures. Among these are "Music in Morocco," "A +Moorish Saint," "The Greek Betrothed," etc. Other subjects are "The Gipsy +Queen," "Dalmatian Peasant," "The Old Story in Spain," etc.</p> + +<br> + +<p><b>Nathan, Signora Liliah Ascoli.</b> Rome.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Negro, Teresa.</b> Born in Turin, where she resides. She has made a +study of antique pottery and has been successful in its imitation. Her +vases and amphorae have been frequently exhibited and are praised by +connoisseurs and critics. At the Italian National Exposition, 1880, she +exhibited a terra-cotta reproduction of a classic design, painted in +oils; also a wooden dish which resembled an antique ceramic.</p> + +<br> + +<p><b>Nelli, Plautilla.</b> There is a curious fact connected with two women +artists of Florence in the middle of the sixteenth century. In that city +of pageants—where Ghirlandajo saw, in the streets, in churches, and on +various ceremonial occasions, the beautiful women with whom he still +makes us acquainted—these ladies, daughters of noble Florentine +families, were nuns.</p> + +<p>No Shakespearean dissector has, to my knowledge, affirmed that Hamlet's +advice to Ophelia, "Get thee to a nunnery," and his assertion, "I have +heard of your paintings, too," prove that Ophelia was an artist and a +nunnery a favorable place in which to set up a studio. Yet I think I +could make this assumption as convincing as many that have been "proved" +by the <i>post obitum</i> atomizers of the great poet's every word.</p><a name="Page_247"></a> + +<p>But we have not far to seek for the reasons which led Plautilla Nelli and +Maria Maddalena de' Pazzi to choose the conventual life. The subjects of +their pictures prove that their thoughts were fixed on a life quite out +of tune with that which surrounded them in their homes. If they pictured +rich draperies and rare gems, it was but to adorn with them the Blessed +Virgin Mother and the holy saints, in token of their belief that all of +pomp and value in this life can but faintly symbolize the glory of the +life to come.</p> + +<p>Plautilla Nelli, born in Florence in 1523, entered the convent of St. +Catherine of Siena, in her native city, and in time became its abbess. +Patiently, with earnest prayer, she studied and copied the works of Fra +Bartolommeo and Andrea del Sarto, until she was able to paint an original +"Adoration of the Magi" of such excellence as to secure her a place among +the painters of Florence.</p> + +<p>Many of her pictures remained in her convent, but she also painted a +"Madonna Surrounded by Saints" for the choir of Santa Lucia at Pistoja. +There are pictures attributed to Plautilla Nelli in Berlin—notably the +"Visit of Martha to Christ,"—which are characterized by the earnestness, +purity, and grace of her beloved Fra Bartolommeo. Her "Adoration of the +Wise Men" is at Parma; the "Descent from the Cross" in Florence; the +"Last Supper" in the church of Santa Maria Novella, Florence.</p> + +<p>There are traditions of her success as a teacher of painting in her +convent, but of this we have no exact knowledge such as we have of the +work of the "Suor<a name="Page_248"></a> Plautilla," the name by which she came to be known in +all Italy.</p> + +<br> + +<p><b>Nemes-Ransonnett, Countess Elisa.</b> Born at Vienna, 1843. She studied +successively with Vastagh, Lulos, Aigner, Schilcher, Lenbach, Angeli, and +J. Benczur, and opened her studio at Kun Szent Miklos near Budapest. The +"Invitation to the Wedding" was well received, and her portraits of +Schiller and Perczel are in public galleries—the former in the Vienna +Künstlerhaus, and the latter in the Deputy House at Budapest.</p> + +<br> + +<p><b>Newcomb, Maria Guise.</b> Born in New Jersey. Pupil of Schenck, +Chialiva, and Edouard Detaille in Paris. Travelled in Algeria and the +Sahara, studying the Arab and his horses. Very few artists can be +compared with Miss Newcomb in representing horses. She has a genius for +portraying this animal, and understands its anatomy as few painters have +done.</p> + +<p>She was but a child when sketching horses and cattle was her pastime, and +so great was her fondness for it that the usual dolls and other toys were +crowded out of her life. Her studies in Paris were comprehensive, and her +work shows the results and places her among the distinguished painters of +animals.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Ney, Elisabeth.</b> Born in 1830. After studying at the Academy in +Berlin, this sculptor went to Munich, where she was devoted to her art. +She then came to Texas and remained some years in America. She returned +to Berlin in 1897. Among her best known works are busts of<a name="Page_249"></a> Garibaldi, of +J. Grimm, 1863, "Prometheus Bound," 1868, and a statue of Louis II. of +Bavaria.</p> + +<br> + +<p><b>Nicholls, Mrs. Rhoda Holmes.</b> Queen's Scholarship, Bloomsbury Art +School, London; gold medal, Competitive Prize Fund Exhibition, New York; +medal, Chicago Exposition, 1893; medal, Tennessee Exposition, 1897; +bronze medal at Buffalo Exposition, 1901. Member of American Water-Color +Society, New York Water-Color Society, Woman's Art Club, American Society +of Miniature Painters, Pen and Brush Club; honorable member of Woman's +Art Club, Canada. Born in Coventry, England. Pupil of Bloomsbury School +of Art, London; of Cannerano and Vertunni in Rome, where she was elected +to the Circolo Artistico and the Società degli Aquarelliste.</p> + +<p>Her pictures are chiefly figure subjects, among which are "Those Evening +Bells," "The Scarlet Letter," "A Daughter of Eve," "Indian after the +Chase," "Searching the Scriptures," etc.</p> + +<p>In the <i>Studio</i>, March, 1901, in writing of the exhibition of the +American Water-Color Society, the critic says: "In her two works, +'Cherries' and 'A Rose,' Mrs. Rhoda Holmes Nicholls shows us a true +water-color executed by a master hand. The subject of each is slight; +each stroke of her brush is made once and for all, with a precision and +dash that are inspiriting; and you have in each painting the sparkle, the +deft lightness of touch, the instantaneous impression of form and +coloring that a water-color should have."</p> + +<a name="image-021"></a> +<p class="ctr"><a href="./images/021.jpg"><img src="./images/021_th.jpg" alt="AN INDIAN AFTER THE CHASE. Rhoda Holmes Nichols"></a></p> +<p class="ctr">AN INDIAN AFTER THE CHASE</p> +<p class="ctr">Rhoda Holmes Nichols</p> + +<p>Mrs. Nicholls is also known as an illustrator. Harold Payne says of her: +"Rhoda Holmes Nicholls, although <a name="Page_250"></a>an illustrator of the highest order, +cannot be strictly classed as one, for the reason that she is equally +great in every other branch of art. However, as many of her best examples +of water-colors are ultimately reproduced for illustrative purposes, and +as even her oil paintings frequently find their way into the pages of art +publications, it is not wrong to denominate her as an illustrator, and +that of the most varied and prolific type. She may, like most artists, +have a specialty, but a walk through her studio and a critical +examination of her work—ranging all along the line of oil paintings, +water-colors of the most exquisite type, wash drawings, crayons, and +pastels—would scarcely result in discovering her specialty.... As a +colorist she has few rivals, and her acute knowledge of drawing and +genius for composition are apparent in everything she does."</p> + +<br> + +<p><b>Nichols, Catherine Maude, R. E.</b> The pictures of this artist have +been hung on the line at the Royal Academy exhibitions a dozen times at +least. From Munich she has received an official letter thanking her for +sending her works to exhibitions in that city. Fellow of the Royal +Painter-Etchers' Society; president of the Woodpecker Art Club, Norwich; +Member of Norwich Art Circle and of a Miniature Painters' Society and the +Green Park Club, London. Born in Norwich. Self-taught. Has worked in the +open at Barbizon, in Normandy, in Cornwall, Devon, London, and all around +the east coast of Norfolk.</p> + +<p>Miss Nichols has held three exhibitions of her pictures both in oil and +water-colors in London. She has executed <a name="Page_251"></a>more than a hundred copper +plates, chiefly dry-points. The pictures in oils and water-colors, the +miniatures and the proofs of her works have found purchasers, almost +without exception, and are in private hands. Most of the plates she has +retained.</p> + +<p>Miss Nichols has illustrated some books, her own poems being of the +number, as well as her "Old Norwich." She has also made illustrations for +journals and magazines.</p> + +<p>One is impressed most agreeably with the absence of mannerism in Miss +Nichols' work, as well as with the pronounced artistic treatment of her +subjects. Her sketches of sea and river scenery are attractive; the views +from her home county, Norfolk, have a delightful feeling about them. +"Norwich River at Evening" is not only a charming picture, but shows, in +its perspective and its values, the hand of a skilful artist. "Mousehold +Heath," showing a rough and broken country, is one of her strongest +pictures in oils; "Stretching to the Sea" is also excellent. Among the +water-colors "Strangers' Hall," Norwich, and "Fleeting Clouds," merit +attention, as do a number of others. One could rarely see so many works, +with such varied subjects, treated in oils, water-colors, dry point, +etc., by the same artist.</p> + +<p>I quote the following paragraph from the <i>Studio</i> of April, 1903: "Miss +C. M. Nichols is an artist of unquestionable talent, and her work in the +various mediums she employs deserves careful attention. She paints well +both in water-colors and in oil, and her etchings are among the best that +the lady artists of our time have produced. Her <a name="Page_252"></a>drawing is good, her +observation is close and accurate, and she shows year by year an +improvement in design. Miss Nichols was for several years the only lady +fellow of the Royal Society of Painter-Etchers."</p> + +<p>Her "Brancaster Staithe" and "Fir Trees, Crown Point," dry points, are in +the Norwich Art Gallery, presented by Sir Seymour Haden, president of the +Royal Society of Painter-Etchers. Two of her works, a large oil painting +of "Earlham" and a water-color of "Strangers' Hall," have been purchased +by subscription and presented to the Norwich Castle Art Gallery.</p> + +<br> + +<p><b>Nicolau y Parody, Teresa.</b> Member of the Academy of San Fernando and +of the Academy of San Carlos of Valencia. This artist, who was born in +Madrid, early showed an enthusiasm for painting, which she at first +practised in various styles, but gradually devoted herself entirely to +miniature. She has contributed to many public exhibitions, and has +received many prizes and honorable mentions, as well as praise from the +critics. Among her portraits are those of Isabel de Braganza, Washington, +Mme. de Montespan, Mme. Dubarry, Queen Margaret of Austria, and Don +Carlos, son of Philip II. Her other works include a "Magdalen in the +Desert," "Laura and Petrarch," "Joseph with the Christ-Child," "Francis +I. at the Battle of Pavia," and many good copies after celebrated +painters.</p> + +<br> + +<p><b>Niederhäusen, Mlle. Sophie.</b> Medal at the Swiss National Exposition, +1896. Member of the Exposition permanente de l'Athénée, Geneva. Born at +Geneva.<a name="Page_253"></a> Pupil of Professor Wymann and M. Albert Gos, and of M. and Mme. +Demont-Breton in France.</p> + +<p>Mlle. Niederhäusen paints landscapes principally, and has taken her +subjects from the environs of Geneva, in the Valais, and in +Pas-de-Calais, France.</p> + +<p>Her picture, called the "Bord du Lac de Genève," was purchased by the +city and is in the Rath Museum. She also paints flowers, and uses +water-colors as well as oils.</p> + +<br> + +<p><b>Nobili, Elena.</b> Silver medal at the Beatrice Exposition, Florence, +1890. Born in Florence, where she resides. She is most successful in +figure subjects. She is sympathetic in her treatment of them and is able +to impart to her works a sentiment which appeals to the observer. Among +her pictures are "Reietti," "The Good-Natured One," "September," "In the +Country," "Music," and "Contrasts."</p> + +<br> + +<p><a name="Normand"></a><b>Normand, Mrs. Ernest—Henrietta Rae.</b> Medals in Paris and at Chicago +Exposition, 1893. Born in London, 1859. Daughter of T. B. Rae, Esquire. +Married the artist, Ernest Normand, 1884. Pupil of Queen's Square School +of Art, Heatherley's, British Museum, and Royal Academy Schools. Began +the study of art at the age of thirteen. First exhibited at the Royal +Academy in 1880, and has sent important pictures there annually since +that time.</p> + +<p>Mrs. Normand executed decorative frescoes in the Royal Exchange, London, +the subject being "Sir Richard Whittington and His Charities."</p> + +<p>In the past ten years she has exhibited "Mariana," 1893; "Psyche at the +Throne of Venus," 1894; "Apollo <a name="Page_254"></a>and Daphne," 1895; "Summer," 1896; +"Isabella," 1897; "Diana and Calisto," 1899; "Portrait of Marquis of +Dufferin and Ava," 1901; "Lady Winifred Renshaw and Son," and the +"Sirens," 1903, which is a picture of three nude enchantresses, on a +sandy shore, watching a distant galley among rocky islets.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Nourse, Elizabeth.</b> Medal at Chicago Exposition, 1903; Nashville +Exposition, 1897; Carthage Institute, Tunis, 1897; elected associate of +the Beaux-Arts, Paris, 1895; silver medal, Paris Exposition, 1900; +elected Sociétaire des Beaux-Arts, 1901. Born in Cincinnati, Ohio, where +she began her studies, later going to the Julian Academy, under Boulanger +and Lefebvre, and afterward studying with Carolus Duran and Henner. This +artist idealizes the subjects of every-day, practical life, and gives +them a poetic quality which is an uncommon and delightful attainment.</p> + +<p>At the Salon des Beaux-Arts, 1902, Miss Nourse exhibited "The Children," +"Evening Toilet of the Baby," "In the Shade at Pen'march," "Brother and +Sister at Pen'march," "The Madeleine Chapel at Pen'march." In 1903, "Our +Lady of Joy, Pen'march," "Around the Cradle," "The Little Sister," and "A +Breton Interior."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Oakley, Violet.</b> Member of Pennsylvania Academy of Fine Arts, +Philadelphia Water-Color Club, Plastic Club, Philadelphia. Born in New +Jersey, but has lived <a name="Page_255"></a>in New York, where she studied at the Art +Students' League under Carroll Beckwith. Pupil of Collin and Aman-Jean in +Paris and Charles Lasar in England; also in Philadelphia of Joseph de +Camp, Henry Thouron, Cecilia Beaux, and Howard Pyle.</p> + +<p>Miss Oakley has executed mural decorations, a mosaic reredos, and five +stained-glass windows in the Church of All Saints, New York City, and a +window in the Convent of the Holy Child, at Sharon Hill, Pennsylvania.</p> + +<p>In the summer of 1903 she was commissioned to decorate the walls of the +Governor's reception room in the new Capitol at Harrisburg. Before +engaging in this work—the first of its kind to be confided to an +American woman—Miss Oakley went to Italy to study mural painting. She +then went to England to thoroughly inform herself concerning the +historical foundation of her subject, the history of the earliest days of +Pennsylvania. At Oxford and in London she found what she required, and on +her return to America established herself in a studio in Villa Nova, +Pennsylvania, to make her designs for "The Romance of the Founding of the +State," which is to be painted on a frieze five feet deep. The room is +seventy by thirty feet, and sixteen feet in height.</p> + +<p>The decoration of this Capitol is to be more elaborate and costly than +that of any other public edifice in the United States. In mural +decoration Miss Oakley will be associated with Edwin A. Abbey, but the +Governor's room is to be her work entirely, and will doubtless occupy her +during several years.</p> + +<p>Mr Charles A. Caffin, in his article upon the exhibition <a name="Page_256"></a>of the New York +Water-Color Club, January, 1904, says: "Miss Oakley has had considerable +experience in designing stained-glass windows, and has reproduced in some +of her designs for book covers a corresponding treatment of the +composition, with an attempt, not very logical or desirable, considering +the differences between paint and glass, to reproduce also something of +her window color schemes.... But for myself, her cover, in which some +girls are picking flowers, is far more charming in its easy grace of +composition, choice gravity of color, and spontaneity of feeling. Here is +revealed a very <i>naïve</i> imagination, free of any obsessions."</p> + +<br> + +<p><b>Occioni, Signora Lucilla Marzolo.</b> Diploma of gold medal at the +Women's Exhibition, Earl's Court, London, 1900. Born in Trieste. Pupil, +in Rome, of Professor Giuseppe Ferrari.</p> + +<p>This artist paints figure subjects, portraits, landscapes, and flowers, +in both oils and water-colors, and also makes pen-drawings. Her works are +in many private galleries. She gives me no list of subjects. Her pictures +have been praised by critics.</p> + +<br> + +<p><b>O'Connell, Frederique Emilie Auguste Miethe.</b> Born in Potsdam. +1823-1885. She passed her early life in her native city, having all the +advantages of a solid and brilliant education. She early exhibited a love +of drawing and devoted herself to the study of anatomical plates. She +soon designed original subjects and introduced persons of her own +imagination, which early marked her as powerful in her fancy and original +in her manner of rendering her ideas.</p><a name="Page_257"></a> + +<p>A picture of "Raphael and the Fornarina," which she executed at the age +of fifteen, was so satisfactory as to determine her fate, and she was +allowed to study art.</p> + +<p>When about eighteen years old she became the pupil of Charles Joseph +Begas, a very celebrated artist of Berlin. Under his supervision she +painted her first picture, called the "Day of the Dupes," which, though +full of faults, had also virtues enough to secure much attention in the +exhibition. It was first hung in a disadvantageous position, but the +crowd discovered its merits and would have it noticed. She received a +complimentary letter from the Academy of Berlin, and the venerable artist +Cornelius made her a visit of congratulation.</p> + +<p>About 1844 she married and removed to Brussels. Here she came into an +entirely new atmosphere and her manner of painting was changed. She +sought to free herself from all outer influence and to express her own +feeling. She studied color especially, and became an imitator of Rubens. +She gained in Brussels all the medals of the Belgian expositions, and +there began two historical pictures, "Peter the Great and Catherine" and +"Maria Theresa and Frederick the Great." These were not finished until +after her removal to Paris in 1853. They were bought by Prince Demidoff +for the Russian Government.</p> + +<p>She obtained her first triumph in Paris, at the Salon of 1853, by a +portrait of Rachel. She represented the famous actress dressed entirely +in white, with the worn expression which her professional exertions and +the fatal malady from which she was already suffering had given to her +remarkable face. The critics had no words for this por<a name="Page_258"></a>trait which were +not words of praise, and two years later, in 1855, Madame O'Connell +reached the height of her talent. "A Faunesse," as it was called, in the +exposition of that year, was a remarkable work, and thus described by +Barty:</p> + +<p>"A strong and beautiful young woman was seated near a spring, where +beneath the shade of the chestnut trees the water lilies spread +themselves out upon the stream which flowed forth. She was nude and her +flesh palpitated beneath the caresses of the sun. With feminine caprice +she wore a bracelet of pearls of the style of the gold workers of the +Renaissance. Her black hair had lights of golden brown upon it, and she +opened her great brown eyes with an expression of indifference. A half +smile played upon her rosy lips and lessened the oval of the face like +that of the 'Dancing Faun.' The whole effect of the lines of the figure +was bold and gave an appearance of youth, the extremities were studiously +finished, the skin was fine, and the whole tournure elegant. It was a +Faunesse of Fontainebleau of the time of the Valois."</p> + +<p>Mme. O'Connell then executed several fine portraits—two of Rachel, one +of M. O'Connell, others of Charles Edward and Théophile Gautier, which +were likened to works of Vandyck, and a portrait in crayon of herself +which was a <i>chef-d'oeuvre</i>. She excelled in rendering passionate +natures; she found in her palette the secret of that pallor which spreads +itself over the faces of those devoted to study—the fatigues of days and +nights without sleep; she knew how to kindle the feverish light in the +<a name="Page_259"></a>eyes of poets and of the women of society. She worked with great +freedom, used a thick pâte in which she brushed freely and left the +ridges thus made in the colors; then, later, she put over a glaze, and +all was done. Her etchings were also executed with great freedom, and +many parts, especially the hair, were remarkably fine. She finished +numerous etchings, among which a "St. Magdalen in the Desert" and a +"Charity Surrounded by Children" are worthy of particular notice.</p> + +<p>After Madame O'Connell removed to Paris she opened a large atelier and +received many pupils. It was a most attractive place, with gorgeous +pieces of antique furniture, loaded with models of sculpture, books, +albums, engravings, and so on, while draperies, tapestries, armor, and +ornaments in copper and brass all lent their colors and effects to +enhance the attractions of the place. Many persons of rank and genius +were among the friends of the artist and she was much in society.</p> + +<p>In spite of all her talent and all her success the end of Madame +O'Connell's life was sad beyond expression. Her health suffered, her +reason tottered and faded out, yet life remained and she was for years in +an asylum for the insane. Everything that had surrounded her in her Paris +home was sold at auction. No time was given and no attempt was made to +bring her friends together. No one who had known or loved her was there +to shed a tear or to bear away a memento of her happy past. All the +beautiful things of which we have spoken were sacrificed and scattered as +unconscionably as if she had never loved or her friends enjoyed them.</p><a name="Page_260"></a> + +<p>In the busy world of Paris no one remembered the brilliant woman who had +flashed upon them, gained her place among them, and then disappeared. +They recalled neither her genius nor her womanly qualities which they had +admired, appreciated, and so soon forgotten!</p> + +<br> + +<p><b>Oosterwyck, Maria van.</b> The seventeenth century is remarkable for the +perfection attained in still-life and flower painting. The most famous +masters in this art were William van Aelst of Delft, the brothers De Heem +of Utrecht, William Kalf and the Van Huysums of Amsterdam. The last of +this name, however, Jan van Huysum, belongs to the next century.</p> + +<p>Maria van Oosterwyck and Rachel Ruysch disputed honors with the above +named and are still famous for their talents.</p> + +<p>The former was a daughter of a preacher of the reformed religion. She was +born at Nootdorp, near Delft, in 1630. She was the pupil of Jan David de +Heem, and her pictures were remarkable for accuracy in drawing, fine +coloring, and an admirable finish.</p> + +<p>Louis XIV. of France, William III. of England, the Emperor Leopold of +Germany, and Augustus I. of Poland gave her commissions for pictures. +Large prices were paid her in a most deferential manner, as if the +tributes of friendship rather than the reward of labor, and to these +generous sums were added gifts of jewels and other precious objects.</p> + +<p>Of Maria van Oosterwyck Kugler writes: "In my opinion she does not occupy +that place in the history of the art of this period that she deserves, +which may be partly <a name="Page_261"></a>owing to the rarity of her pictures, especially in +public galleries. For although her flower pieces are weak in arrangement +and often gaudy in the combination of color, she yet represents her +flowers with the utmost truth of drawing, and with a depth, brilliancy, +and juiciness of local coloring <i>unattained by any other flower painter</i>"</p> + +<p>A picture in the Vienna Gallery of a sunflower with tulips and poppies, +in glowing color, is probably her best work in a public collection. Her +pictures are also in the galleries of Dresden, Florence, Carlsruhe, +Copenhagen, the Schwerin Gallery, and the Metropolitan Museum of New +York.</p> + +<p>There is a romantic story told of Maria van Oosterwyck, as follows. +William van Aelst, the painter of exquisite pictures of still-life, +fruits, glass, and objects in gold and silver, was a suitor for her hand. +She did not love him, but wishing not to be too abrupt in her refusal, +she required, as a condition of his acceptance, that he should work ten +hours a day during a year. This he readily promised to do. His studio +being opposite that of Maria, she watched narrowly for the days when he +did not work and marked them down on her window-sash. At the close of the +year Van Aelst claimed her as his bride, assuming that he had fulfilled +her condition; but she pointed to the record of his delinquencies, and he +could but accept her crafty dismissal of his suit.</p> + +<br> + +<p><b>Osenga, Giuseppina.</b> This artist resides in Parma, and has there +exhibited landscapes that are praised for their color and for the manner +in which they are painted, as well as for the attractive subjects she +habitually chooses.<a name="Page_262"></a> "A View near Parma," the "Faces of Montmorency," and +the "Bridge of Attaro" are three of her works which are especially +admired.</p> + +<br> + +<p><b>Ostertag, Blanche.</b> Member of Society of Western Artists; Arts Club, +Chicago; Municipal Art League. Born in St. Louis. From 1892-1896 pupil of +Laurens and Raphael Collin in Paris, where her works were hung on the +line at the New Gallery, Champ de Mars.</p> + +<p>A decorative artist who has executed mural decoration in a private house +in Chicago, and has illustrated "Max Müller's Memories" and other +publications. For use in schools she made a color print, "Reading of the +Declaration of Independence before the Army."</p> + +<p>Her calendars and posters are in demand by collectors at home and in +foreign countries. Miss Ostertag has designed elaborate chimney pieces to +be executed in mosaic and glass. Her droll conceits in "Mary and Her +Lamb," the "Ten Little Injuns," and other juvenile tales were +complimented by Boutet de Monvel, who was so much interested in her work +that he gave her valuable criticism and advice without solicitation.</p> + +<br> + +<p><a name="Tama"></a><b>O'Tama-Chiovara.</b> Gold medal at an exhibition of laces in Rome and +prizes at all the exhibitions held in Palermo by the Art Club. Born in +Tokio, where she came to the notice of Vicenzo Ragusa, a Sicilian +sculptor in the employ of the Japanese Government at Tokio. He taught her +design, color, and modelling, and finally induced her to go with his +sister to Palermo. Here her merit was soon recognized in a varied +collection of water-colors representing flowers and fruits, which were +reproduced with <a name="Page_263"></a>surpassing truth. When the School of Applied Art was +instituted at Palermo in 1887, she was put in charge of the drawing, +water-color, and modelling in the Women's Section.</p> + +<p>She knows the flowers of various countries—those of Japan and Sicily +wonderfully well, and her fancy is inexhaustible; her exquisite +embroideries reflect this quality. She has many private pupils, and is as +much beloved for her character as she is admired for her talents. When +she renounced Buddhism for Christianity, the Princess of Scalca was her +godmother.</p> + +<br> + +<p><b>Paczka-Wagner, Cornelia.</b> Honorable mention, Berlin, 1890. Born in +Göttingen, 1864. She has been, in the main, her own instructor, living +for some years in Rome for the purpose of study. In 1895 she settled in +Berlin, where she has made a specialty of women's and children's +portraits in olgraphy (?) and lithography. Beautiful drawings by her were +exhibited at the International Water-Color Exhibition in Dresden, 1892.</p> + +<p>An interesting account of a visit to the studio of the Hungarian painter +Paczka and his German wife tells of a strong series of paintings in +progress there, under the general title, "A Woman's Soul." In freedom and +boldness of conception they were said to remind one of Klinger, but in +warmth and depth of feeling to surpass him. Frau Paczka had just finished +a very large picture, representing the first couple after the expulsion +from Paradise. The scene is on the waste, stony slope of a mountain; the +sun shines with full force in the background, while upon the unshadowed +rocks of the foreground are the <a name="Page_264"></a>prostrate Adam and his wife—more +accusing than complaining.</p> + +<p>In 1899 Frau Paczka exhibited in Berlin, "Vanitas," which excels in +richness of fancy and boldness of representation, while wanting somewhat +in detail; the ensemble presents a remarkably fine, symbolic composition, +which sets forth in rich color the dance of mankind before the golden +calf, and the bitter disillusions in the struggle for fame, wealth, and +happiness.</p> + +<br> + +<p><b>Parlaghy, Vilma, or the Princess Lwoff.</b> Great gold medal from the +Emperor of Austria, 1890; great gold medal, 1894; small gold medal at +Berlin, 1890, adjudged to her portrait of Windhorst. Born at Hadju-Dorogh +in 1863, and studied in Budapest, Munich, Venice, Florence, and Turin. +Her portraits having found great favor at the Court of Berlin, she +removed her studio from Munich to that capital.</p> + +<p>One of her instructors was Lenbach, and she is said by some critics to +have appropriated his peculiarities as a colorist and his shortcomings in +drawing, without attaining his geniality and power of divination. In 1891 +her portrait of Count von Moltke, begun shortly before his death and +finished afterward, was sent to the International Exposition at Berlin, +but was rejected. The Emperor, however, bought it for his private +collection, and at his request it was given a place of honor at the +Exposition, the incident causing much comment. She exhibited a portrait +of the Emperor William at Berlin in 1893, which Rosenberg called careless +in drawing and modelling and inconceivable in its unrefreshing, +dirty-gray color.