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+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
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D.
+
+Author: Clara Erskine Clement
+
+Release Date: April 15, 2004 [EBook #12045]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK WOMEN IN THE FINE ARTS ***
+
+
+
+
+Produced by Suzanne Shell, and the Online Distributed Proofreading Team.
+
+
+
+
+
+
+[Illustration: Alinari, Photo.
+
+In the Bologna Gallery
+
+THE INFANT CHRIST
+
+ELISABETTA SIRANI]
+
+
+
+
+WOMEN
+
+IN THE FINE ARTS
+
+FROM THE SEVENTH CENTURY B. C.
+
+TO THE
+
+TWENTIETH CENTURY A. D.
+
+BY
+
+CLARA ERSKINE CLEMENT
+
+1904
+
+
+
+
+PREFATORY NOTE
+
+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.
+
+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.
+
+I wish especially to acknowledge the courtesy of those who have given me
+photographs of their pictures and sculpture, to be used as illustrations.
+
+CLARA ERSKINE CLEMENT.
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+THE INFANT CHRIST                  _Elisabetta Sirani_
+In the Bologna Gallery. By permission of Fratelli Alinari.
+
+A PORTRAIT                         _Elizabeth Gowdy Baker_
+
+A PORTRAIT                         _Adelaide Cole Chase_
+From a Copley print.
+
+A CANADIAN INTERIOR                _Emma Lampert Cooper_
+
+ANGIOLA                            _Louise Cox_
+From a Copley print.
+
+DOROTHY                            _Lydia Field Emmet_
+From a Copley print.
+
+JUDITH WITH THE HEAD OF HOLOFERNES _Artemisia Gentileschi_
+In the Pitti Gallery. By permission of Fratelli Alinari.
+
+GIVE US THIS DAY OUR DAILY BREAD   _Berthe Girardet_
+
+THE DEPARTURE OF SUMMER            _Louise L. Heustis_
+From a Copley print.
+
+MINIATURE OF PERSIS BLAIR          _Laura Coombs Hills_
+
+CHILD OF THE PEOPLE                _Helen Hyde_
+
+MOTHER AND CHILD                   _Phoebe A. Jenks_
+
+MISS ELLEN TERRY AS "PORTIA"       _Louise Jopling Rowe_
+
+ANGELICA KAUFFMAN                  _Angelica Kauffman_
+In the Uffizi Gallery. By permission of Fratelli Alinari.
+
+PORTRAIT OF ROSA BONHEUR           _Anna E. Klumpke_
+
+A FAMILY OF DOGS                   _Matilda Lotz_
+
+FRITZ                              _Clara T. MacChesney_
+From a Copley print.
+
+SAINT CATHERINE                    _Mary L. Macomber_
+From a Copley print.
+
+MONUMENT FOR A TOMB                _Ida Matton_
+In Cemetery in Gefle, Sweden.
+
+DELFT                              _Blanche McManus Mansfield_
+
+AN INDIAN AFTER THE CHASE          _Rhoda Holmes Nichols_
+
+FLOWERS                            _Helen Searle Pattison_
+
+ST. CHRISTOPHER                    Engraved by _Caroline A. Powell_
+In Doge's Palace, Venice
+
+GENEVESE WATCHMAKER                _Aimée Rapin_
+In the Museum at Neuchâtel.
+
+MAY DAY AT WHITELANDS COLLEGE, CHELSEA. _Anna Mary Richards_
+
+FRUIT, FLOWERS, AND INSECTS        _Rachel Ruysch_
+In the Pitti Gallery. By permission of Fratelli Alinari.
+
+A FROG FOUNTAIN                    _Janet Scudder_
+
+A FRENCH PRINCE                    _Marie Vigée Le Brun_
+
+LA VIERGE AU ROSIER                _Sadie Waters_
+By courtesy of Braun, Clément et Cie.
+
+SONG OF AGES                       _Ethel Wright_
+From a Copley print.
+
+STATUE OF DANIEL BOONE             _Enid Yandell_
+Made for St. Louis Exposition.
+
+
+
+
+INTRODUCTION
+
+
+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.
+
+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.
+
+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.
+
+Calypso was famous for the excellence of her character 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."
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+At present we have no reliable records of the lives and works of women
+artists before the time of the Renaissance in Italy.
+
+       *       *       *       *       *
+
+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 _résumé_ 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.
+
+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 with this view, and the study of these four centuries is of
+absorbing interest.
+
+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 Mediaeval 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 Mediaeval formality and ugliness; a time when the spirit of
+art should be revived with an impulse prophetic of its coming glory.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+This expansion of thought and purpose was inaugurating an art attractive
+to women, to which the increasing liberty of artistic theory and
+practice must logically make them welcome; a result which is a
+distinguishing feature of sixteenth-century painting.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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.
+
+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 biographical 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.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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
+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.
+
+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 "_Collège_" 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.
+
+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.
+
+       *       *       *       *       *
+
+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 the English Court, as the Italians crossed the
+Alps to serve the kings of France.
+
+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."
+
+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.
+
+       *       *       *       *       *
+
+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 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.
+
+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.
+
+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!"
+
+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.
+
+       *       *       *       *       *
+
+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 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.
+
+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 _little_ 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.
+
+At one period the Eclectics produced harmonious pictures in a manner
+attractive to women, many of whom 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.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+Not a few gifted women of this time are remembered 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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+Madame de Maintenon patronized learning; at the Hôtel Rambouillet men and
+women of genius met the world of 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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+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.
+
+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 Rachel Ruysch disputed
+honors with them, and many other women excelled in this delightful art.
+
+An interesting feature in art at this time was the intimate association
+of men and women artists and the distinction of women thus associated.
+
+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.
+
+       *       *       *       *       *
+
+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 Gibson, 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.
+
+       *       *       *       *       *
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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
+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.
+
+       *       *       *       *       *
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+Italian women, especially in the second half of the century, 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.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+In France, in the beginning of this century Watteau, 1684-1721, painted
+his interesting pictures of _La Belle Société_, 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 pupil David
+won recognition from the world of the First Empire.
+
+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 _pot-pourri_, it was far enough above worthlessness not to be
+ignored, but so far short of excellence as not to be admired.
+
+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.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+Many German women emulated the examples of the earlier flower painters,
+but no one was so important as to merit special attention, though a
+goodly number were elected to academies and several appointed painters to
+the minor courts.
+
+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.
+
+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.
+
+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.
+
+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.
+
+As frequently happens in a study of this kind, I find long lists of the
+names of women artists of this period of 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.
+
+       *       *       *       *       *
+
+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."
+
+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.
+
+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 commonplace and void
+of incident. Of the few exceptions to this rule I have written in the
+later pages of this book.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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 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.
+
+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 _par excellence_ of expansion, and in various
+directions an epoch-making era.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+Nothing that makes a part in human experience is now 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.
+
+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!
+
+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.
+
+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.
+
+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.
+
+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, brings artistic objects to
+the sight and knowledge of all, at prices suited to moderate means.
+
+       *       *       *       *       *
+
+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.
+
+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?
+
+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.
+
+       *       *       *       *       *
+
+The advantages for the study of Art have been largely improved and
+increased in this period. In numberless 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.
+
+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.
+
+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."
+
+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.
+
+Trollope's estimate of the position of women in England, which was not
+unlike that in America, forty-five years ago, when contrasted with that
+of the present day, affords another striking example of the expansion of
+the nineteenth century.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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
+developed 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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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 discovered a patience of
+beauty, a reconciling, in the concert of landscape mystery with labor."
+
+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?
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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 Ruskin 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."
+
+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.
+
+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."
+
+Rossetti's "Girlhood of Virgin Mary," Holman Hunt's "Light of the World,"
+and Millais' "Christ in the House of His Parents" have been called the
+Trilogy of Pre-raphaelite Art.
+
+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.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+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 conventions and introducing a new manner of seeing and
+representing Nature.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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 _motifs_ 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.
+
+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.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+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 unusual for an artist to study under
+Dutch, German, and Italian masters, as well as French.
+
+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.
+
+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 _Grand prix de Rome_ conferred by _l'École des Beaux
+Arts_.
+
+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 _l'École des Beaux Arts_, this narrowness of the American Academy in
+the Eternal City is especially pronounced.
+
+One can but approve the encouragement afforded women artists in France,
+by the generosity with which their excellence is recognized.
+
+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 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.
+
+
+
+
+<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.
+
+
+
+<b>ABBATT, AGNES DEAN.</b> Bronze medal, Cooper Union; silver medal,
+Massachusetts Charitable Mechanics' Association. Member of American Water
+Color Society.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+Mme. Abbema illustrated "La Mer," by Maizeroy, and has contributed to the
+_Gazette des Beaux-Arts_ and several other Parisian publications.
+
+At the Salon of the Artistes Français, 1902, she exhibited the "Portrait
+of Pierre," and in 1903 a portrait of the Countess P. S.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<b>ABBOTT, KATHERINE G.</b> Bronze medal, Paris Exposition, 1900; honorable
+mention, Buffalo Exposition, 1901.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+A painter of figure subjects and portraits. Several of her works are in
+private collections in the United States. 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."
+
+"The Dull Season" is in London; "Cinderella" and many others in Paris.
+
+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.
+
+"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.
+
+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.
+
+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. 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.
+
+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.
+
+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.
+
+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.
+
+
+
+<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 at the Salon Artistes Français in 1902, was purchased by the
+French Government. In 1903 she exhibited "June Twilight, Venice," and
+"Morning Fog, Holland."
+
+
+
+<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."
+
+
+
+<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 under Grundmann, Champney, and
+Stone; Pennsylvania Academy under Thomas Eakins; Drexel Institute under
+Howard Pyle.
+
+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.
+
+Miss Ahrens is also favorably known as a designer for stained-glass
+windows.
+
+
+
+<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.
+
+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.
+
+
+
+<b>ALEXANDER, FRANCESCA.</b> Born in Florence, Italy. Daughter of the
+portrait painter, Francis Alexander. 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.
+
+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."
+
+
+
+<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."
+
+
+
+<b>ALLINGHAM, HELEN.</b> Honorable mention at Paris Exhibition, 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.
+
+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.
+
+Her pictures are of genre subjects, chiefly from English rural life and
+landscapes. She has also been successful as an illustrator for the
+_Graphic_, the _Cornhill Magazine_, 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.
+
+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.
+
+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 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."--_Notes of the Academy_, 1875.
+
+
+
+<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.
+
+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.
+
+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 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.
+
+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,
+
+    Lie on mother's knee, my own,
+      Dance your heels about me!
+    Apples leave the tree, my own.
+      Soon you'll live without me."
+
+
+
+<b>AMEN, MADAME J.</b> Honorable mention, Paris, 1901.
+
+[_No reply to circular_.]
+
+
+
+<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."
+
+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.
+
+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.
+
+
+
+<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."
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 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."
+
+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.
+
+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.
+
+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 himself better pleased
+that she had given him a daughter, and made the declaration good by
+devotion to this child so long as he lived.
+
+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."
+
+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.
+
+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.
+
+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?
+
+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
+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.
+
+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!
+
+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, is in the Sienna
+Gallery. He holds a brush in his hand, and is probably one of her
+masters.
+
+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.
+
+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.
+
+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 _bal
+masqué_, 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.
+
+
+
+<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 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.
+
+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.
+
+"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.
+
+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."
+
+
+
+<b>ANTIGNA, MME. HÉLÈNE MARIE.</b> Born at Melun. Pupil 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.
+
+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.
+
+
+
+<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.
+
+Mme. Appia, before her marriage, exhibited at the Paris Salon several
+years continuously. Since then she has exhibited at Turin and Geneva.
+
+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.
+
+
+
+<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.
+
+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.
+
+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."
+
+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.
+
+
+
+<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.
+
+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 _Girls' Own Journal,_ 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 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.
+
+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.
+
+
+
+
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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 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.
+
+
+
+<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.
+
+
+
+<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.
+
+Her favorite subjects are wild animals, and she is successful in the
+illustration of books. Her pictures are in 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.
+
+
+
+<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.
+
+
+
+<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."
+
+
+
+<b>BAILY, CAROLINE A. B.</b> Gold medal, Paris Exposition, 1900;
+third-class medal, Salon, 1901.
+
+[_No reply to circular_.]
+
+
+
+<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 Arts, Cowles Art School,
+Boston; under Frederick Freer, William Chase, and Siddons Mowbray.
+
+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.
+
+[Illustration: A PORTRAIT
+
+ELIZABETH GOWDY BAKER]
+
+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 _beautiful_ for women and children, and
+sufficiently strong for portraits of men."
+
+She rarely exhibits, and her portraits are in private houses.
+
+
+
+<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, to her astonishment, that the Minerva
+Academy considered the picture as belonging to them.
+
+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.
+
+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.
+
+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."
+
+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 will produce that which is good." To this she remained
+faithful all her days.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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."
+
+
+
+<b>BARRANTES MANUEL DE ARAGON, MARIA DEL CÁRMEN.</b> Member 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.
+
+
+
+<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 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!
+
+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."
+
+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-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."
+
+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.
+
+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.
+
+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.
+
+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. 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.
+
+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."
+
+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 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.
+
+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."
+
+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."
+
+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 _chef d'oeuvre_, 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."
+
+
+Previous to this time, her picture of two boys, called "Jean and
+Jacques," had been reproduced in the Russian _Illustration_, 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.
+
+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"!
+
+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!"
+
+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.
+
+A friendship had grown up between the families Bashkirtseff 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!"
+
+These visits were continued. October 20th she writes of his increasing
+feebleness. She wrote no more, and in eleven days was dead.
+
+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:
+
+"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.
+
+"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 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."
+
+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!"
+
+
+
+<b>BAUCK, JEANNA.</b> Born in Stockholm in 1840. Portrait 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.
+
+
+
+<b>BAUERLÉ, MISS A.</b>
+
+[_No reply to circular_.]
+
+
+
+<b>BAXTER, MARTHA WHEELER.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+Her drawing was excellent and spirited, her color strong and pure, and
+her portraits were sought by many distinguished persons.
+
+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.
+
+
+
+<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.
+
+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.
+
+
+
+<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
+Institute, 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.
+
+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 _Century Magazine_, 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."
+
+Seven years later, in the _International Studio_, 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 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.
+
+"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."--_Charles H. Caffin_.
+
+In the _International Studio_ 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 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."--_Charles H. Caffin_.
+
+A writer in the _Mail and Express_ 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."
+
+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!
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+Miss Beck paints portraits and her works have been 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.
+
+Miss Beck edited the Catalogue of the Wilstach Collection of Paintings in
+Memorial Hall, Fairmount Park, Philadelphia.
+
+
+
+<b>BECKINGTON, ALICE.</b>
+
+[_No reply to circular_.]
+
+
+
+<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."
+
+
+
+<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
+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.
+
+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.
+
+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.
+
+
+
+<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.
+
+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
+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.
+
+
+
+<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.
+
+
+
+<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."
+
+
+
+<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 possible 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.
+
+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."
+
+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 francs--for her civil burial at
+the Comédie Française.
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+Her mother is now the Countess von Wrede, her home 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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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 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.
+
+
+
+<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.[1]
+
+[Footnote 1: See Appendix.]
+
+
+<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.
+
+
+
+<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.
+
+
+
+<b>BLAU, TINA.</b> Honorable mention in Paris, 1883, for her "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."
+
+
+
+<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.
+
+At the Salon of the Artistes Français, 1903, Mme. Bloch exhibited a
+"Portrait of M. Frédéric Passy, Member of the Institute."
+
+
+
+<b>BOCCARDO, LINA ZERBINAH.</b> Rome.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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.
+
+This artist paints portraits principally. She has been successful, and
+her pictures are in Geneva, Lausanne, Vevey, Paris, Lyons, Marseilles,
+Dresden, Naples, etc.
+
+
+
+<b>BOMPIANI-BATTAGLIA, CLELIA.</b> Born in Rome, 1847. 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.
+
+
+
+<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."
+
+Mme. Peyrol was associated with her famous sister in the conduct of the
+Free School of Design, founded by Rosa Bonheur in 1849.
+
+
+
+<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.
+
+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
+anatomically 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.
+
+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.
+
+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.
+
+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."
+
+The story of her life is of great interest, and can be but slightly
+sketched here.
+
+She was afoot betimes in the morning, and often walked ten or twelve
+miles and worked hard all day. The difficulty 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.
+
+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.
+
+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.
+
+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!
+
+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, 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.
+
+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.
+
+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 connoisseurs. 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.
+
+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.
+
+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.
+
+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, 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.
+
+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
+anything 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.
+
+
+
+<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.
+
+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.
+
+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.'"
+
+Miss Bonsall has prepared a "Cat Calendar" and a "Child's Book about
+Cats," which were promised to appear in the autumn of 1903.
+
+
+
+<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.
+
+This artist paints portraits, which are in private hands.
+
+
+
+<b>BONTE, PAULA.</b> Born in Magdeburg, 1840, and from 1862 to 1864 was a
+pupil of Pape in Berlin. She travelled 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.
+
+
+
+<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 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."
+
+
+
+<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 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.
+
+
+
+<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.
+
+
+
+<b>BOUGUEREAU, MME. ELIZABETH JANE.</b> See Gardner.
+
+
+
+<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.
+
+
+
+<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 de Baron Taylor. Born at Paris, 1870. Pupil of Ferdinand
+Humbert and G. C. Saintpierre.
+
+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.
+
+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.
+
+
+
+<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.
+
+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.
+
+"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 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."
+
+
+
+<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.
+
+In 1881 this artist entered the Ursuline Convent at Piacenza, where she
+continues to paint religious pictures.
+
+
+
+<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 portrait statue of President
+Monroe; beside the figure is a globe, on which he points out the junction
+of the Mississippi and Missouri rivers.
+
+[_No reply to circular_.]
+
+
+
+<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."
+
+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.
+
+
+
+<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 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.
+
+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."
+
+
+
+<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.
+
+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.
+
+At the Salon of 1902 Mlle. Breslau exhibited six pictures, 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."
+
+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!"
+
+"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."
+
+"I am jealous of Breslau. She does not draw at all like a woman."
+
+"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."
+
+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.
+
+
+
+<b>BREWSTER, ADA AUGUSTA.</b>
+
+[_No reply to circular_.]
+
+
+
+<b>BRICKDALE, MISS ELEANOR FORTESCUE.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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 de' Francesi the third chapel on the left
+aisle, dedicated to St. Louis, and with having also painted the
+altar-piece in this chapel.
+
+
+
+<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 _Art Journal_ 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."
+
+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."
+
+Her pictures are in private collections, and are much valued by their
+owners.