</p><a name="Page_265"></a> + +<p>In January, 1895, she gave an exhibition of one hundred and four of her +works, mostly portraits, including those of the Emperor, Caprivi, von +Moltke, and Kossuth, which had previously been exhibited in Berlin, +Munich, and Paris. The proceeds of this exhibition went to the building +fund of the Emperor William Memorial Church.</p> + +<p>Of a portrait exhibited in 1896, at Munich, a critic said that while it +was not wholly bad, it was no better than what hundreds of others could +do as well, and hundreds of others could do much better.</p> + +<br> + +<p><b>Pasch, Ulricke Friederika.</b> Member of the Academy of Fine Arts of +Sweden. Born in Stockholm. 1735-1796. A portrait of Gustavus-Adolphus II. +by this artist is in the Castle at Stockholm. She was a sister of Lorenz +Pasch.</p> + +<br> + +<p><b>Pascoli, Luigia.</b> This Venetian painter has exhibited in various +Italian cities since 1870, when she sent a "Magdalen" to Parma. "First +Love" appeared at Naples in 1877, and "The Maskers"—pastel—at Venice in +1881. A "Girl with a Cat," a "Roman Girl," and a "Seller of Eggs"—the +latter in Venetian costume—are works of true value. Her copies of +Titian's "St. Mark" and of Gian Bellini's "Supper at Emmaus" have +attracted attention and are much esteemed.</p> + +<br> + +<p><b>Passe, Magdalena van de.</b> Born at Utrecht about 1600; she died at the +age of forty. This engraver was a daughter of Crispus van de Passe, the +elder. She practised her art in Germany, England, Denmark, and the +Netherlands, and was important as an artist. Her engraving was +exceedingly careful and skilful. Among her plates are<a name="Page_266"></a> "Three Sibyls," +1617; an "Annunciation," "Cephalus and Procris," "Latona," and landscapes +after the works of Bril, Savery, Willars, etc.</p> + +<br> + +<p><b>Pattison, Helen Searle.</b> Born in Burlington, Vermont. Daughter of +Henry Searle, a talented architect who moved to Rochester, New York, +where his daughter spent much of her girlhood. She held the position of +art teacher in a school in Batavia, New York, while still a girl herself.</p> + +<p>About 1860 she became the pupil of Herr Johan Wilhelm Preyer, the +well-known painter of still-life, fruit, and flowers. Preyer was a dwarf +and an excellent man, but as a rule took no pupils. He was much +interested in Miss Searle, and made an exception in her case. She soon +acquired the technique of her master and painted much as he did, but with +less minute detail, finer color, and far more sentiment.</p> + +<a name="image-022"></a> +<p class="ctr"><a href="./images/022.jpg"><img src="./images/022_th.jpg" alt="FLOWERS. Helen Searle Pattison"></a></p> +<p class="ctr">FLOWERS</p> +<p class="ctr">Helen Searle Pattison</p> + +<p>In 1876 Miss Searle married the artist, James William Pattison, now on +the staff of the Art Institute, Chicago. After their marriage Mr. and +Mrs. Pattison resided at Écouen, near Paris. Returning to America in +1882, they spent some time in Chicago and New York City, removing to +Jacksonville, Illinois, in 1884. Here Mr. Pattison was at the head of the +School of Fine Arts.</p> + +<p>Mrs. Pattison lived but a few months in Jacksonville, dying in November, +1884.</p> + +<p>Mrs. Pattison's artistic reputation was well established and her works +were exhibited at the Paris Salon and in all the German cities of +importance. They were frequently seen in England and at the National +Academy of<a name="Page_267"></a> Design in New York. Her subjects were still-life, fruit, +and flowers, and her works are widely distributed.</p> + +<br> + +<p><b>Pazzi, Caterina de</b>, whose conventual name was Maria Maddalena. Was +born in Florence in 1566. It would be interesting to know the relation +that this gentle lady bore to those Pazzi who had earned a fame so unlike +hers fourscore years before she saw the light.</p> + +<p>Caterina de Pazzi, when a mere girl, entered a convent which stood on the +site of the church known by her name in the Via Pinti. The cell of Santa +Maddalena—now a chapel—may still be visited. She was canonized by Pope +Alexander VIII. in 1670, sixty-two years after her death.</p> + +<p>The Florentines have many lovely legends associated with her memory. One +of these relates that she painted pictures of sacred subjects when +asleep. Be this as it may, we know that her pictures were esteemed in the +days when the best artists lived and worked beside her. Examples of her +art may still be seen in churches in Rome and Parma, as well as in the +church of her native city which bears her name.</p> + +<br> + +<p><b>Peale, Anna C.</b> Made her mark as a miniature painter and for some +years was the only professional woman artist in Philadelphia. Her +portrait of General Jackson made in 1819 was well considered. She also +made portraits of President Monroe, Henry Clay, R. M. Johnson, John +Randolph of Roanoke, and other prominent men. Miss Peale married in 1829 +the Rev. William Staughton, a Baptist clergyman, the president of the +theological college at Georgetown, Kentucky. He lived but three months +after their marriage, and she returned to Phila<a name="Page_268"></a>delphia and again pursued +her artistic labors. She married a second husband, General William +Duncan, and from this time gave up professional painting.</p> + +<br> + +<p><b>Peale, Sara M.</b> 1860-1885. Daughter of James Peale, under whose +teaching she made her first studies. She was also a pupil of her uncle, +the founder of Peale's Museum, Philadelphia. Miss Peale painted portraits +and spent some years in Baltimore and Washington. Among her portraits are +those of Lafayette, Thomas Benton, Henry A. Wise, Caleb Cushing, and +other distinguished men. From 1847 she resided in St. Louis thirty years +and then went to Philadelphia. Her later works were still-life subjects, +especially fruits.</p> + +<br> + +<p><b>Pelichy, Geertruida.</b> Honorary member of the Academy of Vienna. Born +in Utrecht, 1744; died in Brügge, 1825. Pupil of P. de Cock and Suvée. In +1753, she went to Brügge with her father, and later to Paris and Vienna. +She painted portraits of the Emperor Joseph II. and Maria Theresa, some +good landscapes, and animal studies. Two of her pictures are in the +Museum at Brügge.</p> + +<br> + +<p><b>Pellegrino, Itala.</b> Born at Milan, 1865. Pupil of Battaglia. Her +pictures are of genre and marine subjects. At the great exhibition at +Turin, 1884, she exhibited a marine view which was bought by Prince +Amadeo. Another marine view exhibited at Milan was acquired by the +Società Promotrice. In 1888 she sent to the exhibition at Naples, where +she resides, a view of Portici, which was added to the Royal Gallery. The +excellence of her work is in the strength and certainty of touch and the +<a name="Page_269"></a>sincerity and originality of composition. She has painted a "Marine View +of Naples," "In the Gulf," "Fair Weather," and "Evening at Sea"; also a +genre picture, "Frusta là," which was sold while in an exhibition in +Rome.</p> + +<br> + +<p><b>Penicke, Clara.</b> Born at Berlin in 1818, where she died in 1899. She +studied first with Remy and later with Carl Begas and Edward Magnus. Her +work was largely confined to portrait and historical painting. In the +Gallery at Schwerin is her "Elector Frederick of Saxony Refusing to +Accept the Interim." Another good example of her historical work is the +"Reconciliation of Charlemagne with Thassilo of Bavaria." A well-known +and strongly modelled portrait of Minister Von Stoach and several Luther +portraits, "Luther's Family Devotion" and "Luther Finds the First Latin +Bible," show her facility in this branch of art. She also painted a +"Christ on the Cross."</p> + +<br> + +<p><b>Perelli, Lida.</b> A landscape painter living in Milan, who has become +well known by pictures that have been seen at the exhibitions in several +Italian cities, especially through some Roman studies that appeared at +Florence and Turin in 1884. "A View of Lecco, Lake Como," "Casolare," and +"A Lombard Plain" are among her best works.</p> + +<br> + +<p><b>Perman, Louise E.</b> Born at Birkenshaw, Renfrewshire. Studied in +Glasgow. This artist paints roses, and roses only, in oils. In this art +she has been very successful. She has exhibited at the Royal Academy and +the New Gallery, London; at the Royal Scottish Academy,<a name="Page_270"></a> Glasgow; at art +exhibits in Munich, Dresden, Berlin, Prague, Hanover, etc., and wherever +her works have been seen they have been sold. In May, 1903, a collection +of twenty-five rose pictures were exhibited by a prominent dealer, and +but few were left in his hands.</p> + +<p>A critic in the <i>Studio</i> of April, 1903, writing of the exhibition at the +Ladies' Artists' Club, Glasgow, says: "Miss Louise Perman's rose pictures +were as refined and charming as ever. This last-named lady certainly has +a remarkable power of rendering the beauties of the queen of flowers, +whether she chooses to paint the sumptuous yellow of the 'Maréchal Niel,' +the blush of the 'Katherine Mermet,' or the crimson glory of the 'Queen +of Autumn.' She seems not only to give the richness of color and fulness +of contour of the flowers, but to capture for the delight of the beholder +the very spiritual essence of them." To the London Academy, 1903, she +sent a picture called "York and Lancaster."</p> + +<br> + +<p><b>Perrier, Marie.</b> Mention honorable at Salon des Artistes Français, +1899; Prix Marie Bashkirtseff, 1899; honorable mention, Paris Exposition, +1900; numerous medals from foreign and provincial exhibitions; medals in +gold and silver at Rouen, Nîmes, Rennes, etc.; bronze medals at Amiens +and Angers. Member of the Société des Artistes Français; perpetual member +of the Baron Taylor Association, section of the Arts of Painting, etc. +Born at Paris. Pupil of Benjamin Constant, Jules Lefebvre, and J. P. +Laurens.</p> + +<p>Mlle. Perrier's picture of "Jeanne d'Arc" is in a provincial museum; +several pictures by her belonging to the <a name="Page_271"></a>city of Paris are scenes +connected with the schools of the city—"Breakfast at the Communal +School"; "After School at Montmartre" were at the Salon des Artistes +Français, 1903; others are "Manual Labor at the Maternal School," +"Flowers," and "Recreation of the Children at the Maternal School." Of +the last Gabriel Moury says, "It is one of the really good pictures in +the Salon."</p> + +<p>This artist decorated a villa near Nîmes with four large panels +representing the "Seasons," twelve small panels, the "Hours," and +pictures of the labors of the fields, such as the gathering of grapes and +picking of olives.</p> + +<p>She has painted numerous portraits of children and a series of pictures +illustrating the "Life of the Children of Paris." They are "Children at +School and after School," "Children on the Promenade and Their Games," +and "Children at Home."</p> + +<br> + +<p><b>Perry, Clara Greenleaf.</b> Member of the Copley Society. Born at Long +Branch, New Jersey. Pupil of Boston Art Museum School, under Mr. Benson +and Mr. Tarbell; in Paris pupil of M. Raphael Collin and Robert Henri.</p> + +<p>Miss Perry has exhibited her portrait of Mrs. U. in the Salon of the +Société Nationale des Beaux-Arts and in Philadelphia. She paints +landscapes and portraits.</p> + +<br> + +<p><b>Perry, Lilla Cabot.</b> Pupil in Boston of Dennis Bunker and Alfred +Collins; in Paris of Alfred Stevens, Robert Fleury, Bouguereau, and +Courtois; in Munich of Fritz von Uhde.</p><a name="Page_272"></a> + +<p>Mrs. Perry is essentially a portrait painter, but has painted landscapes, +especially in Japan, where she spent some years. The scenery of Japan and +its wonderfully beautiful Fuziyama would almost compel an artist to paint +landscapes.</p> + +<p>Mrs. Perry says that her pictures of French and Japanese types are, in +fact, portraits as truly as are those she is asked to paint.</p> + +<p>Her picture of a "Japanese Lacemaker" belongs to Mr. Quincy A. Shaw. It +has been much admired in the exhibitions in which it has been seen.</p> + +<p>In the Water-Color Exhibition of the Boston Art Club, 1903, Mrs. Perry's +portrait of Miss S. attracted much attention. The delicate flesh tones, +the excellent modelling of the features, and what may be called the whole +atmosphere of the picture combine in producing an effective and pleasing +example of portraiture.</p> + +<br> + +<p><b>Perugini, Caterina E.</b> An Italian painter living in London, where she +frequently exhibits her excellent pictures. Among them are "A Siesta," +"Dolce far Niente," "Multiplication," and portraits of Guy Cohn, son of +Sir Guy Campbell, Bart., and of Peggy and Kitty Hammond, two charming +children.</p> + +<p>At the Academy, 1903, she exhibited "Faith" and "Silken Tresses."</p> + +<br> + +<p><b>Perugini, Mrs. Kate Dickens.</b> Younger daughter of Charles Dickens and +wife of Charles Edward Perugini. This artist has exhibited at the Royal +Academy and at other exhibitions since 1877. Her pictures are of genre +subjects, such as the "Dolls' Dressmaker," "Little-Red-<a name="Page_273"></a>Cap," "Old +Curiosity Shop," etc. At the Academy, 1903, she exhibited "Some Spring +Flowers."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Peters, Anna.</b> Medals at Vienna, 1873; London, 1874; Munich, 1876; +Amsterdam and Antwerp, 1877. Born at Mannheim, 1843. Pupil of her father, +Pieter Francis Peters, in Stuttgart. Miss Peters travelled over Europe +and was commissioned to decorate apartments in the royal castles at +Stuttgart and Friedrichshafen.</p> + +<p>Her picture of "Roses and Grapes" is in the National Gallery, London; and +one of "Autumn Flowers" in the Museum at Stuttgart.</p> + +<br> + +<p><b>Pillini, Margherita.</b> An Italian painter living in Paris. Her most +successful exhibitions have been those at Rome, in 1883, when her +"Silk-cocoon Carder of Quimper" and "Charity" appeared; and at Turin, in +1884, when "The Three Ages," "The Poor Blind Man," and a portrait of the +Prince of Naples were shown, all exquisite in sentiment and excellent in +execution. The "Silk-cocoon Carder of Quimper" has been thus noticed by +De Rengis: "If I am not mistaken, Signora Margherita Pillini has also +taken this road, full of modernity, but not free from great danger. Her +'Silk-cocoon Carder' is touched with great disdain for every suggestion +of the old school. Rare worth—if worth it is—that a young woman should +be carried by natural inclination into such care for detail."</p> + +<br> + +<p><b>Pinto-Sezzi, Ida.</b> Silver medal at the Beatrice Exposition, Florence, +1890. Since 1882 pictures by this artist have been seen in various +Italian exhibitions. In the<a name="Page_274"></a> Beatrice of that year she exhibited +"Cocciara," and in 1887 "A Friar Cook." Her "Fortune-Teller" attracted +general attention at Venice in 1887.</p> + +<p>This artist has also given some time to the decoration of terra-cotta in +oil colors. An amphora decorated with landscape and figures was exhibited +at the Promotrice in Florence in 1889 (?) and much admired.</p> + +<br> + +<p><b>Poetting, Countess Adrienne.</b> Born in Chrudim, Bohemia, 1856. The +effect of her thorough training under Blass, Straschiripka, and Frittjof +Smith is seen in her portraits of the Deputy-Burgomaster Franz Khume, +which is in the Rathhaus, Vienna, as well as in those of the Princess +Freda von Oldenburg and the writer, Bertha von Suttner. Her excellence is +also apparent in her genre subjects, "In the Land of Dreams" being an +excellent example of these.</p> + +<br> + +<p><b>Popert, Charlotte.</b> Silver medal at the Beatrice, Florence, 1890. +Born in Hamburg, 1848. Pupil in Weimar of the elder Preller and Carl +Gherts; of P. Joris in Rome, and Bonnat in Paris. After extensive travels +in the Orient, England, the Netherlands, and Spain, she established +herself in Rome and painted chiefly in water-colors. Her "Praying Women +of Bethlehem" is an excellent example of her art.</p> + +<p>In 1883 she exhibited at Rome, "In the Temple at Bethlehem"; at Turin in +1884, "In the Seventeenth Century" and "The Nun"; at Venice in 1887, an +exquisite portrait in water-colors.</p> + +<br> + +<p><b>Poppe-Lüderitz, Elizabeth.</b> Honorable mention, Berlin, 1891. For the +second time only the Senate of the<a name="Page_275"></a> Berlin Academy conferred this +distinction upon a woman. The artist exhibited two portraits, "painted +with Holbein-like delicacy and truthfulness"—if we may agree with the +critics.</p> + +<p>This artist was born in Berlin in 1858, and was a pupil of Gussow. Her +best pictures are portraits, but her "Sappho" and "Euphrosine" are +excellent works.</p> + +<br> + +<p><b>Popp, Babette.</b> Born in Regensburg, 1800; died about 1840. Made her +studies in Munich. In the Cathedral of Regensburg is her "Adoration of +the Kings."</p> + +<br> + +<p><b>Powell, Caroline A.</b> Bronze medal at Chicago, 1893; silver medal at +Buffalo, 1901. Member of the Society of American Wood-Engravers and of +the Boston Society of Arts and Crafts. Born in Dublin, Ireland. Pupil of +W. J. Linton and Timothy Cole.</p> + +<a name="image-023"></a> +<p class="ctr"><a href="./images/023.jpg"><img src="./images/023_th.jpg" alt="Doge's Palace, Venice. ST. CHRISTOPHER. Engraved By Caroline A. Powell"></a></p> +<p class="ctr">Doge's Palace, Venice</p> +<p class="ctr">ST. CHRISTOPHER</p> +<p class="ctr">Engraved By Caroline A. Powell</p> + +<p>Miss Powell was an illustrator of the <i>Century Magazine</i> from 1880 to +1895. The engraving after "The Resurrection" by John La Farge, in the +Church of St. Thomas, New York, is the work of this artist. She also +illustrated "Engravings on Wood," by William M. Laffan, in which book her +work is commended.</p> + +<p>Miss Powell is now employed by Messrs. Houghton, Mifflin & Co., and +writes me: "So far as I know, I am, at present, the only woman in America +engaged in the practise of engraving as a fine art."</p> + +<br> + +<p><b>Prestel, Maria Catharina</b>; family name <b>Holl.</b> Born in Nuremburg, +1747. Her husband, Johan Prestel, was her teacher, and she was of great +assistance in the work which he produced at Frankfort-on-the-Main, in +1783. In 1786, however, she separated from him and went to Lon<a name="Page_276"></a>don, where +she devoted herself to aquatints. She executed more than seventy plates, +some of them of great size.</p> + +<br> + +<p><b>Prestel, Ursula Magdalena.</b> Born in Nuremburg. 1777-1845. Daughter of +the preceding artist. She worked in Frankfort and London, travelled in +France and Switzerland, and died in Brussels. Her moonlight scenes, some +of her portraits, and her picture of the "Falls of the Rhine near +Laufen," are admirable.</p> + +<br> + +<p><b>Preuschen, Hermine von Schmidt</b>; married name, Telman. Born at +Darmstadt, 1857. Pupil of Ferdinand Keller in Karlsruhe. Travelled in +Spain, France, Italy, the Netherlands, and Denmark. She remained some +time in Munich, Berlin, and Rome, establishing her studio in these cities +and painting a variety of subjects. Her flower pictures are her best +works. Her "Mors Imperator" created a sensation by reason of its striking +qualities rather than by intrinsic artistic merit. In the gallery at Metz +is her picture of "Irene von Spilimberg on the Funeral Gondola."</p> + +<p>In 1883 she exhibited in Rome, "Answered," a study of thistles; "In +Autumn," a variety of fruits; and "Questions," a charming study of +carnations. At Berlin, in 1890, "Meadow Saffron and Cineraria" was +praised for its glowing color and artistic arrangement. A Viennese +critic, the same year, lamented that an artist of so much talent should +paint lifeless objects only. In Berlin, in 1894, she held an exhibition, +in which her landscapes and flower pieces were better than her still-life +pictures. Frau Preuschen is also a musician and poet.</p><a name="Page_277"></a> + +<p>The painting of flower pieces is a delightful art for man or woman, but +so many such pictures which are by amateurs are seen in exhibitions—too +good to be refused but not of a satisfactory quality—that one can +scarcely sympathize with the critic who would have Mme. Preuschen paint +other subjects than these charming blossoms, so exquisite in form and +color, into which she paints so much delightful sentiment.</p> + +<br> + +<p><b>Puehn, Sophie.</b> Born at Nuremberg, 1864. This artist studied in Paris +and Munich and resides in the latter city. At the International +Exhibition, Vienna, 1894, her portrait of a "Lady Drinking Tea" was +praised by the critics without exception, and, in fact, her portraits are +always well considered. That she is also skilful in etching was shown in +her "Forsaken," exhibited in 1896.</p> + +<br> + +<p><b>Putnam, Sarah Goold.</b> Member of the Copley Society. Born in Boston. +Pupil in Boston and New York of J. B. Johnston, F. Duveneck, Abbott +Thayer, and William Chase; in Scheveningen, of Bart. J. Blommers; and in +Munich, of Wilhelm Dürr.</p> + +<p>Miss Putnam's portrait of Hon. John Lowell is in the District Court Room +in Post-Office Building, Boston; that of William G. Russell, in the Law +Library in the Court House, Pemberton Square, same city; that of General +Charles G. Loring, for many years Director of Boston Museum of Fine Arts, +belongs to his family; among her other portraits are those of Dr. Henry +P. Bowditch, Francis Boott, George Partridge Bradford, Edward Silsbee, +Mrs. Asa Gray, and Lorin Deland. In addition to <a name="Page_278"></a>the above she has +painted more than one hundred portraits of men, women, and children, +which belong to the families of the subjects.</p> + +<br> + +<p><b>Puyroche, Mme. Elise.</b> Born in Dresden, 1828. Resided in Lyons, +France, where she was a pupil of the fine colorist, Simon St. Jean. Mme. +Puyroche excelled her master in the arrangement of flowers in her +pictures and in the correctness of her drawing, while she acquired his +harmonious color. Her picture called the "Tom Wreath," painted in 1850, +is in the Dresden Gallery.</p> + +<br> + +<p><b>Questier, Catherine.</b> Born in Amsterdam. In 1655 she published two +comedies which were illustrated by engravings of her own design and +execution. She achieved a good reputation for painting, copper engraving, +and modelling in wax, as well as for her writings.</p> + +<br> + +<p><b>Raab, Doris.</b> Third-class medal, Nuremberg; also second-class medal, +1892. Born in Nuremberg, 1851. Pupil of her father, Johann Leonhard Raab, +in etching and engraving. She has engraved many works by Rubens, Van +Dyck, and Cuyp; among her plates after works of more recent artists are +Piloty's "Death Warrant of Mary Stuart," Lindenschmidt's "In Thought," +and Laufberger's "Hunting Fanfare." This artist resides in Munich.</p> + +<br> + +<p><b>Radovska, Baroness Annetta</b>, of Milan. Her interesting genre pictures +are seen in most of the Italian exhibitions. "Old Wine, Young Wife," was +at Milan, 1881; in same city, 1883, "An Aggression," "The Visit," "The +Betrothed." She also sent to Rome, in 1883, two pictures, one of which, +"The Harem," was especially noteworthy. In 1884, at Turin, she exhibited +"Tea" and <a name="Page_279"></a>the "Four Ages"; these, were excellent in tone and technique +and attractive in subject. At Milan, 1886, her "Will He Arrive?" was +heartily commended in the art journals.</p> + +<br> + +<p><b>Rae, Henrietta.</b> See <a href="#Normand">Normand, Mrs. Ernest</a></p> + +<br> + +<p><b>Ragusa, Eleanora.</b> See <a href="#Tama">O'Tama</a>.</p> + +<br> + +<p><b>Rapin, Aimée.</b> At the Swiss National Exposition, 1896, a large +picture of a "Genevese Watchmaker" by this artist was purchased; By the +Government and is in the Museum at Neuchâtel. In 1903 the city of Geneva +commissioned her to paint a portrait of Philippe Plantamour, which is in +the Museum Mon-Repos, at Geneva. Member of the Société des Beaux-Arts of +Lausanne, Société des Femmes peintres et sculpteurs de la Suisse romande, +Société de l'exposition permanente des Beaux-Arts, Geneva. Born at +Payerne, Canton de Vaud. Studied at Geneva under M. Hebert and Barthelmy +Menn, in painting; Hugues Bovy, modelling.</p> + +<a name="image-024"></a> +<p class="ctr"><a href="./images/024.jpg"><img src="./images/024_th.jpg" alt="In the Museum at Neuchâtel. GENEVESE WATCHMAKER. Aimée Rapin"></a></p> +<p class="ctr">In the Museum at Neuchâtel</p> +<p class="ctr">GENEVESE WATCHMAKER</p> +<p class="ctr">Aimée Rapin</p> + +<p>Mlle. Rapin writes me: "I am, above all, a portrait painter, and my +portraits are in private hands." She names among others of her sitters, +Ernest Naville, the philosopher; Raoul Pictet, chemist; Jules Salmson, +sculptor, etc. She mentions that she painted a portrait of the present +Princess of Wales at the time of her marriage, but as it was painted from +photographs the artist has no opinion about its truth to life. Mlle. +Rapin has executed many portraits of men, women, and children in Paris, +London, and Germany, as well as in Switzerland. She refers me to the +following account of herself and her art. In the <i>Studio</i> of April, 1903, +R. M. writes: "The subject <a name="Page_280"></a>of these notes is a striking example of the +compensations of Nature for her apparent cruelty; also of what the +genuine artist is capable of achieving notwithstanding the most singular +disadvantages. Some years ago in the little town of Payerne, Canton Vaud, +a child was born without arms. One day the mother, while standing near a +rose-bush with her infant in her arms, was astonished to observe one of +its tiny toes clasp the stem of the rose. Little did she guess at the +time that these prehensile toes were destined one day to serve an artist, +in the execution of her work, with the same marvellous facility as hands. +As the child grew up the greatest care was bestowed upon her education. +She early manifested unmistakable artistic promise, and at the age of +sixteen was sent to the École des Beaux Arts, Geneva.... For reasons +already mentioned Mlle. Rapin holds a unique position amongst that +valiant and distinguished group of Swiss lady artists to whose work we +hope to have the opportunity of referring.... She is a fine example of +that singleness of devotion which characterizes the born artist. Her art +is the all-absorbing interest of her life. It is not without its +limitations, but within these limitations the artist has known how to be +true to herself. Drawing her inspiration direct from nature, she has held +on her independent way, steadily faithful to the gift she possesses of +evoking a character in a portrait or of making us feel how the common +task, when representative of genuine human effort and touched with the +poetry of national tradition, of religion, and of nature, becomes a +subject of noble artistic treatment. She has kept unimpaired that +<i>merveilleux <a name="Page_281"></a>frisson de sensibilité</i> which is one of the most precious +gifts of the artistic temperament, and which is quick to respond to the +ideal in the real. There are some artists who, though possessed of +extraordinary mastery over the materials of their art, bring to their +work a spirit which beggars and belittles both art and life; there are +others who seem to work with an ever-present sense of the noble purpose +of their vocation and the pathos and dignity of existence. Mlle. Rapin +belongs to the second category. Her 'L'Horloger' is an example of this. A +Genevese watchmaker is bending to his work at a bench covered with tools. +Through the window of the workshop one perceives in the blue distance +Mont Saléve, and nearer the time-honored towers of the Cathedral of St. +Pierre. Here is a composition dealing with simple life—a composition +which, from the point of execution, color, and harmony of purpose, leaves +little or nothing to be desired. But this is not all. It is, so to speak, +an artistic <i>résumé</i> of the life and history of the old city, and that +strongly portrayed national type gathers dignity from his alliance with +the generations who helped to make one of the main interests of the city, +and from his relationship to that eventful past suggested by the +Cathedral and the Mountain.</p> + +<p>"Mlle. Rapin is unmistakably one of the best Swiss portraitists, working +for the most part in pastels, her medium by predilection; she has at the +same time modelled portraits in bas-relief. We are not only impressed by +the intensely living quality of her work as a portraitist, but by the +extraordinary power with which she has seized and <a name="Page_282"></a>expressed the +individual character and history of each of her subjects."</p> + +<p>Mlle. Rapin has exhibited her works with success in Paris, Munich, and +Berlin. The few specimens of her bas-reliefs which I have seen prove that +did she prefer the art of sculpture before that of painting, she would be +as successful with her modelling tools as she has been with her brush.</p> + +<br> + +<p><b>Rappard, Clara von.</b> Second-class medal, London. Born at Wabern, near +Berne, 1857. After studying with Skutelzky and Dreber, she worked under +Gussow in Berlin. She spent some time in travel, especially in Germany +and Italy, and then, choosing Interlaken as her home, turned her +attention to the illustration of books, as well as to portrait and genre +painting. In the Museum at Freiburg is her "Point-lace-maker." A series +of sixteen "Phantasies" by this artist has been published in Munich.</p> + +<br> + +<p><b>Rath, Henriette.</b> Honorary member of the Société des Arts, 1801. Born +in 1772, she died in 1856 at Genf, where, with her sister, she founded +the Musée Rath. She studied under Isabey, and was well and favorably +known as a portrait and enamel painter.</p> + +<br> + +<p><b>Ream, Vinnie.</b> See <a href="#Hoxie">Hoxie</a>.</p> + +<br> + +<p><b>Redmond, Frieda Voelter.</b> Medal at the Columbian Exhibition, Chicago. +Member of the Woman's Art Club. Born in Thun, Switzerland. Studies made +in Switzerland and in Paris. A painter of flowers and still-life.</p> + +<p>"Mrs. Redmond is a Swiss woman, now residing in New York. She has +exhibited her works in the Paris<a name="Page_283"></a> Salon, in the National Academy of +Design, at the Society of American Artists' exhibitions, etc., and was +awarded a medal at the World's Fair in Chicago. Her work is not only +skilful and accurate in description and characterization; it is done with +breadth and freedom, and given a quality of fine decorative distinction. +Her subjects are roses, cyclamen, chrysanthemums, nasturtiums, double +larkspurs, cinneraria, etc., and she makes each panel a distinct study in +design, with a background and accessories of appropriate character. For +example, the three or four large panels of roses painted at Mentone have +a glimpse of the Mediterranean for background, and a suggestion of +trellis-work for the support of the vine or bush; and in another rose +panel we have a tipped-over Gibraltar basket with its luscious contents +strewed about in artful confusion. The double larkspurs make very +charming panels for decorative purposes. They are painted with delightful +fulness of color and engaging looseness and crispness of touch."—<i>Boston +Transcript</i>.</p> + +<br> + +<p><b>Regis, Emma.</b> This Roman painter has given special attention to +figures, and has executed a number of portraits, one of the best of which +is that of the Marchioness Durazzo Pallavicini. She has exhibited some +delightful work at Turin and at Rome, such as "The Lute-Player," "All is +not Gold that Glitters," "Humanity," and "In illo Tempore?"</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Reinhardt, Sophie.</b> Born at Kirchberg, 1775; died at Karlsruhe, 1843. +Pupil of Becker. She travelled in<a name="Page_284"></a> Austro-Hungary and Italy. In the +Kunsthalle at Karlsruhe is her picture of "St. Elizabeth and the Child +John." Among her best works are "The Death of St. Catherine of +Alexandria," "The Death of Tasso," and twelve illustrations for a volume +of Hebel's poems.</p> + +<br> + +<p><b>Remy, Marie.</b> Born in Berlin, 1829. Daughter of Professor August Remy +of the Berlin Academy. Pupil of her father, Hermine Stilke, and Theude +Grönland. She travelled extensively in several European countries, making +special studies in flowers and still-life, from which many of her +water-colors were painted; twenty of these are in the Berlin National +Gallery.</p> + +<br> + +<p><b>Reuter, Elizabeth.</b> Born in Lubeck, 1853. Pupil of Zimmermann in +Munich, A. Schliecker in Hamburg, and of H. Eschke in Berlin. She also +went to Düsseldorf to work in the Gallery there. Later she travelled in +Scandinavia. Her best pictures are landscapes. Among them is a charming +series of six water-colors of views in the park of Friedrichsruhe.</p> + +<br> + +<p><b>Revest, Cornelia Louisa.</b> Second-class medals in 1819 and 1831 in +Paris. Born in Amsterdam, 1795; died in Paris, 1856. Pupil of Sérangély +and Vafflard in Paris. In 1814 she painted a "Magdalen at the Feet of +Christ" for a church in Marseilles. She also painted many good portraits +and a picture called "The Young Mother Playing the Mandolin."</p> + +<br> + +<p><b>Richard, Mme. Hortense.</b> Honorable mention, Exposition of 1889; +third-class medal, 1892; silver medals at Antwerp and Barcelona, and gold +medal in London. Born at Paris, 1860. Pupil of James Bertrand, Jules +Lefebvre, <a name="Page_285"></a>and Bouguereau. Has exhibited regularly since 1875. Her +picture of "Cinderella" is in the Museum of Poitiers; "At Church in +Poitou" is in the Luxembourg. She has painted many portraits.</p> + +<br> + +<p><b>Richards, Anna Mary.</b> Norman Dodge prize, National Academy, New York, +1890. Member of the '91 Art Club, London. Born at Germantown, +Pennsylvania, 1870. Pupil of Dennis Bunker in Boston, H. Siddons Mowbray +and La Farge in New York, Benjamin Constant and J. P. Laurens in Paris, +and always of her father, W. T. Richards.</p> + +<p>Miss Richards' work is varied. She is fond of color when suited to her +subject; she also works much in black and white. When representing nature +she is straightforward in her rendering of its aspects and moods, but she +also loves the "symbolic expression of emotion" and the so-called +"allegorical subjects." The artist writes: "I simply work in the way that +at the moment it seems to me fitting to work to express the thing I have +in mind. Where the object of the picture is one sort of quality, I use +the method that seems to me to emphasize that quality."</p> + +<p>When but fourteen years old this artist exhibited at the National +Academy, New York, a picture of waves, "The Wild Horses of the Sea," +which was immediately sold and a duplicate ordered. In England Miss +Richards has exhibited at the Academy, and her pictures have been +selected for exhibitions in provincial galleries. Miss Richards is +earnestly devoted to her art, and has in mind an end toward which she +diligently strives—not to become <a name="Page_286"></a>a painter distinguished for clever +mannerism, but "to attain a definite end; one which is difficult to reach +and requires widely applied effort."</p> + +<p>Judging from what she has already done at her age, one may predict her +success in her chosen method. In February, 1903, Miss Richards and her +father exhibited their works in the Noe Galleries. I quote a few press +opinions.</p> + +<a name="image-025"></a> +<p class="ctr"><a href="./images/025.jpg"><img src="./images/025_th.jpg" alt="MAY DAY AT WHITELANDS COLLEGE, CHELSEA. Anna M. Richards"></a></p> +<p class="ctr">MAY DAY AT WHITELANDS COLLEGE, CHELSEA</p> +<p class="ctr">Anna M. Richards</p> + +<p>"Miss Richards paints the sea well; she infuses interest into her +figures; she has a love of allegory; her studies in Holland and Norway +are interesting. Her 'Whitby,' lighted by sunset, with figures massed in +the streets in dark relief against it, is beautiful. Her 'Friends,' +showing two women watching the twilight fading from the summits of a +mountain range, the cedared slopes and river valley below meantime +gathering blueness and shadow, is of such strength and sweetness of fancy +that it affects one like a strain of music."</p> + +<p>"Miss Richards becomes symbolic or realistic by turn. Some of her figures +are creatures of the imagination, winged and iridescent, like the 'Spirit +of Hope.' Again, she paints good, honest Dutchmen, loafing about the +docks. Sometimes she has recourse to poetry and quotes Emerson for a +title.... If technically she is not always convincing, it is apparent +that the artist is doing some thinking for herself, and her endeavors are +in good taste."</p> + +<p>Miss Richards has written "Letter and Spirit," containing fifty-seven +"Dramatic Sonnets of Inward Life."</p> + +<p>These she has illustrated by sixty full-page pictures. Of <a name="Page_287"></a>these +drawings the eminent artist, G. F. Watts, says: "In imaginative +comprehension they are more than illustrations; they are interpretations. +I find in them an assemblage of great qualities—beauty of line, unity +and abundance in composition, variety and appreciation of natural +effects, with absence of manner; also unusual qualities in drawing, +neither academical nor eccentric—all carried out with great purity and +completeness."</p> + +<br> + +<p><b>Richards, Signora Emma Gagiotti.</b> Rome.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Ries, Therese Feodorowna.</b> Bronze medal at Ekaterinburg; Karl Ludwig +gold medal, Vienna; gold medal, Paris Exposition, 1900. Officer of the +Academy. Born in Moscow. Pupil of the Moscow Academy and of Professor +Hellmer, Vienna, women not being admitted to the Vienna Academy.</p> + +<p>A critic in the <i>Studio</i> of July, 1901, who signs his article A. S. L., +writes as follows of this remarkable artist: "Not often does it fall to +the lot of a young artist to please both critic and public at the same +time, and, having gained their interest, to continue to fill their +expectations. But it was so with Feodorowna Ries, a young Russian artist +who some eight months ago had never even had a piece of clay in her hand, +but who, by dint of 'self,' now stands amongst the foremost of her +profession. It was chance that led Miss Ries to the brush, and another +chance which led her to abandon the brush for the chisel. Five years ago +she was awarded the Carl Ludwig gold medal for her 'Lucifer,' and at the +last Paris Exhibition <a name="Page_288"></a>she gained the gold medal for her 'Unbesiegbaren' +(The Unconquerable).</p> + +<p>"Miss Ries was born and educated in Moscow, but Vienna is the city of her +adoption. She first studied painting at the Moscow Academy, her work +there showing great breadth of character and power of delineation. At the +yearly Exhibition in Moscow, held some five months after she had entered +as a student, she took the gold medal for her 'Portrait of a Russian +Peasant.' She then abandoned painting for sculpture, and one month later +gained the highest commendations for a bust of 'Ariadne.' She then began +to study the plastic art from life. Dissatisfied with herself, although +her 'Somnambulist' gained a prize, Miss Ries left Moscow for Paris, but +on her way stayed in Vienna, studying under Professor Hellmer. One year +later, at the Vienna Spring Exhibition, she exhibited her 'Die Hexe.' +Here is no traditional witch, though the broomstick on which she will +ride through the air is <i>en evidence</i>. She is a demoniac being, knowing +her own power, and full of devilish instinct. The marble is full of life, +and one seems to feel the warmth of her delicate, powerfully chiselled, +though soft and pliable limbs."</p> + +<p>"'Die Unbesiegbaren' is a most powerful work, and stood out in the midst +of the sculpture at Paris in 1900 with the prominence imparted by unusual +power in the perception of the <i>whole</i> of a subject and the skill to +render the perception so that others realize its full meaning. There are +four figures in this group—men drawing a heavy freight boat along the +shore by means of a towline <a name="Page_289"></a>passed round their bodies, on which they +throw their weight in such a way that their legs, pressed together, lose +their outline—except in the case of the leader—and are as a mass of +power. They also pull on the line with their hands. The leader bends over +the rope until he looks down; the man behind him raises his head and +looks up with an appealing expression; the two others behind are exerting +all their force in pulling on the rope, but have twisted the upper part +of the body in order to look behind and watch the progress of their great +burden. There is not the least resemblance of one to the other, either in +feature or expression, and to me it would seem that the woman who had +conceived and executed this group might well be content to rest on her +laurels.</p> + +<p>"But an artistic creator who is really inspired with his art and not with +himself is never satisfied; he presses on and on—sometimes after he has +expressed the best of his talent. This is not yet reached, I believe, by +Miss Ries, and we shall see still greater results of her inspiration."</p> + +<p>The Austrian Government commissioned this artist to execute the figure of +a saint. One may well prophesy that there will be nothing conventional in +this work. She has already produced a striking "Saint Barbara." Her +portrait busts include those of Professor Wegr, Professor Hellmer, Mark +Twain, Countess Kinsky, Countess Palffs, Baron Berger, and many others.</p> + +<br> + +<p><b>Rijutine, Elisa.</b> A bronze and a gold medal at the Beatrice +Exposition, Florence, 1890. Born in Florence, where she resides and +devotes herself to painting in imitation of old tapestries. An excellent +example of her <a name="Page_290"></a>work is in water-colors and is called "The Gardener's +Children." In 1888 and 1889 she exhibited "The Coronation of Esther" and +a picture of "Oleanders."</p> + +<br> + +<p><b>Roberts, Elizabeth Wentworth.</b></p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Robinson, Mrs. Imogene Morrell.</b> Medals at the Mechanics' Fair, +Boston, and at the Centennial Exhibition, Philadelphia, 1876. Born in +Attleborough, Massachusetts. Pupil of Camphausen in Düsseldorf, and of +Couture in Paris, where she resided several years. Among her important +works are "The First Battle between the Puritans and Indians" and +"Washington and His Staff Welcoming a Provision Train," both at +Philadelphia. Mrs. Morrell continued to sign her pictures with her maiden +name, Imogene Robinson.</p> + +<p>A critic of the New York <i>Evening Post</i> said of her pictures at +Philadelphia: "In the painting of the horses Mrs. Morrell has shown great +knowledge of their action, and their finish is superb. The work is +painted with great strength throughout, and its solidity and forcible +treatment will be admired by all who take an interest in Revolutionary +history.... In the drawing of the figures of Standish and the chief at +his side, and the dead and dying savages, there is a fine display of +artistic power, and the grouping of the figures is masterly.... In color +the works are exceedingly brilliant."</p> + +<br> + +<p><b>Robusti, Marietta.</b> Born in Venice. 1560-1590. The parentage of this +artist would seem to promise her talent and insure its culture. She was +the daughter of Jacopo<a name="Page_291"></a> Robusti, better known as "Il Tintoretto," who has +been called "the thunder of art," and who avowed his ambition to equal +"the drawing of Michael Angelo and the coloring of Titian."</p> + +<p>The portrait of Marietta Robusti proves her to have been justly +celebrated for her beauty. Her face is sweet and gentle in expression. +She was sprightly in manner and full of enthusiasm for anything that +interested and attracted her; she had a good talent for music and a +charming voice in singing.</p> + +<p>Her father's fondness for her made him desire her constant companionship, +and at times he permitted her to dress as a boy and share with him +certain studies that she could only have made in this disguise. +Tintoretto carefully cultivated the talents of his daughter, and some of +the portraits she painted did her honor. That of Marco dei Vescovi first +turned public attention to her artistic merits. The beard was especially +praised and it was even said by good judges that she equalled her father. +Indeed, her works were so enthusiastically esteemed by some critics that +it is difficult to make a just estimate of her as an artist, but we are +assured of her exquisite taste in the arrangement of her pictures and of +the rare excellence of her coloring.</p> + +<p>It soon became the fashion in the aristocratic circles of Venice to sit +for portraits to this fascinating artist. Her likeness of Jacopo Strada, +the antiquarian, was considered a worthy gift for the Emperor Maximilian, +and a portrait of Marietta was hung in the chamber of his Majesty. +Maximilian, Philip II. of Spain, and the Archduke Ferdi<a name="Page_292"></a>nand, each in +turn invited Marietta to be the painter of his Court.</p> + +<p>Tintoretto could not be induced to be separated from his daughter, and +the honors she received so alarmed him that he hastened to marry her to +Mario Augusti, a wealthy German jeweller, upon the condition that she +should remain at home.</p> + +<p>But the Monarch who asks no consent and heeds no refusal claimed this +daughter so beloved. She died at thirty, and it is recorded that both her +father and her husband mourned for her so long as they lived. Marietta +was buried in the Church of Santa Maria dell' Orto, where, within sight +of her tomb, are several of her father's pictures.</p> + +<p>Tintoretto painting his daughter's portrait after her death has been the +subject of pictures by artists of various countries, and has lost nothing +of its poetic and pathetic interest in the three centuries and more that +have elapsed since that day when the brave old artist painted the +likeness of all that remained to him of his idolized child.</p> + +<br> + +<p><b>Rocchi, Linda.</b> Born in Florence; she resides in Geneva. Two of her +flower pieces, in water-color, were seen at the Fine Arts Exposition, +Milan, 1881. In 1883, also in Milan, she exhibited "A Wedding Garland," +"Hawthorne," etc. The constantly increasing brilliancy of her work was +shown in three pictures, flowers in water-colors, seen at the Milan +Exposition, 1886. To Vienna, 1887, she sent four pictures of wild +flowers, which were much admired.</p> + +<br> + +<p><b>Rocco, Lili Rosalia.</b> Honorable mention, a bronze <a name="Page_293"></a>medal, and four +silver medals were accorded this artist at the Institute of Fine Arts in +Naples, where she studied from 1880 to 1886, and was also a pupil of +Solari. Born in Mazzara del Vallo, Sicily, 1863. In 1886 she exhibited, +at Naples, "Cari Fiori!" at Palermo, "Flora"; and in Rome, "A Sicilian +Contadina." In 1888 her picture, "Spring," was exhibited in London. Two +of her works were in the Simonetti Exposition, 1889, one being a marine +view from her birthplace. She has painted many portraits, both in oils +and water-colors, and has been appointed a teacher in at least two +Government schools in Naples.</p> + +<br> + +<p><b>Rodiana, Onorata.</b> Was a contemporary of the saintly Caterina de +Vigri, but was of quite another order of women. She had one quality +which, if not always attractive, at least commands attention. She was +unique, since we know of no other woman who was at the same time a +successful artist and a valiant soldier!</p> + +<p>Born in Castelleone, near Cremona, early in the fifteenth century, she +was known as a reputable artist while still young, and was commissioned +to decorate the palace of the tyrant, Gabrino Fondolo, at Cremona. The +girlish painter was beautiful in person, frank and engaging in manner, +and most attractive to the gentlemen of the tyrant's court.</p> + +<p>One day when alone and absorbed in the execution of a wall-painting, a +dissolute young noble addressed her with insulting freedom. She could not +escape, and in the struggle which ensued she drew a dagger and stabbed +her assailant to the heart.</p><a name="Page_294"></a> + +<p>Rushing from the palace, she disguised herself in male attire and fled to +the mountains, where she joined a company of Condottieri. She soon became +so good a soldier that she was made an officer of the band.</p> + +<p>Fondolo raged as tyrants are wont to do, both on account of the murder +and of the escape. He vowed the direst vengeance on Onorata if ever she +were again in his power. Later, when his anger had cooled and he had no +other artist at command who could worthily complete her decorations, he +published her pardon and summoned her to return to his service.</p> + +<p>Onorata completed her work, but her new vocation held her with a potent +spell, and henceforth she led a divided life—never entirely +relinquishing her brush, and remaining always a soldier.</p> + +<p>When Castelleone was besieged by the Venetians, Onorata led her band +thither and was victorious in the defence of her birthplace. She was +fatally wounded in this action and died soon after, in the midst of the +men and women whose homes she had saved. They loved her for her bravery +and deeply mourned the sacrifice of her life.</p> + +<p>Few stories from real life are so interesting and romantic as this, yet +little notice has been taken of Onorata's talent or of her prowess, while +many less spirited and unusual lives have been commemorated in prose and +poetry.</p> + +<br> + +<p><b>Rodriguez de Toro, Luisa.</b> Honorable mention, Madrid, 1856, for a +picture of "Queen Isabel the Catholic Reading with Doña Beatriz de +Galindo"; honorable mention, 1860, for her "Boabdil Returning from +Prison."</p><a name="Page_295"></a> + +<p>Born in Madrid; a descendant of the Counts of Los Villares, and wife of +the Count of Mirasol. Pupil of Cárlos Ribera.</p> + +<br> + +<p><b>Ronner, Mme. Henriette.</b> Medals and honorable mentions and elections +to academies have been showered on Mme. Ronner all over Europe. The King +of Belgium decorated her with the Cross of the Order of Leopold. Born in +Amsterdam in 1821. The grandfather of this artist was Nicolas Frederick +Knip, a flower painter; her father, Josephus Augustus Knip, a landscape +painter, went blind, and after this misfortune was the teacher of his +daughter; her aunt, for whom she was named, received medals in Paris and +Amsterdam for her flower pictures. What could Henriette Knip do except +paint pictures? Hers was a clear case of predestination!</p> + +<p>At all events, almost from babyhood she occupied herself with her pencil, +and when she was twelve years old her blind father began to teach her. +Even at six years of age it was plainly seen that she would be a painter +of animals. When sixteen she exhibited a "Cat in a Window," and from that +time was considered a reputable artist.</p> + +<p>In 1850 she was married and settled in Brussels. From this time for +fifteen years she painted dogs almost without exception. Her picture +called "Friend of Man" was exhibited in 1850. It is her most famous work +and represents an old sand-seller, whose dog, still harnessed to the +little sand-wagon, is dying, while two other dogs are looking on with +well-defined sympathy. It is a most pathetic scene, wonderfully +rendered.</p><a name="Page_296"></a> + +<p>About 1870 she devoted herself to pictures of cats, in which specialty of +art she has been most important. In 1876, however, she sent to the +Philadelphia Exposition a picture of "Setter Dogs." "A Cart Drawn by +Dogs" is in the Museum at Hanover; "Dog and Pigeon," in the Stettin +Museum; "Coming from Market" is in a private collection in San Francisco.</p> + +<p>Mme. Ronner has invented a method of posing cats that is ingenious and of +great advantage. To the uninitiated it would seem that one could only +take the portrait of a sleeping cat, so untiring are the little beasts in +their gymnastic performances. But Mme. Ronner, having studied them with +infinite patience, proceeded to arrange a glass box, in which, on a +comfortable cushion, she persuades her cats to assume the positions she +desires. This box is enclosed in a wire cage, and from the top of this +she hangs some cat attraction, upon which the creature bounds and shows +those wonderful antics that the artist has so marvellously reproduced in +her painting. Mme. Ronner has two favorite models, "Jem" and "Monmouth." +The last name is classical, since the cat of Mother Michel has been made +immortal.</p> + +<p>Miss Winslow, in "Concerning Cats," says that "Mme. Ronner excels all +other cat painters, living or dead. She not only infuses a wonderful +degree of life into her little figures, but reproduces the shades of +expression, shifting and variable as the sands of the sea, as no other +artist of the brush has done. Asleep or awake, her cats look to the" +felinarian "like cats with whom he or she is familiar. Curiosity, +drowsiness, indifference, alertness, love, hate, <a name="Page_297"></a>anxiety, temper, +innocence, cunning, fear, confidence, mischief, earnestness, dignity, +helplessness—they are all in Mme. Ronner's cats' faces, just as we see +them in our own cats."</p> + +<p>It is but a short time ago that Mme. Ronner was still painting in +Brussels, and had not only cats, but a splendid black dog and a cockatoo +to bear her company, while her son is devoted to her. Her house is large +and her grounds pleasant, and her fourscore years did not prevent her +painting several hours a day, and, like some other ladies of whom we +know, she was "eighty years young."</p> + +<p>The editor of the <i>Magazine of Art</i>, M. H. Spielman, in an article on the +Royal Academy Exhibition, 1903, writes: "What the dog is to Mr. Riviere, +to Madame Ronner is the cat. With what unerring truth she records +delightful kittenly nature, the feline nobility of haughty indifference +to human approval or discontent, the subtlety of expression, and drawing +of heads and bodies, the exact quality and tone of the fur, the +expressive eloquence of the tail! With all her eighty years, Madame +Ronner's hand, vision, and sensibility have not diminished; only her +sobriety of color seems to have increased." Her pictures of this year +were called "The Ladybird" and "Coaxing." To the Exhibition of the +Beaux-Arts in Brussels, 1903, Mme. Ronner sent pictures of cats, full of +life and mischief.</p> + +<br> + +<p><b>Roosenboom, Margarite Vogel.</b> Second-class medal, Munich, 1892. Born +in 1843 and died in 1896, near The Hague. She spent a large part of her +life near Utrecht, devoting herself mainly to the painting of flowers. +One <a name="Page_298"></a>of her works is in the Royal Museum at Amsterdam, and another in the +Museum at Breslau.</p> + +<br> + +<p><b>Rope, Ellen M.</b> This English sculptor executed four large panels for +the Women's Building at the Chicago Exhibition. They represented Faith, +Hope, Charity, and Heavenly Wisdom. They are now in the Ladies' Dwelling, +Cherries Street, London. A "Memorial" by her is in Salisbury Cathedral. +Her reliefs of children are, however, her best works; that of a "Boy on a +Dolphin" is most attractive. "Christ Blessing Little Children" is +charmingly rendered.</p> + +<p>At the Academy, 1903, she exhibited a panel for an organ chamber, in low +relief.</p> + +<br> + +<p><b>Rosa, Aniella di.</b> 1613-1649. A pupil in Naples of Stanzioni, who, by +reason of her violent death, has been called the Neapolitan Sirani. She +acquired a good reputation as a historical painter and doubtless had +unusual talent, but as she worked in conjunction with Stanzioni and with +her husband, Agostino Beltrano, it is difficult to speak of works +entirely her own.</p> + +<p>Two pictures that were acknowledged to be hers represented the birth and +death of the Virgin; these were praised and were at one time in a church +in Naples, but in a recent search for them I was unable to satisfy myself +that the pictures I saw were genuine.</p> + +<p>Another pupil in the studio of Stanzioni was the Beltrano whom Aniella +married. He painted in fresco, Aniella in oils, and they were frequently +employed together. The fine picture of San Biagio, in the church of Santa +Maria della Sanità, was one of their joint works.</p><a name="Page_299"></a> + +<p>Their early married life was very happy, but Aniella was beautiful and +Beltrano grew jealous; it is said without cause, through the influence of +a woman who loved him and hated Aniella; and in spite of the efforts she +made to merit her husband's confidence, his distrust of her increased. +Her base rival, by her art and falsehood, finally succeeded in convincing +Beltrano that Aniella was unworthy, and in his rage he fatally stabbed +her, when, at thirty-six, she was in the prime of her beauty and talent. +She survived long enough to convince her husband of her innocence and to +pardon him for his crime, but he fled from Italy and lived the life of an +outcast during ten years. He then returned to Naples, where after seven +years, tormented by remorse, death came to his release.</p> + +<p>Domenici generously praised the works of Aniella, and quoted her master, +Stanzioni, as saying that she was the equal of the best painters of her +time.</p> + +<br> + +<p><b>Rosalba.</b> See <a href="#Carriera">Carriera</a>.</p> + +<br> + +<p><b>Rossi, Properzia de.</b> Born in Bologna. 1490-1530. This artist was the +first woman to succeed as a sculptor whose works can still be seen. Pupil +of Raimondi, she was more or less influenced by Tribolo. In the Church of +San Petronio, in her native city, in the eleventh chapel, is a beautiful +bas-relief of two angels, executed by Properzia. They are near Tribolo's +"Ascension." A relief and a portrait bust in the same church are also +ascribed to her.</p> + +<p>Her first work in sculpture was a minute representation of the +Crucifixion on a peach stone! The executioners, <a name="Page_300"></a>women, soldiers, and +disciples were all represented in this infinitesimal space. She also +inserted in a coat of arms a double-headed eagle in silver filigree; +eleven peach stones on each side, one set representing eleven apostles +with an article of the creed underneath, the other set eleven virgins +with the name of a saint and her special attribute on each. Some of these +intaglios are still in a private collection in Bologna.</p> + +<p>At length Properzia saw the folly of thus belittling her talent, and when +the facade of San Petronio was to be enriched with sculpture she asked +for a share in the work and presented a bust she had made as a pledge of +her ability; she was appointed to execute a portion of the decorations. +She made a bas-relief, the subject being "Joseph and Potiphar's Wife," +which Vasari called "a lovely picture, sculptured with womanly grace, and +more than admirable."</p> + +<p>By this time the jealousy of other artists was aroused, and a story was +diligently repeated to the effect that Properzia loved a young nobleman +who did not care for her, and that the above work, so much admired, +represented her own passion. Albertini and other artists waged an +absolute crusade against her, and so influenced the superintendents of +the church that Properzia was obliged to leave the work and her relief +was never put in place. Through mortification and grief her health +failed, and she died when but forty years old.</p> + +<p>In spite of her persecution she was known in all Italy, not only for her +sculpture, but for her copper-plate engraving and etching. When Pope +Clement VII. went to<a name="Page_301"></a> Bologna for the coronation of Charles V. he asked +for Properzia, only to hear that she had been buried that very week.</p> + +<p>Her story has been told by Vasari and other writers. She was handsome, +accomplished in music, distinguished for her knowledge of science, and +withal a good and orderly housewife. "Well calculated to awaken the envy, +not of women only, but also of men." Canova ardently admired the work of +Properzia that remained in his day, and esteemed her early death as one +of the chief misfortunes to the advance of the fine arts in Italy.</p> + +<br> + +<p><b>Rotky, Baroness Hanna.</b> Born at Czernowitz in 1857. She studied +portrait painting under Blaas, Swerdts, and Trentino, and has worked +principally in Vienna. Her portrait of Freiherr von Sterneck is in the +Military Academy at Wiener-Neustadt.</p> + +<br> + +<p><b>Rudder, Mme. de.