+
+
+
+<b>BROOKS, MARIA.</b>
+
+[_No reply to circular_.]
+
+
+
+<b>BROWNSCOMBE, JENNIE.</b> Pupil of the National Academy and the Art
+Students' League, New York, and of Henry Mosler in Paris.
+
+Paints genre subjects, among which are: "Love's Young Dream," "Colonial
+Minuet," "Sir Roger de Coverly at Carvel Hall," "Battle of Roses," etc.
+
+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.
+
+Miss Brownscombe exhibits at many American exhibitions and has had her
+work accepted at the Royal Academy, London.
+
+
+
+<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.
+
+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.
+
+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 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.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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.
+
+T. Chasrel wrote in _L'Art_: "Her touch without over-minuteness has the
+delicacy and security of a fine work of the needle. The accent is just
+without that seeking 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."
+
+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."
+
+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.
+
+
+
+<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."
+
+
+
+<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.
+
+
+
+<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.
+
+Miss Butler exhibited "A Corner of the Bargello, Florence," at the London
+Academy in 1903.
+
+[_No reply to circular_.]
+
+
+
+<b>BUTLER, LADY ELIZABETH.</b> Born in Lausanne about 1844. Elizabeth
+Southerden Thompson. As a child this artist 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.
+
+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."
+
+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."
+
+Lady Butler has recently appeared as an author, publishing "Letters from
+the Holy Land," illustrated by sixteen most attractive drawings in
+colors. The _Spectator_ 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."
+
+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 because I have always said that no
+woman could paint, and secondly because I thought what the public made
+such a fuss about _must_ 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."
+
+The _Art Journal_, 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."
+
+Her recent picture, "Within Sound of the Guns," shows a company of
+mounted soldiers on the confines of a river in South Africa.
+
+[_No reply to circular_.]
+
+
+
+<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 Professor
+Newbery, and at the Colarossi Academy, Paris, under Raphael Collin and
+Gustave Courtois.
+
+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."
+
+In the _Magazine of Art_, 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."
+
+In the _Studio_ of May, 1903, J. L. C., who writes of the same
+exhibition, calls this picture "admirable in both action and color."
+
+
+
+<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.
+
+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.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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 constantly in contact with Vandyck, could praise
+Mistress Carlisle, we must believe her to have been a good painter.
+
+Mistress Anne has sometimes been confounded with the Countess of
+Carlisle, who was distinguished as an engraver of the works of Salvator
+Rosa, etc.
+
+
+
+<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.
+
+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.
+
+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.
+
+She painted a great number of portraits of titled ladies 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.
+
+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."
+
+
+
+<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.
+
+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."
+
+
+
+<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 brother-in-law, Antonio Pellegrini,
+whom she later accompanied to Paris and London and assisted in the
+decorative works he executed there.
+
+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.
+
+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.
+
+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.
+
+While in England Rosalba painted many portraits in crayon and pastel, in
+which art she was not surpassed by any artist of her day.
+
+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.
+
+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
+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."
+
+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.
+
+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."
+
+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.
+
+
+
+<b>CASSATT, MARY.</b> Born in Pittsburg. Studied in Pennsylvania schools,
+and under Soyer and Bellay in Paris. She has lived and travelled much in
+Europe, and her pictures, which are of genre subjects, include scenes in
+France, Italy, Spain, and Holland.
+
+Among her principal works are "La tasse de thé," "Le lever du bébé,"
+"Reading," "Mère et Enfant," and "Caresse Maternelle."
+
+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."
+
+Miss Cassatt executed a large, decorative picture for the north tympanum
+of the Woman's Building at the Columbian Exhibition.
+
+A writer in the _Century Magazine_, 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."
+
+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
+Hoeber described it as "securing great charm of manner, of color, and of
+grace."
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+[Illustration: From a Copley Print.
+
+A PORTRAIT
+
+ADELAIDE COLE CHASE]
+
+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."
+
+
+
+<b>CHAUCHET, CHARLOTTE.</b> Honorable mention at the Salon, 1901;
+third-class medal, 1902. Member of the Société 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.
+
+The works of Mlle. Chauchet have been much praised. The _Petit Moniteur_,
+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 _Dépêche de Brest_ 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."
+
+In the _Courrier de l'Est_ 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."
+
+In the _Union Républicaine de la Marne_, H. Bernard 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."
+
+Chaussée, Mlle. Cécile de.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+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, 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.
+
+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."
+
+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.
+
+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."
+
+Pictures by this artist are seen in various collections in France, but
+the larger number of her works were portraits which are in the families
+of her subjects.
+
+
+
+<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.
+
+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.
+
+An exhibition of ten portraits by this artist was held in Chicago in
+1903, and was favorably noticed. Mrs. Cherry resides in Houston, Texas.
+
+
+
+<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
+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.
+
+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.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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 are at pasture in idyllic peace. Here is to be
+found the cheery freshness of country life."
+
+
+
+<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."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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 sittings 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.
+
+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.
+
+"Lion Tamers in the Time of Nero" is one of her important pictures of
+animals, of which she has made many sketches.
+
+
+
+<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.
+
+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.
+
+[Illustration: A CANADIAN INTERIOR
+
+EMMA LAMPERT COOPER]
+
+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."--_Brooklyn
+Standard Union_.
+
+
+
+<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 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.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+After her father's death Maria ardently desired to become a nun, but her
+mother persuaded her to go to England. Here she came under the influence
+of Angelica Kauffman, and devoted herself assiduously to painting.
+
+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.
+
+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.
+
+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:
+
+"Many of the rooms were more like scenes of enchantment 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."
+
+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.
+
+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."
+
+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.
+
+
+
+<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.
+
+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.
+
+
+
+<b>COUTAN-MONTORGUEIL, MME. LAURE MARTIN.</b> Honorable mention, Salon des
+Artistes Français, 1894. Born at Dun-sur-Auron, Cher. Pupil of Alfred
+Boucher.
+
+This sculptor has executed the monument to André Gill, Père Lachaise;
+that of the Poet Moreau, in the 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.
+
+At the Salon, Artistes Français, 1903, she exhibited "Fortune" and "A
+Statuette."
+
+
+
+<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.
+
+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.
+
+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.
+
+Regarding their work in the Chapel of Christ Church, New Haven, Miss
+Genevieve Cowles writes me: "These 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."
+
+These artists are now, November, 1903, engaged upon a landscape frieze
+for a dining-room in a house at Watch Hill.
+
+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."
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+[Illustration: From a Copley Print.
+
+ANGIOLA
+
+LOUISE COX]
+
+A writer in the _Cosmopolitan_ 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."
+
+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."
+
+
+
+<b>CRESPO DE REIGON, ASUNCION.</b> Honorable mention at 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.
+
+
+
+<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."
+
+
+
+<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."
+
+
+
+<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.
+
+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."
+
+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.
+
+This decided her to test herself, and, obtaining wax and the proper
+tools, she worked industriously until she 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.
+
+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.
+
+She at once began the study of anatomy under Cruikshanks, modelling with
+Cerrachi, and the handling of marble in the studio of Bacon.
+
+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!
+
+Mrs. Damer was childless, and very soon after her husband's death she
+travelled in Europe and renewed her 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.
+
+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.
+
+Those who have written of Mrs. Darner's art have taken extreme views.
+They have praised _ad nauseam_, 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
+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."
+
+Cerrachi made a full length figure of Mrs. Damer, which he called the
+Muse of Sculpture, and Darwin, the poet, wrote:
+
+    "Long with soft touch shall Damers' chisel charm,
+    With grace delight us, and with beauty warm."
+
+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.
+
+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." She did not hesitate to openly express her
+sympathy with the American colonies, and bravely defended their cause.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+<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 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.
+
+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.
+
+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.
+
+Mrs. Dassel interested herself in charities and was admired as an artist
+and greatly respected as a woman. She died in 1857.
+
+
+
+<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 School and Royal Academy School. Has exhibited several years at
+the Royal Academy Exhibition and Institute of Painters in Water-Colors.
+
+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."
+
+To the Academy Exhibition of 1903 Mrs. Lewis sent "On the Mountain-side,
+Engelberg."
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+Her pictures are in private hands in Washington, New York, and Boston.
+
+The following article written at the time of an exhibition by Mrs. de
+Haas gives a just estimate of her work:
+
+"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.
+
+"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.
+
+"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
+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.
+
+"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.
+
+"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.
+
+"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.
+
+"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.
+
+"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.'"
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+Among her pictures are the "Happy Mother," "Temptation," "Far from
+Paris," "Maternal Joys," and in the Salon des Artistes Français, 1903,
+"Youth which Passes."
+
+
+
+<b>DELASALLE, ANGÈLE.</b> Honorable mention, Salon des Artistes Français,
+1895; third-class medal, 1897; second-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.
+
+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.
+
+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.
+
+In the _Magazine of Art_, 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 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.
+
+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.
+
+
+
+<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.
+
+Mlle. Delorme has painted a great number of portraits, which are in the
+hands of her subjects. Her works are exhibited in the Salon au Grand
+Palais. In 1902 she exhibited a "Portrait of Mlle. Magdeleine D."
+
+
+
+<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.
+
+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.
+
+At the Salon des Artistes Français, in 1902, Mme. 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.
+
+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.
+
+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.
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<b>DIÉTERLE, MME. M.</b>
+
+[_No reply to circular_.]
+
+
+
+<b>DIETRICH, ADELHEID.</b> Born in Wittemberg, 1827. Daughter and pupil of
+Edward Dietrich, whose teaching she supplemented 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.
+
+
+
+<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.
+
+
+
+<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.
+
+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 conspicuous on account of its
+strength, directness, and firmness, allied to delicacy of touch.
+
+"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."--_Success_, September, 1902.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+Mme. Dubourg has exhibited her works at the Salons regularly since 1868,
+and her pictures are now seen in the Museums of Grenoble and Pau, as
+well as in many private collections. Her subjects are of still life.
+
+At the Salon of the Artistes Français, in 1902, Mme. Dubourg exhibited a
+"Basket of Flowers."
+
+
+
+<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.
+
+
+
+<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."
+
+[_No reply to circular_.]
+
+
+
+<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).
+
+Studies made at Julian Academy, under Bouguereau and Robert-Fleury. Mlle.
+Dufau calls her works illustrations and posters, and gives the following
+as the principal examples:
+
+"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.
+
+
+
+<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.
+
+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.
+
+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."
+The first is a scene at nightfall and is rendered with great delicacy and
+refinement.
+
+
+
+<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.
+
+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.
+
+She has a wide reputation in Italy for her statues of the "Young Giotto,"
+"St. Peter in Prison," and "San Giuseppe Calasanzio."
+
+
+
+<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 _Art Journal_, March,
+1873, spoke of her as "one of our most accomplished female sculptors."
+Her bust of Queen Victoria is in the Middle Temple, London; 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.
+
+
+
+<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.
+
+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.
+
+
+
+<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."
+
+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.
+
+This artist exhibits in the United States as well as in the chief cities
+of England, and has held private exhibitions 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."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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 fond of
+painting birds and is successful in this branch of her art.
+
+
+
+<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.
+
+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."
+
+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.
+
+
+
+<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, 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.
+
+[Illustration: From a Copley Print.
+
+DOROTHY
+
+LYDIA FIELD EMMET]
+
+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.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+
+
+<b>ESCH, MATHILDE.</b> Born at Kletten, Bohemia, 1820. 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.
+
+
+
+<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."
+
+
+
+<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.
+
+Here, in the quaint old city--a large part of which we still describe as
+mediaeval--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.
+
+We cannot now point to any pictures as exclusively hers, as she worked in
+concert with her brothers. It is, 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.
+
+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."
+
+A Madonna in the National Gallery in London is attributed to Margaretha
+van Eyck.
+
+
+
+<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.
+
+After Neher's designs, she modelled reliefs for the bronze doors at the
+castle of Weimar.
+
+
+
+<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 Broeck in London, Canada, and later of William Chase in New York.
+Now studying in Paris.
+
+
+
+<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.
+
+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.
+
+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.
+
+The _Arcadian_, 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 naturally 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."
+
+The _Washington Capital_, 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."
+
+In the _Washington Star_, 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:
+
+"'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.'"
+
+"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."--_David S. Barry_, in
+_Pearson's Magazine_.
+
+
+
+<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.
+
+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.
+
+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."
+
+
+
+<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.
+
+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.
+
+At the Limoges Exposition, May to November, 1903, Mme. Faux-Froidure was
+announced as hors concours in water-colors.
+
+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."
+
+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.
+
+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."
+
+
+
+<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."
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+
+
+<b>FLEURY, MME. FANNY.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+Born in Padua, 1872. Pupil of Ottin in Paris, and of the Academy of Fine
+Arts in Rome.
+
+The principal works of this sculptor are a "Bacchante," now in St.
+Petersburg; "Najade," sold in London; "The 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.
+
+Signora Focca is a professor of drawing in the Normal Schools of Rome.
+
+
+
+<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.
+
+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.
+
+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."--_Tuckerman's Book of the Artists._
+
+"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."--_Boston Advertiser,_ January, 1878.
+
+
+
+<b>FONTAINE, JENNY.</b> Silver medal, Julian Academy, 1889; silver medal at
+Amiens Exposition, 1890 and 1894; honorable 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.
+
+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.
+
+At the Salon of 1902 she exhibited her own portrait; in 1903, portraits
+of MM. Rene et Georges D. The _Journal des Arts_, 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 _portraitiste_ in our Salons, and two of her works are here: a portrait
+of a young girl and one of General Jeanningros."
+
+
+
+<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.
+
+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. 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.
+
+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.
+
+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."
+
+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.
+
+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.
+
+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 their exaggerations, and our comparatively cold adjectives
+would be taxed beyond their power of expression.
+
+
+
+<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.
+
+
+
+<b>FOORD, MISS J.</b> A painter of plants and flowers, which are much
+praised. An article in the _Studio_, 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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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 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."
+
+
+
+<b>FORBES, MRS. STANHOPE.</b> Mr. Norman Gastin, in an article upon the
+work of the Royal Academician, Stanhope Forbes, in the _Studio_, July,
+1901, pays the following tribute to the wife of the artist, whose maiden
+name was Elizabeth Armstrong:
+
+"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."
+
+[_No reply to circular_.]
+
+
+
+<b>FORTI, ENRICA.</b> Rome.
+
+[_No reply to circular_.]
+
+
+
+<b>FORTIN DE COOL, DELFINA.</b> Third-class medal, Madrid, 1864, for the
+following works reproduced on porcelain: 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.
+
+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.
+
+
+
+<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."
+
+
+
+<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.
+
+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 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.
+
+
+
+<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."
+
+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.
+
+"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."--_The Revolution_, May, 1871.
+
+
+
+<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 she was later
+specially invited to send to an exhibition in Liverpool, and several
+other exhibits.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<b>FRIEDRICH, CAROLINE FRIEDERIKE.</b> Born in Dresden. 1749-1815. Honorary
+member of Dresden Academy. In the Dresden Gallery is a picture by this
+artist, "Pastry on a Plate with a Glass of Wine," signed 1799.
+
+
+
+<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.
+
+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.
+
+
+
+<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 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.
+
+
+
+<b>FRISHMUTH, HARRIET WHITNEY.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<b>FRUMERIE, MME. DE.</b> Honorable mention at the Salon des Artistes
+Français in 1893 and 1895. Born in Sweden, she studied in the School of
+Fine Arts in Stockholm. There she gained a prize which entitled her to
+study abroad during four years.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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."
+
+
+
+<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.
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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 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.
+
+
+
+<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.
+
+
+
+<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 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.
+
+
+
+<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.
+
+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.
+
+[Illustration: Alinari, Photo.
+
+In the Pitti Gallery, Florence
+
+JUDITH WITH THE HEAD OF HOLOFERNES
+
+ARTEMISIA GENTILESCHI]
+
+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."
+
+After her return to Italy from England, this artist was 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.
+
+
+
+<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."
+
+
+
+<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.
+
+
+
+<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.
+
+As Abbess of this community she proved herself to be 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.
+
+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.
+
+
+
+<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."
+
+[Illustration: GIVE US THIS DAY OUR DAILY BREAD
+
+BERTHE GIRARDET]
+
+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
+illustrating the prayer, "Give us this day our daily bread." Also
+portrait statues and busts belonging to private collections.
+
+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.
+
+A writer, G. M., in the _Studio_ 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.
+
+"The 'Bénédiction de l'Aïeule' is less tragic. Behind the granddaughter,
+delightful in her white veil and dress of a _première communicante_,
+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."
+
+
+
+<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.
+
+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.
+
+
+
+<b>GLEICHEN, COUNTESS HELENA.</b>
+
+[_No reply to circular_.]
+
+
+
+<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 been seriously hampered by
+ill health, and her achievements in the face of such a drawback are all
+the more remarkable.
+
+
+
+<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!
+
+
+
+<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.
+
+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 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.
+
+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.
+
+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 _Tribune_ 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!"
+
+
+
+<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 the Economic Society of
+Valencia. In the Provincial Museum is her picture of the "Two Smokers."
+
+
+
+<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."
+
+I was not "_really_" 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!
+
+
+
+<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.
+
+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.
+
+
+
+<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 of Prince and Princess Lippe-Detmold, Princess
+Hohenlohe-Langenburg, Prince Wittgenstein, the hereditary Princess Reuss,
+and Princess Biron von Kurland.
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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.
+
+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.
+
+She soon made illustrations for _Little Folks_ and the _London News_. 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.
+
+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 one in an entire collection as no single book or picture could
+do.
+
+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.
+
+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.
+
+
+
+<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 _Success_, September of that year:
+
+"'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 work. She has a rare idea of grace and great
+strength of treatment.
+
+"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."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+Mrs. Grey was fortunate in having the first picture she sent to London
+sold, and has continued to find purchasers 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.
+
+To the Academy Exhibition, 1903, she sent a picture of "Nightfall,
+Cullercoats," and a portrait of "Lily, daughter of Mrs. J. B. Firth."
+
+
+
+<b>GUILD, MRS. CADWALLADER.</b> I quote from the Boston _Transcript_ a
+portion of an article relative to this sculptor, some of whose works were
+exhibited in Boston in 1903:
+
+"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.'
+
+"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 excellency 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."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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.
+
+Mme. Guyon is a successful portrait painter, and her 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.
+
+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.
+
+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?
+
+
+
+<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.
+
+
+
+<b>HALE, ELLEN DAY.</b> Medal at exhibition of Mechanics' Charitable
+Association. Born in Worcester, Massachusetts. Pupil of William M. Hart
+and of Dr. Rimmer, in Boston, and of the Julian Academy, Paris.
+
+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.
+
+
+
+<b>HALLOWELL, MAY.</b> See Loud.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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 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.
+
+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."
+
+
+
+<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.
+
+
+
+<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.
+
+Her principal works are "The Keepsake," "Unwinding the Skein," "In Silk
+Attire," and "The Bride's Bouquet."
+
+
+
+<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.
+
+Mr. Harrison N. Howard, in _Brush and Pencil_, 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."
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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."
+
+
+
+<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.
+
+
+
+<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.
+
+[Illustration: From a Copley Print.
+
+THE DEPARTURE OF SUMMER
+
+LOUISE L. HEUSTIS]
+
+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 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.
+
+As an illustrator Miss Heustis has been employed by _St. Nicholas,
+Scribner's_, and _Harper's Magazine_.
+
+
+
+<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.
+
+"Mrs. Hill has mastered great difficulties in becoming a sculptor in
+established practice."--_Mrs. Tytler's "Modern Painters."_
+
+"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."--_Art Journal_, April, 1874.
+
+
+
+<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 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.
+
+[Illustration: MINIATURE OF PERSIS BLAIR
+
+LAURA COOMBS HILLS]
+
+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."
+
+"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 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."
+
+
+
+<b>HINMAN, LEANA MCLENNAN.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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,
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<b>HOGARTH, MARY.</b> Exhibits regularly at the New English 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.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+Miss Hosmer made a portrait statue of "Maria Sophia, Queen of the
+Sicilies," and a monument to an English 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.
+
+For Lady Ashburton Miss Hosmer made her Triton and Mermaid Fountains, and
+a Siren Fountain for Lady Marian Alford.
+
+
+
+<b>HOUSTON, CAROLINE A.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+A portrait painter whose pictures are in private hands. They have been
+exhibited in Paris, London, Naples, New York, Philadelphia, and Boston.
+
+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.
+
+
+
+<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. Congress 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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+Her Indian children are attractive, we must admit, and 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.
+
+
+
+<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.
+
+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.
+
+Mrs. Hulbert is also favorably known as an illustrator and decorative
+designer.
+
+
+
+<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.
+
+The following list of the titles of Mrs. Hunter's works will give an idea
+of the subjects she affects: "Dante and Beatrice," "Joy to the Laborer,"
+"An Italian Garden," "Where shall Wisdom be Found?" and the
+"Roadmenders," in Academy Exhibition, 1903.
+
+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 _Studio,_ 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 at which they can be said to have shown any
+diminution in the earnestness of their artistic intentions.
+
+"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 completely 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."
+
+
+
+<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.
+
+Among this artist's pictures are "Shouting above the Tide," "Primitive
+Fishing," "The Choir Invisible," etc.
+
+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.
+
+
+
+<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.
+
+The principal works of this artist are the "Boy with Great Dane," already
+mentioned, made in conjunction with her sister; a "Bison," in a private
+collection in Boston; and "Playing with Fire."
+
+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.
+
+
+
+<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.
+
+[Illustration: CHILD OF THE PEOPLE
+
+HELEN HYDE]
+
+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.
+
+
+
+<b>IGHINO, MARY.</b> A sculptor residing in Genoa. Since 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.
+
+
+
+<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.
+
+
+
+<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.
+
+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. At
+the Salon of 1902 Mlle Itasse exhibited a "Madonna"; in 1903, a portrait
+of M, W.
+
+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.
+
+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.
+
+
+
+<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, General 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.
+
+Paul d'Abrest wrote of Mlle. Jacquemart, in the _Zeitschrift für bildende
+Kunst:_ "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."
+
+
+
+<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.
+
+
+
+<b>JENKS, PHOEBE A. PICKERING.</b> Born in Portsmouth, New Hampshire, 1849.
+Mrs. Jenks writes that she has had no teachers.
+
+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.
+
+[Illustration: MOTHER AND CHILD
+
+PHOEBE JENKS]
+
+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.
+
+
+
+<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.
+
+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.
+
+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."
+
+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.
+
+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.
+
+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."
+
+Mme. Jerichau was also an author. In 1874 she published her "Memories of
+Youth," and later, with her son, the illustrated "Pictures of Travel."
+
+
+
+<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.
+
+Since 1871 Mrs. Jopling has been a constant exhibitor at the Royal
+Academy and other London exhibitions, and frequently also at the Paris
+Salon.
+
+[Illustration: MISS ELLEN TERRY AS "PORTIA"
+
+LOUISE JOPLING ROWE]
+
+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 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.
+
+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.
+
+Many of her pupils receive good prices for their works, and also earn
+large sums for their portraits in black and white.
+
+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."
+
+In the _Art Journal,_ 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."
+
+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."
+
+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."
+
+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.
+
+
+
+<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.
+
+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."
+
+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."
+
+
+
+<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."
+
+
+
+<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.
+
+
+
+<b>KAUFFMAN, ANGELICA.</b> An original member of the 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.
+
+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."
+
+[Illustration: Alinari, Photo.
+
+In the Uffizi, Florence
+
+PORTRAIT OF ANGELICA KAUFFMAN
+
+PAINTED BY HERSELF]
+
+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."
+
+Miss Kate Thompson writes: "Her works showed no originality nor any great
+power of execution, and, while sometimes graceful, were generally weak
+and insipid."
+
+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 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.
+
+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.
+
+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.
+
+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.
+
+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. Leonardo had lived and taught in Milan, and his
+influence with that of other Lombard masters stirred Angelica to her very
+soul.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Angelica was now eighteen years old, and in a measure 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.
+
+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.
+
+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.
+
+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, 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."
+
+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.
+
+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.
+
+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.
+
+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 to the Queen. Until this time no
+one save her father had known of it.
+
+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.
+
+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 clasp a hand of both, so that each imagined himself the
+cavalier of her choice."
+
+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.
+
+The old Kauffman lived to visit his home in Schwarzenburg and to reach
+Southern Italy, but died soon after.
+
+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."
+
+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 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. _No living painter_ excels
+her in dignity or in the delicate taste with which she handles the
+pencil."
+
+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.
+
+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.
+
+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 gentle womanliness. Just before she died she
+desired to hear one of Gellert's spiritual odes.
+
+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.
+
+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.
+
+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 interesting; Angelica was
+interesting with no thought of being so.
+
+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."
+
+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."
+
+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 Aeneid 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, 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.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+
+
+<b>KEITH, DORA WHEELER.</b>
+
+[_No reply to circular_.]
+
+
+
+<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."
+
+In July, 1903, in his article on the Royal Academy Exhibition, the editor
+of the _Magazine of Art_, 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."
+
+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."
+
+[_No reply to circular_.]
+
+
+
+<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 Artists 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.
+
+
+
+<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 _con amore._ 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.
+
+
+
+<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.
+
+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.
+
+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 daughter of
+the skies." After praising her poetry Dryden wrote:
+
+    "Her pencil drew whate'er her soul designed,
+    And oft the happy draught surpassed the image of her mind."
+
+Of her portrait of James II. he says:
+
+    "For, not content to express his outward part,
+    Her hand called out the image of his heart;
+    His warlike mind--his soul devoid of fear--
+    His high designing thoughts were figured there."
+
+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."
+
+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."
+
+
+
+<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 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.
+
+
+
+<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.
+
+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 them with appropriate figures, faces, costumes,
+and surroundings; to make them speak after their own characters."
+
+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.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<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."
+
+
+
+<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."
+
+
+
+<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.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<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 given at the annual Portrait
+Concours, between the men and women students of the above Academy.
+
+[Illustration: PORTRAIT OF ROSA BONHEUR
+
+ANNA E. KLUMPKE]
+
+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.
+
+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."
+
+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.
+
+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 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.
+
+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."
+
+At the Salon des Artistes Français, 1903, Miss Klumpke exhibited a
+picture called "Maternal Affection."
+
+
+
+<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."
+
+Two of her works in gouache are worthy of mention: "An Effeminate" and
+"Children Returning from School."
+
+
+
+<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 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.
+
+
+
+<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."
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+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.
+
+The time for the apprentice to leave his master came all too soon. As he
+sat with Kora the evening before 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.
+
+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.
+
+
+
+<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.
+
+
+
+<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 Florence, Rome, and Southern Italy. She has an excellent
+reputation as a portrait painter, and occasionally paints subjects of
+still-life.
+
+
+
+<b>KÜSSNER, AMALIA.</b> See Coudert, Amalia Küssner.
+
+
+
+<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.
+
+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.
+
+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 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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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.
+
+Miss Lamb has painted portraits principally, a large number of which are
+in Boston in the homes of the families 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.
+
+In 1887 Miss Lamb painted an admirable portrait of Mohini Mohun
+Chatterji, a Brahmin, who spent some months in Boston.
+
+
+
+<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.
+
+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."
+
+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.
+
+
+
+<b>LANDER, LOUISA.</b> Born in Salem, 1826. Manifested 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.
+
+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.
+
+
+
+<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 _Zeitschrift für bildende Kunst_ in 1893, and
+was said to show a powerful fancy.
+
+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.
+
+
+
+<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. Officer 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.
+
+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.
+
+At the Salon of the Artistes Français, 1902, Mme. La Villette exhibited
+"Twilight, Quiberon, Morbihan"; in 1903, "Fort Penthièvre, Quiberon," and
+"A Foaming Wave."
+
+
+
+<b>LE BRUN, MME.</b> See Vigée.
+
+
+
+<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.
+
+Her portraits are seen at many exhibitions, and art critics mention her
+with respect.
+
+[_No reply to circular_.]
+
+
+
+<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 miniaturist, 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.
+
+Among her principal works are "Diana and Her Dog," "Going out of Church,"
+"Ophelia," "Sleep," "The Fall of the Leaves," and "Manon."
+
+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.
+
+Her "Roses" at the Salon of 1903 were especially fine, so fresh and
+brilliant that they seemed to be actual blossoms.
+
+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:
+
+"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, 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."
+
+[_No reply to circular_.]
+
+
+
+<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. Member of the Ridley Art Club. Born in Llandaff,
+Glamorganshire.
+
+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.
+
+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."
+
+
+
+<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.
+
+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.
+
+"Among Miss Lewis's works are two small groups illustrating Longfellow's
+poem of Hiawatha. Her first, '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."--_Revolution_,
+April, 1871.
+
+"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."--_Great American Sculptors._
+
+
+
+<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.
+
+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.
+
+A recently published design for the wall decoration of a school,
+"Fingerhut im Walde," was awarded a prize. Fräulein Ley receives young
+women students in her atelier in Karlsruhe.
+
+
+
+<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.
+
+
+
+<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 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.
+
+"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."--_History of Modern Painters._
+
+
+
+<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.
+
+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.
+
+
+
+<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. 1722-1782. 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.
+
+
+
+<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.
+
+
+
+<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."
+
+
+
+<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 the
+Croatian churches. The "Madonna Immaculata" is in the Gymnasial Kirche,
+Meran, and a "Mater Dolorosa" in the Klosterkirche, Bruck a. d. Meer.
+
+
+
+<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.
+
+
+
+<b>LONGMAN, E. B.</b> This sculptor has a commission to execute a statue of
+Victory for a dome at the St. Louis Exposition.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+"Mrs. Loop's picture is an honest, unpretending work, well drawn,
+naturally posed, and clearly, solidly colored. There is not a trace of
+affectation about it. The artistic effects are produced in the most
+straightforward way."--_Clarence Cook, in New York Tribune._
+
+"Mrs. Loop is certainly the leading portrait painter among our lady
+artists. She is vigorous, conscientious, and perceptive."--_Chicago
+Times,_ 1875.
+
+
+
+<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.
+
+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."
+
+[Illustration: A FAMILY OF DOGS
+
+MATILDA LOTZ]
+
+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."
+
+
+
+<b>LOUD, MAY HALLOWELL.</b> Member of the Copley Society 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.
+
+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."
+
+
+
+<b>LOUISE, PRINCESS.</b> See Argyll.
+
+
+
+<b>LUSK, MARIE K.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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 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.
+
+[Illustration: From a Copley Print.
+
+FRITZ
+
+CLARA T. MacCHESNEY]
+
+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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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."
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+
+
+<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.
+
+Pupil of School of Fine Arts, St. Louis, Academy Julian, Paris, and of
+Carolus Duran.
+
+Exhibited at Salon des Beaux-Arts, 1902, "The October Sun," "The Last
+Rays," and "The Rain"; in 1903, "A Snow Scene."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+[Illustration: From a Copley Print.
+
+SAINT CATHERINE
+
+MARY L. MACOMBER]
+
+"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."--_Art
+Interchange,_ April, 1899.
+
+
+
+<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.
+
+
+
+<b>MANGILLA, ADA.</b> Gold medal at Ferrara for a "Bacchante," which is now
+in the Gallery there; gold medal 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.
+
+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."
+
+This highly accomplished woman, who has musical and literary talent, is
+the wife of Count Francessetti di Mersenile.
+
+
+
+<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 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.
+
+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.
+
+
+
+<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.
+
+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.
+
+Miss Manly has done much work for publishers, which has been reproduced
+in colors and in black and white. She usually combines figures and
+landscape.
+
+
+
+<b>MANTOVANI, SIGNORA S. ROME.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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 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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+Mme. Marlef has the power of keen observation, so necessary to a painter
+of portraits. Although there is 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 _World_ writes of this artist: "She has
+exquisite color sense and delights in presenting that _exaltation de la
+vie_, 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."
+
+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.
+
+
+
+<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 awarded prizes. In the Chapel of Relics in the new Cathedral
+at Cadiz are her "Martyrdom of St. Lawrence" and a "Mater Dolorosa."
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+
+
+<b>MASSEY, MRS. GERTRUDE.</b> Member of the Society of Miniaturists. Born
+in London, 1868. Has studied with private teachers in London and Paris.
+
+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.
+
+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.
+
+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 _genuine_ old-fashioned garden
+in St. John's Wood."
+
+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.
+
+
+
+<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.
+
+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 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.
+
+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."
+
+
+
+<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.
+
+
+
+<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 Jewess of
+Algiers," 1866, is in the Museum of Lille; "The Intrigue under the
+Portico of the Doge's Palace" was painted in 1865.
+
+
+
+<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.
+
+
+
+<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.
+
+[Illustration: In Cemetery In Gefle, Sweden
+
+MONUMENT FOR A TOMB
+
+IDA MATTON]
+
+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.
+
+At the Salon des Artistes Français, 1902, she exhibited four portraits,
+and in 1903, "Confidence."
+
+
+
+<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
+the Salon of 1900 her picture, "Mother and Child," was hung on the line.
+
+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.
+
+"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."--_The Mirror, St. Louis,_ April 10, 1902.
+
+
+
+<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.
+
+
+
+<b>MCCROSSAN, MARY.</b> Silver and bronze medals, Liverpool; silver medal
+and honorable mention, Paris. Has 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.
+
+The principal works of this artist are marine subjects and landscapes,
+and are mostly in private collections.
+
+In the _Studio,_ 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.
+
+"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."
+
+
+
+<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 Academy and of H. F. Farny and
+Frank Duveneck in private classes.
+
+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.
+
+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."
+
+This artist has written several books on china painting and pottery
+decoration.
+
+
+
+<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:
+
+    "Alice in Wonderland" and "Through the Looking-Glass." De
+        Luxe edition in color. New York, 1899.
+
+    "The Calendar of Omar Khayyam." In color. New York, 1900.
+
+    "The Altar Service." Thirty-six wood-cut blocks printed on
+       Japan vellum. London, 1902.
+
+    "The Coronation Prayer-Book." (Wood-cut borders.) Oxford
+       University Press, 1902.
+
+    "Cathedrals of Northern France." In collaboration with Francis
+       Miltoun. Boston and London, 1903.
+
+    "Cathedrals of Southern France." In collaboration with Francis
+       Miltoun. Sold for publication in London and Boston, 1904.
+
+    "A Dante Calendar." London, 1903.
+
+    "A Rubaiyat Calendar." Boston, 1903.
+
+    "The King's Classics." (Designs and Decorations.) London,
+       1902-1903.
+
+    "The Book of Days." A Calendar. Sold in London for 1904.
+
+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.
+
+[Illustration: DELFT
+
+BLANCHE McMANUS MANSFIELD]
+
+"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
+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.
+
+"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.
+
+"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.
+
+"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.
+
+"She paints well in water-colors and in oil, and her 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."
+
+Moring's _Quarterly_ 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."
+
+
+
+<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.
+
+
+
+<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 of excellent quality were
+executed by her, and on them her reputation rests.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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:
+
+    "Sibylla à Surinam va chercher la nature,
+    Avec l'esprit d'un Sage, et le coeur d'un Heros"
+
+--which indicates the view then held of a journey which would now attract
+no attention.
+
+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.
+
+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 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.
+
+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."
+
+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.
+
+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.
+
+
+
+<b>MERRITT, MRS. ANNA LEA.</b> Honorable mention, Paris Exposition, 1889;
+two medals and a diploma, Chicago 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.
+
+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.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<b>MICHIS, MARIA.</b> See Cattaneo.
+
+
+
+<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.
+
+
+
+<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; gold medal. Member of the International Artistic
+Association. Born in Rome. Pupil of Professore Commendatore Pietro Vanni.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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 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.
+
+In 1874 she exhibited at the Society of British Artists, "Il Giardino
+Publico"--the Public Garden--of which a writer in the _Art Journal_ 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."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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 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."
+
+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.
+
+
+
+<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.
+
+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."
+
+
+
+<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.
+
+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."
+
+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.
+
+
+
+<b>MUNTZ, LAURA A.</b>
+
+[_No reply to circular_.]
+
+
+
+<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 figures. 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.
+
+
+
+<b>NATHAN, SIGNORA LILIAH ASCOLI.</b> Rome.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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.
+
+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 _post obitum_ atomizers of the great poet's every word.
+
+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.
+
+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.
+
+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.
+
+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 Plautilla," the name by which she came to be known in
+all Italy.
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<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 Garibaldi, of
+J. Grimm, 1863, "Prometheus Bound," 1868, and a statue of Louis II. of
+Bavaria.
+
+
+
+<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.
+
+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.
+
+In the _Studio_, 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."
+
+[Illustration: AN INDIAN AFTER THE CHASE
+
+RHODA HOLMES NICHOLS]
+
+Mrs. Nicholls is also known as an illustrator. Harold Payne says of her:
+"Rhoda Holmes Nicholls, although 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."
+
+
+
+<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.
+
+Miss Nichols has held three exhibitions of her pictures both in oil and
+water-colors in London. She has executed 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.
+
+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.