</b> This lady has made an art of her embroidery, and +may be said to have revived this decorative specialty and to have +equalled the ancient productions which are so beautiful and valuable. +After her marriage to the well-known sculptor this gifted couple began +their collaboration. M. P. Verneuil, in <i>Brush and Pencil</i>, November, +1903, writes: "The first result of this joint work was shown in 1894 at +the Exposition Cercle pour l'Art, in the form of a panel, called 'The +Eagle and the Swan.' It was exhibited afterward at the Secession in +Vienna, where it was purchased by a well-known amateur and connoisseur. +Other works were produced in succession, each more interesting than its +predecessor. Not daunted by difficulties that would have discouraged the +most ambi<a name="Page_302"></a>tious and audacious craftswoman, Mme. de Rudder took for a +subject 'The Fates,' to decorate a screen. Aside from the artistic +interest attaching to this work, it is remarkable for another quality. +The artist yielded to the instinctive liking that she had for useful +art—she ornamented a useful article—and in mastering the technical +difficulties of her work she created the new method called +'re-embroidery.' For the dresses of her 'Fates' ancient silks were +utilized for a background. Some of the pieces had moth-holes, which +necessitated the addition of 'supplementary ornamental motives,' +'embroidered on cloth to conceal the defects.' The discovery of +'re-embroidery' was the result of this enforced expedient.</p> + +<p>"This screen, finished in 1896, was exhibited at the Cercle Artistique, +Brussels, where the mayor, M. Buls, saw it. Realizing the possibilities +of the method and the skill of the artist, he gave an order to Mme. de +Rudder to decorate the Marriage Hall of the Hotel de Ville. This order +was delivered in 1896. During this period Mme. de Rudder worked +feverishly. About the same time that the order for the Hotel de Ville was +given, she received from M. Van Yssendyck, architect of the Hotel +Provincial in Ghent, a commission to design and embroider six large +allegorical panels. One of them represented 'Wisdom' in the habiliments +of Minerva, modernized, holding an olive branch. The five others were +'Justice,' holding a thistle, symbolizing law; 'Eloquence,' crowned with +roses and holding a lyre; 'Strength,' bending an oak branch; 'Truth,' +crushing a serpent and bearing a mirror and some lilies; and 'Prudence,' +with the horn of plenty <a name="Page_303"></a>and some holly. These six panels are remarkable +for the beautiful decorative feeling that suffuses their composition. The +tricks of workmanship are varied, and all combine to give a wonderful +effect. Contrary to the form of presenting the 'Fates,' all the figures +are draped."</p> + +<p>Her next important commission was for eight large panels, intended to +decorate the Congo Free State department in the Brussels Exposition. +These panels represent the "Triumph of Civilization over Barbarism," and +are now in the Museum at Tervueren. They are curious in their symbols of +fetichism, and have an attraction that one can scarcely explain. The +above are but a part of her important works, and naturally, when not +absorbed by these, Mme. de Rudder executes some smaller pieces which are +marvels of patience in their exquisite detail.</p> + +<p>Perhaps her panels of the "Four Seasons" may be called her +<i>chef-d'oeuvre</i>. The writer quoted above also says:</p> + +<p>"To Mme. de Rudder must be given the credit for the interpretation of +work demanding large and varied decorative effect, while in the creation +of true artistic composition she easily stands at the head of the limited +coterie of men and women who have mastered this delicate and difficult +art. She is a leader in her peculiar craft."</p> + +<br> + +<p><b>Rude, Mme. Sophie Frémiet.</b> 1797-1867. Medal at Paris Salon, 1833. +Born in Dijon. This artist painted historical and genre subjects as well +as portraits. Her picture of the "Sleeping Virgin," 1831, and that of +the<a name="Page_304"></a> "Arrest of the Duchess of Burgundy in Bruges," 1841, are in the +Dijon Museum.</p> + +<br> + +<p><b>Ruysch, Rachel.</b> The perfection of flower-painting is seen in the +works of Rachel Ruysch. The daughter of a distinguished professor of +anatomy, she was born at Amsterdam in 1664. She was for a time a pupil of +William van Aelst, but soon studied from nature alone. Some art critics +esteem her works superior to those of De Heem and Van Huysum. Let that be +as it may, the pictures with which she was no doubt dissatisfied when +they passed from her hand more than two centuries ago are greatly valued +to-day and her genius is undisputed.</p> + +<p>When thirty years old Rachel Ruysch married the portrait painter, Julian +van Pool. She bore him ten children, but in the midst of all her cares +she never laid her brush aside. Her reputation extended to every court of +Europe. She received many honors, and was elected to the Academical +Society at The Hague. She was received with distinguished courtesies on +the two occasions when she visited Düsseldorf.</p> + +<a name="image-026"></a> +<p class="ctr"><a href="./images/026.jpg"><img src="./images/026_th.jpg" alt="Alinari, Photo. In the Pitti Gallery, Florence. FRUIT, FLOWERS, AND INSECTS. Rachel Ruysch"></a></p> +<p class="ctr">Alinari, Photo</p> +<p class="ctr">In the Pitti Gallery, Florence</p> +<p class="ctr">FRUIT, FLOWERS, AND INSECTS</p> +<p class="ctr">Rachel Ruysch</p> + +<p>The Elector John of Pfalz appointed her painter at his court, and beyond +paying her generously for her pictures, bestowed valuable gifts on her. +The Elector sent several of her works to the Grand Duke of Tuscany and to +other distinguished rulers of that day.</p> + +<p>The advance of years in no wise dulled her powers. Her pictures painted +when eighty years old are as delicately finished as those of many years +earlier. She died when eighty-six, "respected by the great, beloved even +by her rivals, praised by all who knew her."</p><a name="Page_305"></a> + +<p>The pictures by Rachel Ruysch are honorably placed in many public +galleries; in those of Florence and Turin, as well as at Amsterdam, The +Hague, Berlin, Dresden, Vienna, and Munich, they are much valued. +Although these pictures are characterized by extreme delicacy of touch, +softness, and lightness, this artist knew how so to combine these +qualities as to impart an effect of strength to her painting. Her +rendering of separate flowers was exquisite, and her roses, either by +themselves or combined with other flowers, are especially beautiful. She +painted fruits in perfection, and the insects and butterflies which she +sometimes added are admirably executed.</p> + +<p>The chief criticism that can be made of her pictures is that she was less +skilful in the grouping of her flowers than in their painting. Many of +her works are in private galleries, especially in Holland. They are +rarely sold; in London, about thirty years ago, a small "Bouquet of +Flowers with Insects" was sold for more than two thousand dollars, and is +now of double that value.</p> + +<p>Her pictures have the same clearness and individuality that are seen in +her portrait, in which she has short hair, a simple low-cut dress, with a +necklace of beads about the throat.</p> + +<br> + +<p><b>Salles, Adelheid.</b> Born in Dresden, 1825; died in Paris, 1890. Pupil +of Bernhard and Jacquand, she established her studio in Paris. Many of +her works are in museums: "Elijah in the Desert," at Lyons; "The Legend +of the Alyscamps," at Nîmes; "The Village Maiden," at Grenoble; "Field +Flowers," at Havre, etc. She also painted portraits and historical +subjects, among <a name="Page_306"></a>which are "Psyche in Olympus," "The Daughters of +Jerusalem in the Babylonian Captivity," and the "Daughter of Jairus."</p> + +<p>She was a sister of E. Puyroche-Wagner.</p> + +<br> + +<p><b>Sartain, Emily.</b> Medal at Philadelphia Exhibition, 1876; Mary Smith +prize at the Pennsylvania Academy for best painting by a woman, in 1881 +and 1883. Born in Philadelphia, 1841. Miss Sartain has been the principal +of the Philadelphia School of Design for Women since 1886.</p> + +<p>She studied engraving under her father, John Sartain, and with Luminais +in Paris. She engraved and etched book illustrations and numerous larger +prints. She is also a painter of portraits and genre pictures, and has +exhibited at the Salon des Beaux-Arts, Paris. Miss Sartain has been +appointed as delegate from the United States to the International +Congress on Instruction in Drawing to be held at Berne next August. Her +appointment was recommended by the Secretary of the Interior, the United +States Commissioner of Education, and Prof. J. H. Gore. Miss Sartain has +also received letters from Switzerland from M. Leon Genoud, president of +the Swiss Commission, begging her to accept the appointment.</p> + +<br> + +<p><b>Schaefer, Maria.</b> First-class medal, Bene-merenti, Roumania. Born in +Dresden, 1854. Her first studies were made in Darmstadt under A. Noack; +later she was a pupil of Budde and Bauer in Düsseldorf, and finally of +Eisenmenger in Vienna. After travelling in Italy in 1879, she settled in +Darmstadt. She made several beautiful copies of Holbein's "Madonna," one +for the King of<a name="Page_307"></a> Roumania, and one as a gift from the city of Darmstadt +to the Czarina Alexandra. Among her most excellent portraits are those of +Friedrich von Schmidt and his son Henry. Several of her religious +paintings ornament German churches: "St. Elizabeth" is at Biedenkopf, +"Mary's Departure from the Tomb of Christ" is at Nierstein, and "Christ +with St. Louis and St. Elizabeth" and a Rosary picture are in the +Catholic church at Darmstadt.</p> + +<br> + +<p><b>Scheffer, Caroline.</b> The daughter of Ary Lamme and wife of J. B. +Scheffer was an artist in the last decades of the eighteenth century, but +the special interest connected with her is the fact that she was the +mother of Ary and Henry Scheffer. From her artistic standpoint she had an +appreciation of what was needed for the benefit of her sons. She took +them to Paris to study, devoted herself entirely to their welfare, and +died in Paris in 1839.</p> + +<br> + +<p><b>Schleh, Anna.</b> Born in Berlin, 1833. Her principal studies were made +in her native city under Schrader, although she went to Rome in 1868, and +finally took up her residence there. She had, previous to her work in +Rome, painted "The Marys at the Grave." Her later pictures include "The +Citron-Vender" and a number of portraits for the Henkel family of +Donnersmark.</p> + +<br> + +<p><b>Schmitt-Schenkh, Maria.</b> Born in Baden, 1837. She studied her art in +Munich, Carlsruhe, and Italy. She established herself in Munich and +painted pictures for churches, which are in Kirrlach, Mauer, +Ziegelhausen, and other German towns. She also designed church windows, +especially for the Liebfrauenkirche at Carlsruhe.</p> + +<br> + +<p><b>Schumann, Anna Maria.</b> Was called by the Dutch <a name="Page_308"></a>poets their Sappho +and their Corneille. She was born in 1607, but as her family were +Protestants and frequently changed their residence in order to avoid +persecution, the place of her birth is unknown. When Anna Maria was eight +years old, they went permanently to Utrecht.</p> + +<p>This distinguished woman was one of the exceptions said to prove rules, +for though a prodigy in childhood she did not become a commonplace or +stupid woman. Learning was her passion and art her recreation. It is +difficult to repeat what is recorded of her unusual attainments and not +feel as if one were being misled by a Munchausen! But it would be +ungracious to lessen a fame almost three centuries old.</p> + +<p>We are told that Anna Maria could speak in Latin when seven years old, +and translated from Seneca at ten. She acquired the Hebrew, Greek, +Samaritan, Arabic, Chaldaic, Syriac, Ethiopian, Turkish, and Persian +languages with such thoroughness that her admirers claim that she wrote +and spoke them all. She also read with ease and spoke with finished +elegance Italian, Spanish, English, and French, besides German and her +native tongue.</p> + +<p>Anna Maria Schurmann wrote verses in various languages, but the chief end +which her exhaustive studies served was to aid her in theological +research; in this she found her greatest satisfaction and deepest +interest. She was respectfully consulted upon important questions by the +scholars of different countries.</p> + +<p>At the University of Utrecht an honorable place was reserved for her in +the lecture-rooms, and she frequently <a name="Page_309"></a>took part in the learned +discussions there. The professors of the University of Leyden paid her +the compliment of erecting a tribune where she could hear all that passed +in the lecture-room without being seen by the audience.</p> + +<p>As an artist the Schurmann reached such excellence that the painter +Honthorst valued a portrait by her at a thousand Dutch florins—about +four hundred and thirty dollars—an enormous sum when we remember that +the works of her contemporary, Albert Cuyp, were sold for thirty florins! +and no higher price was paid for his works before the middle of the +eighteenth century. A few years ago his picture, called "Morning Light," +was sold at a public sale in London for twenty-five thousand dollars. How +astonishing that a celebrated artist like Honthorst, who painted in +Utrecht when Cuyp painted in Dort, should have valued a portrait by Anna +Maria Schurmann at the price of thirty-three works by Cuyp! Such facts as +these suggest a question regarding the relative value of the works of +more modern artists. Will the judgments of the present be thus reversed +in the future?</p> + +<p>This extraordinary woman filled the measure of possibilities by carving +in wood and ivory, engraving on crystal and copper, and having a fine +musical talent, playing on several instruments. When it is added that she +was of a lovable nature and attractive in manner, one is not surprised +that her contemporaries called her "the wonder of creation."</p> + +<p>Volsius was her friend and taught her Hebrew. She was intimately +associated with such scholars as Salmatius and Heinsius, and was in +correspondence with scholars, <a name="Page_310"></a>philosophers, and theologians regarding +important questions of her time.</p> + +<p>Anna Maria Schurmann was singularly free from egotism. She rarely +consented to publish her writings, though often urged to do so. She +avoided publicity and refused complimentary attentions which were urged +upon her, conducting herself with a modesty as rare as her endowments.</p> + +<p>In 1664, when travelling with her brother, she became acquainted with +Labadie, the celebrated French enthusiast who preached new doctrines. He +had many disciples called Labadists. He taught that God used deceit with +man when He judged it well for man to be deceived; that contemplation led +to perfection; that self-mortification, self-denial, and prayer were +necessary to a godly life; and that the Holy Spirit constantly made new +revelations to the human beings prepared to receive them.</p> + +<p>Anna Maria Schurmann heard these doctrines when prostrated by a double +sorrow, the deaths of her father and brother. She put aside all other +interests and devoted herself to those of the Labadists. It is said that +after the death of Labadie she gathered his disciples together and +conducted them to Vivert, in Friesland. William Penn saw her there, and +in his account of the meeting he tells how much he was impressed by her +grave solemnity and vigorous intellect.</p> + +<p>From this time she devoted her fortune to charity and died in poverty at +the age of seventy-one. Besides her fame as an artist and a scholar, her +name was renowned for purity of heart and fervent religious feeling. Her +<a name="Page_311"></a>virtues were many and her few faults were such as could not belong to an +ignoble nature.</p> + +<br> + +<p><b>Scudder, Janet.</b> Medal at Columbian Exposition, 1893. Two of her +medallion portraits are in the Luxembourg, Paris. Member of the National +Sculpture Society, New York. Born in Terre Haute, Indiana. Pupil of +Rebisso in Cincinnati, of Lorado Taft in Chicago, and of Frederic +MacMonnies in Paris.</p> + +<p>At the Chicago Exposition Miss Scudder exhibited two heroic-sized statues +representing Illinois and Indiana. The portraits purchased by the French +Government are of American women and are the first work of an American +woman sculptor to be admitted to the Luxembourg. These medallions are in +bas-relief in marble, framed in bronze. Casts from them have been made in +gold and silver. The first is said to be the largest medallion ever made +in gold; it is about four inches long.</p> + +<a name="image-027"></a> +<p class="ctr"><a href="./images/027.jpg"><img src="./images/027_th.jpg" alt="A FROG FOUNTAIN. Janet Scudder"></a></p> +<p class="ctr">A FROG FOUNTAIN</p> +<p class="ctr">Janet Scudder</p> + +<p>To the Pan-American Exposition Miss Scudder contributed four boys +standing on a snail, which made a part of the "Fountain of Abundance." +She has exhibited in New York and Philadelphia a fountain, representing a +boy dancing hilariously and snapping his fingers at four huge frogs round +his pedestal. The water spurts from the mouths of the frogs and covers +the naked child.</p> + +<p>Miss Scudder is commissioned to make a portrait statue of heroic size for +the St. Louis Exposition. She will no doubt exhibit smaller works there. +Portraits are her specialty, and in these she has made a success, as is +proved by the appreciation of her work in Paris.</p> + +<p>A memorial figure in marble is in Woodlawn Ceme<a name="Page_312"></a>tery, also a cinerary urn +in stone and bronze; a bronze memorial tablet is in Union College. Miss +Scudder also made the seal for the Bar Association of New York.</p> + +<br> + +<p><b>Sears, Sarah C.</b> Medal at Chicago, 1893; William Evans prize, +American Water-Color Society, New York; honorable mention, Paris +Exposition, 1900; bronze medal at Buffalo, 1901; silver medal at +Charleston, South Carolina. Member of the New York Water-Color Club, +Boston Art Students' Association, National Arts Club, Boston Water-Color +Club. Born in Cambridge, Massachusetts. Pupil of Ross Turner, Joseph de +Camp, Edmund C. Tarbell, and George de Forest Brush. Mrs. Sears has also +studied by herself with the criticism of masters.</p> + +<p>She paints portraits, figures, and flowers, and is much interested in the +applied arts. Of her exhibition at the Boston Art Club, 1903, a critic +writes: "Nothing could be more brilliant in point of color than the group +of seven water-color pictures of a sunny flower-garden by Mrs. Sears. In +these works pure and limpid color has been pushed to its extreme +capacity, under full daylight conditions, with a splendor of brightness +which never crosses the line of crudity, but holds the same relative +values as we see in nature, the utmost force of local color courageously +set forth and contrasted without apparent artifice, blending into an +harmonious unity of tone. Two of these pictures are especially fine, with +their cool backgrounds of sombre pines to set off the magnificent masses +of flowers in the foreground."</p> + +<p>At the exhibition of the Philadelphia Water-Color Club, 1903, the <i>Press</i> +said: "These brilliant and overpowering <a name="Page_313"></a>combinations of color carry to +a limit not before reached the decorative possibilities of flowers."</p> + +<p>Mrs. Sears' honors have been awarded to her portraits.</p> + +<br> + +<p><b>Seidler, Caroline Luise.</b> Born in Jena, 1786; died in Weimar, 1866. +Her early studies were made in Gotha with Doell; in 1811 she went to +Dresden, where she became a pupil of G. von Kügelgen; in 1817 Langer +received her into his Munich studio; and between 1818 and 1823 she was in +Italy, making special studies of Vanucci and Raphael. In 1823 she was +appointed instructor of the royal princesses at Weimar, and in 1824 +inspector of the gallery there, and later became court painter. Among her +works are a portrait of Goethe, a picture of "Ulysses and the Sirens," +and one of "Christ, the Compassionate," which is in the church at +Schestadt, Holstein.</p> + +<br> + +<p><b>Serrano y Bartolomé, Joaquina.</b> Born in Fermoselle. Pupil in Madrid +of Juan Espalter, of the School of Arts and Crafts, and of the School of +Painting. She sent four pictures to the Exposition of 1876 in Madrid: the +portrait of a young woman, a still-life subject, a bunch of grapes, and a +"Peasant Girl"—the last two are in the Museum of Murcia. In 1878 she +sent "A Kitchen Maid on Saturday," a study, a flower piece, and two +still-life pictures; and in 1881 two portraits and some landscapes. Her +portrait of the painter Fortuny, which belongs to the Society of Authors +and Artists, gained her a membership in that Society. Two other excellent +portraits are those of her teacher, Espalter, and General Trillo.</p> + +<br> + +<p><b>Sewell, Amanda Brewster.</b> Bronze medal, Chicago, 1893; bronze medal, +Buffalo, 1901; silver medal, Charles<a name="Page_314"></a>ton; Clarke prize, Academy of +Design, 1903. Member of the Woman's Art Club and an associate of National +Academy of Design. Born in Northern New York. Pupil at Cooper Union under +Douglas Volk and R. Swain Gifford, and of Art Students' League under +William Chase and William Sartain; also of Julian's Academy under Tony +Robert Fleury and Bouguereau, and of Carolus Duran.</p> + +<p>Mrs. Sewell's "A Village Incident" is owned by the Philadelphia Social +Art Club; "Where Roses Bloom" is in the Boston Art Club; portrait of +Professor William R. Ware is in the Library of Columbia University. Her +portrait of Amalia Küssner will be exhibited and published.</p> + +<p>Mrs. Sewell is the first woman to take the Clarke prize. She has been a +careful student in the arrangement of portraits in order to make +attractive pictures as well as satisfactory likenesses. Of the pictures +she exhibited at the Academy of Design, winter of 1903, Charles H. Caffin +writes:</p> + +<p>"The portrait of Mrs. Charles S. Dodge, by Mrs. A. Brewster Sewell, is +the finest example in the exhibition of pictorial treatment, the lady +being wrapped in a brown velvet cloak with broad edges of brown fur, and +seated before a background of dark foliage. It is a most distinguished +canvas, though one may object to the too obvious affectation of the +arrangement of the hands and of the gesture of the head—features which +will jar upon many eyes and detract from the general handsomeness. The +same lady sends a large classical subject, the 'Sacred<a name="Page_315"></a> Hecatomb,' to +which the Clarke prize was awarded. It represents a forest scene lit by +slanting sunlight, through which winds a string of bulls, the foremost +accompanied by a band of youths and maidens with dance and song. The +light effects are managed very skilfully and with convincing truth, and +the figures are free and animated in movement, though the flesh tints are +scarcely agreeable. It is a decorative composition that might be fitly +placed in a large hall in some country house."</p> + +<br> + +<p><b>Seydelmann, Apollonie.</b> Member of the Dresden Academy. Born at +Trieste about 1768; died in Dresden, 1840. Pupil of J. C. Seydelmann, +whom she married. Later she went to Italy and there studied miniature +painting under Madame Maron.</p> + +<p>She is best known for her excellent copies of old pictures, and +especially by her copy of the Sistine Madonna, from which Müller's +engraving was made.</p> + +<br> + +<p><b>Shaw, Annie C.</b> The first woman elected Academician in the Academy of +Design, Chicago, 1876. Born at Troy, New York. Pupil of H. C. Ford. +Landscape painter. Among her works are "On the Calumet," "Willow Island," +"Keene Valley, New York," "Returning from the Fair," 1878, which was +exhibited in Chicago, New York, and Boston. To the Centennial, +Philadelphia, 1876, she sent her "Illinois Prairie."</p> + +<p>"Returning from the Fair" shows a group of Alderney cattle in a road +curving through a forest. At the time of its exhibition an art critic +wrote: "The eye of the spectator is struck with the rich mass of foliage, +passing from the light green of the birches in the foreground, <a name="Page_316"></a>where the +light breaks through, to the dark green of the dense forest, shading into +the brownish tints of the early September-tinged leaves. Farther on, the +eye is carried back through a beautiful vista formed by the road leading +through the centre of the picture, giving a fine perspective and distance +through a leafy archway of elms and other forest trees that gracefully +mingle their branches overhead, through which one catches a glimpse of +deep blue sky. As the eye follows this roadway to its distant part the +sun lights up the sky, tingeing with a mellow light the group of small +trees and willows, contrasting beautifully with the almost sombre tones +of the dense forest in the middle distance."</p> + +<br> + +<p><b>Shrimpton, Ada M.</b> Has exhibited at the Royal Academy, Royal +Institute of Water-Colors, British Artists, and principal provincial +galleries in England and in Australia; also at the Paris Salon. Member of +Society of Women Artists, London. Born in Old Alresford, Hampshire. Pupil +of John Sparkes at South Kensington, and of Jean Paul Laurens and +Benjamin Constant in Paris.</p> + +<p>This artist has painted principally figure subjects, among which are +"Cedric's Daughter," "Thoughts of Youth are Long Thoughts," "Dream of the +Past," "Pippa Passes," "Dorothy's Bridesmaid's Dress," etc., etc. +Recently she has devoted herself to portraits of ladies and children, in +both oil and water-colors.</p> + +<br> + +<p><b>Sirani, Elisabetta.</b> Has been praised as a woman and as an artist by +Lanzi, Malvasia, Picinardi, and other writers until one must believe that +in spite of the exaggeration of her personal qualities and her artistic +genius, <a name="Page_317"></a>she was a singularly admirable woman and a gifted artist.</p> + +<p>She was born in Bologna about 1640, and, like Artemisia Gentileschi, was +the daughter of a painter of the school of Guido Reni, whose follower +Elisabetta also became. From the study of her master she seems to have +acquired the power to perceive and reproduce the greatest possible beauty +with which her subjects could be invested.</p> + +<p>She worked with such rapidity that she was accused of profiting by her +father's assistance, and in order to refute this accusation it was +arranged that the Duchess of Brunswick, the Duchess of Mirandola, Duke +Cosimo, and others should meet in her studio, on which occasion +Elisabetta charmed and astonished her guests by the ease and perfection +with which she sketched in and shaded drawings of the subjects which one +person after another suggested to her.</p> + +<p>Her large picture of the "Baptism of Christ" was completed when the +artist was but twenty years old. Malvasia gives a list of one hundred and +twenty pictures executed by Elisabetta, and yet she was but twenty-five +when her mysterious death occurred.</p> + +<p>In the Pinacoteca of Bologna is the "St. Anthony Adoring the Virgin and +Infant Jesus," by the Sirani, which is much admired; several other works +of hers are in her native city. "The Death of Abel" is in the Gallery of +Turin; the "Charity," in the Sciarra Palace in Rome; "Cupids" and a +picture of "Martha and Mary," in the Vienna Gallery; an "Infant Jesus" +and a picture <a name="Page_318"></a>called "A Subject after Guido" are in the Hermitage at +Petersburg.</p> + +<p>Her composition was graceful and refined, her drawing good, her color +fresh and sweet, with a resemblance to Guido Reni in the half tones. She +was especially happy in the heads of the Madonna and the Magdalene, +imparting to them an expression of exalted tenderness.</p> + +<p>Her paintings on copper and her etchings were most attractive; indeed, +all her works revealed the innate grace and refinement of her nature.</p> + +<p>Aside from her art the Sirani was a most interesting woman. She was very +beautiful in person, and the sweetness of her temper made her a favorite +with her friends, while her charming voice and fine musical talent added +to her many attractions. Her admirers have also commended her taste in +dress, which was very simple, and have even praised her moderation in +eating! She was skilled in domestic matters and accustomed to rise at +dawn to attend to her household affairs, not permitting her art to +interfere with the more homely duties of her life. One writer says that +"her devoted filial affection, her feminine grace, and the artless +benignity of her manners rounded out a character regarded as an ideal of +perfection by her friends."</p> + +<p>It may be that her tragic fate caused an exaggerated estimate to be made +of her both as a woman and an artist. The actual cause of her death is +unknown. There have been many theories concerning it. It was very +generally believed that she was poisoned, although neither the reason for +the crime nor the name of its perpetrator was known.</p><a name="Page_319"></a> + +<p>By some she was believed to have been sacrificed to the same professional +jealousy that destroyed Domenichino; others accepted the theory that a +princely lover who had made unworthy proposals to her, which she had +scorned, had revenged himself by her murder. At length a servant, Lucia +Tolomelli, who had been a long time in the Sirani family, was suspected +of having poisoned her young mistress, was arrested, tried, and banished. +But after a time the father of Elisabetta, finding no convincing reason +to believe her guilty, obtained her pardon.</p> + +<p>Whatever may have been the cause of the artist's death, the effect upon +her native city was overwhelming and the day of her burial was one of +general mourning, the ceremony being attended with great pomp. She was +buried beside Guido Reni, in the Chapel of Our Lady of the Rosary, in the +magnificent Church of the Dominicans.</p> + +<p>Poets and orators vied with each other in sounding her praises, and a +book called "Il Penello Lagrimato," published at Bologna soon after her +death, is a collection of orations, sonnets, odes, epitaphs, and +anagrams, in Latin and Italian, setting forth the love which her native +city bore to this beautiful woman, and rehearsing again and again her +charms and her virtues.</p> + +<p>In the Ercolani Gallery there is a picture of Elisabetta painting a +portrait of her father. It is said that she also painted a portrait of +herself looking up with a spiritual expression, which is in a private +collection and seen by few people.</p> + +<br> + +<p><b>Smith, Jessie Willcox.</b> Mary Smith prize, Pennsylvania Academy of +Fine Arts, 1903. Member of the<a name="Page_320"></a> Plastic Club and a fellow of the Academy, +Philadelphia. Born in Philadelphia, where she was a pupil of the Academy; +also studied under Thomas Eakins, Thomas P. Anschutz, and Howard Pyle.