+
+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.
+
+I quote the following paragraph from the _Studio_ 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 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."
+
+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.
+
+
+
+<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.
+
+
+
+<b>NIEDERHÄUSEN, MLLE. SOPHIE.</b> Medal at the Swiss National Exposition,
+1896. Member of the Exposition permanente de l'Athénée, Geneva. Born at
+Geneva. Pupil of Professor Wymann and M. Albert Gos, and of M. and Mme.
+Demont-Breton in France.
+
+Mlle. Niederhäusen paints landscapes principally, and has taken her
+subjects from the environs of Geneva, in the Valais, and in
+Pas-de-Calais, France.
+
+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.
+
+
+
+<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."
+
+
+
+<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.
+
+Mrs. Normand executed decorative frescoes in the Royal Exchange, London,
+the subject being "Sir Richard Whittington and His Charities."
+
+In the past ten years she has exhibited "Mariana," 1893; "Psyche at the
+Throne of Venus," 1894; "Apollo 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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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."
+
+[_No reply to circular_.]
+
+
+
+<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 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.
+
+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.
+
+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.
+
+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.
+
+Mr Charles A. Caffin, in his article upon the exhibition 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 _naïve_ imagination, free of any obsessions."
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+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 portrait 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:
+
+"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."
+
+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 _chef-d'oeuvre_. 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
+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.
+
+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.
+
+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.
+
+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!
+
+
+
+<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.
+
+Maria van Oosterwyck and Rachel Ruysch disputed honors with the above
+named and are still famous for their talents.
+
+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.
+
+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.
+
+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 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 _unattained by any other flower painter_"
+
+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.
+
+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.
+
+
+
+<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 View near Parma," the "Faces of Montmorency," and
+the "Bridge of Attaro" are three of her works which are especially
+admired.
+
+
+
+<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.
+
+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."
+
+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.
+
+
+
+<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 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.
+
+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.
+
+
+
+<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.
+
+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 prostrate Adam and his wife--more
+accusing than complaining.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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 "Three Sibyls,"
+1617; an "Annunciation," "Cephalus and Procris," "Latona," and landscapes
+after the works of Bril, Savery, Willars, etc.
+
+
+
+<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.
+
+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.
+
+[Illustration: FLOWERS
+
+HELEN SEARLE PATTISON]
+
+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.
+
+Mrs. Pattison lived but a few months in Jacksonville, dying in November,
+1884.
+
+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 Design in New York. Her subjects were still-life, fruit,
+and flowers, and her works are widely distributed.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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 Philadelphia and again pursued
+her artistic labors. She married a second husband, General William
+Duncan, and from this time gave up professional painting.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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
+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.
+
+
+
+<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."
+
+
+
+<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.
+
+
+
+<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, 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.
+
+A critic in the _Studio_ 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."
+
+
+
+<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.
+
+Mlle. Perrier's picture of "Jeanne d'Arc" is in a provincial museum;
+several pictures by her belonging to the 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."
+
+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.
+
+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."
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+<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.
+
+At the Academy, 1903, she exhibited "Faith" and "Silken Tresses."
+
+
+
+<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-Cap," "Old
+Curiosity Shop," etc. At the Academy, 1903, she exhibited "Some Spring
+Flowers."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+Her picture of "Roses and Grapes" is in the National Gallery, London; and
+one of "Autumn Flowers" in the Museum at Stuttgart.
+
+
+
+<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."
+
+
+
+<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 Beatrice of that year she exhibited
+"Cocciara," and in 1887 "A Friar Cook." Her "Fortune-Teller" attracted
+general attention at Venice in 1887.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+
+
+<b>POPPE-LÜDERITZ, ELIZABETH.</b> Honorable mention, Berlin, 1891. For the
+second time only the Senate of the 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.
+
+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.
+
+
+
+<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."
+
+
+
+<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.
+
+[Illustration: Doge's Palace, Venice
+
+ST. CHRISTOPHER
+
+ENGRAVED BY CAROLINE A. POWELL]
+
+Miss Powell was an illustrator of the _Century Magazine_ 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.
+
+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."
+
+
+
+<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 London, where
+she devoted herself to aquatints. She executed more than seventy plates,
+some of them of great size.
+
+
+
+<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.
+
+
+
+<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."
+
+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.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+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 the above she has
+painted more than one hundred portraits of men, women, and children,
+which belong to the families of the subjects.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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 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.
+
+
+
+<b>RAE, HENRIETTA.</b> See Normand, Mrs. Ernest
+
+
+
+<b>RAGUSA, ELEANORA.</b> See O'Tama.
+
+
+
+<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.
+
+[Illustration: In the Museum at Neuchâtel
+
+GENEVESE WATCHMAKER
+
+AIMÉE RAPIN]
+
+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 _Studio_ of April, 1903,
+R. M. writes: "The subject 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
+_merveilleux frisson de sensibilité_ 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 _résumé_ 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.
+
+"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 expressed the
+individual character and history of each of her subjects."
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<b>REAM, VINNIE.</b> See Hoxie.
+
+
+
+<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.
+
+"Mrs. Redmond is a Swiss woman, now residing in New York. She has
+exhibited her works in the Paris 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."--_Boston
+Transcript_.
+
+
+
+<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?"
+
+[_No reply to circular_.]
+
+
+
+<b>REINHARDT, SOPHIE.</b> Born at Kirchberg, 1775; died at Karlsruhe, 1843.
+Pupil of Becker. She travelled in 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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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."
+
+
+
+<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, 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.
+
+
+
+<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.
+
+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."
+
+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 painter distinguished for clever
+mannerism, but "to attain a definite end; one which is difficult to reach
+and requires widely applied effort."
+
+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.
+
+[Illustration: MAY DAY AT WHITELANDS COLLEGE, CHELSEA
+
+ANNA M. RICHARDS]
+
+"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."
+
+"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."
+
+Miss Richards has written "Letter and Spirit," containing fifty-seven
+"Dramatic Sonnets of Inward Life."
+
+These she has illustrated by sixty full-page pictures. Of 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."
+
+
+
+<b>RICHARDS, SIGNORA EMMA GAGIOTTI.</b> Rome.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+A critic in the _Studio_ 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 she gained the gold medal for her 'Unbesiegbaren'
+(The Unconquerable).
+
+"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 _en evidence_. 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."
+
+"'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 _whole_ 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 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.
+
+"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."
+
+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.
+
+
+
+<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 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."
+
+
+
+<b>ROBERTS, ELIZABETH WENTWORTH.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+A critic of the New York _Evening Post_ 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."
+
+
+
+<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 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."
+
+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.
+
+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.
+
+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 Ferdinand, each in
+turn invited Marietta to be the painter of his Court.
+
+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.
+
+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.
+
+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.
+
+
+
+<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.
+
+
+
+<b>ROCCO, LILI ROSALIA.</b> Honorable mention, a bronze 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.
+
+
+
+<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!
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+<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."
+
+Born in Madrid; a descendant of the Counts of Los Villares, and wife of
+the Count of Mirasol. Pupil of Cárlos Ribera.
+
+
+
+<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!
+
+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.
+
+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.
+
+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.
+
+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.
+
+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, 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."
+
+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."
+
+The editor of the _Magazine of Art_, 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.
+
+
+
+<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 of her works is in the Royal Museum at Amsterdam, and another in the
+Museum at Breslau.
+
+
+
+<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.
+
+At the Academy, 1903, she exhibited a panel for an organ chamber, in low
+relief.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+<b>ROSALBA.</b> See Carriera.
+
+
+
+<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.
+
+Her first work in sculpture was a minute representation of the
+Crucifixion on a peach stone! The executioners, 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.
+
+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."
+
+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.
+
+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 Bologna for the coronation of Charles V. he asked
+for Properzia, only to hear that she had been buried that very week.
+
+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.
+
+
+
+<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.
+
+
+
+<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 _Brush and Pencil_, 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 ambitious 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.
+
+"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 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."
+
+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.
+
+Perhaps her panels of the "Four Seasons" may be called her
+_chef-d'oeuvre_. The writer quoted above also says:
+
+"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."
+
+
+
+<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 "Arrest of the Duchess of Burgundy in Bruges," 1841, are in the
+Dijon Museum.
+
+
+
+<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.
+
+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.
+
+[Illustration: Alinari, Photo.
+
+In the Pitti Gallery, Florence
+
+FRUIT, FLOWERS, AND INSECTS
+
+RACHEL RUYSCH]
+
+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.
+
+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."
+
+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.
+
+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.
+
+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.
+
+
+
+<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 which are "Psyche in Olympus," "The Daughters of
+Jerusalem in the Babylonian Captivity," and the "Daughter of Jairus."
+
+She was a sister of E. Puyroche-Wagner.
+
+
+
+<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.
+
+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.
+
+
+
+<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 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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<b>SCHUMANN, ANNA MARIA.</b> Was called by the Dutch 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.
+
+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.
+
+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.
+
+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.
+
+At the University of Utrecht an honorable place was reserved for her in
+the lecture-rooms, and she frequently 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.
+
+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?
+
+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."
+
+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, philosophers, and theologians regarding
+important questions of her time.
+
+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.
+
+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.
+
+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.
+
+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
+virtues were many and her few faults were such as could not belong to an
+ignoble nature.
+
+
+
+<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.
+
+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.
+
+[Illustration: A FROG FOUNTAIN
+
+JANET SCUDDER]
+
+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.
+
+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.
+
+A memorial figure in marble is in Woodlawn Cemetery, 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.
+
+
+
+<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.
+
+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."
+
+At the exhibition of the Philadelphia Water-Color Club, 1903, the _Press_
+said: "These brilliant and overpowering combinations of color carry to
+a limit not before reached the decorative possibilities of flowers."
+
+Mrs. Sears' honors have been awarded to her portraits.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<b>SEWELL, AMANDA BREWSTER.</b> Bronze medal, Chicago, 1893; bronze medal,
+Buffalo, 1901; silver medal, Charleston; 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.
+
+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.
+
+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:
+
+"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 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."
+
+
+
+<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.
+
+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.
+
+
+
+<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."
+
+"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, 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."
+
+
+
+<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.
+
+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.
+
+
+
+<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, she was a singularly admirable woman and a gifted artist.
+
+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.
+
+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.
+
+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.
+
+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 called "A Subject after Guido" are in the Hermitage at
+Petersburg.
+
+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.
+
+Her paintings on copper and her etchings were most attractive; indeed,
+all her works revealed the innate grace and refinement of her nature.
+
+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."
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+<b>SMITH, JESSIE WILLCOX.</b> Mary Smith prize, Pennsylvania Academy of
+Fine Arts, 1903. Member of the 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.
+
+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.
+
+
+
+<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."
+
+[_No reply to circular_.]
+
+
+
+<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."
+
+
+
+<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 of learned men, which she preferred before that of the world of
+fashion.
+
+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.
+
+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.
+
+
+
+<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 of Lady Artists, and
+have been sold from these exhibitions.
+
+I quote from the _Queen_, 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."
+
+
+
+<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.
+
+Pupil of Art Institute in Chicago. Paints portraits, figure subjects, and
+landscapes. The Cahn prize was awarded to the "Village at Twilight."
+"Florence" is owned by the Klio Club; "Trophies of the Fields," by the
+Union League Club, Chicago.
+
+Recently Miss Stacey has painted a number of successful portraits.
+
+
+
+<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 _en route_. She painted views in Switzerland and Italy, and two of
+her landscapes are in the gallery in Christiania.
+
+
+
+<b>STANLEY, LADY DOROTHY.</b> Member of the Ladies' Athenaeum 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.
+
+Lady Stanley has exhibited at the Royal Academy, the new Gallery, at the
+English provincial exhibitions, and at the Salon, Paris.
+
+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.
+
+
+
+<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 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."
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+Miss Stevens mentions as her principal works "A Candlestick Representing
+a Girl Asleep under a Poppy," "Figure of Spring," and the "Spirit of
+Flame."
+
+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.
+
+Miss Stevens is modest about her work and does not 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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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 _Art
+Journal_ 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 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."
+
+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."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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 been called masterpieces--of the most
+intimate and intelligent study of nature.
+
+Among her works are "A Quartet of Cats," "The Hostile Brothers," and "The
+Outcast."
+
+
+
+<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.
+
+Her picture, "A Parting," is in the Liverpool Gallery; "Childhood's
+Wonder," in the Nottingham Gallery; "Aucassin and Nicolette," in the
+Pittsburg Gallery, etc.
+
+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 _Spectator_ 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.
+
+"Another portrait by the same artist is hung on 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."
+
+At the Academy, in 1903, Mrs. Stokes exhibited a portrait of J. Westlake,
+Esq., K.C.
+
+
+
+<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.
+
+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."
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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 _Tribune_. Her calendars, too, are artistic and
+popular; some of these have reached a sale of nearly half a million.
+
+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 Venetian Matron" and "A Violinist," are portraits,
+not studies from professional models.
+
+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.
+
+Her works are seen in the exhibitions of the Society of American Artists
+and of the American Water-Color Society.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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 high key and, as she writes, "in tender, opalescent color."
+
+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.
+
+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.
+
+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.
+
+Mrs. Swope's most ambitious work--five by three feet in size--represents
+an allegorical subject and is called "Revelation."
+
+
+
+<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.
+
+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 collections in several countries, and when exhibited have
+been praised in German and French as well as in Swiss publications.
+
+
+
+<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.
+
+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."
+
+
+
+<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.
+
+This artist paints portraits in miniature and in life size. Her works are
+numerous and have been seen in many exhibitions.
+
+
+
+<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 _Studio_, 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 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 _motifs_, go to make up a delicious symphony."
+
+
+
+<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.
+
+
+
+<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.
+
+At the Salon, Artistes Français, 1902, Mme. Thomas-Soyer exhibited "An
+Irish Setter and a Laverock," and in 1903 "Under the White Squall."
+
+
+
+<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.
+
+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."
+
+
+
+<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.
+
+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 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.
+
+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.
+
+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.
+
+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 _Review of Reviews_; Mrs.
+A. A. F. Johnston, former Dean of Oberlin College; Augustus S. Miller,
+mayor of Providence; Hon. L. F. C. Garvin, governor of Rhode Island; and
+Judge Austin Adams, late of the Supreme Court of Iowa.
+
+
+
+<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."
+
+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!
+
+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.
+
+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
+Nature; the outline is all; if the outline is good, no matter about the
+coloring, the picture will be good."
+
+This story would favor the color-blind theory, as Ingres apparently saw
+color neither in the original nor the copy.
+
+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!"
+
+In 1852 Mme. Thurwanger was in Philadelphia and remained more than two
+years. She exhibited her pictures, which were favorably noticed by the
+Philadelphia _Enquirer_. 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."
+
+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."
+
+
+
+<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 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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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, 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.
+
+
+
+<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."
+
+
+
+<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.
+
+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 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.
+
+
+
+<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."
+
+[Illustration: A FRENCH PRINCE
+
+MARIE VIGÉE LE BRUN]
+
+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 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!
+
+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.
+
+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.
+
+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.
+
+When sixteen years old she presented two portraits to the French
+Academy, and was thus early brought to public notice.
+
+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!
+
+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.
+
+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.
+
+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," 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!
+
+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.
+
+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.
+
+As the guests arrived Mme. Le Brun added here and there an element of
+Grecian costume until their number was sufficient for an effective
+_tableau vivant_. Her daughter 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.
+
+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 _à la Grecque_, the enchantment was complete.
+The poet recited odes from Anacreon and all passed off delightfully.
+
+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!"
+
+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 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.
+
+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, _con amore_. 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.
+
+"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."
+
+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 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."
+
+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.
+
+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.
+
+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."
+
+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.
+
+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!"
+
+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.
+
+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.
+
+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 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."
+
+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.
+
+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.
+
+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 _regard
+noyé_ (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."
+
+
+
+<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.
+
+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.
+
+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 memorials 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.
+
+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.
+
+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 on a panel held by an
+angel. How few human beings are thus honored three centuries after death!
+
+
+
+<b>VINCENT, MME.</b> See Labille.
+
+
+
+<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.
+
+
+
+<b>VOLKMAR, ANTONIE ELIZABETH CAECILIA.</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."
+
+
+
+<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.
+
+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.
+
+In the _Century Magazine_, 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, refined, 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."
+
+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."
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<b>WARD, MISS E.</b> This sculptor has a commission to make a statue of G.
+R. Clark for the St. Louis Exposition.
+
+[_No reply to circular_.]
+
+
+
+<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 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.
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+Edward VII. has commissioned this artist to make two copies of the state
+portrait, painted by S. Luke Fildes, R.A.
+
+Mrs. Ward had two more votes for her admission to the Royal Academy than
+any other woman of her time has had.
+
+
+
+<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 haste and constant labor her health gave way and
+she became melancholy.
+
+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.
+
+Fuseli valued a picture by Anna Wasser, which he owned, and praised her
+correctness of design and her feeling for color.
+
+
+
+<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.
+
+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.
+
+[Illustration: LA VIERGE AU ROSIER
+
+SADIE WATERS]
+
+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.
+
+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 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.
+
+"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."
+
+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.
+
+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
+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.
+
+"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."--_Paul W. Bartlett_, Paris,
+1903.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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, 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.
+
+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.
+
+
+
+<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."
+
+[_No reply to circular_.]
+
+
+
+<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, Philadelphia. Born in
+Detroit, Michigan. Pupil of Academy of Fine Arts, Philadelphia, and of
+the Julian Academy in Paris.
+
+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.
+
+
+
+<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.
+
+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.
+
+She has sent miniatures to the Academy exhibitions several years; that of
+Miss Lyall Wilson was exhibited in 1903.
+
+
+
+<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.
+
+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, Massachusetts, etc.
+An altar-piece by her is in All Saints' Church, Worcester.
+
+Her portrait of Senator Bayard is in the State Department, Washington.
+
+
+
+<b>WHITNEY, ANNE.</b> Born in Watertown, Massachusetts. Made her studies in
+Belmont and Boston, and later in Paris and Rome.
+
+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.
+
+
+
+<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,
+under Louis T. Rebisso and Thomas Noble; in Paris, of Rodin and Vincent
+Norrottny.
+
+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.
+
+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.
+
+
+
+<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
+individualizing all these with the sharpness of a Chodowiecki, though at
+times she is merely good-natured, and therefore weak.
+
+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.
+
+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.
+
+One of her best pictures will be seen at the St. Louis Exposition.
+
+
+
+<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.
+
+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.
+
+Among her works are some excellent Venetian subjects: "On the Rialto";
+"Morning on the Shore"; and "In Venice."