</p> + +<p>Miss Smith is essentially an illustrator and her work is seen in all the +leading American magazines. "The Child's Calendar" is the work of this +artist.</p> + +<br> + +<p><b>Sonrel, Mlle. E.</b> Honorable mention, Paris, 1893; third-class medal, +1895; bronze medal, Paris Exposition, 1900. At the Salon des Artistes +Français, 1902, she exhibited "Sybille" and "Monica"; in 1903, "The Dance +of Terpsichore" and "Princesse Lointaine."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Spanò, Maria.</b> Silver medal, Naples, 1859, for a picture of a +"Contadina of Sorrento." Born in Naples, 1843. Pupil of her father, +Raffaele Spanò, under whose direction she made a thorough study of figure +painting, the results of which are evident in her excellent portraits and +historical subjects. She has also been greatly interested in landscape +painting, in which she has been successful. "A Confidence" was bought by +the Gallery at Capodimonte, and two of her pictures were acquired by the +Provincial Council of Naples—a "Contadina," life size, and a "Country +Farmyard." One of her best pictures is "Bice at the Castle of Rosate."</p> + +<br> + +<p><b>Spilimberg, Irene di.</b> Born in Udina, 1540. Her family was of German +origin and exalted position. She was educated in Venice with great care +and all the advantages that wealth could command. She was much in the +society <a name="Page_321"></a>of learned men, which she preferred before that of the world of +fashion.</p> + +<p>Titian was her roaster in painting. Lanzi and Rudolfi praised her as an +artist, and her fame now rests on the testimony of those who saw her +works rather than on the pictures themselves, some of which are said to +be in private collections in Italy. Titian painted her portrait as a +tribute to her beauty; Tasso celebrated her intellectual charm in a +sonnet, and yet she was but nineteen years old when she died.</p> + +<p>Twenty years later a collection of orations and poems was published, all +of which set forth her attractions and acquirements, and emphasized the +sadness of her early death and the loss that the world had suffered +thereby. When one remembers how soon after death those who have done a +life work are forgotten, such a memorial to one so young is worthy of +note.</p> + +<br> + +<p><b>Spurr, Gertrude E.</b> Associate member of Royal Canadian Academy and +member of the Ontario Society of Arts. Born in Scarborough, England. +Pupil of the Lambeth Art School in drawing, of E. H. Holder in painting, +in England; also of George B. Bridgman in New York. This artist usually +paints small pictures of rural scenery in England and Wales—little stone +cottages, bridges, river and mountain scenes. "Castle Rock, North Devon," +was exhibited at Buffalo, and is owned by Herbert Mason, Esq., of +Toronto. "A Peep at Snowdon" and "Dutch Farm Door, Ontario," are in +Montreal collections. Her works have been exhibited in London at the +Royal Society of British Artists and the Society <a name="Page_322"></a>of Lady Artists, and +have been sold from these exhibitions.</p> + +<p>I quote from the <i>Queen</i>, in reference to one of Miss Spurr's London +exhibitions: "We know of no more favorite sketching-ground in N. Wales +for the artist than Bettws-y-coed. Every yard of that most picturesque +district has been painted and sketched over and over again. The artist in +this instance reproduces some of the very primitive cottages in which the +natives of the principality sojourn. The play of light on the modest +dwelling-places is an effective element in the cleverly rendered drawing +now in the Society of Artists' Exhibition. Miss Spurr, the daughter of a +Scarboro lawyer, commenced her art studies with Mr. E. H. Holder, in the +winter painting dead birds, fruit, and other natural objects, and in +summer spending her time on the coast or in the woods or about Rievaulx +Abbey. Any remaining time to be filled up was occupied by attending the +Scarboro School of Art under the instruction of Mr. Strange. In a local +sketching club Miss Spurr distinguished herself and gained several +prizes, and she has at length taken up her abode in the metropolis, where +she has attended the Lambeth Schools, studying diligently both from casts +and life."</p> + +<br> + +<p><b>Stacey, Anna L.</b> Honorable mention at Exhibition of Chicago Artists, +1900; Young Fortnightly Club prize, 1902; Martin B. Cahn prize, +Exhibition at Art Institute, Chicago, 1902. Member of Chicago Society of +Artists. Born in Glasgow, Missouri.</p> + +<p>Pupil of Art Institute in Chicago. Paints portraits, figure subjects, and +landscapes. The Cahn prize was <a name="Page_323"></a>awarded to the "Village at Twilight." +"Florence" is owned by the Klio Club; "Trophies of the Fields," by the +Union League Club, Chicago.</p> + +<p>Recently Miss Stacey has painted a number of successful portraits.</p> + +<br> + +<p><b>Stading, Evelina.</b> Born in Stockholm. 1803-1829. She was a pupil of +Fahlcrantz for a time in her native city, and then went to Dresden, where +she made a thorough study and some excellent copies of the works of +Ruisdael. In 1827 she went to Rome, making studies in Volzburg and the +Tyrol <i>en route</i>. She painted views in Switzerland and Italy, and two of +her landscapes are in the gallery in Christiania.</p> + +<br> + +<p><b>Stanley, Lady Dorothy.</b> Member of the Ladies' Athenæum Club. Born in +London. Pupil of Sir Edward Poynter—then Mr. Poynter—and of M. Legros, +at Slade School, University College, London; also of Carolus Duran and +Henner in Paris.</p> + +<p>Lady Stanley has exhibited at the Royal Academy, the new Gallery, at the +English provincial exhibitions, and at the Salon, Paris.</p> + +<p>Her picture, "His First Offence," is in the Tate National Gallery; "Leap +Frog," in the National Gallery of Natal, Pietermaritzburg. Other pictures +of hers are "A Water Nymph," "The Bathers," etc., which are in private +galleries. "Leap Frog" was in the Academy exhibition, 1903.</p> + +<br> + +<p><b>Stebbins, Emma.</b> 1815-1882. Born in New York. As an amateur artist +Miss Stebbins made a mark by her work in black and white and her pictures +in oils. After <a name="Page_324"></a>a time she decided to devote herself to sculpture. In +Rome she studied this art and made her first success with a statuette of +"Joseph." This was followed by "Columbus" and "Satan Descending to tempt +Mankind." For Central Park, New York, she executed a large fountain, the +subject being "The Angel of the Waters."</p> + +<br> + +<p><b>Stephens, Mrs. Alice Barber.</b> Mary Smith prize, 1890. Pupil of the +Pennsylvania Academy of Fine Arts and of the Julian Academy, Paris. An +illustrator whose favorite subjects are those of every-day home life—the +baby, the little child, the grandmother in cap and spectacles, etc.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Stevens, Edith Barretto.</b> Two scholarships and a prize of one hundred +dollars from the Art Students' League, of which she is a member. Born in +Houston, Virginia, in 1878. Studied at Art Students' League and under +Daniel C. French and George Gray Barnard.</p> + +<p>Miss Stevens mentions as her principal works "A Candlestick Representing +a Girl Asleep under a Poppy," "Figure of Spring," and the "Spirit of +Flame."</p> + +<p>Miss Stevens is one of the women sculptors who have been selected to +share in the decoration of the buildings for the St. Louis Exposition. +She is to make two reclining figures on the pediment over the main +entrance to the Liberal Arts Building. She has in her studio two +reclining figures which will probably serve to fulfil this commission.</p> + +<p>Miss Stevens is modest about her work and does not <a name="Page_325"></a>care to talk much +about this important commission, even suggesting that her design may not +be accepted; if she is successful it will certainly be an unusual honor +for a woman at her age, whose artistic career covers less than five +years.</p> + +<br> + +<p><b>Stevens, Mary.</b> Bronze medal at the Crystal Palace. Member of the +Dudley Gallery, London. Born at Liverpool. Pupil of William Kerry and of +her husband, Albert Stevens, in England, and of the Julian Academy, +Paris.</p> + +<p>Mrs. Stevens' pictures were well considered when she exhibited a variety +of subjects; of late, however, she has made a specialty of pictures of +gardens, and has painted in many famous English and French gardens, among +others, those of Holland House, Warwick Castle, and St. Anne's, Dublin. +In France, the gardens of the Duchesse de Dino and the Countess Foucher +de Careil.</p> + +<p>Mrs. Stevens—several of whose works are owned in America—has +commissions to paint in some American gardens and intends to execute them +in 1904.</p> + +<br> + +<p><b>Stillman, Marie Spartali.</b> Pupil of Ford Madox Brown. This artist +first exhibited in public at the Dudley Gallery, London, in 1867, a +picture called "Lady Pray's Desire." In 1870 she exhibited at the Royal +Academy, "Saint Barbara" and "The Mystic Tryst." In 1873 she exhibited +"The Finding of Sir Lancelot Disguised as a Fool" and "Sir Tristram and +La Belle Isolde," both in water-colors. Of these, a writer in the <i>Art +Journal</i> said: "Mrs. Stillman has brought imagination to her work. These +vistas of garden landscape are conceived in the true spirit of romantic +luxuriance, when the beauty of <a name="Page_326"></a>each separate flower was a delight. The +figures, too, have a grace that belongs properly to art, and which has +been well fitted to pictorial expression. The least satisfactory part of +these clever drawings is their color. There is an evident feeling of +harmony, but the effect is confused and the prevailing tones are +uncomfortably warm."</p> + +<p>W. M. Rossetti wrote: "Miss Spartali has a fine power of fusing the +emotion of her subject into its color and of giving aspiration to both; +beyond what is actually achieved one sees a reaching toward something +ulterior. As one pauses before her work, a film in that or in the mind +lifts or seems meant to lift, and a subtler essence from within the +picture quickens the sense. In short, Miss Spartali, having a keen +perception of the poetry which resides in beauty and in the means of art +for embodying beauty, succeeds in infusing that perception into the +spectator of her handiwork."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Stocks, Minna.</b> Born in Scheverin, 1846. Pupil of Schloepke in +Scheverin, Stiffeck in Berlin, E. Bosch in Düsseldorf, and J. Bauck in +Munich. Her "Lake of Scheverin" is in the Museum of her native city.</p> + +<p>Her artistic reputation rests largely on her pictures of animals. She +exhibits at the Expositions of the Society of Women Artists, Berlin, and +among her pictures seen there is "A Journey through Africa," which +represents kittens playing with a map of that country. It was attractive +and was praised for its artistic merit. In fact, her puppies and kittens +are most excellent results—have <a name="Page_327"></a>been called masterpieces—of the most +intimate and intelligent study of nature.</p> + +<p>Among her works are "A Quartet of Cats," "The Hostile Brothers," and "The +Outcast."</p> + +<br> + +<p><b>Stokes, Marianna.</b> Honorable mention at Paris Salon, 1884; gold medal +in Munich, 1890; medal at Chicago in 1893. Member of the Society of +Painters in Tempera. Born in Graz-Styria. Pupil of Professor W. von +Lindenschmit in Munich, of M. Dagnan Bouveret and M. Courtois in Paris.</p> + +<p>Her picture, "A Parting," is in the Liverpool Gallery; "Childhood's +Wonder," in the Nottingham Gallery; "Aucassin and Nicolette," in the +Pittsburg Gallery, etc.</p> + +<p>Mrs. Stokes writes me that she has taken great interest in the revival of +tempera painting in recent years. In reviewing the exhibition in the New +Gallery, London, the <i>Spectator</i> of May 2, 1903, speaks of the portraits +by Mrs. Stokes as charming, and adds: "They are influenced by the +primitive painters, but in the right way. That is, the painter has used a +formal and unrealistic style, but without any sacrifice of artistic +freedom." Of a portrait of a child the same writer says: "It would be +difficult to imagine a happier portrait of a little child,... and in it +may be seen how the artist has used her freedom; for although she has +preserved a primitive simplicity, the sky, sea, and windmill have modern +qualities of atmosphere. The picture is very subtle in drawing and color, +and the sympathy for child-life is perfect, seen as it is both in the +hands and in the eyes.</p> + +<p>"Another portrait by the same artist is hung on a <a name="Page_328"></a>marble pillar at the +top of the stairs leading up to the balcony. The admirable qualities of +decoration are well shown by the way it is hung.... Is a fine piece of +strong and satisfactory color, but the decorative aspect in no way takes +precedence of the portraiture. We think of the man first and the picture +afterward."</p> + +<p>At the Academy, in 1903, Mrs. Stokes exhibited a portrait of J. Westlake, +Esq., K.C.</p> + +<br> + +<p><b>Storer, Mrs. Maria Longworth.</b> Gold medal at Paris Exposition, 1900. +Born in Cincinnati, Ohio. Pupil of the Cincinnati Art School, which her +father, Joseph Longworth, endowed with three hundred thousand dollars.</p> + +<p>After working four years, making experiments in clay decoration at the +Dallas White Ware Pottery, Mrs. Storer, "who had the enthusiasm of the +artistic temperament coupled with fixity of purpose and financial +resources,... had the courage to open a Pottery which she called +Rookwood, the name of her father's place on the hills beyond. This was in +1880."</p> + +<p>Nine years later this pottery had become self-supporting, and Mrs. Storer +then dissolved her personal association with it, leaving it in charge of +Mr. William Watts Taylor, who had collaborated with her during six years.</p> + +<p>At the Paris Exposition Mrs. Storer exhibited about twenty pieces of +pottery mounted in bronze—all her own work. It was an exquisite +exhibition, and I was proud that it was the work of one of my +countrywomen.</p> + +<p>In 1897 Mr. Storer was appointed United States minister to Belgium, and +Mrs. Storer took a Japanese artist, Asano, to Brussels, to instruct her +in bronze work. Two <a name="Page_329"></a>years later Mr. Storer's mission was changed to +Spain, and there Mrs. Storer continued, under Asano's guidance, her work +in bronze, some of the results being seen in the mounting of her pottery.</p> + +<p>At present Mr. Storer is our Ambassador to Austria, and Mrs. Storer +writes me that she hopes to continue her work in bronze in Vienna.</p> + +<p>In the summer of 1903 Mrs. Storer was in Colorado Springs, where she was +much interested in the pottery made by Mr. Van Briggle. She became one of +the directors of the Van Briggle Pottery Company, and encouraged the +undertaking most heartily.</p> + +<br> + +<p><b>Stumm, Maud.</b> Born in Cleveland, Ohio. Pupil of Art Students' League +under Kenyon Cox and Siddons Mowbray, and of Oliver Merson in Paris, +where her painting was also criticised and approved by Whistler. Her +earliest work was flower painting, in which she gained an enviable +reputation.</p> + +<p>In Paris she began the study of figure painting, and her exhibition at +the Salon was favorably received, the purity and brilliancy of her +coloring being especially commended.</p> + +<p>Several of Miss Stumm's pictures are well known by reproductions. Among +these is the "Mother and Child," the original of which is owned by Mr. +Patterson, of the Chicago <i>Tribune</i>. Her calendars, too, are artistic and +popular; some of these have reached a sale of nearly half a million.</p> + +<p>A series of studies of Sarah Bernhardt, in pastel, and a portrait of +Julia Marlowe are among her works in this medium. Many of her figure +subjects, such as "A Vene<a name="Page_330"></a>tian Matron" and "A Violinist," are portraits, +not studies from professional models.</p> + +<p>This artist has painted an unusual variety of subjects, but is ambitious +in still another department of painting—decorative art—in which she +believes she could succeed.</p> + +<p>Her works are seen in the exhibitions of the Society of American Artists +and of the American Water-Color Society.</p> + +<br> + +<p><b>Swoboda, Josephine.</b> Born in Vienna, 1861. Pupil of Laufberger and I. +V. Berger. This portrait artist has been successful and numbers among her +subjects the Princess Henry of Prussia, the late Queen of England, whose +portrait she painted at Balmoral in 1893, the Minister Bauhaus, and +several members of the royal house of Austria. The portrait of Queen +Victoria was exhibited at the Water-Color Club, Vienna.</p> + +<p>She also paints charming miniatures. Her pictures are in both oil and +water-colors, and are praised by the critics of the exhibitions in which +they are seen.</p> + +<br> + +<p><b>Swope, Mrs. Kate.</b> Honorable mention at National Academy of Design, +1888; honorable mention and gold medal, Southern Art League, 1895; +highest award, Louisville Art League, 1897. Member of Louisville Art +League. Born in Louisville, Kentucky. Pupil of Edgar Ward and M. Flagg in +New York, and later of B. R. Fitz.</p> + +<p>Mrs. Swope devotes herself almost entirely to sacred subjects. The +pictures that have been awarded medals are Madonnas. She prefers to paint +her pictures out of doors and in the sunlight, which results in her +working in <a name="Page_331"></a>a high key and, as she writes, "in tender, opalescent color."</p> + +<p>One of her medal pictures is the "Head of a Madonna," out of doors, in a +hazy, blue shadow, against a background of grapevine foliage. The head is +draped in white; the eyes are cast down upon the beholder. A sun spot +kisses the white draperies on the shoulder. It is a young, girlish face, +but the head is suggestive of great exaltation.</p> + +<p>A second picture which received an award was a "Madonna and Child," out +of doors. The figure is half life size. Dressed in white, the Madonna is +stretched at full length upon the grass. Raised on one arm, she gazes +into the face of the infant Christ Child.</p> + +<p>Mrs. Swope has had success in pastel, in which, not long since, she +exhibited a "Mother and Child," which was much admired. The mother—in an +arbor—held the child up and reverently kissed the cheek. It was called +"Love," and was exhibited in New York, Philadelphia, and Chicago.</p> + +<p>Mrs. Swope's most ambitious work—five by three feet in size—represents +an allegorical subject and is called "Revelation."</p> + +<br> + +<p><b>Sues, Mlle. Lea.</b> Three silver medals from the School of Arts, +Geneva; diploma of honor at the National Swiss Exposition, 1896. Member +of l'Athénée, Geneva. Born at Genoa and studied there under Professors +Gillet, Poggy, and Castan.</p> + +<p>This artist paints landscapes, Swiss subjects principally. Her pictures +of Mont Blanc and Chamounix are popular and have been readily sold. They +are in private <a name="Page_332"></a>collections in several countries, and when exhibited have +been praised in German and French as well as in Swiss publications.</p> + +<br> + +<p><b>Syamour, Mme. Marguerite.</b> Honorable mention, 1887; bronze medal at +Exposition at Lyons. Born at Bréry, 1861. Pupil of Mercié. Her principal +works are a plaster statue, "New France," 1886, in the Museum of +Issoudun; a statue of Voltaire; a plaster statue, "Life"; a plaster +group, the "Last Farewells"; a statue of "Diana," in the Museum of +Amiens; a great number of portrait busts, among them those of Jules +Grévy, Flammarion, J. Claretie, etc.</p> + +<p>At the Salon, Artistes Français, 1902, this artist exhibited a "Portrait +of M. G. L.," and in 1904 "A Vision" and "La Dame aux Camelias."</p> + +<br> + +<p><b>Taylor, Elizabeth V.</b> Sears prize, Boston Art Museum; bronze medal, +Nashville Exposition, 1897. Member of the Copley Society, Boston. Pupil +of E. C. Tarbell and Joseph de Camp in the School of the Museum of Fine +Arts, Boston.</p> + +<p>This artist paints portraits in miniature and in life size. Her works are +numerous and have been seen in many exhibitions.</p> + +<br> + +<p><b>Thaulow, Mme. Alexandra.</b> Wife of the great Scandinavian painter. +This lady is an artist in bookbinding and her work is much admired. A +writer, H. F., says, in the <i>Studio</i>, December, 1903: "When the +exhibition of bookbinding was held some time ago at the Musée Galliera, +Madame Thaulow's showcase attracted attention by its variety and its +grace. The charm of these bindings <a name="Page_333"></a>lies in the fact that they have none +of the massive heaviness of so many productions of this kind. One should +be able to handle a book with ease, and not be forced to rest content +with beholding it displaying its beauties behind glass or on the library +shelf; and Madame Thaulow understood this perfectly when she executed the +bindings now reproduced here. But these bindings are interesting not only +from the standpoint of their utility and intelligent application; their +ornamentation delights one by its graceful interpretation of Nature, +rendered with a very special sense of decoration; moreover, the coloring +of these mosaics of leather is restrained and fresh, and the hollyhocks +and the hortensias, the bunches of mistletoe and the poppies, which form +some of her favorite <i>motifs</i>, go to make up a delicious symphony."</p> + +<br> + +<p><b>Thevenin, Marie Anne Rosalie.</b> Medals at the Salons of 1849, 1859, +1861. Born at Lyons. Pupil of Leon Cogniet. Portrait and figure painter. +Among her pictures the following are noticeable: "Flora McIvor and Rose +Bradwardine," 1848; "Portrait of Abbé Jacquet," 1859; "Portrait of a +Lady," 1861.</p> + +<br> + +<p><b>Thomas-Soyer, Mme. Mathilde.</b> Honorable mention, 1880; third-class +medal, 1881; bronze medal, Exposition, 1889. Born at Troyes, 1859. Pupil +of Chapu and Cain. The principal works of this sculptor are: "A Russian +Horse"; "Lost Dogs"; "Russian Greyhounds"; "Huntsmen and a Poacher," in +the Museum of Semur; "Combat of Dogs," purchased by the Government; "Cow +and Calf," in the Museum of Nevers; "Stag and Bloodhound," in the Museum +of Troyes, etc.</p><a name="Page_334"></a> + +<p>At the Salon, Artistes Français, 1902, Mme. Thomas-Soyer exhibited "An +Irish Setter and a Laverock," and in 1903 "Under the White Squall."</p> + +<br> + +<p><b>Thornycroft, Mary.</b> Born 1814; died 1895. Daughter of John Francis, +the sculptor, whose pupil she was. This artist exhibited at the Royal +Academy when very young. Her first important work was a life-size figure +called "The Flower-Girl." In 1840 she married Thomas Thornycroft, and +went to Rome two years later, spending a year in study there. Queen +Victoria, after her return, commissioned her to execute statues of the +royal children as the Four Seasons. These were much admired when +exhibited at the Academy. Later she made portrait statues and busts of +many members of the royal family, which were also seen at the Academy +Exhibition.</p> + +<p>In his "Essays on Art," Palgrave wrote: "Sculpture has at no time +numbered many successful followers among women. We have, however, in Mrs. +Thornycroft, one such artist who, by some recent advance and by the +degrees of success which she has already reached, promises fairly for the +art. Some of this lady's busts have refinement and feeling."</p> + +<br> + +<p><b>Thurber, Caroline Nettleton.</b> Born in Oberlin, Ohio. Pupil of Howard +Helmick in Washington, and of Benjamin Constant and Jean Paul Laurens in +Paris.</p> + +<p>In 1898 Mrs. Thurber took a studio in Paris, where her first work was the +portrait of a young violinist, which was exhibited in the Salon of the +following spring. This picture met with immediate favor with the public, +the art critics, and the press. The Duchess of Sutherland, upon <a name="Page_335"></a>seeing +it, sent for the artist and arranged for a portrait of her daughter, +which was painted the following autumn while Mrs. Thurber was a guest at +Dunrobin Castle. This portrait was subsequently exhibited in London and +Liverpool.</p> + +<p>Mrs. Thurber has painted portraits of many persons of distinction in +Paris, among them one of Mlle. Ollivier, only daughter of Émile Ollivier, +president of the Académie Française. Monsieur Ollivier, in a personal +note to the artist, made the following comment upon the portrait of his +daughter: "How much I thank you for the portrait of my daughter; it +lives, so powerfully is it colored, and one is tempted to speak to it." +Mrs. Thurber is an exhibitor in the Salon, Royal Academy, and New +Gallery, London, and other foreign exhibitions, as well as in those of +this country.</p> + +<p>She now has a studio in the family home at Bristol, Rhode Island, on +Narragansett Bay, where she works during half the year. In winter she +divides her time among the larger cities as her orders demand. While Mrs. +Thurber's name is well known through her special success in the +portraiture of children, she has painted many prominent men and women in +Chicago, New York, Philadelphia, Washington, and New England.</p> + +<p>Among her later portraits are those of Mrs. James Sullivan, one of the +lady commissioners of the St. Louis Exposition; Lieut.-Gen. Nelson A. +Miles; Albert, son of Dr. Shaw, editor of the <i>Review of Reviews</i>; Mrs. +A. A. F. Johnston, former Dean of Oberlin College; Augustus S. Miller, +mayor of Providence; Hon. L. F. C. Garvin, <a name="Page_336"></a>governor of Rhode Island; and +Judge Austin Adams, late of the Supreme Court of Iowa.</p> + +<br> + +<p><b>Thurwanger, Felicité Chastanier.</b> This remarkable artist, not long +since, when eighty-four years old, sent to the exhibition at Nice—which +is, in a sense, a branch of the Paris Salon—three portraits which she +had just finished. "They were hung in the place of honor and unanimously +voted to belong to the first class."</p> + +<p>Mme. Thurwanger was the pupil of Delacroix during five years. The master +unconsciously did his pupil an injury by saying to her father: "That +daughter of yours is wonderfully gifted, and if she were a man I would +make a great artist of her." Hearing this, the young artist burst into +tears, and her whole career was clouded by the thought that her sex +prevented her being a really great artist, and induced in her an abnormal +modesty. This occurred about forty-five years ago; since then we have +signally changed all that!</p> + +<p>Delacroix, who was an enthusiast in color, was the leader of one school +of his time, and was opposed by Ingres, who was so wanting in this regard +that he was accused of being color-blind.</p> + +<p>Mme. Thurwanger had a curious experience with these artists. When but +seventeen she was commissioned by the Government to copy a picture in the +Louvre. One morning, when she was working in the Gallery, Ingres passed +by and stopped to look at her picture. He examined it carefully, and with +an expression of satisfaction said: "I am so very glad to see that you +have the true idea of art! Remember always that there is no color in<a name="Page_337"></a> +Nature; the outline is all; if the outline is good, no matter about the +coloring, the picture will be good."</p> + +<p>This story would favor the color-blind theory, as Ingres apparently saw +color neither in the original nor the copy.</p> + +<p>An hour later Delacroix came to watch the work of his pupil, and after a +few minutes exclaimed: "I am so happy, my dear girl, to see that you have +the true and only spirit of art. Never forget that in Nature there is no +line, no outline; everything is color!"</p> + +<p>In 1852 Mme. Thurwanger was in Philadelphia and remained more than two +years. She exhibited her pictures, which were favorably noticed by the +Philadelphia <i>Enquirer</i>. In July of the above year her portraits were +enthusiastically praised. "Not a lineament, not a feature, however +trivial, escapes the all-searching eye of the artist, who has the happy +faculty of causing the expression of the mind and soul to beam forth in +the life-like and speaking face."</p> + +<p>In October, 1854, her picture of a "Madonna and Child" was thus noticed +by the same paper: "For brilliancy, animation, maternal solicitude, form, +grace, and feature, it would be difficult to imagine anything more +impressive. It is in every sense a gem of the pictorial art, while the +execution and finish are such as genius alone could inspire."</p> + +<br> + +<p><b>Tirlinks, Liewena.</b> Born in Bruges, a daughter of Master Simon. This +lady was not only esteemed as an artist in London, but she won the heart +of an English nobleman, to whom she was given in marriage by Henry VIII. +Her miniatures were much admired and greatly <a name="Page_338"></a>in fashion at the court. +Some critics have thought the Tirlinks to be the same person with Liewena +Bennings or Benic, whose story, as we know it, is much the same as the +above.</p> + +<br> + +<p><b>Tormoczy, Bertha von.</b> Diploma of honor, Budapest and Agram. Born at +Innspruck, 1846. Pupil of Hausch, Her, and Schindler. Among her pictures +are "Girl in the Garden," "Blossoming Meadows," "Autumn Morning," and a +variety of landscapes.</p> + +<br> + +<p><b>Toro, Petronella.</b> A painter of miniatures on ivory which have +attained distinction. Among those best known are the portraits of the +Prince of Carignano, Duke Amadeo, and the Duchess d'Aosta with the sons +of the Prince of Carignano. She has painted a young woman in an antique +dress and another in a modern costume. Her works are distinguished by +firmness of touch and great intelligence. She has executed some most +attractive landscapes.</p> + +<br> + +<p><b>Treu, or Trey, Katharina.</b> Born at Bamberg. 1742-1811. A successful +painter of flowers and still-life. Her talent was remarkable when but a +child, and her father, who was her only master, began her lessons when +she was ten years old. When still young she was appointed court painter +at Mannheim, and in 1776 was made a professor in the Academy at +Düsseldorf. Her pictures are in the Galleries of Bamberg and Carlsruhe, +and in the Darmstadt and Stuttgart Museums.</p> + +<br> + +<p><b>Urrutia de Urmeneta, Ana Gertrudis de.</b> Member of the Academy of Fine +Arts, Cadiz, 1846. Born in Cadiz. 1812-1850. She began the study of +drawing with Javier, <a name="Page_339"></a>and after her marriage to Juan José de Urmeneta, +professor of painting and sculpture and director of the Cadiz Academy, +continued her work under his direction. A "St. Filomena" and +"Resurrection of the Body," exhibited in 1846, are among her best +pictures. Her "St. Jeronimo" is in the new cathedral at Cadiz, and the +Academy has shown respect to her memory by placing her portrait in the +room in which its sessions are held.</p> + +<br> + +<p><b>Viani, Maria.</b> Born at Bologna. 1670-1711. I find no reliable +biographical account of this artist, whose name appears in the catalogue +of the Dresden Gallery as the painter of the "Reclining Venus, lying on a +blue cushion, with a Cupid at her side."</p> + +<br> + +<p><b>Verelst, Marian.</b> Born in 1680. This artist belonged in Antwerp and +was of the celebrated artistic family of her name. She was a pupil of her +father, Hermann, and her uncle, Simon Verelst. She became famous for the +excellent likenesses she made and for the artistic qualities of her small +portraits.</p> + +<p>Like so many other artists, she was distinguished for accomplishments +outside her art. She was a fine musician and a marvel in her aptitude in +acquiring both ancient and modern languages. A very interesting anecdote +is related of her, as follows: When in London, one evening at the theatre +she sat near six German gentlemen, who expressed their admiration of her +in the most flattering terms of their language, and at the same time +observed her so closely as to be extremely rude. The artist, in their own +tongue, remarked that such extravagant praise was the opposite of a +compliment. One of them repeated <a name="Page_340"></a>his words in Latin, when she again +replied in the same language. The strangers then asked her if she would +give them her name. This she did and further told them that she lived +with her uncle, Simon Verelst. In the end she painted the portrait of +each of these men, and the story of their experience proved the reason +for the acquaintance of the artist being sought by people of culture and +position. Walpole speaks in praise of her portraits and also mentions her +unusual attainments in languages.</p> + +<br> + +<p><a name="Vignee"></a><b>Vigée, Marie Louise Elizabeth.</b> Member of the French Academy. Born in +Paris in 1755. That happy writer and learned critic, M. Charles Blanc, +begins his account of her thus: "All the fairies gathered about the +cradle of Elizabeth Vigée, as for the birth of a little princess in the +kingdom of art. One gave her beauty, another genius; the fairy Gracious +offered her a pencil and a palette. The fairy of marriage, who had not +been summoned, told her, it is true, that she should wed M. Le Brun, the +expert in pictures—but for her consolation the fairy of travellers +promised her that she should bear from court to court, from academy to +academy, from Paris to Petersburg, and from Rome to London, her gayety, +her talent, and her easel—before which all the sovereigns of Europe and +all those whom genius had crowned should place themselves as subjects for +her brush."</p> + +<a name="image-028"></a> +<p class="ctr"><a href="./images/028.jpg"><img src="./images/028_th.jpg" alt="A FRENCH PRINCE. Marie Vigée Le Brun"></a></p> +<p class="ctr">A FRENCH PRINCE</p> +<p class="ctr">Marie Vigée Le Brun</p> + +<p>It is difficult to write of Madame Le Brun in outline because her life +was so interesting in detail. Though she had many sorrows, there is a +halo of romance and a brilliancy of atmosphere about her which marks her +as a <a name="Page_341"></a>prominent woman of her day, and her autobiography is charming—it +is so alive that one forgets that she is not present, telling her story!</p> + +<p>The father of this gifted daughter was an artist of moderate ability and +made portraits in pastel, which Elizabeth, in her "Souvenirs," speaks of +as good and thinks some of them worthy of comparison with those of the +famous Latour. M. Vigée was an agreeable man with much vivacity of +manner. His friends were numerous and he was able to present his daughter +to people whose acquaintance was of value to her. She was but twelve +years old at the time of his death, and he had already so encouraged her +talents as to make her future comparatively easy for her.</p> + +<p>Elizabeth passed five years of her childhood in a convent, where she +constantly busied herself in sketching everything that she saw. She tells +of her intense pleasure in the use of her pencil, and says that her +passion for painting was innate and never grew less, but increased in +charm as she grew older. She claimed that it was a source of perpetual +youth, and that she owed to it her acquaintance and friendship with the +most delightful men and women of Europe.</p> + +<p>While still a young girl, Mlle. Vigée studied under Briard, Doyen, and +Greuze, but Joseph Vernet advised her to study the works of Italian and +Flemish masters, and, above all, to study Nature for herself—to follow +no school or system. To this advice Mme. Le Brun attributed her success.</p> + +<p>When sixteen years old she presented two portraits to <a name="Page_342"></a>the French +Academy, and was thus early brought to public notice.</p> + +<p>When twenty-one she married M. Le Brun, of whom she speaks discreetly in +her story of her life, but it was well known that he was of dissipated +habits and did not hesitate to spend all that his wife could earn. When +she left France, thirteen years after her marriage, she had not so much +as twenty francs, although she had earned a million!</p> + +<p>She painted portraits of many eminent people, and was esteemed as a +friend by men and women of culture and high position. The friendship +between the artist and Marie Antoinette was a sincere and deep affection +between two women, neither of whom remembered that one of them was a +queen. It was a great advantage to the artist to be thus intimately +associated with her sovereign lady. Even in the great state picture of +the Queen surrounded by her children, at Versailles, one realizes the +tenderness of the painter as she lovingly reproduced her friend.</p> + +<p>Marie Antoinette desired that Mme. Le Brun should be elected to the +Academy; Vernet approved it, and an unusual honor was shown her in being +made an Academician before the completion of her reception picture. At +that time it was a great advantage to be a member of the Academy, as no +other artists were permitted to exhibit their works in the Salon of the +Beaux-Arts.</p> + +<p>Mme. Le Brun had one habit with which she allowed nothing to interfere, +which was taking a rest after her work for the day was done. She called +it her "calm,"<a name="Page_343"></a> and to it she attributed a large share of her power of +endurance, although it lost her many pleasures. She could not go out to +dinner or entertain at that hour. The evening was her only time for +social pleasures. But when one reads her "Souvenirs," and realizes how +many notable people she met in her studio and in evening society, it +scarcely seems necessary to regret that she could not dine out!</p> + +<p>Mme. Le Brun was at one period thought to be very extravagant, and one of +her entertainments caused endless comments. Her own account of it shows +how greatly the cost was exaggerated. She writes that on one occasion she +invited twelve or fifteen friends to listen to her brother's reading +during her "calm." The poem read was the "Voyage du jeune Anacharsis en +Grèce," in which a dinner was described, and even the receipts for making +various sauces were given. The artist was seized with the idea of +improvising a Greek supper.</p> + +<p>She summoned her cook and instructed her in what had been read. Among her +guests were several unusually pretty ladies, who attired themselves in +Greek costumes as nearly as the time permitted. Mme. Le Brun retained the +white blouse she wore at her work, adding a veil and a crown of flowers. +Her studio was rich in antique objects, and a dealer whom she knew loaned +her cups, vases, and lamps. All was arranged with the effect an artist +knows how to produce.</p> + +<p>As the guests arrived Mme. Le Brun added here and there an element of +Grecian costume until their number was sufficient for an effective +<i>tableau vivant</i>. Her daugh<a name="Page_344"></a>ter and a little friend were dressed as pages +and bore antique vases. A canopy hung over the table, the guests were +posed in picturesque attitudes, and those who arrived later were arrested +at the door of the supper-room with surprise and delight.</p> + +<p>It was as if they had been transported to another clime. A Greek song was +chanted to the accompaniment of a lyre, and when the honey, grapes, and +other dishes were served <i>à la Grecque</i>, the enchantment was complete. +The poet recited odes from Anacreon and all passed off delightfully.</p> + +<p>The fame of this novel supper was spread over Paris, and marvellous tales +were told of its magnificence and its cost. Mme. Le Brun writes: "Some +ladies asked me to repeat this pleasantry. I refused for various reasons, +and several of them were disturbed by my refusal. Soon a report that the +supper had cost me twenty thousand francs was spread abroad. The King +spoke of it as a joke to the Marquis of Cubières, who fortunately had +been one of the guests and was able to convince His Majesty of the folly +of such a story. Nevertheless, the modest sum of twenty thousand at +Versailles became forty thousand at Rome; at Vienna the Baroness de +Strogonoff told me that I had spent sixty thousand francs for my Greek +supper; you know that at Petersburg the price at length was fixed at +eighty thousand francs, and the truth is that it cost me about fifteen +francs!"</p> + +<p>Early in 1789, when the warnings of the horrors about to take place began +to be heard, Mme. Le Brun went to Italy. In each city that she visited +she was received with <a name="Page_345"></a>great kindness and many honors were shown her. In +Florence she was invited to paint her own portrait, to be hung in that +part of the Uffizi set apart for the portraits of famous painters. Later +she sent the well-known portrait, near that of Angelica Kauffman. It is +interesting to read Goethe's comparison of the two portraits.</p> + +<p>Speaking of Angelica's first, he writes: "It has a truer tone in the +coloring, the position is more pleasing, and the whole exhibits more +correct taste and a higher spirit in art. But the work of Le Brun shows +more careful execution, has more vigor in the drawing, and more delicate +touches. It, has, moreover, a clear though somewhat exaggerated coloring. +The Frenchwoman understands the art of adornment—the headdress, the +hair, the folds of lace on the bosom, all are arranged with care and, as +one might say, <i>con amore</i>. The piquant, handsome face, with its lively +expression, its parted lips disclosing a row of pearly teeth, presents +itself to the beholder's gaze as if coquettishly challenging his +admiration, while the hand holds the pencil as in the act of drawing.</p> + +<p>"The picture of Angelica, with head gently inclined and a soft, +intellectual melancholy pervading the countenance, evinces higher genius, +even if, in point of artistic skill, the preference should be given to +the other."</p> + +<p>Mme. Le Brun found Rome delightful and declared that if she could forget +France she should be the happiest of women. She writes of her fellow +artist: "I have been to see Angelica Kauffman, whom I greatly desired to +know. I found her very interesting, apart from her fine talent, on +account of her mind and her general culture.... She <a name="Page_346"></a>has talked much with +me during the two evenings I have passed at her house. Her manner is +gentle; she is prodigiously learned, but has no enthusiasm, which, +considering my ignorance, has not electrified me.... I have seen several +of her works; her sketches please me more than her pictures, because they +are of a Titianesque color."</p> + +<p>Mme. Le Brun received more commissions for portraits than she could find +time to paint in the three years she lived in Italy. She tells us: "Not +only did I find great pleasure in painting surrounded by so many +masterpieces, but it was also necessary for me to make another fortune. I +had not a hundred francs of income. Happily I had only to choose among +the grandest people the portraits which it pleased me to paint." Her +account of her experiences in Italy is very entertaining, but at last the +restlessness of the exile overcame her and impelled her to seek other +scenes. She went to Vienna and there remained three other years, making +many friends and painting industriously until the spirit of unrest drove +her to seek new diversions, and she went to Russia.</p> + +<p>She was there received with great cordiality and remained six +years—years crowded with kindness, labor, honor, attainment, joy, and +sorrow. Her daughter was the one all-absorbing passion—at once the joy +and the grief of her life. She was so charming and so gifted as to +satisfy the critical requirements of her mother's desires. In Petersburg, +where the daughter was greatly admired and caressed, the artist found +herself a thousand times more happy than she had ever been in her own +triumphs.</p><a name="Page_347"></a> + +<p>Mme. Le Brun was so constantly occupied and the need of earning was so +great with her, that she was forced to confide her daughter to the care +of others when she made her début in society. Thus it happened that the +young girl met M. Nigris, whom she afterward married. Personally he was +not agreeable to Mme. Le Brun and his position was not satisfactory to +her. We can imagine her chagrin in accepting a son-in-law who even asked +her for money with which to go to church on his wedding-day! The whole +affair was most distasteful, and the marriage occurred at the time of the +death of Mme. Le Brun's mother. She speaks of it as a "time devoted to +tears."</p> + +<p>Her health suffered so much from this sadness that she tried the benefit +of change of scene, and went to Moscow. Returning to Petersburg, she +determined—in spite of the remonstrances of her friends, and the +inducements offered her to remain—to go to France. She several times +interrupted her journey in order to paint portraits of persons who had +heard of her fame, and desired to have her pictures.</p> + +<p>She reached Paris in 1801 and writes thus of her return: "I shall not +attempt to express my emotions when I was again upon the soil of France, +from which I had been absent twelve years. Fright, grief, joy possessed +me, each in turn, for all these entered into the thousand varying +sentiments which swept over my soul. I wept for the friends whom I had +lost upon the scaffold, but I was about to see again those who remained. +This France to which I returned had been the scene of atrocious crimes; +but this France was my Native Land!"</p><a name="Page_348"></a> + +<p>But the new régime was odious to the artist, and she found herself unable +to be at home, even in Paris. After a year she went to London, and +remained in England three years. She detested the climate and was not in +love with the people, but she found a compensation in the society of many +French families who had fled from France as she had done.</p> + +<p>In 1804 Mme. Nigris was in Paris and her mother returned to see her. The +young woman was very beautiful and attractive, very fond of society, +entirely indifferent to her husband, and not always wise in the choice of +her companions. Mme. Le Brun, always hard at work and always having great +anxieties, at length found herself so broken in health, and so nervously +fatigued that she longed to be alone with Nature, and in 1808 she went to +Switzerland. Her letters written to the Countess Potocka at this time are +added to her "Souvenirs," and reveal the very best of her nature. Feeling +the need of continued repose, she bought a house at Louveciennes, where +she spent much time. In 1818 M. Le Brun died, and six years later the +deaths of her daughter and her brother left her with no near relative in +the world.</p> + +<p>For a time she sought distractions in new scenes and visited the Touraine +and other parts of France, but though she still lived a score of years, +she spent them in Paris and Louveciennes. She had with her two nieces, +who cared for her more tenderly than any one had done before. One of +these ladies was a portrait painter and profited much by the advice of +Mme. Le Brun, who wrote of this period and these friends: "They made me +feel again the <a name="Page_349"></a>sentiments of a mother, and their tender devotion +diffused a great charm over my life. It is near these two dear ones and +some friends who remain to me that I hope to terminate peacefully a life +which has been wandering but calm, laborious but honorable."</p> + +<p>During the last years of her life the most distinguished society of Paris +was wont to assemble about her—artists, litterateurs, savants, and men +of the fashionable world. Here all essential differences of opinion were +laid aside and all met on common ground. Her "calm" seemed to have +influenced all her life; only good feeling and equality found a place +near her, and few women have the blessed fortune to be so sincerely +mourned by a host of friends as was Elizabeth Vigée Le Brun, dying at the +age of eighty-seven.</p> + +<p>Mme. Le Brun's works numbered six hundred and sixty portraits—fifteen +genre or figure pictures and about two hundred landscapes painted from +sketches made on her journeys. Her portraits included those of the +sovereigns and royal families of all Europe, as well as the most famous +authors, artists, singers, and the learned men in Church and State.</p> + +<p>As an artist M. Charles Blanc thus esteems her: "In short, Mme. Le Brun +belonged entirely to the eighteenth century—I wish to say to that period +of our time which rested itself suddenly at David. While she followed the +counsels of Vernet, her pencil had a certain suppleness, and her brush a +force; but she too often attempted to imitate Greuze in her later works +and she weakened the resemblance to her subjects by abusing the <i>regard +noyé</i><a name="Page_350"></a> (cloudy or indistinct effect). She was too early in vogue to make +all the necessary studies, and she too often contented herself with an +ingenuity a little too manifest. Without judging her as complacently as +the Academy formerly judged her, we owe her an honorable place, because +in spite of revolutions and reforms she continued to her last day the +light, spiritual, and French Art of Watteau, Nattier, and Fragonard."</p> + +<br> + +<p><b>Vigri, Caterina de.</b> Lippo Dalmasii was much admired by Malvasia, who +not only extols his pictures, but his spirit as well, and represents him +as following his art as a religion, beginning and ending his daily work +with prayer. Lippo is believed to have been the master of Caterina de +Vigri, and the story of her life is in harmony with the influence of such +a teacher.</p> + +<p>She is the only woman artist who has been canonized; and in the Convent +of the Corpus Domini, in Bologna, which she founded, she is known as "La +Santa," and as a special patron of the Fine Arts.</p> + +<p>Caterina was of a noble family of Ferrara, where she was born in 1413. +She died when fifty years old; and so great was the reverence for her +memory that her remains were preserved, and may still be seen in a chapel +of her convent. There are few places in that ever wonderful Italy of such +peculiar interest as this chapel, where sits, clothed in a silken robe, +with a crown of gold on the head, the incorrupt body of a woman who died +four hundred and forty years ago. The body is quite black, while the +nails are still pink. She holds a book and a sceptre. Around her, in the +well-lighted chapel, are several memo<a name="Page_351"></a>rials of her life: the viola on +which she played, and a manuscript in her exquisite chirography, also a +service book illuminated by Caterina, and, still more important, one of +her pictures, a "Madonna and Child," inserted in the wall on the left of +the chapel, which is admirable for the beauty of expression in the face +of the Holy Mother.</p> + +<p>We cannot trace Caterina's artist life step by step, but she doubtless +worked with the same spirit of consecration and prayer as did that Beato +whom we call Angelico, in his Florentine convent, a century earlier.</p> + +<p>Caterina executed many miniatures, and her easel pictures were not large. +These were owned by private families. She is known to us by two pictures +of "St. Ursula folding her Robe about her Companions." One is in the +Bologna Gallery, the other in the Academy in Venice. The first is on a +wooden panel, and was painted when the artist was thirty-nine years old. +The Saint is represented as unnaturally tall, the figures of her virgins +being very small. The mantle and robe of St. Ursula are of rich brocade +ornamented with floral designs, while on each side of her is a white +flag, on which is a red cross. The face of the saint is so attractive +that one forgets the elongation of her figure. There is a delicacy in the +execution, combined with a freedom and firmness of handling fully equal +to the standard of her school and time. Many honors were paid to the +memory of Caterina de Vigri. She was chosen as the protectress of +Academies and Art Institutions, and in the eighteenth century a medal was +coined, on which she is represented as painting <a name="Page_352"></a>on a panel held by an +angel. How few human beings are thus honored three centuries after death!</p> + +<br> + +<p><b>Vincent, Mme.</b> See <a href="#Labille">Labille</a>.</p> + +<br> + +<p><b>Visscher, Anna and Maria.</b> These daughters of the celebrated Dutch +engraver were known as "the Dutch Muses." They made their best reputation +by their etchings on glass, but they were also well known for their +writing of both poetry and prose. They were associated with the scholars +of their time and were much admired.</p> + +<br> + +<p><b>Volkmar, Antonie Elizabeth Cæcilia.</b> Born in Berlin, 1827. She +studied with Schroder in her native city, with L. Cogniet in Paris, and +later in Italy. She returned to Berlin, where she painted portraits and +genre subjects. Her picture of the "Grandmother telling Stories" is in +the Museum of Stettin. Among her works are "An Artist's Travels" a +"German Emigrant," and "School Friends."</p> + +<br> + +<p><b>Vonnoh, Bessie Potter.</b> Bronze medal, Paris Exposition, 1900; Second +Prize at Tennessee Centennial. Honorable mention at Buffalo Exposition, +1901. Member of the National Sculpture Society and National Arts Club. +Born in St. Louis, Missouri, 1872.</p> + +<p>This sculptor is a pupil of the Art Institute, Chicago. Among her best +works are "A Young Mother"; "Twin Sisters"; "His First Journey"; "Girl +Reading," etc.</p> + +<p>In the <i>Century Magazine</i>, September, 1897, Arthur Hoeber wrote: "There +were shown at the Society of American Artists in New York, in the Spring +of 1896, some statuettes of graceful young womanhood, essentially modern +in conception, singularly naïve in treatment, re<a name="Page_353"></a>fined, and withal +intensely personal.... While the disclosure is by no means novel, Miss +Potter makes us aware that in the daily prosaic life about us there are +possibilities conventional yet attractive, simple, but containing much of +suggestion, waiting only the sympathetic touch to be responsive if the +proper chord is struck."</p> + +<p>This author also notices the affiliation of this young woman with the +efforts of the Tanagra workers, and says: "But if the inspiration of the +young woman is evident, her work can in no way be called imitative."</p> + +<br> + +<p><b>Vos, Maria.</b> Born in Amsterdam, 1824. Pupil of P. Kiers. Her pictures +were principally of still-life, two of which are seen in the Amsterdam +Museum.</p> + +<br> + +<p><b>Wagner, Maria Dorothea</b>; family name Dietrich. 1728-1792. The gallery +of Wiesbaden has two of her landscapes, as has also the Museum at Gotha. +"Der Mühlengrund," representing a valley with a brook and a mill, is in +the Dresden Gallery.</p> + +<br> + +<p><b>Ward, Miss E.</b> This sculptor has a commission to make a statue of G. +R. Clark for the St. Louis Exposition.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Ward, Henrietta Mary Ada.</b> Gold and silver medals at the Crystal +Palace; bronze medal at the Vienna Exposition, 1873. Born in Newman +Street, London, when that street and the neighborhood was the quarter in +which the then celebrated artists resided. Mrs. Ward was a pupil of the +Bloomsbury Art School and of Sak's Academy. Her grandfather, James Ward, +was a royal Academician, and one of the best animal painters of England. +While<a name="Page_354"></a> Sir Thomas Lawrence lived, Mrs. Ward's father, who was a +miniaturist, was much occupied in copying the works of Sir Thomas on +ivory, as the celebrated portrait painter would permit no other artist to +repeat them. After the death of Sir Thomas, Mr. Ward became an engraver. +Her mother was also a miniature painter. Her great-uncles were William +Ward, R.A., and George Morland; John Jackson, R.A., was her uncle; and +her husband, Edward M. Ward, to whom she was married at sixteen, was also +a Royal Academican.</p> + +<p>From 1849, Mrs. Ward exhibited at the Royal Academy during thirty years, +without a break, but her husband's death caused her to omit some +exhibitions, and since that time her exhibits have been less regular. For +some years Mrs. Ward has had successful classes for women at Chester +Studios, which have somewhat interfered with her painting.</p> + +<p>Mrs. Ward's subjects have been historical and genre, some of which are +extensively known by prints after them. Among these are "Joan of Arc," +"Palissy the Potter," and "Mrs. Fry and Mary Saunderson visiting +Prisoners at Newgate," the last dedicated by permission to Queen +Victoria. This picture was purchased by an American.</p> + +<p>Of her picture of "Mary of Scotland, giving her infant to the Care of +Lord Mar," Palgrave wrote: "This work is finely painted, and tells its +tale with clearness." Among her numerous works are: "The Poet Hogg's +First Love"; "Chatterton," the poet, in the Muniment Room, Bristol; "Lady +Jane Grey refusing the Crown of<a name="Page_355"></a> England"; "Antwerp Market"; "Queen Mary +of Scots' farewell to James I."; "Washing Day at the Liverpool Docks"; +"The Princes in the Tower"; "George III. and Mrs. Delayney, with his +family at Windsor"; "The Young Pretender," and many others.</p> + +<p>When sixteen Mrs. Ward exhibited two heads in crayon. In 1903, at the +Academy, she exhibited "The Dining-room, Kent House, Knightsbridge." Mrs. +Ward painted for Queen Victoria two portraits of the Princess Beatrice, +and a life-size copy of a portrait of the Duke of Albany. She also +painted a portrait of Princess Alice of Albany, who is about to marry +Prince Alexander of Teck.</p> + +<p>Edward VII. has commissioned this artist to make two copies of the state +portrait, painted by S. Luke Fildes, R.A.</p> + +<p>Mrs. Ward had two more votes for her admission to the Royal Academy than +any other woman of her time has had.</p> + +<br> + +<p><b>Wasser, Anna.</b> Born at Zürich, 1676, is notable among the painters of +her country. She was the daughter of an artist, and early developed a +love of drawing and an unusual aptitude in the study of languages. In +painting she was a pupil of Joseph Werner. After a time she devoted +herself to miniature painting; her reputation extended to all the German +courts, as well as to Holland and England, and her commissions were so +numerous that her father began to regard her as a mine of riches. He +allowed her neither rest nor recreation, and was even unwilling that she +should devote sufficient time to her pictures to finish them properly. +Under this pressure of <a name="Page_356"></a>haste and constant labor her health gave way and +she became melancholy.</p> + +<p>She was separated from her father, and in more agreeable surroundings her +health was restored and she resumed her painting. Her father then +insisted that she should return to him. On her journey home she had a +fall, from the effects of which she died at the age of thirty-four.</p> + +<p>Fuseli valued a picture by Anna Wasser, which he owned, and praised her +correctness of design and her feeling for color.</p> + +<br> + +<p><b>Waters, Sadie P.</b> 1869-1900. Honorable mention Paris Exposition, +1900. Born in St. Louis, Missouri. This unusually gifted artist made her +studies entirely in Paris, under the direction of M. Luc-Olivier Merson.</p> + +<p>Her earlier works were portraits in miniature, in which she was very +successful. That of Jane Hading was much admired. She also excelled in +illustrations, but in her later work she found her true province, that of +religious subjects. A large picture on ivory, called "La Vierge au Lys," +was exhibited in Paris, London, Brussels, and Ghent, and attracted much +attention.</p> + +<a name="image-029"></a> +<p class="ctr"><a href="./images/029.jpg"><img src="./images/029_th.jpg" alt="LA VIERGE AU ROSIER. Sadie Waters"></a></p> +<p class="ctr">LA VIERGE AU ROSIER</p> +<p class="ctr">Sadie Waters</p> + +<p>Her picture of the "Vierge aux Rosiers," reproduced here, was in the +Salon, 1899, and in the exhibition of Religious Art in Brussels in 1900, +after which it was exhibited in New York; and wherever seen it was +especially admired.</p> + +<p>Miss Waters' pictures were exhibited in the Salon Français, Champs +Elysées, from 1891 until her death. From the earliest days of childhood +she was remarkable for her skill <a name="Page_357"></a>in drawing and in working out, from +her own impressions, pictures of events passing about her. If at the +theatre she saw a play that appealed to her, she made a picture symbolic +of the play, and constantly startled her friends by her original ideas +and the pronounced artistic temperament, which was very early the one +controlling power in her life. Mr. Carl Gutherz thus speaks of her good +fortune in studying with M. Merson.</p> + +<p>"As the Master and Student became more and more acquainted, and the great +artist found in the student those kindred qualities which subsequently +made her work so refined and beautiful,... he took the utmost care in +developing her drawing—the fidelity of line and of expression, and the +ever-pervading purity in her work. The sympathy with all good was +reflected in the student, as it was ever present with the master, and +only those who are acquainted with M. Merson can appreciate how fortunate +it was for Art that the young artist was under a master of his character +and temperament."