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+She has been commissioned by the State of Missouri to make a statue to
+represent "The Spirit of the State of Missouri," for the Louisiana
+Purchase Exposition.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+
+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."
+
+She has painted many portraits, and her work has often 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.
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+Very soon after Mrs. Wright reached London she was 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.
+
+[Illustration: From a Copley Print.
+
+THE SONG OF AGES
+
+ETHEL WRIGHT]
+
+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.
+
+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.
+
+She corresponded with Franklin, in Paris, and new appointments, or other
+important movements in the British army, were speedily known to him.
+
+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 any trouble and expense, and add my mite to the
+honor due to Adams, Jefferson, and others."
+
+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.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+Richard Ladegast, in January, 1902, wrote a sketch of Miss Yandell's life
+and works for the _Outlook_, 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.
+
+[Illustration: STATUE OF DANIEL BOONE
+
+ENID YANDELL
+
+Made for St. Louis Exposition]
+
+"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."
+
+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 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.
+
+"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."
+
+At Buffalo, where this fountain was exhibited, it received honorable
+mention.
+
+Miss Yandell has been commissioned to execute a symbolical figure of
+victory and a statue of Daniel Boone for the St. Louis Exposition.
+
+
+
+<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."
+
+
+
+<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.
+
+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.
+
+
+
+
+SUPPLEMENT
+
+Containing names previously omitted and additions. The asterisk (*)
+denotes preceding mention of the artist.
+
+
+
+*<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.
+
+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.
+
+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.
+
+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.
+
+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":
+
+"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 _they_ 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 _they_ and _they_ alone were suited to this silent,
+forsaken spot."
+
+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.
+
+The life of the town was wearisome to her, but she 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.
+
+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."
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+*<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."
+
+    "Then set I lips to hers, and felt,--
+    Ah, God,--the hard pain fade and melt."
+
+
+
+<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.
+
+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.
+
+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.
+
+One of her most important pictures is inscribed with these lines:
+
+    "Dark is the valley of shadows,
+    Empty the power of kings;
+    Blind is the favor of fortune,
+    Hungry the caverns of death.
+    Dim is the light from beyond,
+    Unanswered the riddle of life."
+
+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
+depths; a kneeling woman, praying for light, sees brilliant figures
+soaring upward, their beauty charming roses from the thorn bushes.
+
+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."
+
+The myth of "Boreas and Orithyia," though faulty perhaps in technique, is
+good in conception and arrangement.
+
+Mrs. De Morgan has produced some impressive works in sculpture. Among
+these are "Medusa," a bronze bust; and a "Mater Dolorosa," in
+terra-cotta.
+
+
+
+<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.
+
+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-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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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 conceals 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.
+
+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.
+
+
+
+*<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."
+
+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 had prevailed. When eighteen years old, she went to
+Italy, where she made copies from the masters and did much original work
+as well.
+
+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."
+
+
+
+<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.
+
+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.
+
+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.
+
+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 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.
+
+
+
+<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."
+
+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.
+
+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.
+
+
+
+<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.
+
+One of her most delightful pictures, "A Quiet Corner," represents a
+retired nook in a garden, overgrown with foliage and flowers, so well
+painted that one feels that they must be fragrant.
+
+
+
+<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.
+
+The portrait of her little daughter, painted in a manner which suggests
+Van Dyck, is one of the works which entitle her to consideration.
+
+
+
+<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.
+
+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 _Times_, 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.
+
+A searching investigation traced the ownership of the 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 "_Jahrbuch für
+Königlich-preussischen Kunst-Sammlungen_" for 1893, it seems evident that
+the signature is J. L. and not F. H.
+
+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.
+
+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.
+
+
+
+<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.
+
+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
+mysterious charm and the possible dangers which the deep woods present
+to the childish mind.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+
+
+<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.
+
+She built a studio in the woods of Scheveningen, and there developed her
+characteristics--close observation and careful reproduction of details.
+
+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."
+
+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.
+
+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.
+
+
+
+<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 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.
+
+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.
+
+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.
+
+
+
+<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, 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.
+
+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."
+
+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.
+
+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.
+
+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.
+
+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."
+
+
+
+*<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.
+
+
+
+<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.
+
+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."
+
+
+
+<b>ROMANI, JUANA, H. C.</b> Born at Velletri, 1869. Pupil of Henner and
+Roybet, in Paris, where she lives. This artist is, _sui generis_, 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.
+
+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.
+
+Some critics feel that, despite much that is desirable in her work, the
+soul is lacking in the women she paints. 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.
+
+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.
+
+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.
+
+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.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Her pictures are in the Museums of Amsterdam and Rotterdam.
+
+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.
+
+
+
+<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."
+
+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.
+
+
+
+<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 was strengthened by
+travel in Russia, the Netherlands, Belgium, and Germany.
+
+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.
+
+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.
+
+Occasionally this artist has painted genre subjects, but her real success
+has not been in this direction.
+
+
+
+
+
+
+End of 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
+
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diff --git a/old/12045-8.zip b/old/12045-8.zip
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+<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.01 Transitional//EN">
+<html>
+  <head>
+    <meta http-equiv="Content-Type" content=
+    "text/html; charset=iso-8859-1">
+    <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>
+
+
+<pre>
+
+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
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D.
+
+Author: Clara Erskine Clement
+
+Release Date: April 15, 2004 [EBook #12045]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK WOMEN IN THE FINE ARTS ***
+
+
+
+
+Produced by Suzanne Shell, and the Online Distributed Proofreading Team.
+
+
+
+
+
+</pre>
+
+<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 &quot;PORTIA&quot;</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>Aim&eacute;e Rapin</i></p>
+<p>In the Museum at Neuch&acirc;tel.</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 Vig&eacute;e 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, Cl&eacute;ment 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&mdash;in various countries
+and at different periods of time before the middle of the nineteenth
+century&mdash;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 &quot;An Aged Man&quot; and a
+portrait of &quot;Alcisthenes, the Dancer.&quot;</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&mdash;mingled
+with fable as it doubtless is&mdash;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&mdash;goddess of Sothis&mdash;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&mdash;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>r&eacute;sum&eacute;</i> of the history of women
+in Art&mdash;mere outline as it is&mdash;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 Medi&aelig;val Art, and at its
+close Cimabue and Duccio da Siena&mdash;the two masters whose Madonnas were
+borne in solemn procession through the streets of Florence and Siena, mid
+music and the pealing of bells&mdash;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 Medi&aelig;val 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
+&quot;poetic lie,&quot; 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&mdash;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&mdash;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&mdash;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 &quot;the School of&quot; 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&mdash;religious subjects though they may
+be&mdash;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&mdash;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. Fran&ccedil;ois 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 &quot;profane letters,&quot; as well as an accomplished scholar in
+philosophy and theology. As an author&mdash;though her writings are somewhat
+voluminous and not without merit&mdash;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 &quot;<i>Coll&egrave;ge</i>&quot; 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&mdash;the Duchesse d'Etampes&mdash;whose influence
+over Francis I. was pre-eminent, while her character was totally unlike
+that of his sister, was described as &quot;the fairest among the learned, and
+the most learned among the fair.&quot; 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&mdash;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
+&quot;could quote Pindar and Homer in the original and read every morning a
+portion of Demosthenes, being also the royal mistress of eight
+languages.&quot; 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 &quot;the
+queen's vanity lay more in shining by her own learning than in
+encouraging men of genius by her liberality.&quot;</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&mdash;outside the Italian&mdash;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 D&uuml;rer 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 D&uuml;rer 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 D&uuml;rer wrote in his diary, in the
+above-named year: &quot;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!&quot;</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&mdash;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&mdash;who belonged to no school&mdash;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&mdash;1581-1631&mdash;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: &quot;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&mdash;that
+is of Leonardo da Vinci&mdash;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 Niccol&ograve;&mdash;dell Abbate&mdash;left
+us here.&quot; Kugler calls this &quot;a patchwork ideal,&quot; 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&mdash;Aniella di Rosa&mdash;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&mdash;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&mdash;1594-1665&mdash;and this in spite of the fact that he worked and studied
+much in Rome.</p>
+
+<p>The Acad&eacute;mie 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 H&ocirc;tel 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, &quot;No woman has ever rendered greater
+services to literature,&quot; made her translations from the classics; Madame
+de Sevign&eacute; wrote her marvellous letters; Mademoiselle de Scud&eacute;ry 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 Ch&eacute;ron, 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&mdash;I had almost said fear&mdash;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&mdash;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&mdash;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 &quot;became a nursery for female talent.&quot; 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 &quot;Dutch Muses,&quot; 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&mdash;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&mdash;the artist who has been called
+the Vasari of Spain on account of his Museo Pictorio&mdash;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&mdash;if any such exist&mdash;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&mdash;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 Soci&eacute;t&eacute;</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&mdash;eclectic&mdash;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 Vig&eacute;e
+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&mdash;so far as is known&mdash;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: &quot;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.&quot;</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&mdash;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&mdash;when the journey from Boston to St. Louis
+demanded a week longer in time than we now spend in going from Boston to
+Egypt&mdash;when no telegraph existed&mdash;when letter postage was twenty-five
+cents and the postal service extremely primitive&mdash;when no house was
+comfortably warmed and women carried foot-stoves to unheated
+churches&mdash;when candles and oil lamps were the only means of &quot;lighting
+up,&quot; and we went about the streets at night with dim lanterns&mdash;when women
+spun and wove and sewed with their hands only, and all they accomplished
+was done at the hardest&mdash;when in our country a young girl might almost as
+reasonably attempt to reach the moon as to become an artist&mdash;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&mdash;from the most serious and learned writing to advertisements
+scattered over all-out-of-doors&mdash;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 &quot;picturesque,&quot; and though
+more ordinary and commonplace subjects might be rendered with such
+skill&mdash;such drawing, color, and technique&mdash;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&mdash;notably Miss Helen Hyde, a young American&mdash;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 &quot;posters&quot; 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&mdash;that of original drawings by famous Old Masters&mdash;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 &quot;Decade of Italian Women,&quot; in which
+he wrote of the scholarly women of the Renaissance, says: &quot;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.&quot;</p>
+
+<p>Speaking of Elisabetta Sirani he says: &quot;The humbly born artist, admirable
+for her successful combination in perfect compatibility of all the duties
+of home and studio.&quot; 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 &quot;Norwich School,&quot;
+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&mdash;the poetry of these
+people&mdash;that he portrayed his figures in a manner quite his own&mdash;at the
+same time realistic and full of idealism. MacColl in his
+&quot;Nineteenth-Century Art&quot; called Millet &quot;the most religious figure in
+modern art after Rembrandt,&quot; and adds that &quot;he <a name="Page_-7"></a>discovered a patience of
+beauty, a reconciling, in the concert of landscape mystery with labor.&quot;</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 &quot;Joan of Arc&quot; 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&mdash;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, &quot;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&mdash;Nature as it was around them, by the
+help of modern science, was the aim of the Brotherhood.&quot;</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:
+&quot;I mean by a picture a beautiful, romantic dream of something that never
+was, never will be&mdash;in a light better than any light that ever shone&mdash;in
+a land no one can define or remember, only desire&mdash;and the forms divinely
+beautiful.&quot;</p>
+
+<p>Rossetti's &quot;Girlhood of Virgin Mary,&quot; Holman Hunt's &quot;Light of the World,&quot;
+and Millais' &quot;Christ in the House <a name="Page_-5"></a>of His Parents&quot; 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&mdash;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 &quot;Opening of Waterloo Bridge.&quot; 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 C&eacute;zanne, 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&mdash;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 &quot;classic&quot; 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&mdash;a manner often called &quot;unfinished&quot; 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 &quot;common, every-day life,&quot; 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&mdash;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&mdash;I believe I may say by thousands&mdash;in all
+the minor arts? Between the multitude that pursue the Fine Arts and
+kindred branches for a maintenance&mdash;and are rarely heard of&mdash;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&mdash;in such academies as that of Julian
+and the Colarossi&mdash;secures to the student the criticism and advice of the
+best artists of the day, while in summer&mdash;in the country and by the
+sea&mdash;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'&Eacute;cole 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'&Eacute;cole 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 D&uuml;sseldorf. She excelled in genre and portrait painting. Her
+&quot;Playing Child&quot; and &quot;Shepherd Boy&quot; are in the Art Union in Christiania;
+the &quot;Interior of Hotel Cluny&quot; and a &quot;Flower Girl&quot; 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 M&eacute;rite des Arts; honorable
+mention, Salon of 1881; bronze medal, Paris Exposition, 1900; Hors
+Concours, 1903, at Exposition of Limoges. Born at &Eacute;tampes, 1858. Pupil of
+Chaplin, Henner, and Carolus-Duran. She exhibited a &quot;Portrait of Sarah
+Bernhardt,&quot; 1876; &quot;The Seasons,&quot; 1883; &quot;Portrait of M. Abbema,&quot; 1887;
+&quot;Among the Flowers,&quot; 1893; &quot;An April Morning,&quot; 1894; &quot;Winter,&quot; 1895, etc.</p>
+
+<p>This artist has also executed numerous decorations for ceilings and
+decorative panels for private houses. Her picture of &quot;Breakfast in the
+Conservatory&quot; is in the Museum of Pau.</p><a name="Page_2"></a>
+
+<p>Mme. Abbema illustrated &quot;La Mer,&quot; 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 Fran&ccedil;ais, 1902, she exhibited the &quot;Portrait
+of Pierre,&quot; 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 Soci&eacute;t&eacute; des Artistes
+Fran&ccedil;ais. Born at Asni&egrave;res (Seine). Pupil of Cabanel, Antoine Vollon, and
+L&eacute;on 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
+&quot;Flower-Seller,&quot; the &quot;Knife-Grinder,&quot; &quot;M. de Richelieu's Love Knots,&quot;
+exhibited in the Salon of 1902, and &quot;Going to School.&quot;</p>
+
+<p>&quot;The Dull Season&quot; is in London; &quot;Cinderella&quot; and many others in Paris.</p>
+
+<p>This artist, when still in short skirts, sent her first picture, &quot;In the
+Market Place,&quot; 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 Ch&acirc;teau de B&eacute;con, is an ideal
+home for an artist, and one can well understand her distaste for realism
+and the professional model.</p>
+
+<p>&quot;M. de Richelieu's Love Knots&quot; 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 &quot;La
+Chatouilleuse&quot;&mdash;Tickling&mdash;and &quot;Nasturtiums.&quot; The first shows a young
+woman seated, wearing a d&eacute;collet&eacute; 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 &quot;Cinderella&quot; is delightful; the two &quot;Merry Wives of Windsor,&quot; 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 &quot;The
+Gold Mine.&quot; 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 Fran&ccedil;ais, and &quot;honors
+in many other cities.&quot; Member of the Soci&eacute;t&eacute; des Artistes Fran&ccedil;ais. Born
+at Crest (Dr&ocirc;me). Her studies were made under Jean Paul Laurens. Her
+pictures called &quot;Calme du Soir&quot; and &quot;Le Soir aux Martignes&quot; are in
+private collections. &quot;Les Remparts de la Ville Close, Concarneau,&quot;
+exhibited <a name="Page_5"></a>at the Salon Artistes Fran&ccedil;ais in 1902, was purchased by the
+French Government. In 1903 she exhibited &quot;June Twilight, Venice,&quot; and
+&quot;Morning Fog, Holland.&quot;</p>
+
+<br>
+
+<p><b>Adelsparre, Sophie Albertine.</b> Born in Oland 1808-62. In Stockholm
+she received instruction from the sculptor Ovarnstr&ouml;m 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 &quot;Transfiguration,&quot; 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 &quot;Roman Dancing
+Girl&quot; and a &quot;Beggar Girl of Terracina.&quot;</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 &quot;Sewing,&quot; 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&mdash;a
+miniature&mdash;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&mdash;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
+M&uuml;ller. 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 &quot;Story of Ida&quot; and brought out &quot;Roadside Songs of
+Tuscany,&quot; collected, translated, and illustrated by this artist. A larger
+collection of these songs, with illustrations, was published by Houghton,
+Mifflin &amp; Co., entitled &quot;Tuscan Songs.&quot;</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 &quot;Presepio&quot; 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 &quot;Interior of the Great Hall of the
+Exchange of Perugia&quot; 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 &quot;Odalisk,&quot; an &quot;Old Woman Fortune-teller,&quot; and a
+&quot;St. Catherine.&quot;</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 &quot;Wait for Me&quot; and &quot;The Milkmaid.&quot;
+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 &quot;Tib&quot; into a portrait taken in his Chelsea garden.</p>
+
+<p>Among her most ambitious works are the &quot;Young Customers,&quot; the &quot;Old Men's
+Garden, Chelsea Hospital,&quot; the &quot;Lady of the Manor,&quot; &quot;Confidences,&quot;
+&quot;London Flowers,&quot; and others of kindred motives.</p>
+
+<p>The &quot;Young Customers,&quot; water-color, was exhibited at Paris in 1878. When
+seen at the Academy in 1875, Ruskin wrote of it: &quot;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&mdash;Mrs. Allingham's
+'Young Customers'&mdash;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&mdash;old-fashioned as red-tipped dresses are, and more precious than
+rubies.&quot;&mdash;<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. &quot;Battledore and Shuttlecock&quot; 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 &quot;In Winter.&quot; The
+landscape is very attractive. In a sled, well wrapped up, is a little
+girl, with a doll on her lap; the older boy&mdash;brother?&mdash;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 &quot;Hush-a-Bye,&quot;
+&quot;Parting,&quot; in the Art Gallery at Adelaide, New South Wales, &quot;Silent
+Persuasion,&quot; &quot;The Carol,&quot; and &quot;Satisfaction.&quot; Her picture in the Academy
+Exhibition, 1903, a Dutch interior with a young mother nursing &quot;The
+Firstborn,&quot; 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.&quot;</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, &quot;Lucia Angvisola Amilcares.