</p> + +<p>One of her pictures, called "La Chrysanthème," represents a nude figure +of a young girl, seated on the ground, leaning against a large basket of +chrysanthemums, from which she is plucking blossoms. The figure is +beautiful, and shows the deep study the artist had made, although still +so young.</p> + +<p>The following estimate of her work is made by one competent to speak of +such matters: "In this epoch of feverish uncertainty, of heated +discussions and rivalries in art matters, the quiet, calm figure of Sadie +Waters has a peculiar interest and charm generated by her tranquil and +<a name="Page_358"></a>persistent pursuit of an ideal—an ideal she attained in her later +works, an ideal of the highest mental order, mystical and human, and so +far removed from the tendencies of our time that one might truthfully +say, it stands alone. Her talents were manifold. She was endowed with the +best of artistic qualities. She cultivated them diligently, and slowly +acquired the handicraft and skill which enabled her to express herself +without restriction. In her miniatures she learned to be careful, +precise, and delicate; in her work from nature she was human; and in her +studies of illuminating she gained a perfect understanding of ornamental +painting and forms; and the subtle ambiance of the beautiful old churches +and convents where she worked and pored over the ancient missals, and +softly talked with the princely robed Monsignori, no doubt did much to +develop her love for the Beautiful Story, the delicate myth of +Christianity—and all this, all these rare qualities and honest efforts +we find in her last picture, The Virgin.</p> + +<p>"The beauty and preciseness of this composition, the divine feeling not +without a touch of motherly sentiment, its delicacy so rare and so pure, +the distinction of its coloring, are all past expression, and give it a +place unique in the nineteenth century."—<i>Paul W. Bartlett</i>, Paris, +1903.</p> + +<br> + +<p><b>Wegmann, Bertha.</b> Honorable mention, Paris Salon, 1880; third-class +medal, 1882; Thorwaldsen medal at Copenhagen; small gold medal, Berlin, +1894. Born at Soglio, Switzerland, 1847. Studied in Copenhagen, Munich, +Paris, and Florence.</p><a name="Page_359"></a> + +<p>She paints portraits and genre subjects. Her pictures, seen at Berlin in +1893, were much admired. They included portraits, figure studies, and +Danish interiors. At Munich, in 1894, her portraits attracted attention, +and were commended by those who wrote of the exhibition. Among her works +are many portraits: "Mother and Child in the Garden," and "A Widow and +Child," are two of her genre subjects.</p> + +<br> + +<p><b>Weis, Rosario.</b> Silver medal from the Academy of San Fernando, 1842, +for a picture called "Silence." Member of the Academy. Pupil of Goya, who +early recognized her talent. In 1823, when Goya removed to Burdeos, she +studied under the architect Tiburcio Perez. After a time she joined Goya, +and remained his pupil until his death in 1828. She then entered the +studio Lacour, where she did admirable work. In 1833, for the support of +her mother and herself, she made copies of pictures in the Prado on +private commissions.</p> + +<p>In 1842 she was appointed teacher of drawing to the royal family, in +which position she did not long continue, her death occurring in 1843.</p> + +<p>Among her pictures are "Attention!" an allegorical figure; "An Angel"; "A +Venus"; and "A Diana." Among her portraits are those of Goya, Velasquez, +and Figaro.</p> + +<br> + +<p><b>Wiegmann, Marie Elisabeth</b>; family name Hancke. Small gold medal, +Berlin. Born 1826 at Solberberg, Silesia; died, 1893, at Düsseldorf. In +1841 she began to study with Stilke in Düsseldorf; later with K. Sohn. +She travelled extensively in Germany, England, Holland, <a name="Page_360"></a>and Italy, and +settled with her husband, Rudolph Wiegmann, in Düsseldorf. In the Museum +at Hanover is "The Colonist's Children Crowning a Negro Woman," and in +the National Gallery at Berlin a portrait of Schnaase. Some children's +portraits, and one of the Countess Hatzfeld, should also be mentioned +among her works.</p> + +<p>In portraiture her work was distinguished by talent, spirit, and true +artistic composition; in genre—especially the so-called ideal genre—she +produced some exquisite examples.</p> + +<br> + +<p><b>Wentworth, Marquise Cecilia de.</b> Gold medal, Tours National +Exposition, Lyons and Turin; Honorable mention, Paris Salon, 1891; Bronze +medal, Paris Exposition, 1900; Chevalier of the Legion of Honor, 1901. +Born in New York. Pupil of the Convent of the Sacred Heart and of +Cabanel, in Paris. This artist has painted portraits of Leo XIII., who +presented her with a gold medal; of Cardinal Ferrata; of +Challemel-Lacour, President of the Senate at the time when the portrait +was made, and of many others. Her picture of "Faith" is in the Luxembourg +Gallery. At the Salon des Artistes Français, 1903, Madame de Wentworth +exhibited the "Portrait of Mlle. X.," and "Solitude."</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Wheeler, Janet.</b> First Toppan Prize and Mary Smith Prize at Academy +of Fine Arts, Philadelphia; Gold medal, Philadelphia Art Club. Fellow of +Academy of Fine Arts, and member of Plastic Club, Philadel<a name="Page_361"></a>phia. Born in +Detroit, Michigan. Pupil of Academy of Fine Arts, Philadelphia, and of +the Julian Academy in Paris.</p> + +<p>This artist paints portraits almost entirely, which are in private hands. +I know of but one figure picture by her, which is called "Beg for It." +She was a miniaturist several years before taking up larger portraits.</p> + +<br> + +<p><b>White, Florence.</b> Silver medal at Woman's Exhibition, Earl's Court; +silver medal for a pastel exhibited in Calcutta. Born at Brighton, +England. Pupil of Royal Academy Schools in London, and of Bouguereau and +Perrier in Paris.</p> + +<p>In 1899 this artist exhibited a portrait in the New Gallery; in 1901 a +portrait of Bertram Blunt, Esq., at the Royal Academy; and in 1902 a +portrait of "Peggy," a little girl with a poodle.</p> + +<p>She has sent miniatures to the Academy exhibitions several years; that of +Miss Lyall Wilson was exhibited in 1903.</p> + +<br> + +<p><b>Whitman, Sarah de St. Prix.</b> Bronze medal at Columbian Exposition, +Chicago, 1893; gold and bronze medals at Atlanta Exposition; diploma at +Pan-American, Buffalo, 1901. Member of the Society of American Artists, +New York; Copley Society, Boston; Water-Color Club, Boston. Born in +Baltimore, Maryland. Pupil of William M. Hunt and Thomas Couture.</p> + +<p>Mrs. Whitman has painted landscapes and portraits, and of recent years +has been much occupied with work in glass. Windows by her are in Memorial +Hall, Cambridge; in the Episcopal Church in Andover, Massachu<a name="Page_362"></a>setts, etc. +An altar-piece by her is in All Saints' Church, Worcester.</p> + +<p>Her portrait of Senator Bayard is in the State Department, Washington.</p> + +<br> + +<p><b>Whitney, Anne.</b> Born in Watertown, Massachusetts. Made her studies in +Belmont and Boston, and later in Paris and Rome.</p> + +<p>Miss Whitney's sculptures are in many public places. A heroic size statue +of Samuel Adams is in Boston and Washington, in bronze and marble; +Harriet Martineau is at Wellesley College, in marble; the "Lotos-Eaters" +is in Newton and Cambridge, in marble; "Lady Godiva," a life-size statue +in marble, is in a private collection in Milton; a statue of Leif +Eriksen, in bronze, is in Boston and Milwaukee; a bust of Professor +Pickering, in marble, is in the Observatory, Cambridge; a statue, "Roma," +is in Albany, Wellesley, St. Louis, and Newton, in both marble and +bronze; Charles Sumner, in bronze of heroic size, is in Cambridge; a bust +of President Walker, bronze, is also in Cambridge; President Stearns, a +bust in marble, is in Amherst; a bust of Mrs. Alice Freeman Palmer is in +Cambridge; a bust of Professor Palmer is on a bronze medal; the Calla +Fountain, in bronze, is in Franklin Park; and many other busts, medals, +etc., in marble, bronze, and plaster, are in private collections.</p> + +<br> + +<p><b>Wilson, Melva Beatrice.</b> Prize of one hundred dollars a year for +three successive years at Cincinnati Art Museum. Honorable mention, Paris +Salon, 1897. Born in Cincinnati, 1875. Pupil of Cincinnati Art Museum, +<a name="Page_363"></a>under Louis T. Rebisso and Thomas Noble; in Paris, of Rodin and Vincent +Norrottny.</p> + +<p>By special invitation this sculptor has been an exhibitor at the National +Sculpture Society, New York. Her principal works are: "The Minute Man," +in Corcoran Art Gallery, Washington, D. C.; "The Volunteer," which was +given by the State of New York as a military prize to a Vermont Regiment; +an equestrian statue of John F. Doyle, Jr.; "Bull and Bear" and the "Polo +Player" in bronze, owned by Tiffany & Co.; "Retribution" in a private +collection in New York.</p> + +<p>Miss Wilson has been accorded the largest commission given any woman +sculptor for the decoration of the buildings of the St. Louis Exposition. +She is to design eight spandrils for Machinery Hall, each one being +twenty-eight by fifteen feet in size, with figures larger than life. The +design represents the wheelwright and boiler-making trades. Reclining +nude figures, of colossal size, bend toward the keystone of the arch, +each holding a tool of a machinist. Interlaced cog-wheels form the +background.</p> + +<br> + +<p><b>Wirth, Anna Marie.</b> Member of the Munich Art Association. Born in St. +Petersburg, 1846. Studied in Vienna under Straschiripka—commonly known +as Johann Canon—and in Paris, although her year's work in the latter +city seems to have left no trace upon her manner of painting. The genre +pictures, in which she excels, clearly show the influence of the old +Dutch school. A writer in "Moderne Kunst" says, in general, that she +shows us real human beings under the "précieuses ridicules," the +languishing gallants and the pedant, and often succeeds in +<a name="Page_364"></a>individualizing all these with the sharpness of a Chodowiecki, though at +times she is merely good-natured, and therefore weak.</p> + +<p>Sometimes, like Terborch, by her anecdotical treatment, she can set a +whole romantic story before you; again, in the manner of Gerard Dow, she +gives you a penetrating glimpse into old burgher life—work that is quite +out of touch with the dilettantism that largely pervades modern art.</p> + +<p>The admirers of this unusual artist seek out her genre pictures in the +exhibitions of to-day, much as one turns to an idyl of Heinrich Voss, +after a dose of the "storm and stress" poets. Most of her works are in +private galleries.</p> + +<p>One of her best pictures will be seen at the St. Louis Exposition.</p> + +<br> + +<p><b>Wisinger-Florian, Olga.</b> Bavarian Ludwig medal, 1891; medal at +Chicago, 1893. Born in Vienna, 1844. Pupil of Schäffer and Schwindler. +She has an excellent reputation as a painter of flowers. In the New +Gallery, Munich, is one of her pictures of this sort; and at Munich, +1893, her flower pieces were especially praised in the reports of the +exhibition.</p> + +<p>She also paints landscapes, in which she gains power each year; her color +grows finer and her design or modelling stronger. At Vienna, 1890, it was +said that her picture of the "Bauernhofe" was, by its excellent color, a +disadvantage to the pictures near it, and the shore motive in "Abbazia" +was full of artistic charm. At Vienna, 1893, she exhibited a cycle, "The +Months," which bore witness to her admirable mastery of her art.</p><a name="Page_365"></a> + +<p>Among her works are some excellent Venetian subjects: "On the Rialto"; +"Morning on the Shore"; and "In Venice."</p> + +<br> + +<p><b>Wolff, Betty.</b> Honorable mention, Berlin, 1890. Member of the +Association of Women Artists and Friends of Art; also of the German Art +Association. Born in Berlin, where she was a pupil of Karl Stauffer-Bern; +she also studied in Munich under Karl Marr.</p> + +<p>Besides numerous portraits of children, in pastel, this artist has +painted portraits in oils of many well-known persons, among whom are +Prof. H. Steinthal, Prof. Albrecht Weber, and General von Zycklinski.</p> + +<br> + +<p><b>Wolters, Henrietta</b>, family name Van Pee. Born in Amsterdam. +1692-1741. Pupil of her father, and later made a special study of +miniature under Christoffel le Blond. Her early work consisted largely in +copies from Van de Velde and Van Dyck. Her miniatures were so highly +esteemed that Peter the Great offered her a salary of six thousand +florins as his court painter; and Frederick William of Prussia invited +her to his court, but nothing could tempt her away from her home in +Amsterdam. She received four hundred florins for a single miniature, a +most unusual price in her time.</p> + +<br> + +<p><b>Wood, Caroline S.</b> Daughter of Honorable Horatio D. Wood, of St. +Louis. This sculptor has made unusual advances in her art, to which she +has seriously devoted herself less than four years. She has studied in +the Art School of Washington University, the Art Institute, Chicago, and +is now a student in the Art League, New York.</p> + +<p>She has been commissioned by the State of Missouri to <a name="Page_366"></a>make a statue to +represent "The Spirit of the State of Missouri," for the Louisiana +Purchase Exposition.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Woodbury, Marcia Oakes.</b> Prize at Boston Art Club; medals at +Mechanics' Association Exhibition, Atlanta and Nashville Expositions. +Member of the New York and Boston Water-Color Clubs. Born at South +Berwick, Maine. Pupil of Tommasso Juglaris, in Boston, and of Lasar, in +Paris.</p> + +<p>Mrs. Woodbury paints in oils and water-colors; the latter are genre +scenes, and among them are several Dutch subjects. She has painted +children's portraits in oils. Her pictures are in private hands in +Boston, New York, Chicago, and Cincinnati. "The Smoker," and "Mother and +Daughter," a triptych, are two of her principal pictures.</p> + +<br> + +<p><b>Woodward, Dewing.</b> Grand prize of the Academy Julian, 1894. Member of +Water-Color Club, Baltimore; Charcoal Club, Baltimore; L'Union des Femmes +Peintres et Sculpteurs de France. Born at Williamsport, Pennsylvania. +Pupil of Pennsylvania Academy a few months; in Paris, of Bouguereau, +Robert-Fleury, and Jules Lefebvre.</p> +<br> + +<p>Her "Holland Family at Prayer," exhibited at the Paris Salon, 1893, and +"Jessica," belong to the Public Library in Williamsport; "Clam-Diggers +Coming Home—Cape Cod" was in the Venice Exhibition, 1903; one of her +pictures shows the "Julian Academy, Criticism Day."</p> + +<p>She has painted many portraits, and her work has often <a name="Page_367"></a>been thought to +be that of a man, which idea is no doubt partly due to her choosing +subjects from the lives of working men. She is of the modern school of +colorists.</p> + +<br> + +<p><b>Wright, Ethel.</b> This artist contributed annually to the exhibitions +of the London Academy from 1893 to 1900, as follows: In 1893 she +exhibited "Milly" and "Echo"; in 1894, "The Prodigal"; in 1895, a +water-color, "Lilies"; in 1896, "Rejected"; in 1897, a portrait of Mrs. +Laurence Phillips; in 1898, "The Song of Ages," reproduced in this book; +in 1899, a portrait of Mrs. Arthur Strauss; and in 1900, one of Miss +Vaughan.</p> + +<p>[<i>No reply to circular</i>.]</p> + +<br> + +<p><b>Wright, Mrs. Patience.</b> Born at Bordentown, New Jersey, 1725, of a +Quaker family. When left a widow, with three children to care for, she +went to London, where she found a larger field for her art than she had +in the United States, where she had already made a good reputation as a +modeller in wax. By reason of this change of residence she has often been +called an English sculptress.</p> + +<p>Although the imaginative and pictorial is not cultivated or even approved +by Quakers, Patience Lovell, while still a child, and before she had seen +works of art, was content only when supplied with dough, wax, or clay, +from which she made figures of men and women. Very early these figures +became portraits of the people she knew best, and in the circle of her +family and friends she was considered a genius.</p> + +<p>Very soon after Mrs. Wright reached London she was <a name="Page_368"></a>fully employed. She +worked in wax, and her full-length portrait of Lord Chatham was placed in +Westminster Abbey, protected by a glass case. This attracted much +attention, and the London journals praised the artist. She made portraits +of the King and Queen, who, attracted by her brilliant conversation, +admitted her to an intimacy at Buckingham House, which could not then +have been accorded to an untitled English woman.</p> + +<a name="image-030"></a> +<p class="ctr"><a href="./images/030.jpg"><img src="./images/030_th.jpg" alt="From a Copley Print. THE SONG OF AGES. Ethel Wright"></a></p> +<p class="ctr">From a Copley Print</p> +<p class="ctr">THE SONG OF AGES</p> +<p class="ctr">Ethel Wright</p> + +<p>Mrs. Wright made many portraits of distinguished people; but few, if any, +of these can now be seen, although it is said that some of them have been +carefully preserved by the families who possess them.</p> + +<p>To Americans Mrs. Wright is interesting by reason of her patriotism, +which amounted to a passion. She is credited with having been an +important source of information to the American leaders in the time of +the Revolution. In this she was frank and courageous, making no secret of +her views. She even ventured to reprove George III. for his attitude +toward the Colonists, and by this boldness lost the royal favor.</p> + +<p>She corresponded with Franklin, in Paris, and new appointments, or other +important movements in the British army, were speedily known to him.</p> + +<p>Washington, when he knew that Mrs. Wright wished to make a bust of him, +replied in most flattering terms that he should think himself happy to +have his portrait made by her. Mrs. Wright very much desired to make +likenesses of those who signed the Treaty of Peace, and of those who had +taken a prominent part in making it. She wrote: "To shame the English +king, I would go to <a name="Page_369"></a>any trouble and expense, and add my mite to the +honor due to Adams, Jefferson, and others."</p> + +<p>Though so essentially American as a woman, the best of her professional +life was passed in England, where she was liberally patronized and fully +appreciated. Dunlap calls her an extraordinary woman, and several writers +have mentioned her power of judging the character of her visitors, in +which she rarely made a mistake, and chose her friends with unusual +intelligence.</p> + +<p>Her eldest daughter married in America, and was well known as a modeller +in wax in New York. Her younger daughter married the artist Hoppner, a +rival in portraiture of Stuart and Lawrence, while her son Joseph was a +portrait painter. His likeness of Washington was much admired.</p> + +<br> + +<p><b>Wulfraat, Margaretta.</b> Born at Arnheim. 1678-1741. Was a pupil of +Caspar Netscher of Heidelberg, whose little pictures are of fabulous +value. Although he was so excellent a painter he was proud of Margaretta, +whose pictures were much admired in her day. Her "Musical Conversation" +is in the Museum of Schwerin. Her "Cleopatra" and "Semiramis" are in the +Gallery at Amsterdam.</p> + +<br> + +<p><b>Yandell, Enid.</b> Special Designer's Medal, Chicago, 1893; silver +medal, Tennessee Exposition; Honorable Mention, Buffalo, 1901. Member of +National Sculpture Society; Municipal Art Society; National Arts Club, +all of New York. Born in Louisville, Kentucky. Graduate of Cincinnati Art +Academy. Pupil of Philip Martiny in New York, and in Paris of Frederick +McMonnies and Auguste Rodin.</p><a name="Page_370"></a> + +<p>The principal works of this artist are the Mayor Lewis monument at New +Haven, Connecticut; the Chancellor Garland Memorial, Vanderbilt +University, Nashville; Carrie Brown Memorial Fountain, Providence; Daniel +Boone and the Ruff Fountain, Louisville.</p> + +<p>Richard Ladegast, in January, 1902, wrote a sketch of Miss Yandell's life +and works for the <i>Outlook</i>, in which he says that Miss Yandell was the +first woman to become a member of the National Sculpture Society. I quote +from his article as follows: "The most imposing product of Miss Yandell's +genius was the heroic figure of Athena, twenty-five feet in height, which +stood in front of the reproduction of the Parthenon at the Nashville +Exposition. This is the largest figure ever designed by a woman.</p> + +<a name="image-031"></a> +<p class="ctr"><a href="./images/031.jpg"><img src="./images/031_th.jpg" alt="STATUE OF DANIEL BOONE. Enid Yandell. Made for St. Louis Exposition"></a></p> +<p class="ctr">STATUE OF DANIEL BOONE</p> +<p class="ctr">Enid Yandell</p> +<p class="ctr">Made for St. Louis Exposition</p> + +<p>"The most artistic was probably the little silver tankard which she did +for the Tiffany Company, a bit of modelling which involves the figures of +a fisher-boy and a mermaid. The figure of Athena is large and correct; +those of the fisher-boy and mermaid poetic and impassioned.... The boy +kisses the maid when the lid is lifted. He is always looking over the +edge, as if yearning for the fate that each new drinker who lifts the lid +forces upon him."</p> + +<p>Of the Carrie Brown Memorial Fountain he says: "The design of the +fountain represents the struggle of life symbolized by a group of figures +which is intended to portray, according to Miss Yandell, not the struggle +for bare existence, but 'the attempt of the immortal soul within us to +free itself from the handicaps and entanglements of its earthly +environments. It is the development of character, the triumph of +intellectuality and spirituality<a name="Page_371"></a> I have striven to express.' Life is +symbolized by the figure of a woman, the soul by an angel, and the +earthly tendencies—duty, passion, and avarice—by male figures. Life is +represented as struggling to free herself from the gross earthly forms +that cling to her. The figure of Life shows a calm, placid strength, well +calculated to conquer in a struggle; and the modelling of her clinging +robes and the active muscle of the male figures is firm and life-like. +The mantle of truth flows from the shoulders of the angel, forming a +drapery for the whole group, and serving as a support for the basin, the +edges of which are ornamented with dolphins spouting water.</p> + +<p>"The silhouette formed by the mass of the fountain is most interesting +and successful from all points of view. The lines of the composition are +large and dignified, especially noticeable in the modelling of the +individual figures, which is well studied and technically excellent."</p> + +<p>At Buffalo, where this fountain was exhibited, it received honorable +mention.</p> + +<p>Miss Yandell has been commissioned to execute a symbolical figure of +victory and a statue of Daniel Boone for the St. Louis Exposition.</p> + +<br> + +<p><b>Ykens, Laurence Catherine.</b> Elected to the Guild of Antwerp in 1659. +Born in Antwerp. Pupil of her father, Jan Ykens. Flowers, fruits, and +insects were her favorite subjects, and were painted with rare delicacy. +Two of these pictures are in the Museo del Prado, at Madrid. They are a +"Festoon of Flowers and Fruits with a Medallion in the Centre, on which +is a Landscape"; and a "Garland of Flowers with a Similar Medallion."</p><a name="Page_372"></a> + +<br> + +<p><b>Ziesensis, Margaretta.</b> There were few women artists in the +Scandinavian countries in the early years of the eighteenth century. +Among them was Margaretta Ziesensis, a Danish lady, who painted a large +number of portraits and some historical subjects.</p> + +<p>She was best known, however, for her miniature copies of the works of +famous artists. These pictures were much the same in effect as the +"picture-miniatures" now in vogue. Her copy of Correggio's Zingarella was +much admired, and was several times repeated.</p> + + + +<hr style="width: 65%;"> +<a name="SUPPLEMENT"></a><h2><a name="Page_373"></a>SUPPLEMENT</h2> + +<p>Containing names previously omitted and additions. The asterisk (*) +denotes preceding mention of the artist.</p> + +<br> + +<p>*<b>Bilders, Marie van Bosse.</b> This celebrated landscape painter became +an artist through her determination to be an artist rather than because +of any impelling natural force driving her to this career.</p> + +<p>After patient and continuous toil, she felt that she was developing an +artistic impulse. The advice of Van de Sande-Bakhuyzen greatly encouraged +her, and the candid and friendly criticism of Bosboom inspired her with +the courage to exhibit her work in public.</p> + +<p>In the summer of 1875, in Vorden, she met Johannes Bilders, under whose +direction she studied landscape painting. This master took great pains to +develop the originality of his pupil rather than to encourage her +adapting the manner of other artists. During her stay in Vorden she made +a distinct gain in the attainment of an individual style of painting.</p> + +<p>After her return to her home at The Hague, Bilders established a studio +there and showed a still keener interest in his pupil. This artistic +friendship resulted in the marriage of the two artists, and in 1880 they +established themselves in Oosterbeck.</p><a name="Page_374"></a> + +<p>Here began the intimate study of the heath which so largely influenced +the best pictures by Frau Bilders. In the garden of the picturesque house +in which the two artists lived was an old barn, which became her studio, +where, early and late, in all sorts of weather, she devotedly observed +the effects later pictured on her canvases. At this time she executed one +of her best works, now in the collection of the Prince Regent of +Brunswick. It is thus described by a Dutch writer in Rooses' "Dutch +Painters of the Nineteenth Century":</p> + +<p>"It represents a deep pool, overshadowed by old gnarled willows in their +autumnal foliage, their silvery trunks bending over, as if to see +themselves in the clear, still water. On the edge of the pool are flowers +and variegated grasses, the latter looking as if they wished to crowd out +the former—as if <i>they</i> were in the right and the flowers in the wrong; +as if such bright-hued creatures had no business to eclipse their more +sombre tones; as if <i>they</i> and <i>they</i> alone were suited to this silent, +forsaken spot."</p> + +<p>Johannes Bilders was fully twenty-five years older than his wife, and the +failure of both his physical and mental powers in his last days required +her absolute devotion to him. In spite of this, the garden studio was not +wholly forsaken, and nearly every day she accomplished something there. +After her husband's death she had a long illness. On her recovery she +returned to The Hague and took the studio which had been that of the +artist Mauve.</p> + +<p>The life of the town was wearisome to her, but she <a name="Page_375"></a>found a compensation +in her re-union with her old friends, and with occasional visits to the +heath she passed most of her remaining years in the city.</p> + +<p>Her favorite subjects were landscapes with birch and beech trees, and the +varying phases of the heath and of solitary and unfrequented scenes. Her +works are all in private collections. Among them are "The Forester's +Cottage," "Autumn in Doorwerth," "The Old Birch," and the "Old Oaks of +Wodan at Sunset."</p> + +<br> + +<p><b>Boznanska, Olga.</b> Born in Cracow, where she was a pupil of Matejko. +Later, in Munich, she studied with Kricheldorf and Dürr. Her mother was a +French woman, and critics trace both Polish and French characteristics in +her work.</p> + +<p>She paints portraits and genre subjects. She is skilful in seizing +salient characteristics, and her chief aim is to preserve the +individuality of her sitters and models. She skilfully manages the +side-lights, and by this means produces strong effects. After the first +exhibition of her pictures in Berlin, her "God-given talent" was several +times mentioned by the art critics.</p> + +<p>At Munich she made a good impression by her pictures exhibited in 1893 +and 1895; at the Exposition in Paris, 1889, her portrait and a study in +pastel were much admired and were generously praised in the art journals.</p> + +<br> + +<p>*<b>Cox, Louise.</b> The picture by Mrs. Cox, reproduced in this book, +illustrates two lines in a poem by Austin Dobson, called "A Song of +Angiola in Heaven."</p> + +<div class="poem"><div class="stanza"> +<p>"Then set I lips to hers, and felt,—</p> +<p>Ah, God,—the hard pain fade and melt."</p> +</div></div><a name="Page_376"></a> + +<br> + +<p><b>De Morgan, Emily.</b> Family name Pickering. When sixteen years old, +this artist entered the Slade School, and eighteen months later received +the Slade Scholarship, by which she was entitled to benefit for three +years. At the end of the first year, however, she resigned this privilege +because she did not wish to accept the conditions of the gift.</p> + +<p>As a child she had loved the pictures of the precursors of Raphael, in +the National Gallery, and her first exhibited picture, "Ariadne in +Naxos," hung in the Grosvenor Gallery in 1877, proved how closely she had +studied these old masters. At this time she knew nothing of the English +Pre-Raphaelites; later, however, she became one of the most worthy +followers of Burne-Jones.</p> + +<p>About the time that she left the Slade School one of her uncles took up +his residence in Florence, where she has spent several winters in work +and study.</p> + +<p>One of her most important pictures is inscribed with these lines:</p> + +<div class="poem"><div class="stanza"> +<p>"Dark is the valley of shadows,</p> +<p>Empty the power of kings;</p> +<p>Blind is the favor of fortune,</p> +<p>Hungry the caverns of death.</p> +<p>Dim is the light from beyond,</p> +<p>Unanswered the riddle of life."</p> +</div></div> + +<p>This pessimistic view of the world is illustrated by the figure of a +king, who, in the midst of ruins, places his foot upon the prostrate form +of a chained victim; Happiness, with bandaged eyes, scatters treasures +into the bottomless pit, a desperate youth being about to plunge into its +<a name="Page_377"></a>depths; a kneeling woman, praying for light, sees brilliant figures +soaring upward, their beauty charming roses from the thorn bushes.