+F. Adolescens.&quot;</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 &quot;the very home of
+painting and of all other accomplishments.&quot;</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, &quot;il Sojaro,&quot; 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&mdash;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&mdash;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: &quot;If it were possible to represent to your Holiness the
+beauty of the Queen's soul, you could behold nothing more wonderful.&quot;</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 Mon&ccedil;ada&mdash;a Sicilian nobleman&mdash;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: &quot;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.&quot;</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
+&quot;second home,&quot; 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&mdash;which, says her
+biographer, &quot;he accepted like a generous man.&quot; 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
+&quot;was more benefited by the counsels of the blind Sofonisba than by all
+his studies of the masters of his art!&quot; 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 &quot;of Cremona,&quot; 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 &quot;Marriage
+of St. Catherine&quot; 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
+masqu&eacute;</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 f&ecirc;tes 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: &quot;Tischgebet,&quot; which was masterly in its smoothness
+and depth of expression, and &quot;Eine blinde Frau in ihrer Stube,&quot; 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. &quot;Maageplukkerne&quot;&mdash;&quot;Gull plucking&quot;&mdash;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 &quot;Old Woman of Skagen,&quot; &quot;A Mother and Child,&quot; and &quot;Coffee is Ready&quot;
+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>&quot;A Funeral Scene&quot; 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 &quot;History of Modern Painters&quot; we read: &quot;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.&quot;</p>
+
+<br>
+
+<p><b>Antigna, Mme. H&eacute;l&egrave;ne 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 &quot;On n'entre pas!&quot; and the &quot;New
+Cider&quot;; in 1876, an &quot;Interior at Saint Brieuc&quot; and &quot;A Stable&quot;; in 1875,
+&quot;Tant va la cruche &agrave; l'eau,&quot; etc.</p>
+
+<br>
+
+<p><b>Appia, Mme. Th&eacute;r&egrave;se.</b> Member of the Society of the Permanente
+Exposition of the Ath&eacute;n&eacute;e, Geneva. Born at Lausanne. Pupil of Merci&eacute; 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 P&egrave;re 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: &quot;The setting up of the figure,
+the arrangement of the drapery, the modelling, the design of the
+pedestal&mdash;all the parts, in fact&mdash;are such that the statue must be added
+to the short list of those which are genuine embellishments to the city
+of London.&quot;</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, Am&eacute;lie 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 d&eacute;but 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 L&uuml;ttich 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 L&eacute;on Kindt.</p>
+
+<br>
+
+<p><b>Athes-Perrelet, Louise.</b> First prize and honorable mention, class
+Gillet and H&eacute;bert, 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 Neuch&acirc;tel.
+Studies made at Geneva under Mme. Carteret and Mme. Gillet and Professors
+H&eacute;bert 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&mdash;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 &quot;The Day of Reckoning,&quot; 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.
+&quot;While the wolf, in nightly prowl, bays the moon with hideous howl,&quot; 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 &quot;Arrival of Marie Louise in Compi&egrave;gne&quot; and &quot;Marie Louise Taking Leave
+of her Family&quot; are in the Versailles Gallery.</p>
+
+<br>
+
+<p><b>Babiano y Mendez Nu&ntilde;ez, Carmen.</b> At the Santiago Exposition, 1875,
+this artist exhibited two oil paintings and two landscapes in crayon; at
+Coru&ntilde;a, 1878, a portrait in oil of the Marquis de Mendez Nu&ntilde;ez; at
+Pontevedra, 1880, several pen and water-color studies, three life-size
+portraits in crayon, and a work in oil, &quot;A Girl Feeding Chickens.&quot;</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 &quot;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.&quot;</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&mdash;for he had numerous daughters,
+and they all desired to be artists&mdash;had talent, and when, in 1850, the
+Minerva Academy at Groningen gave out &quot;Roses and Dahlias&quot; 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
+&quot;arranged&quot;&mdash;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: &quot;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.&quot;</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, &quot;Be true
+to nature and you <a name="Page_25"></a>will produce that which is good.&quot; 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>Ba&ntilde;uelos, 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 &quot;A Guitar Player.&quot;</p>
+
+<br>
+
+<p><b>Barrantes Manuel de Aragon, Maria del C&aacute;rmen.</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 &quot;Virgin with the Christ-Child&quot; 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: &quot;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.&quot; After
+questioning whether she dare say it, she confides to her readers: &quot;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&mdash;there must always be an only&mdash;her wrists
+are too thick and her hands are too plump&mdash;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.&mdash;I
+think it is&mdash;is admirable, however.&quot; A surprising critique for a girl of
+her age!</p>
+
+<p>When seventeen she made her first picture of any importance. &quot;While they
+were playing cards last night I made a rough sketch of the players&mdash;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.&quot;</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 &quot;real artists who have exhibited in the
+Salon and whose pictures are bought,&quot; and declared herself &quot;happy,
+happy!&quot; 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: &quot;Well, then, you have extraordinary talent for
+painting; you are specially gifted, and I advise you to work hard.&quot;</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 &quot;Vulcan,&quot; by Velasquez. January 15th she
+wrote: &quot;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&mdash;a
+view of the Carnival; but for this it would be necessary that I should go
+to Nice&mdash;to Naples first for the Carnival, and then to Nice, where I have
+my villa, to paint it in open air.&quot;</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 &quot;marvellously
+gifted.&quot; 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&mdash;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&mdash;she did a little in this art&mdash;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: &quot;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.&quot;</p>
+
+<p>Again: &quot;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.&quot;</p>
+
+<p>The picture was called the &quot;Meeting,&quot; and shows seven gamins talking
+together before a wooden fence at the corner of a street. Fran&ccedil;ois Copp&eacute;e
+wrote of it: &quot;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.&quot;</p>
+<br>
+
+<p>Previous to this time, her picture of two boys, called &quot;Jean and
+Jacques,&quot; had been reproduced in the Russian <i>Illustration</i>, and she now
+received many requests for permission to photograph and reproduce her
+&quot;Meeting,&quot; 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 &quot;Spring,&quot; for which she went to S&egrave;vres, to paint in the
+open.</p>
+
+<p>Naturally she hoped for a Salon medal, and her friends encouraged her
+wish&mdash;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 &quot;idiots&quot;!</p>
+
+<p>People now wished to buy her pictures and in many ways she realized that
+she was successful. How pathetic her written words: &quot;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!&quot;</p>
+
+<p>It is probable that the &quot;Meeting&quot; 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.
+&quot;Ah, if I could only paint!&quot; he said. &quot;And I?&quot; she replied. &quot;There is the
+end to this year's picture!&quot;</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 Fran&ccedil;ois Copp&eacute;e'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 &quot;Meeting,&quot; as follows:</p>
+
+<p>&quot;At the Exhibition&mdash;Salon&mdash;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&mdash;the noble child&mdash;to avenge herself by redoubling her efforts.</p>
+
+<p>&quot;In one hour I saw there twenty canvases commenced; a hundred
+designs&mdash;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&mdash;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.&quot;</p>
+
+<p>Mathilde Blind, in her &quot;Study of Marie Bashkirtseff,&quot; says: &quot;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&mdash;in those coarse hands engaged in the feminine occupation
+of knitting a blue and white stocking!&quot;</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 D&uuml;sseldorf, 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>Bauerl&eacute;, 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 &quot;Belasia.&quot; 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. Am&eacute;lie.</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 L&eacute;on Say, F&eacute;lix
+Voisin, Barth&eacute;lemy Saint-Hilaire, Mme. Sadi-Carnot, Coralie Cohen,
+Princess Ghika, etc. She has also painted the &quot;Two Vanquished Ones,&quot; &quot;A
+Woman Physician,&quot; and a &quot;Souvenir of a Bull-Fight,&quot; pastel, etc.</p>
+
+<p>This artist has also contributed to several magazines. At the Salon of
+the Artistes Fran&ccedil;ais, 1902, she exhibited a portrait and a picture of
+&quot;Hamlet&quot;; in 1903 a picture, &quot;In the Train.&quot; 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 Soci&eacute;t&eacute; 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: &quot;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.&quot;</p>
+
+<p>Seven years later, in the <i>International Studio</i>, September, 1901, we
+read: &quot;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&mdash;our meetings are sterile of any human interest.
+So one turns with relief to Miss Beaux's other picture of 'Dorothea and
+Francesca'&mdash;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>&quot;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.&quot;&mdash;<i>Charles H. Caffin</i>.</p>
+
+<p>In the <i>International Studio</i> of March, 1903, we read: &quot;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&mdash;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.&quot;&mdash;<i>Charles H. Caffin</i>.</p>
+
+<p>A writer in the <i>Mail and Express</i> says: &quot;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.&quot;</p>
+
+<p>Miss Beaux's picture of &quot;Brighton Cats&quot; 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 Ch&eacute;valier de l'Ordre de L&eacute;opold 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: &quot;Lisi&egrave;re de bois dans
+les Dunes (Z&eacute;lande),&quot; &quot;Le Village de Domburg (Z&eacute;lande),&quot; and &quot;Int&eacute;rieur
+de bois &agrave; Oost-Kapel (Holland).&quot; Other well-known works are &quot;Die Campine&quot;
+and &quot;Aus der Umgebung von Oosterbeck.&quot;</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 &quot;Burial Ground at Scutari&quot; 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 &quot;Before the Walls of
+Constantinople&quot; and &quot;From Constantinople,&quot; which were essentially
+different from her earlier works and attracted much attention. &quot;Taormina
+in Winter&quot; more nearly resembled her earlier pictures.</p>
+
+<p>Fr&auml;ulein 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. Andr&eacute;e.</b> Member of the Soci&eacute;t&eacute; 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,
+&quot;A Halt at St. Mamm&egrave;s&quot; and a &quot;Souvenir of Bormes,&quot; showing the tomb of
+Cazin. In 1903 she exhibited a pastel called &quot;Calvary,&quot; 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 &quot;Twilight&quot;
+and &quot;Sunset&quot; 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 &quot;Love and Innocence.&quot; Among her original
+paintings are an &quot;Atala and Chactas,&quot; &quot;Petrarch's First Meeting with
+Laura,&quot; a &quot;Descent from the Cross&quot; for the church at Tribano, a &quot;St.
+Sebastian,&quot; &quot;Melancholy,&quot; a &quot;St. Ciro,&quot; 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 &quot;The Guardian&quot; was shown,
+and in 1881 a large canvas representing &quot;The First Step.&quot;</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 &quot;After the Tempest,&quot; 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 &quot;divine Sara.&quot; 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
+&quot;La jeune Fille et la Mort.&quot; One critic wrote of it: &quot;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.&quot;</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 ain&eacute;. The legend is &quot;'La
+Jeune Fille et la Mort,' or Coquelin ain&eacute;, presenting Sarah Bernhardt the
+bill of costs of her fugue.&quot; In other words, Coquelin is Death, handing
+to Sarah the undertaker's bill&mdash;300,000 <a name="Page_43"></a>francs&mdash;for her civil burial at
+the Com&eacute;die Fran&ccedil;aise.</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, K&uuml;hne.</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 &quot;Rhodesia,&quot; &quot;Rough Rider Monument,&quot; a
+statue called &quot;Lascire,&quot; 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 &quot;Una partita,&quot; was exhibited at Naples and attracted
+much attention. It was purchased by Duke Martini. Another, &quot;Ultima
+Prova,&quot; 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> &quot;Spring in
+the Prater.&quot; Her &quot;Land Party&quot; is in the possession of the Emperor of
+Austria, and &quot;In Spring-time&quot; belongs to the Prince Regent of Bavaria.
+This talented landscape painter was born in Vienna, 1847. She was a pupil
+of Sch&auml;ffer 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 &quot;Studies from the Prater
+in Vienna,&quot; &quot;Canal at Amsterdam,&quot; &quot;Harvest Day in Holland,&quot; &quot;The Arch of
+Titus in Rome,&quot; &quot;Street in Venice,&quot; and &quot;Late Summer.&quot;</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 &quot;Hope,&quot; the &quot;Golden Age,&quot; &quot;Virginius
+Sacrificing his Daughter,&quot; &quot;Moses Receiving the Tables of the Law,&quot; 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 Fran&ccedil;ais, 1903, Mme. Bloch exhibited a
+&quot;Portrait of M. Fr&eacute;d&eacute;ric Passy, Member of the Institute.&quot;</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 &quot;Village Street,&quot; a &quot;Peasant Farm,&quot; a
+&quot;Churchyard,&quot; 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
+&quot;Village Street in Winter,&quot; 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: &quot;Confidential Communication,&quot; 1885; the
+&quot;Fortune-Teller,&quot; 1887; &quot;A Public Copyist,&quot; 1888; and &quot;The Wooing,&quot; 1888.</p>
+
+<br>
+
+<p><b>Bonheur, Juliette&mdash;Mme. Peyrol.</b> Born at Paris. Sister of Rosa
+Bonheur, and a pupil of her father. Among her pictures are &quot;A Flock of
+Geese,&quot; &quot;A Flock of Sheep Lying Down,&quot; and kindred subjects. The
+last-named work was much remarked at the Salon of 1875. In 1878 she
+exhibited &quot;The Pool&quot; and &quot;The Mother's Kiss.&quot;</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&mdash;the atmosphere of her
+pictures was sometimes open to question&mdash;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&mdash;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 &quot;Ploughing in the Nivernais,&quot; 1848, is in the Luxembourg Gallery;
+&quot;The Horse Fair,&quot; 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 &quot;Hay Harvest in the Auvergne,&quot; 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: &quot;I have seen work of hers which, according to the price
+given, must have paid her a hundred pounds for each day's labor.&quot;</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&mdash;the many repulsive features of such places&mdash;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 &quot;Goats and Sheep&quot; and &quot;Two Rabbits,&quot;
+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, &quot;Animals in a Pasture,&quot; &quot;A Cow Lying in
+a Meadow,&quot; and &quot;A Horse for Sale.&quot; 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 &quot;A Combat between a Lioness and an
+African Horseman.&quot; 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 &quot;Cantal Oxen&quot; was awarded the gold medal, and was
+followed by &quot;Ploughing in the Nivernais,&quot; 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 S&egrave;vres 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 &quot;Horse Fair,&quot; 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 &quot;Morning in the Highlands,&quot; &quot;The Denizens of the Mountains,&quot;
+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 &quot;Hay-Making in Auvergne&quot; proves that she was familiar with the more
+usual phases of country life. At the Knowles sale in London, in 1865, her
+picture of &quot;Spanish Muleteers Crossing the Pyrenees,&quot; 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&mdash;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
+&quot;Fireside Sphinx,&quot; by Agnes Repplier. Her picture of &quot;Hot Milk&quot; is in the
+Pennsylvania Academy; her &quot;Suspense,&quot; in a private gallery in New York.</p>
+
+<p>An interesting chapter in Miss Winslow's book, &quot;Concerning Cats,&quot; is
+called &quot;Concerning Cat Artists,&quot; in which she writes: &quot;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.'&quot;</p>
+
+<p>Miss Bonsall has prepared a &quot;Cat Calendar&quot; and a &quot;Child's Book about
+Cats,&quot; 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: &quot;The Beach at Clovelly in
+Devonshire,&quot; &quot;From the Bernese Oberland,&quot; &quot;The Riemenstalden Valley,&quot;
+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&mdash;whom she afterward married&mdash;and under Couture. Her
+subjects were genre, still-life, and flowers, and were well considered.
+Among her genre pictures are &quot;An Old Man Reading,&quot; an &quot;Old Roman
+Peasant,&quot; and a &quot;Girl with a Cat.&quot; 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: &quot;I must say a few words about a
+studio I have lately visited&mdash;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.&quot;</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 &quot;San Venanziano Fortunatus, Bishop.&quot;
+&quot;Saint Louis&quot; was painted as a commission of Brandolin da Pieve; &quot;Comte
+Justinian Replying to Bonaparte in Treviso&quot; 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. &quot;The Holiday&quot; and the
+&quot;Return from Mass&quot; were both exhibited and sold at Rome in 1883; &quot;The Way
+to Calvary&quot; was seen at Venice in 1887. &quot;The Rosary,&quot; &quot;Anguish,&quot; and
+&quot;Going to the Fountain&quot; 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. Cav&eacute;, director of the Academy of the
+Beaux-Arts. Her picture of &quot;The Virgin in Tears&quot; is in the Museum of
+Rouen; and &quot;The Children's Tournament,&quot; 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&mdash;les Palmes Acad&eacute;mique, 1895; the Rosette of an
+Officer of the Public Instruction in 1902. Member of the Soci&eacute;t&eacute; des
+Artistes Fran&ccedil;ais, 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 &quot;Young Girl,&quot;
+which belongs to the general Council of the Seine; one of the Senator
+Th&eacute;ophile Roussel, of the Institute, and a portrait of an &quot;Aged Lady,&quot;
+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 Fran&ccedil;ais, 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 &quot;91&quot; 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 &quot;On the Venetian
+Lagoons,&quot; &quot;Old Stone Pines, Lido, Venice,&quot; &quot;Evening on Lake Lugano,&quot;
+&quot;Evening Glow on the Dolomites,&quot; &quot;The Old Bird Fancier,&quot; &quot;Moonrise on
+Crowborough, Sussex.&quot; All these have been exhibited at the Academy.</p>
+
+<p>&quot;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.&quot;</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 &quot;Madonna of the Sacred Heart of Jesus&quot; 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 &quot;Holy Family,&quot; the &quot;Madonna of Lourdes,&quot; and several copies of the &quot;Vi&acirc;
+Crucis,&quot; 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 &quot;Illinois Welcoming the Nations.&quot;
+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 &quot;The
+Reading&quot;; in 1874 &quot;Marguerite.&quot; 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, F&eacute;lix Bracquemond. In 1872 M.
+Bracquemond was esteemed the first ceramic artist in France. An eminent
+French critic said of M. and Mme. Bracquemond: &quot;You cannot praise too
+highly these two artists, who are as agreeable and as clever as they are
+talented and esteemed.&quot;</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 &quot;as the work of a woman,&quot; 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. &quot;Il canale Traghetto de' San Geremia&quot; is in
+the Museum Rivoltella at Trieste. This and &quot;Il canale dell' Abbazia della
+Misericordia&quot; have been much commended by foreign critics, especially the
+English and Austrians. Other Venetian pictures are &quot;La Chiese della
+Salute,&quot; &quot;Il canale de' Canalregio,&quot; and &quot;La Pescaria.&quot;</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 Soci&eacute;t&eacute; 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 &quot;Under the Apple-Tree&quot; is in
+the Museum at Lausanne; the &quot;Little Girls&quot; or &quot;The Sisters&quot; and the
+&quot;Child Dreamer&quot;&mdash;exhibited at Salon, 1902&mdash;are in the Gallery of the
+Luxembourg; the &quot;Gamins,&quot; in the Museum at Carpentras; the &quot;Tea Party,&quot;
+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 &quot;Dreamer&quot;
+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 &quot;Child with Long Hair.&quot;</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: &quot;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!&quot;</p>
+
+<p>&quot;That miserable Breslau has composed a picture, 'Monday Morning, or the
+Choice of a Model.' Every one belonging to the studio is in it&mdash;Julian
+standing between Amalie and me. It is correctly done, the perspective is
+good, the likenesses&mdash;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.&quot;</p>
+
+<p>&quot;I am jealous of Breslau. She does not draw at all like a woman.&quot;</p><a name="Page_63"></a>
+
+<p>&quot;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.&quot;</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 &quot;Kingfisher and Catkins,&quot; a &quot;Flock of Snow Birds,&quot; and the &quot;Corner
+of a Rye-Field.&quot; Of the last a writer in the <i>Art Journal</i> said: &quot;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.&quot;</p>
+
+<p>Another critic wrote: &quot;Her works are like little lyric poems, and she
+dwells with loving touches on each of her buds, 'like blossoms atilt'
+among the leaves.&quot;</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: &quot;Love's Young Dream,&quot; &quot;Colonial
+Minuet,&quot; &quot;Sir Roger de Coverly at Carvel Hall,&quot; &quot;Battle of Roses,&quot; 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
+Dupr&eacute; 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 &quot;The Last Load,&quot; and the Hallgarten prize to
+&quot;Repose,&quot; a moonlight scene with cattle. Her pictures are in private
+collections.</p>
+
+<br>
+
+<p><b>Brown, Mrs. Agnes&mdash;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 &quot;A Brother of the Christian School,&quot; &quot;School for
+the Poor at Aix,&quot; &quot;Mutual Instruction,&quot; and &quot;Rabbits.&quot; Her works were
+popular and brought good prices. In 1868 &quot;The Sisters of Charity&quot; sold
+for &pound;1,320.</p>
+
+<p>In 1878 she exhibited &quot;A Grandmother&quot; and &quot;Convalescence.&quot; Her Oriental
+scenes were much admired. Among these were &quot;A Court in Damascus,&quot; &quot;Nubian
+Dancing Girls,&quot; and a &quot;Harem in Constantinople.&quot; Mme. Browne was also
+skilful as an engraver.</p>
+
+<p>T. Chasrel wrote in <i>L'Art</i>: &quot;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.&quot;</p>
+
+<p>The late Rev. Charles Kingsley wrote of the picture of the &quot;Sisters of
+Charity,&quot; of the sale of which I have spoken, as follows: &quot;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.&quot;</p>
+
+<p>This is praise indeed from an Englishman writing of a Frenchwoman's
+picture&mdash;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. Aim&eacute;e Pag&egrave;s.</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 &quot;Undine,&quot;
+the &quot;Elopement,&quot; &quot;Sleep,&quot; and &quot;Awakening.&quot; In 1841 a picture of &quot;Moses.&quot;
+She painted several Bible scenes, among which were the &quot;Daughter of
+Jairus&quot; and &quot;Jephthah's Daughter.&quot;</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
+Br&uuml;hl, 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 &quot;Morning Bath,&quot; 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 &pound;50.</p>
+
+<p>Miss Butler exhibited &quot;A Corner of the Bargello, Florence,&quot; 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 &quot;Missing,&quot; which was
+praised; but the &quot;Roll-Call,&quot; 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 &quot;Twenty-Eighth Regiment at
+Quatre Bras,&quot; the &quot;Return from Inkerman,&quot; purchased by the Fine Art
+Society for &pound;3,000. This was followed by kindred subjects.</p>
+
+<p>In 1890 Lady Butler exhibited &quot;Evicted,&quot; in 1891 the &quot;Camel Corps,&quot; in
+1892 &quot;Halt in a Forced March,&quot; in 1895 the &quot;Dawn of Waterloo,&quot; in 1896
+&quot;Steady the Drums and Fifes,&quot; in 1902 &quot;Tent Pegging in India,&quot; in 1903
+&quot;Within Sound of the Guns.&quot;</p>
+
+<p>In 1869 she painted a religious picture called the &quot;Magnificat.&quot; In
+water-colors she has painted &quot;Sketches in Tuscany&quot; and several pictures
+of soldiers, among which are &quot;Scot's Grays Advancing&quot; and &quot;Cavalry at a
+Gallop.&quot;</p>
+
+<p>Lady Butler has recently appeared as an author, publishing &quot;Letters from
+the Holy Land,&quot; illustrated by sixteen most attractive drawings in
+colors. The <i>Spectator</i> says: &quot;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.&quot;</p>
+
+<p>In 1875 Ruskin wrote in &quot;Notes of the Academy&quot;: &quot;I never approached a
+picture with more iniquitous prejudice against it than I did Miss
+Thompson's&mdash;'Quatre Bras'&mdash;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.&quot;</p>
+
+<p>The <i>Art Journal</i>, 1877, says: &quot;'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.&quot;</p>
+
+<p>Her recent picture, &quot;Within Sound of the Guns,&quot; 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. &quot;'The Sea Urchin,'&quot; Miss Cameron writes, &quot;is in one of the
+public collections of Germany. I cannot remember which.&quot; She also says:
+&quot;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.&quot;</p>
+
+<p>In the <i>Magazine of Art</i>, June, 1903, her picture of a &quot;Bull Fight in
+Madrid&quot; 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&mdash;of which a writer says: &quot;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.&quot;</p>
+
+<p>In the <i>Studio</i> of May, 1903, J. L. C., who writes of the same
+exhibition, calls this picture &quot;admirable in both action and color.&quot;</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. Associ&eacute;
+de la Soci&eacute;t&eacute; 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 &quot;Angelina,&quot; impresses one as
+a faithful portrait of a model. She is seated and gracefully posed&mdash;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 &pound;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 &pound;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 &quot;Devotion,&quot; and the &quot;Sisters,&quot; portraits of Mrs. Carpenter's
+daughters, with a picture of &quot;Ockham Church,&quot; 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 &quot;Devotion&mdash;St. Francis,&quot; which is a life-size study of
+Anthony Stewart, the miniature painter; &quot;The Sisters,&quot; &quot;Ockham Church,&quot;
+and &quot;An Old Woman Spinning.&quot;</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 &quot;Communicants&quot; and the &quot;Candles,&quot; a pastel,
+purchased by the city of Paris; &quot;Among Friends&quot; is in the Museum of
+Bordeaux.</p>
+
+<p>At the Salon of the Artistes Fran&ccedil;ais, 1902, Mlle. Carpentier exhibited a
+picture called &quot;Reflection,&quot; and in 1903 a portrait of Mme. L. T. and the
+&quot;Little Goose-Herders.&quot;</p>
+
+<br>
+
+<p><a name="Carriera"></a><b>Carriera, Rosalba</b>, better known as Rosalba. Born in Venice
+1675-1757&mdash;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&mdash;in crayons&mdash;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 &quot;Storia della
+Pittura Veneziana,&quot; Zanetti writes of her at this time: &quot;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.&quot;</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: &quot;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.&quot;</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 &quot;La tasse de th&eacute;,&quot; &quot;Le lever du b&eacute;b&eacute;,&quot;
+&quot;Reading,&quot; &quot;M&egrave;re et Enfant,&quot; and &quot;Caresse Maternelle.&quot;</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: &quot;But in general she seems to have attained that desirable condition,
+coveted by artists, of being able to dispense with the annual
+exhibitions.&quot;</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: &quot;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.&quot;</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 &quot;securing great charm of manner, of color, and of
+grace.&quot;</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 &quot;The Flowers of Cleopatra,&quot; &quot;The Return from the Country,&quot; &quot;An
+Excursion by Gondola.&quot; She married the artist, Pietro Michis. Her picture
+of the &quot;Fish Market in Venice&quot; 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 &quot;Ulysses Finding Young Astyanax at Hector's Grave&quot; and &quot;Alexander
+Weeping at the Death of the Wife of Darius.&quot; 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 &quot;Lady Betty
+Germain&quot; was greatly admired for the grace of the figure and the
+exquisite finish of the details. In 1873 she exhibited &quot;Lady Betty's
+Maid&quot; and &quot;Lady Betty Shopping.&quot; &quot;Lady Teazle Behind the Screen&quot; was
+dated 1871, and &quot;Mistress of Herself tho' China Fall&quot; 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 &quot;Woman with a Muff,&quot; 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: &quot;She has painted them easily, with deftness
+and feeling, and apparently caught their character and the delicacy of
+infancy.&quot;</p>
+
+<br>
+
+<p><b>Chauchet, Charlotte.</b> Honorable mention at the Salon, 1901;
+third-class medal, 1902. Member of the Soci&eacute;t&eacute; <a name="Page_80"></a>des Artistes Fran&ccedil;ais 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 &quot;Mar&eacute;e&quot;&mdash;Fish&mdash;1899,
+purchased for the lottery of the International Exposition at Lille;
+&quot;Breton Interior,&quot; purchased by the Society of the Friends of the Arts,
+at Nantes; &quot;Mother Closmadenc Dressing Fish,&quot; in the Museum of Brest;
+&quot;Interior of a Kitchen at Mont,&quot; purchased by the Government; &quot;Portrait
+of my Grandmother,&quot; which obtained honorable mention; &quot;At the Corner of
+the Fire,&quot; &quot;A Little Girl in the Open Air,&quot; medal of third class.</p>
+
+<p>The works of Mlle. Chauchet have been much praised. The <i>Petit Moniteur</i>,
+June, 1899, says: &quot;Mlle. Chauchet, a very young girl, in her picture of a
+'Breton Interior' shows a vigor and decision very rare in a woman.&quot; Of
+the &quot;Mar&eacute;e,&quot; the <i>D&eacute;p&ecirc;che de Brest</i> says: &quot;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.&quot;</p>
+
+<p>In the <i>Courrier de l'Est</i> we read: &quot;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.&quot;</p>
+
+<p>In the <i>Union R&eacute;publicaine de la Marne</i>, H. Bernard <a name="Page_81"></a>writes: &quot;'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.&quot;</p>
+
+<p>Chauss&eacute;e, Mlle. C&eacute;cile de.</p>
+
+<p>[<i>No reply to circular</i>.]</p>
+
+<br>
+
+<p><b>Ch&eacute;ron, 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 Ch&eacute;ron 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
+&quot;substantial esteem and respect were the foundations of their matrimonial
+happiness, rather than any pretence of romantic sentiment.&quot;</p>
+
+<p>Mlle. Ch&eacute;ron'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 Abb&eacute; Bosquillon and placed beneath her
+portrait: &quot;The unusual possession of two exquisite talents will render
+Ch&eacute;ron an ornament to France for all time. Nothing save the grace of her
+brush could equal the excellencies of her pen.&quot;</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 Del&eacute;cluse 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
+Laug&eacute;e 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. &quot;The Israelite&quot; 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 &quot;History of Modern Painters&quot;: &quot;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.&quot;</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 &Eacute;mile Vernier
+in Paris. This artist has painted landscapes, and sent to the
+Philadelphia Exposition in 1876 &quot;A French Village&quot;; to the Paris
+Exposition, 1878, &quot;Near Fontainebleau.&quot; In 1877 and 1878 she exhibited in
+Boston, &quot;On the Borders of the Marne&quot; and &quot;Peasant House in Normandy.&quot;</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: &quot;Peau d'Ane, Hollandaise,&quot; in the
+Museum of Lille; &quot;Song of the Wood,&quot; Museum of Morlaix; &quot;Mignon,&quot;
+portrait of Mlle. Ugalde; the &quot;Haymaker,&quot; 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 &quot;Lion Tamers in the Time of Nero.&quot; 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: &quot;An Arab Caf&eacute; in the Slums of Cairo,&quot; much
+noticed in the Academy Exhibition of 1895; &quot;Noon at Ramazan,&quot; &quot;The
+Snake-Charmer,&quot; &quot;Umbrellas to Mend&mdash;Damascus,&quot; and a group of the
+&quot;Soudanese Friends of Gordon.&quot; Her &quot;Priestess of Isis&quot; is owned in Cairo.</p>
+
+<p>Among her pictures of Western subjects are &quot;The Puritan's Daughter,&quot;
+&quot;Deliver Us from Evil,&quot; &quot;The Gambler's Wife.&quot; &quot;Widowed&quot; and &quot;Miss Calhoun
+as Salome&quot; were purchased by Maclean, of the Haymarket Theatre; &quot;Death of
+the First-Born&quot; is owned in Russia; and &quot;Portrait of Ellen Terry as
+Imogen&quot; is in a private collection.</p>
+
+<p>&quot;Lion Tamers in the Time of Nero&quot; 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
+Del&eacute;cluse 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,
+&quot;Mother Claudius,&quot; is in the collection of Walter J. Peck, New York;
+&quot;High Noon at Cape Ann&quot; is owned by W. B. Lockwood, New York; and a
+&quot;Holland Interior&quot; by Dr. Gessler, Philadelphia. Of her recent exhibition
+a critic writes: &quot;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.&quot;&mdash;<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 &quot;The Undeceived&quot; and a group,
+&quot;The Task,&quot; 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 &quot;St. Louis,&quot; &quot;Sappho,&quot;
+&quot;Petrarch and Laura,&quot; &quot;Romeo and Juliet,&quot; &quot;Hagar and Ishmael in the
+Desert,&quot; &quot;A Devotee of the Virgin,&quot; exhibited at Turin in 1884; a series
+illustrating the &quot;Seasons,&quot; 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 &quot;Nollekens and His Times&quot; is interesting:</p>
+
+<p>&quot;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 S&egrave;vres, 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.&quot;</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. R&eacute;camier.
+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 &quot;for a' that.&quot;</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 K&uuml;ssner.</b> Born in Terre Haute, Indiana. This
+distinguished miniaturist writes me that she &quot;never studied.&quot; Like Topsy,
+she must have &quot;growed.&quot; 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 Fran&ccedil;ais, 1894. Born at Dun-sur-Auron, Cher. Pupil of Alfred
+Boucher.</p>
+
+<p>This sculptor has executed the monument to Andr&eacute; Gill, P&egrave;re 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, &quot;The Spring,&quot; Museum of
+Bourges; &quot;Sirius,&quot; in the Palais of the Governor of Algiers. Also busts
+of Prince Napoleon, General Boulanger, the Countess de Choiseul, the
+Countess de Vogu&eacute;, and numerous statuettes and other compositions.</p>
+
+<p>At the Salon, Artistes Fran&ccedil;ais, 1903, she exhibited &quot;Fortune&quot; and &quot;A
+Statuette.&quot;</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 &quot;The House of the
+Seven Gables,&quot; &quot;Old Virginia,&quot; 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: &quot;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.&quot;</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: &quot;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&mdash;for those whose great need of beauty seems often to be
+forgotten.&quot;</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&mdash;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
+&quot;Olive.&quot; Among other subjects she has painted an &quot;Annunciation,&quot; the
+&quot;Fates,&quot; and &quot;Angiola,&quot; 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: &quot;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.&quot;</p>
+
+<p>Mrs. Cox gives her ideas about her picture of the &quot;Fates&quot; as follows: &quot;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.&quot;</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 &quot;Magdalen in
+the Desert,&quot; &quot;The Education of the Virgin,&quot; &quot;The Divine Shepherdess,&quot; &quot;A
+Madonna,&quot; and a &quot;Venus.&quot; 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: &quot;A Lady of the Netherlands,&quot; which belonged to Philip IV.;
+&quot;A Lady and Child,&quot; &quot;A Lady with her Infant before Her,&quot; and another
+&quot;Portrait of a Lady.&quot; The catalogue of the Museum gallery says: &quot;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.&quot;</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&mdash;&quot;Harvest Time&quot; and &quot;Forest Depths.&quot;</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: &quot;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.&quot;</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&mdash;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 &quot;Cecilia,&quot; was drawn from
+John Damer, and that his wardrobe was sold for $75,000&mdash;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 &pound;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 &quot;Sleeping Dogs,&quot; 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 &quot;Death of Cleopatra&quot; 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: &quot;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&mdash;viz., the Barberini Goat, the
+Tuscan Boar, the Mattei Eagle, the Eagle at Strawberry Hill, and Mr.
+Jennings' Dog&mdash;the talent of Mrs. Damer must appear in the most
+distinguished light.&quot;</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>&quot;Long with soft touch shall Damers' chisel charm,</p>
+<p>With grace delight us, and with beauty warm.&quot;</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; &quot;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.&quot;<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 D&uuml;sseldorf, 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 &quot;Othello&quot; is in the D&uuml;sseldorf Gallery. Her
+painting of &quot;Effie Deans&quot; 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&mdash;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, &quot;A Dutch Bargain,&quot; was etched and engraved.
+&quot;Hush-a-Bye Baby&quot; and &quot;Good-by, Summer,&quot; have been published by Messrs.