</p> + +<p>Other pictures by this artist remind one of the works of Botticelli. Of +her "Ithuriel" W. S. Sparrow wrote: "It may be thought that this Ithuriel +is too mild—too much like Shakespeare's Oberon—to be in keeping with +the terrific tragedy depicted in the first four books of the 'Paradise +Lost.' Eve, too, lovely as she is, seems to bear no likelihood of +resemblance to Milton's superb mother of mankind. But the picture has a +sweet, serene grace which should make us glad to accept from Mrs. De +Morgan another Eve and another Ithuriel, true children of her own fancy."</p> + +<p>The myth of "Boreas and Orithyia," though faulty perhaps in technique, is +good in conception and arrangement.</p> + +<p>Mrs. De Morgan has produced some impressive works in sculpture. Among +these are "Medusa," a bronze bust; and a "Mater Dolorosa," in +terra-cotta.</p> + +<br> + +<p><b>Deschly, Irene.</b> Born in Bucharest, the daughter of a Roumanian +advocate. She gave such promise as an artist that a government stipend +was bestowed on her, which enabled her to study in Paris, where she was a +pupil of Laurens and E. Carrière.</p> + +<p>Her work is tinged with the melancholy and intensity of her +nature—perhaps of her race; yet there is something in her grim +conceptions, or rather in her treatment of them, that demands attention +and compels admiration. Even in her "Sweet Dream," which represents the +half-<a name="Page_378"></a>nude figure of a young girl holding a rose in her hand, there is +more sadness than joy, as though she said, "It is only a dream, after +all." "Chanson," exhibited at the Paris Exposition, 1900, displays +something of the same quality.</p> + +<br> + +<p><b>Eristow-Kasak, Princess Marie.</b> Among the many Russian portraits in +the Paris Exposition, 1900, two, the work of this pupil of Michel de +Zichys, stood out in splendid contrast with the crass realism or the weak +idealism of the greater number. One was a half-length portrait of the +laughing Mme. Paquin; full of life and movement were the pose of the +figure, the fall of the draperies, and the tilt of the expressive fan. +The other was the spirited portrait of Baron von Friedericks, a happy +combination of cavalier and soldier in its manly strength.</p> + +<p>When but sixteen years old, the Princess Marie roused the admiration of +the Russian court by her portrait of the Grand Duke Sergius. This led to +her painting portraits of various members of the royal family while she +was still a pupil of De Zichys.</p> + +<p>After her marriage she established herself in Paris, where she endeavors +to preserve an incognito as an artist in order to work in the most quiet +and devoted manner.</p> + +<br> + +<p><b>Goebeler, Elise.</b> This artist studied drawing under Steffeck and +color under Dürr, in Munich. Connoisseurs in art welcome the name of +Elise Goebeler in exhibitions, and recall the remarkable violet-blue +lights and the hazy atmosphere in her works, out of which emerges some +charming, graceful figure; perhaps a young girl on whose white shoulders +the light falls, while a shadow half con<a name="Page_379"></a>ceals the rest of the form. +These dreamy, Madonna-like beauties are the result of the most severe and +protracted study. Without the remarkable excellence of their technique +and the unusual quality of their color they would be the veriest +sentimentalities; but wherever they are seen they command admiration.</p> + +<p>Her "Cinderella," exhibited in Berlin in 1880, was bought by the Emperor; +another picture of the same subject, but quite different in effect, was +exhibited in Munich in 1883. In the same year, in Berlin, "A Young Girl +with Pussy-Willows" and "A Neapolitan Water Carrier" were seen. In 1887, +in Berlin, her "Vanitas, Vanitatum Vanitas" and the "Net-Mender" were +exhibited, and ten years later "Cheerfulness" was highly commended. At +Munich, in 1899, her picture, called "Elegie," attracted much attention +and received unusual praise.</p> + +<br> + +<p>*<b>Herbelin, Jeane Mathilde.</b> This miniaturist has recently died at the +age of eighty-four. In addition to the medals and honors she had received +previous to 1855, it was that year decided that her works should be +admitted to the Salon without examination. She was a daughter of General +Habert, and a niece of Belloc, under whom she studied her art while still +very young. Her early ambition was to paint large pictures, but Delacroix +persuaded her to devote herself to miniature painting, in which art she +has been called "the best in the world."</p> + +<p>She adopted the full tones and broad style to which she was accustomed in +her larger works, and revolutionized the method of miniature painting in +which stippling <a name="Page_380"></a>had prevailed. When eighteen years old, she went to +Italy, where she made copies from the masters and did much original work +as well.</p> + +<p>Among her best portraits are those of the Baroness Habert, Guizot, +Rossini, Isabey, Robert-Fleury, M. and Mme. de Torigny, Count de Zeppel, +and her own portrait. Besides portraits, she painted a picture called "A +Child Holding a Rose," "Souvenir," and "A Young Girl Playing with a Fan."</p> + +<br> + +<p><b>Johnson, Adelaide.</b> Born at Plymouth, Illinois. This sculptor first +studied in the St. Louis School of Design, and in 1877, at the St. Louis +Exposition, received two prizes for the excellence of her wood carving. +During several years she devoted herself to interior decoration, +designing not only the form and color to be used in decorating edifices, +but also the furniture and all necessary details to complete them and +make them ready for use.</p> + +<p>Being desirous of becoming a sculptor, Miss Johnson went, in 1883, to +England, Germany, and Italy. In Rome she was a pupil of Monteverde and of +Altini, who was then president of the Academy of St. Luke.</p> + +<p>After two years she returned to America and began her professional career +in Chicago, where she remained but a year before establishing herself in +Washington. Her best-known works are portrait busts, which are numerous. +Many of these have been seen in the Corcoran Art Gallery and in other +public exhibitions.</p> + +<p>Of her bust of Susan B. Anthony, the sculptor, Lorado Taft, said: "Your +bust of Miss Anthony is better than mine. I tried to make her real, but +you have made her <a name="Page_381"></a>not only real, but ideal." Among her portraits are +those of General Logan, Dr. H. W. Thomas, Isabella Beecher Hooker, +William Tebb, Esq., of London, etc.</p> + +<br> + +<p><b>Koegel, Linda.</b> Born at The Hague. A pupil of Stauffer-Bern in Berlin +and of Herterich in Munich. Her attachment to impressionism leads this +artist to many experiments in color—or, as one critic wrote, "to play +with color."</p> + +<p>She apparently prefers to paint single figures of women and young girls, +but her works include a variety of subjects. She also practises etching, +pen-and-ink drawing, as well as crayon and water-color sketching. The +light touch in some of her genre pictures is admirable, and in contrast, +the portrait of her father—- the court preacher—displays a masculine +firmness in its handling, and is a very striking picture.</p> + +<p>In 1895 she exhibited at the Munich Secession the portrait of a woman, +delicate but spirited, and a group which was said to set aside every +convention in the happiest manner.</p> + +<br> + +<p><b>Kroener, Magda.</b> The pictures of flowers which this artist paints +prove her to be a devoted lover of nature. She exhibited at Düsseldorf, +in 1893, a captivating study of red poppies and another of flowering +vetch, which were bought by the German Emperor. The following year she +exhibited two landscapes, one of which was so much better than the other +that it was suggested that she might have been assisted by her husband, +the animal painter, Christian Kroener.</p> + +<p>One of her most delightful pictures, "A Quiet Corner,"<a name="Page_382"></a> represents a +retired nook in a garden, overgrown with foliage and flowers, so well +painted that one feels that they must be fragrant.</p> + +<br> + +<p><b>Lepsius, Sabina.</b> Daughter of Gustav Graf and wife of the portrait +painter, Lepsius. She was a pupil of Gussow, then of the Julian Academy +in Paris, and later studied in Rome. Her pictures have an unusual +refinement; like some other German women artists, she aims at giving a +subtle impression of character and personality in her treatment of +externals, and her work has been said to affect one like music.</p> + +<p>The portrait of her little daughter, painted in a manner which suggests +Van Dyck, is one of the works which entitle her to consideration.</p> + +<br> + +<p><b>Leyster, Judith.</b> A native of Haarlem on Zandam, the date of her +birth being unknown. She died in 1660. In 1636 she married the well-known +artist, Jan Molemaer. She did her work at a most interesting period in +Dutch painting. Her earliest picture is dated 1629; she was chosen to the +Guild of St. Luke at Haarlem in 1633.</p> + +<p>Recent investigations make it probable that certain pictures which have +for generations been attributed to Frans Hals were the work of Judith +Leyster. In 1893 a most interesting lawsuit, which occurred in London and +was reported in the <i>Times</i>, concerned a picture known as "The Fiddlers," +which had been sold as a work of Frans Hals for £4,500. The purchasers +found that this claim was not well founded, and sought to recover their +money.</p> + +<p>A searching investigation traced the ownership of the <a name="Page_383"></a>work back to a +connoisseur of the time of William III. In 1678 it was sold for a small +sum, and was then called "A Dutch Courtesan Drinking with a Young Man." +The monogram on the picture was called that of Frans Hals, but as +reproduced and explained by C. Hofstede de Groot in the "<i>Jahrbuch für +Königlich-preussischen Kunst-Sammlungen</i>" for 1893, it seems evident that +the signature is J. L. and not F. H.</p> + +<p>Similar initials are on the "Flute Player," in the gallery at Stockholm; +the "Seamstress," in The Hague Gallery, and on a picture in the Six +collection at Amsterdam.</p> + +<p>It is undeniable that these pictures all show the influence of Hals, +whose pupil Judith Leyster may have been, and whose manner she caught as +Mlle. Mayer caught that of Greuze and Prud'hon. At all events, the +present evidence seems to support the claim that the world is indebted to +Judith Leyster for these admirable pictures.</p> + +<br> + +<p><b>Mach, Hildegarde von.</b> This painter studied in Dresden and Munich, +and under the influence of Anton Pepinos she developed her best +characteristics, her fine sense of form and of color. She admirably +illustrates the modern tendency in art toward individual expression—a +tendency which permits the following of original methods, and affords an +outlet for energy and strength of temperament.</p> + +<p>Fräulein Mach has made a name in both portrait and genre painting. Her +"Waldesgrauen" represents two naked children in an attitude of alarm as +the forest grows dark around them; it gives a vivid impression of the +mys<a name="Page_384"></a>terious charm and the possible dangers which the deep woods present +to the childish mind.</p> + +<br> + +<p><b>Mayer, Marie Françoise Constance.</b> As early as 1806 this artist +received a gold medal from the Paris Salon, awarded to her picture of +"Venus and Love Asleep." Born 1775, died 1821. She studied under Suvée, +Greuze, and Prud'hon. There are various accounts of the life of Mlle. +Mayer. That of M. Charles Guenllette is the authority followed here. It +is probable that Mlle. Mayer came under the influence of Prud'hon as +early as 1802, possibly before that time.</p> + +<p>Prud'hon, a sensitive man, absorbed in his art, had married at twenty a +woman who had no sympathy with his ideals, and when she realized that he +had no ambition, and was likely to be always poor, her temper got the +better of any affection she had ever felt for him. Prud'hon, in +humiliation and despair, lived in a solitude almost complete.</p> + +<p>It was with difficulty that Mlle. Mayer persuaded this master to receive +her as a pupil; but this being gained, both these painters had studios in +the Sorbonne from 1809 to 1821. At the latter date all artists were +obliged to vacate the Sorbonne ateliers to make room for some new +department of instruction. Mlle. Mayer had been for some time in a +depressed condition, and her friends had been anxious about her. Whether +leaving the Sorbonne had a tendency to increase her melancholy is not +known, but her suicide came as a great surprise and shock to all who knew +her, especially to Prud'hon, who survived her less than two years.</p><a name="Page_385"></a> + +<p>Prud'hon painted several portraits of Mlle. Mayer, the best-known being +now in the Louvre. It represents an engaging personality, in which +vivacity and sensibility are distinctly indicated.</p> + +<p>Mlle. Mayer had made her début at the Salon of 1896 with a portrait of +"Citizeness Mayer," painted by herself, and showing a sketch for the +portrait of her mother; also a picture of a "Young Scholar with a +Portfolio Under His Arm," and a miniature. From this time her work was +seen at each year's salon.</p> + +<p>Her pictures in 1810 were the "Happy Mother" and the "Unhappy Mother," +which are now in the Louvre; the contrast between the joyousness of the +mother with her child and the anguish of the mother who has lost her +child is portrayed with great tenderness. The "Dream of Happiness," also +in the Louvre, represents a young couple in a boat with their child; the +boat is guided down the stream of life by Love and Fortune. This is one +of her best pictures. It is full of poetic feeling, and the flesh tints +are unusually natural. The work of this artist is characterized by +delicacy of touch and freshness of color while pervaded by a peculiar +grace and charm. Her drawing is good, but the composition is less +satisfactory.</p> + +<p>It is well known that Prud'hon and his pupil painted many pictures in +collaboration. This has led to an under-valuation of her ability, and +both the inferior works of Prud'hon and bad imitations of him have been +attributed to her. M. Guenllette writes that when Mlle. Mayer studied +under Greuze she painted in his manner, and he inclines to the opinion +that some pictures attributed to<a name="Page_386"></a> Greuze were the work of his pupil. In +the same way she imitated Prud'hon, and this critic thinks it by no means +certain that the master finished her work, as has been alleged.</p> + +<p>In the Museum at Nancy are Mlle. Mayer's portraits of Mme. and Mlle. +Voiant; in the Museum of Dijon is an ideal head by her, and in the +Bordeaux Gallery is her picture, called "Confidence." "Innocence Prefers +Love to Riches" and the "Torch of Venus" are well-known works by Mlle. +Mayer.</p> + +<br> + +<p><b>Mesdag-van Houten, S.</b> Gold medal at Amsterdam, 1884; bronze medal, +Paris Exposition, 1889. Born at Groningen, 1834. In 1856 she married +Mesdag, who, rather late in life decided to follow the career of a +painter. His wife, not wishing to be separated from him in any sense, +resolved on the same profession, and about 1870 they began their study. +Mme. Mesdag acquired her technique with difficulty, and her success was +achieved only as the result of great perseverance and continual labor. +The artists of Oosterbeck and Brussels, who were her associates, +materially aided her by their encouragement. She began the study of +drawing at the age of thirty, and her first attempt in oils was made +seven years later. Beginning with single twigs and working over them +patiently she at length painted whole trees, and later animals. She came +to know the peculiarities of nearly all native trees.</p> + +<p>She built a studio in the woods of Scheveningen, and there developed her +characteristics—close observation and careful reproduction of details.</p><a name="Page_387"></a> + +<p>In the summer of 1872 M. and Mme. Mesdag went to Friesland and Drenthe, +where they made numerous sketches of the heath, sheep, farmhouses, and +the people in their quaint costumes. One of Mme. Mesdag's pictures, +afterward exhibited at Berlin, is thus described: "On this canvas we see +the moon, just as she has broken through a gray cloud, spreading her +silvery sheen over the sleepy land; in the centre we are given a +sheep-fold, at the door of which a flock of sheep are jostling and +pushing each other, all eager to enter their place of rest. The wave-like +movement of these animals is particularly graceful and cleverly done. A +little shepherdess is guiding them, as anxious to get them in as they are +to enter, for this means the end of her day's work. Her worn-out blue +petticoat is lighted up by a moonbeam; in her hand she appears to have a +hoe. It is a most harmonious picture; every line is in accord with its +neighbor."</p> + +<p>While residing in Brussels these two artists began to collect works of +art for what is now known as the Mesdag Museum. In 1887 a wing was added +to their house to accommodate their increasing treasures, which include +especially good examples of modern French painting, pottery, tapestry, +etc.</p> + +<p>In 1889 an exhibition of the works of these painters was held. Here +convincing proof was given of Mme. Mesdag's accuracy, originality of +interpretation, and her skill in the use of color.</p> + +<br> + +<p><b>Möller, Agnes Slott, or Slott-Möller, Agnes.</b> This artist follows the +young romantic movement in Denmark. She has embodied in her work a modern +comprehension <a name="Page_388"></a>of old legends. The landscape and people of her native +land seem to her as eminently suitable motives, and these realities she +renders in the spirit of a by-gone age—that of the national heroes of +the sagas and epics of the country, or the lyric atmosphere of the +folk-songs.</p> + +<p>She may depict these conceptions, full of feeling, in the dull colors of +the North, or in rich and glowing hues, but the impression she gives is +much the same in both cases, a generally restful effect, though the faces +in her pictures are full of life and emotion. Her choice of subjects and +her manner of treatment almost inevitably introduce some archaic quality +in her work. This habit and the fact that she cares more for color than +for drawing are the usual criticisms of her pictures.</p> + +<p>Her "St. Agnes" is an interesting rendering of a well-worn subject. +"Adelil the Proud," exhibited at the Paris Exposition of 1889, tells the +story of the Duke of Frydensburg, who was in love with Adelil, the king's +daughter. The king put him to death, and the attendants of Adelil made of +his heart a viand which they presented to her. When she learned what this +singular substance was—that caused her to tremble violently—she asked +for wine, and carrying the cup to her lips with a tragic gesture, in +memory of her lover, she died of a broken heart. It is such legends as +these that Mme. Slott-Möller revives, and by which she is widely known.</p> + +<br> + +<p><b>Morisot or Morizot, Berthe.</b> Married name Manet. Born at Bourges, +1840, died in Paris, 1895. A pupil of Guichard and Oudinot. After her +marriage to Eugène Manet she came under the influence of his famous +brother,<a name="Page_389"></a> Édouard. This artist signed her pictures with her maiden name, +being too modest to use that which she felt belonged only to Édouard +Manet, in the world of art.</p> + +<p>A great interest was, however, aroused in the private galleries, where +the works of the early impressionists were seen, by the pictures of +Berthe Morisot. Camille Mauclair, an enthusiastic admirer of this school +of art, says: "Berthe Morizot will remain the most fascinating figure of +Impressionism—the one who has stated most precisely the femininity of +this luminous and iridescent art."</p> + +<p>A great-granddaughter of Fragonard, she seems to have inherited his +talent; Corot and Renoir forcibly appealed to her. These elements, +modified by her personal attitude, imparted a strong individuality to her +works, which divided honors with her personal charms.</p> + +<p>According to the general verdict, she was equally successful in oils and +water-colors. Her favorite subjects—although she painted others—were +sea-coast views, flowers, orchards, and gardens and young girls in every +variety of costume.</p> + +<p>After the death of Édouard Manet, she devoted herself to building up an +appreciation of his work in the public mind. So intelligent were her +methods that she doubtless had great influence in making the memory of +his art enduring.</p> + +<p>Among her most characteristic works are: "The Memories of the Oise," +1864; "Ros-Bras," "Finistère," 1868; "A Young Girl at a Window," 1870; a +pastel, "Blanche," 1873; "The Toilet," and "A Young Woman at the Ball."</p><a name="Page_390"></a> + +<br> + +<p>*<b>Ney, Elizabeth.</b> The Fine Arts jury of the St. Louis Exposition have +accepted three works by this sculptor to be placed in the Fine Arts +Building. They are the Albert Sidney Johnston memorial; the portrait bust +of Jacob Grimm, in marble; and a bronze statuette of Garibaldi. It is +unusual to allow so many entries to one artist.</p> + +<br> + +<p><b>Pauli, Hanna</b>, family name, Hirsch. Bronze medal at Paris Exposition, +1889. Born in Stockholm and pupil of the Academy of Fine Arts there; +later, of Dagnan-Bouveret, in Paris. Her husband, also an artist, is +Georg Pauli. They live in Stockholm, where she paints portraits and genre +subjects.</p> + +<p>At the Paris Exposition, 1900, she exhibited two excellent portraits, one +of her father and another of Ellen Key; also a charming genre subject, +"The Old Couple."</p> + +<br> + +<p><b>Romani, Juana, H. C.</b> Born at Velletri, 1869. Pupil of Henner and +Roybet, in Paris, where she lives. This artist is, <i>sui generis</i>, a +daughter of the people, of unconventional tastes and habits. She has +boldly reproduced upon canvas a fulness of life and joy, such as is +rarely seen in pictures.</p> + +<p>While she has caught something of the dash of Henner, and something of +the color of Roybet, and gained a firm mastery of the best French +technique, these are infused with the ardor of a Southern temperament. +Her favorite subjects are women—either in the strength and beauty of +maternity, or in the freshness of youth, or even of childhood.</p> + +<p>Some critics feel that, despite much that is desirable in her work, the +soul is lacking in the women she paints.<a name="Page_391"></a> This is no doubt due in some +measure to certain types she has chosen—for example, Salome and +Herodias, in whom one scarcely looks for such an element.</p> + +<p>Her portrait of Roybet and a picture of "Bianca Capello" were exhibited +at Munich in 1893 and at Antwerp in 1894. The "Pensierosa" and a little +girl were at the Paris Salon in 1894, and were much admired. "Herodias" +appeared at Vienna in 1894 and at Berlin the following year, while +"Primavera" was first seen at the Salon of 1895. This picture laughs, as +children laugh, with perfect abandon.</p> + +<p>A portrait of Miss Gibson was also at the Salon of 1895, and "Vittoria +Colonna" and a "Venetian Girl" were sent to Munich. These were followed +by the "Flower of the Alps" and "Desdemona" in 1896; "Doña Mona," +palpitating with life, and "Faustalla of Pistoia," with short golden hair +and a majestic poise of the head, in 1897; "Salome" and "Angelica," two +widely differing pictures in character and color, in 1898; "Mina of +Fiesole," and the portrait of a golden-haired beauty in a costume of +black and gold, in 1899; the portrait of Mlle. H. D., in 1900; +"L'Infante," one of her most noble creations, of a remarkably fine +execution, and a ravishing child called "Roger"—with wonderful blond +hair—in 1901.</p> + +<p>Mlle. Romani often paints directly on the canvas without preliminary +sketch or study, and sells many of her pictures before they are finished. +Some of her works have been purchased by the French Government, and there +are examples of these in the Luxembourg, and in the Gallery of +Mülhausen.</p><a name="Page_392"></a> + +<br> + +<p><b>Rupprecht, Tini.</b> After having lessons from private instructors, this +artist studied under Lenbach. She has been much influenced by +Gainsborough, Lawrence, and Reynolds, traces of their manner being +evident in her work. She renders the best type of feminine seductiveness +with delicacy and grace; she avoids the trivial and gross, but pictures +all the allurements of an innocent coquetry.</p> + +<p>Her portrait of the Princess Marie, of Roumania, was exhibited in Munich +in 1901; its reality and personality were notable, and one critic called +it "an oasis in a desert of portraits." "Anno 1793" and "A Mother and +Child" have attracted much favorable comment in Munich, where her star is +in the ascendant, and greater excellence in her work is confidently +prophesied.</p> + +<br> + +<p><b>Schwartze, Therese.</b> Honorable mention, Paris Salon, 1885; gold +medal, 1889. Diploma at Ghent, 1892; gold medal, 1892. At International +Exhibition, Barcelona, 1898, a gold medal. Made a Knight of the Order of +Orange-Nassau, 1896. Born in Amsterdam about 1851. A pupil of her father +until his death, when she became a student under Gabriel Max, in Munich, +for a year. Returning to Amsterdam, she was much encouraged by Israels, +Bilders, and Bosboom, friends of her father.</p> + +<p>She went to Paris in 1878 and was so attracted by the artistic life which +she saw that she determined to study there. But she did not succeed in +finding a suitable studio, neither an instructor who pleased her, and she +returned to Amsterdam. It was at this time that she painted the portrait +of Frederick Müller.</p><a name="Page_393"></a> + +<p>In the spring of 1880 she went again to Paris, only to "feast on things +artistic." A little later she was summoned to the palace at Soestdijk to +instruct the Princess Henry of the Netherlands. In 1883 she served with +many distinguished artists on the art jury of the International +Exhibition at Amsterdam.</p> + +<p>In 1884 she once more yielded to the attraction that Paris had for her, +and there made a great advance in her painting. In 1885 she began to work +in pastel, and one of her best portraits in this medium was that of the +Princess (Queen) Wilhelmina, which was loaned by the Queen Regent for the +exhibition of this artist's work in Amsterdam in 1890.</p> + +<p>The Italian Government requested Miss Schwartze to paint her own portrait +for the Uffizi Gallery. This was shown at the Paris Salon, 1889, and +missed the gold medal by two votes. This portrait is thought by some good +judges to equal that of Mme. Le Brun. The head with the interesting eyes, +shaded by the hand which wards off the light, and the penetrating, +observant look, are most impressive.</p> + +<p>She has painted a portrait of Queen Emma, and sent to Berlin in 1902 a +portrait of Wolmaran, a member of the Transvaal Government, which was +esteemed a work of the first rank. She has painted several portraits of +her mother, which would have made for her a reputation had she done no +others. She has had many notable men and women among her sitters, and +though not a robust woman, she works incessantly without filling all the +commissions offered her.</p><a name="Page_394"></a> + +<p>Her pictures are in the Museums of Amsterdam and Rotterdam.</p> + +<p>Her work is full of life and strength, and her touch shows her confidence +in herself and her technical knowledge. She is, however, a severe critic +of her own work and is greatly disturbed by indiscriminating praise. She +is serious and preoccupied in her studio, but with her friends she is +full of gayety, and is greatly admired, both as a woman and as an artist.</p> + +<br> + +<p><b>Van der Veer, Miss.</b> "This artist," says a recent critic, "has +studied to some purpose in excellent continental schools, and is endowed +withal with a creative faculty and breadth in conception rarely found in +American painters of either sex. Her genre work is full of life, light, +color, and character, with picturesque grouping, faultless atmosphere, +and a breadth of technical treatment that verges on audacity, yet never +fails of its designed purpose."</p> + +<p>The fifty pictures exhibited by Miss Van der Veer in Philadelphia, in +February, 1904, included interiors, portraits—mostly in pastel—flower +studies and sketches, treating Dutch peasant life. Among the most notable +of these may be mentioned "The Chimney Corner," "Saturday Morning," +"Mother and Child," and a portrait of the artist herself.</p> + +<br> + +<p><b>Waldau, Margarethe.</b> Born in Breslau, 1860. After studying by herself +in Munich, this artist became a pupil of Streckfuss in Berlin, and later, +in Nuremberg, studied under the younger Graeb and Ritter. The first +subject chosen by her for a picture was the "Portal of the Church of the +Magdalene." Her taste for architectural motives <a name="Page_395"></a>was strengthened by +travel in Russia, the Netherlands, Belgium, and Germany.</p> + +<p>The fine old churches of Nuremberg and the venerable edifices of Breslau +afforded her most attractive subjects, which she treated with such +distinction that her pictures were sought by kings and princes as well as +by appreciative connoisseurs.</p> + +<p>Her success increased her confidence in herself and enhanced the boldness +and freedom with which she handled her brush. An exhibition of her work +in Berlin led to her receiving a commission from the Government to paint +two pictures for the Paris Exposition, 1900. "Mayence at Sunset" and the +"Leipzig Market-Place in Winter" were the result of this order, and are +two of her best works.</p> + +<p>Occasionally this artist has painted genre subjects, but her real success +has not been in this direction.</p> + +<div>*** END OF THE PROJECT GUTENBERG EBOOK 12045 ***</div> +</body> +</html> + + + diff --git a/12045-h/images/001.jpg b/12045-h/images/001.jpg Binary files differnew file mode 100644 index 0000000..6350206 --- /dev/null +++ b/12045-h/images/001.jpg diff --git a/12045-h/images/001_th.jpg b/12045-h/images/001_th.jpg Binary files differnew file mode 100644 index 0000000..78e95b3 --- /dev/null +++ b/12045-h/images/001_th.jpg diff --git a/12045-h/images/002.jpg b/12045-h/images/002.jpg Binary files differnew file mode 100644 index 0000000..35b84b0 --- /dev/null +++ b/12045-h/images/002.jpg diff --git a/12045-h/images/002_th.jpg b/12045-h/images/002_th.jpg Binary files differnew file mode 100644 index 0000000..71c0dee --- /dev/null +++ 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