+De la Rue et Cie. She has successfully illustrated the following
+children's books: &quot;Sixes and Sevens,&quot; &quot;The Land of Little People,&quot;
+&quot;Children's Prayers,&quot; and &quot;Children's Hymns.&quot;</p>
+
+<p>To the Academy Exhibition of 1903 Mrs. Lewis sent &quot;On the Mountain-side,
+Engelberg.&quot;</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 &quot;Studio dal Vero&quot; and &quot;Vallata di
+Porrano,&quot; 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&mdash;for they endeavor to imitate their teacher&mdash;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>&quot;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>&quot;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&mdash;whose graceful curves are said to have been
+designed by Sir Christopher Wren&mdash;as it rises above the soft mellow glow
+of the sky or is pictured against the dark clouds.</p>
+
+<p>&quot;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>&quot;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>&quot;Many other pictures might be mentioned&mdash;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>&quot;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>&quot;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>&quot;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.'&quot;</p><a name="Page_105"></a>
+
+<br>
+
+<p><b>De Kay, Helena&mdash;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 &quot;The Young Mother.&quot; She was the first
+woman elected to the Society of American Artists, and to its first
+exhibition in 1878 she contributed &quot;The Last Arrow,&quot; 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
+Fran&ccedil;ais; medal at Exposition, Paris, 1900, for painting in oils; and a
+second medal for a treatise on water-colors. Member of the Soci&eacute;t&eacute; des
+Artistes Fran&ccedil;ais, 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'Uz&egrave;s, Jules Garnier, and the Marquis Guy de
+Charnac, the latter exhibited at the Salon des Artistes Fran&ccedil;ais, 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 &quot;Happy Mother,&quot; &quot;Temptation,&quot; &quot;Far from
+Paris,&quot; &quot;Maternal Joys,&quot; and in the Salon des Artistes Fran&ccedil;ais, 1903,
+&quot;Youth which Passes.&quot;</p>
+
+<br>
+
+<p><b>Delasalle, Ang&egrave;le.</b> Honorable mention, Salon des Artistes Fran&ccedil;ais,
+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 Soci&eacute;t&eacute; des Artistes Fran&ccedil;ais, the
+Soci&eacute;t&eacute; Nationale des Beaux-Arts, Soci&eacute;t&eacute; des prix du Salon et boursiers
+de voyage de la Soci&eacute;t&eacute; Nationale. Born in Paris. Pupil of Jean Paul
+Laurens and Benjamin-Constant.</p>
+
+<p>Her picture of &quot;Diana in Repose&quot; is in the collection of Alphonse de
+Rothschild; &quot;Return from the Chase,&quot; a prehistoric scene, purchased by
+the Government; &quot;The Forge,&quot; in the Museum of Rouen, where is also a
+&quot;Souvenir of Amsterdam.&quot; 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 Fran&ccedil;ais, 1902, this artist exhibited the
+portrait of M. Constant and the &quot;Roof-Maker.&quot; At the Salon des
+Beaux-Arts, 1903, &quot;The Park at Greenwich,&quot; &quot;The Pont Neuf,&quot; &quot;On the
+Thames,&quot; and a portrait in oils; and in water-colors, &quot;The Coliseum,
+Rome,&quot; &quot;A Tiger Drinking,&quot; &quot;A Lion Eating,&quot; &quot;Head of a Lion,&quot; &quot;The
+Forge,&quot; 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 &quot;Cain and Enoch's Daughters.&quot; 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&mdash;signed simply A. Delasalle&mdash;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 &quot;La Forge.&quot; 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 N&icirc;mes, Montpellier, Versailles, and
+London. Member of the Soci&eacute;t&eacute; des Artistes Fran&ccedil;ais. 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 &quot;Portrait of Mlle. Magdeleine D.&quot;</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 &quot;A Sign of
+Glory&quot;; 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
+Soci&eacute;t&eacute; des Artistes Fran&ccedil;ais; member of the committee of the Central
+Union of Decorative Arts and of the American National Institute; member
+of the Verein der Schriftstellerinnen und K&uuml;nstlerinnen of Vienna; one of
+the founders of the Soci&eacute;t&eacute; Populaire des Beaux-Arts and of the Soci&eacute;t&eacute;
+de bienfaisance l'Allaitement Maternel, etc. Born at Courri&egrave;re, 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. &quot;La Plage&quot; is in the Gallery of the
+Luxembourg, &quot;Les Loups de Mer&quot; in the Museum of Ghent, &quot;Jeanne d'Arc at
+Domr&eacute;my&quot; 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 Fran&ccedil;ais, in 1902, Mme.<a name="Page_109"></a> Demont-Breton
+exhibited a picture of &quot;Les Meduses bleues.&quot; 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 &quot;Seaweed.&quot; 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&mdash;again a boy and a
+girl&mdash;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 &quot;Head of a Young Girl,&quot; 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>Di&eacute;terle, 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&mdash;n&eacute;e Bonneire.</b> Born in Christiania, 1847. When
+but ten years old she began the study of art at D&uuml;sseldorf, 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>&quot;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.&quot;&mdash;<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
+&quot;Caldanino della Nonna.&quot; &quot;Di Ritorno dalla Chiesa&quot; 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, &quot;Popolana,&quot; 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&mdash;Mme. Fantin-Latour.</b> Honorable mention, Paris
+Salon, 1894; medal third class, 1895; picture in Gallery of Luxembourg,
+1903. Member of the Soci&eacute;t&eacute; des Artistes Fran&ccedil;ais. 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 Fran&ccedil;ais, in 1902, Mme. Dubourg exhibited a
+&quot;Basket of Flowers.&quot;</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 &quot;Fellah Girl of Cairo&quot;; in 1875, a silvered bronze bust called
+the &quot;Study of a Head,&quot; in the manner of Florence, sixteenth century; in
+1876, &quot;The Daughter of Jephthah Weeping on the Mountain,&quot; a plaster
+statue, a bust in bronze, and &quot;A Neapolitan&quot;; in 1877, &quot;The Coquette,&quot; 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 Fran&ccedil;ais, in 1902, this
+sculptor exhibited &quot;Mon Ma&icirc;tre Zacharie Astruc,&quot; and in 1903, &quot;En
+Bretagne.&quot;</p>
+
+<p>[<i>No reply to circular</i>.]</p>
+
+<br>
+
+<p><b>Dufau, Cl&eacute;mentine H&eacute;l&egrave;ne.</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 Soci&eacute;t&eacute; des Artistes Fran&ccedil;ais and
+of the Societ&agrave; 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>&quot;Fils des Mariniers,&quot; in Museum of Cognac; &quot;Rhythme,&quot; &quot;Dryades,&quot;
+&quot;Automne,&quot; a study, Manzi collection; &quot;Espagne,&quot; &quot;&Eacute;t&eacute;,&quot; Behourd
+collection; &quot;Automne,&quot; Gallery of the Luxembourg. The latter is a
+decorative work of rare interest. At the Salon of 1903 Mlle. Dufau
+exhibited two works&mdash;&quot;La grande Voix&quot; and &quot;Une Partie de Pelotte, au Pays
+basque.&quot; 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 Soci&eacute;t&eacute;
+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: &quot;The Communicants,&quot; at Cambrai;
+&quot;Easter Eve,&quot; at Calais; &quot;Death of a White Sister,&quot; 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&mdash;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&mdash;jonquils and
+oranges, chrysanthemums and roses. In 1902 she exhibited &quot;The House with
+Laurels&quot; in water-colors, and in oils &quot;The High Road&quot; and &quot;The Orison.&quot;<a name="Page_114"></a>
+The first is a scene at nightfall and is rendered with great delicacy and
+refinement.</p>
+
+<br>
+
+<p><b>Dupr&eacute;, 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 Dupr&eacute;, who detected her artistic promise in her
+childish attempts at modelling. She has executed a number of notable
+sepulchral monuments, one for Ad&egrave;le Stiacchi; one for the daughter of the
+Duchess Ravaschieri, in Naples, which represents the &quot;Madonna Receiving
+an Angel in her Arms&quot;; it is praised for its subject and for the action
+of the figures. &quot;A Sister of Charity&quot; for the tomb of the Cavaliere
+Aleotti is her work, and for the tomb of her parents, at Fiesole, she
+reproduced &quot;La Piet&agrave;,&quot; one of her father's most famous sculptures.</p>
+
+<p>For the facade of the Florence Cathedral she made a statue of &quot;Saint
+Reparata,&quot; and finished the &quot;San Zenobi&quot; which her father did not live to
+complete.</p>
+
+<p>She has a wide reputation in Italy for her statues of the &quot;Young Giotto,&quot;
+&quot;St. Peter in Prison,&quot; and &quot;San Giuseppe Calasanzio.&quot;</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 &quot;one of our most accomplished female sculptors.&quot;
+Her bust of Queen Victoria is in the Middle Temple, London; <a name="Page_115"></a>the
+&quot;Faithful Shepherdess,&quot; an ideal figure, executed for the Corporation of
+London, is in the Mansion House. Among her other works are &quot;Ruth,&quot; a bust
+of Harriet Beecher Stowe, and a monument to the King of Belgium, at
+Windsor.</p>
+
+<br>
+
+<p><b>D'Uz&egrave;s, Mme. la Duchesse.</b> Honorable mention, Paris Salon, 1889. Born
+in Paris, 1847. Pupil of Bonnassieux and Falgui&egrave;re. The principal works
+of this artist are &quot;Diana Surprised,&quot; in marble; &quot;Saint Hubert,&quot; in the
+church of the Sacr&eacute;-Coeur; the same subject for a church in Canada; &quot;The
+Virgin,&quot; a commission from the Government, in the church at Poissy;
+&quot;Jeanne d'Arc,&quot; at Mousson; the monument to &Eacute;mile 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'Uz&egrave;s 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 &quot;Early Morning&quot; was
+exhibited at the Royal Academy in 1885, and has been followed by &quot;In the
+Drifts,&quot; &quot;Old Benchers,&quot; &quot;A Cry for Help,&quot; etc. In 1900 she exhibited
+&quot;The Dogs of Death&quot;; in 1901, &quot;On Dian's Day.&quot;</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 &quot;British Hounds and Gun-Dogs.&quot; Many of her
+pictures have been engraved and published in both England and the United
+States. Among them are the last-named picture, &quot;Four by Honors,&quot; &quot;The
+Absent-Minded Beggar,&quot; and &quot;What We Have We'll Hold.&quot;</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 &quot;Hagar
+and Ishmael in the Desert&quot; 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 &quot;A Mill in Upper
+Austria,&quot; 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 &quot;Martyrdom of
+Saint Stephen,&quot; in the Catholic church at Carlsruhe; a &quot;Saint Cecilia,&quot; a
+&quot;Madonna,&quot; and &quot;Mary with the Christ-Child Leaving the Throne of Heaven&quot;
+are in the Carlsruhe Gallery. &quot;Christ Blessing Little Children&quot; is in the
+church at Coburg. Among her other works are &quot;John Writing his Revelation
+at Patmos,&quot; &quot;Peter Awaking Tabitha,&quot; and &quot;Simeon in the Temple.&quot;</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 Acad&eacute;mie Viet&eacute;, 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&mdash;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
+&quot;Portrait of a Boy&quot;; in 1882, a &quot;Portrait of Alexander Stevens&quot; and
+&quot;Waiting for the Doctor&quot;; in 1883, &quot;Red Rose Land&quot; and &quot;La Mesciana&quot;; her
+picture called &quot;September&quot; belongs to the Boston Art Club. The greater
+number of her works are in private collections.</p>
+
+<br>
+
+<p><b>Escallier, Mme. &Eacute;l&eacute;onore.</b> Medal at Salon, 1868. A pupil of Ziegler.
+A painter of still-life whose pictures of flowers and birds were much
+admired. &quot;Chrysanthemums,&quot; exhibited in 1869, was purchased by the
+Government. &quot;Peaches and Grapes,&quot; 1872, is in the Museum at Dijon; and in
+1875 she executed decorative panels for the Palais de la L&eacute;gion
+d'Honneur.</p>
+
+<br>
+
+<p><b>Esch, Mathilde.</b> Born at Kletten, Bohemia, 1820.<a name="Page_119"></a> Pupil of
+Waldm&uuml;ller in Vienna. She also studied a long time in D&uuml;sseldorf 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, Ad&egrave;le.</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 &quot;A Quiet Sea,&quot; &quot;The Gollinger Waterfall,&quot; and &quot;A Country Party.&quot;</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&mdash;a large part of which we still describe as
+medi&aelig;val&mdash;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 &quot;a gifted Minerva, who spurned Hymen
+and Lucina, and lived in single blessedness.&quot;</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 Ad&egrave;le.</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 &quot;Electoral Commission in Open Session.&quot; 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: &quot;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.&quot;</p>
+
+<p>The <i>Washington Capital</i>, March 17, 1878: &quot;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.&quot;</p>
+
+<p>In the <i>Washington Star</i>, October, 1903, an article appeared from which I
+quote as follows: &quot;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>&quot;'The Florida case before the electoral commission, February 5, 1877.
+Painted from life sittings in the United States Supreme Court room by
+Cornelia Ad&egrave;le Fassett.'&quot;</p>
+
+<p>&quot;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.&quot;&mdash;<i>David S. Barry</i>, in
+<i>Pearson's Magazine</i>.</p>
+
+<br>
+
+<p><b>Fauveau, F&eacute;licie de.</b> Second-class medal at Florence in 1827, when
+she made her d&eacute;but by exhibiting a statue, &quot;The Abbot,&quot; and a group,
+&quot;Queen Christine and Monaldeschi.&quot; 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 &quot;St. George and the Dragon,&quot; bronze; the
+&quot;Martyrdom of St. Dorothea,&quot; &quot;Judith with the Head of Holofernes,&quot; &quot;St.
+Genoveva,&quot; 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 &quot;Scene between Paolo and Francesca da Rimini.&quot;</p><a name="Page_124"></a>
+
+<br>
+
+<p><b>Faux-Froidure, Mme. Eug&eacute;nie 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 Soci&eacute;t&eacute; des Artistes
+Fran&ccedil;ais, 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, &quot;Raisins&quot; (Grapes), is
+in the Museum at Commerey; a second, &quot;Hortensias&quot; (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 &quot;La Barque
+fleurie,&quot; which was much admired and was reproduced in &quot;L'Illustration.&quot;
+Her water-color of &quot;Clematis and Virginia Creeper&quot; is in the Museum at
+Tunis. In the summer exhibition of 1903, at &Eacute;vreux, this artist's
+&quot;Peonies&quot; and &quot;Iris&quot; were delightfully painted&mdash;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 Soci&eacute;t&eacute; Fran&ccedil;ais des Amis des Arts purchased from the Salon, 1903, two
+water-colors by Mme. Faux-Froidure&mdash;&quot;Roses&quot; and &quot;Loose Flowers,&quot; or
+&quot;Jonch&eacute;e fleurie.&quot;</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 &quot;Peaches and Grapes.&quot; 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 &quot;Zinnias&quot; 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 &quot;Life of Roses,&quot; exhibited at the Salon des
+Artistes Fran&ccedil;ais, 1903, Jules de Saint Hilaire writes: &quot;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&mdash;the souvenir rose,
+shrivelled, and lying beside the little casket which it still perfumes
+with its old-time sweetness.&quot;</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 &quot;What Will Become of
+the Child?&quot; 1886; &quot;Orphaned,&quot; &quot;In the Punishment Corner,&quot; and &quot;Morning
+Devotion.&quot;</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
+D&uuml;sseldorf, 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 Br&uuml;nn in 1856. In Vienna she
+worked under Sch&ouml;ner, 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&mdash;mostly interiors with figures, in which the entering light is
+skilfully managed. &quot;The Embroiderers,&quot; 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 &quot;Madonna under the Cross,&quot;
+exhibited at Berlin in 1895, in which the mother's anguish is most
+sympathetically rendered. &quot;Devotion,&quot; &quot;Shelterless,&quot; and the &quot;Kitchen
+Garden&quot; 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
+Societ&agrave; Amatorie Pittori di Belle Arti, of the Unione degli Artisti, and
+of the Societ&agrave; 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 &quot;Bacchante,&quot; now in St.
+Petersburg; &quot;Najade,&quot; sold in London; &quot;The<a name="Page_127"></a> Virgin Mother,&quot; 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: &quot;Her head of the somewhat
+impracticable but always earnest senator from Massachusetts&mdash;Sumner&mdash;is
+unsurpassable and beyond praise. It is simple, absolute truth, embodied
+in marble.&quot;&mdash;<i>Tuckerman's Book of the Artists.</i></p>
+
+<p>&quot;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.&quot;&mdash;<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 Soci&eacute;t&eacute; des Artistes
+Fran&ccedil;ais, Paris; Soci&eacute;t&eacute; 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&mdash;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: &quot;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.&quot;</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 &quot;History of Italian
+Painting.&quot;</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 &quot;Nativity of the Virgin,&quot; 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 &quot;Madonna with Saints.&quot; In
+Pieve di Cento are two of her works&mdash;a &quot;Madonna&quot; and an &quot;Ascension.&quot; 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: &quot;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.&quot; After praising the works of this
+artist, attention is called to her valuable book, &quot;Decorative Flower
+Studies,&quot; 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 &quot;Gift Books&quot; 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 &amp; Co. Mrs.
+Foote writes that Miss Regina Armstrong&mdash;now Mrs. Niehaus&mdash;in a series of
+articles on &quot;Women Illustrators of America,&quot; whom she divided into
+classes, placed her with the &quot;Story-Tellers.&quot;</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>&quot;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.&quot;</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 &quot;Conception&quot; of Murillo,
+the &quot;Magdalen&quot; 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 S&egrave;vres, she was awarded
+prizes at Blois, Besan&ccedil;on, 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, &quot;Mendica,&quot; was exhibited in Naples, 1886; &quot;Un ultimo
+Squardo&quot; and &quot;Sogno,&quot; 1888. In London, in 1888, &quot;Tipo Napoletano,&quot;
+&quot;Studio dal vero,&quot; and &quot;Ricordi&quot; 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 &quot;La Figlia del Corsaro,&quot; &quot;Chiome
+nere,&quot; &quot;Una Carezza al Nonno,&quot; and &quot;Di Soppiatto.&quot;</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, &quot;Tried by Fire,&quot; 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 &quot;Sandalphon,&quot; which belonged to Mr. Longfellow, bas-reliefs
+of Dante, and a statue of the &quot;Sleeping Child.&quot;</p>
+
+<p>She sent to the Exhibition in Philadelphia, 1876, a chimney-piece on
+which were sculptured &quot;Children and the Yule-Log and Fireside Spirits.&quot;
+This was purchased by Mrs. Hemenway, of Boston.</p>
+
+<p>&quot;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.&quot;&mdash;<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 K&ouml;gler. 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. &quot;Zacharias Naming the Little
+St. John&quot; is in the New Picture Gallery, Munich; in the same gallery is
+also a portrait called the &quot;Boy Playing a Flute&quot;; in the Leuchtenberg
+Gallery, Petersburg, is her &quot;Three Women at the Sepulchre.&quot; She painted a
+picture called the &quot;Glorification of Religion through Art&quot; and a &quot;Madonna
+in Prayer.&quot; She also executed a number of lithographs and etchings.</p>
+
+<br>
+
+<p><b>Friedl&auml;nder, Camilla.</b> Born in Vienna, 1856. She was instructed by
+her father, Friedrich Friedl&auml;nder. 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, &quot;Pastry on a Plate with a Glass of Wine,&quot; signed 1799.</p>
+
+<br>
+
+<p><b>Friedrichson, Ernestine.</b> Born in Dantzig, 1824. Pupil of Marie
+Wiegmann in D&uuml;sseldorf, 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
+&quot;Polish Raftsmen Resting in the Forest,&quot; 1867; &quot;Polish Raftsmen before a
+Crucifix,&quot; 1869; &quot;A Jew Rag-picker,&quot; 1870; &quot;The Jewish Quarter in
+Amsterdam on Friday Evening,&quot; 1881; &quot;A Goose Girl,&quot; 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 Z&uuml;rich, 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 Z&uuml;rich, 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 Z&uuml;rich 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 Gr&uuml;tzner and Liezen-Meyer. The most significant of her
+pictures is &quot;The Little Handorgan-Player with His Monkey.&quot; 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 R&uuml;ckert. At an exhibition
+by the women artists of Berlin, 1892, a pen study by Fr&auml;ulein 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
+Fran&ccedil;ais 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 &quot;Mother and Child,&quot; in the collection of Mrs. David P. Kimball,
+Boston; &quot;Girl with a Hand-Glass,&quot; owned by Hearn; and &quot;Girl Drying Her
+Feet,&quot; 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
+&quot;The Crusader&quot; and a &quot;Madonna.&quot;</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. &quot;Giovane veneziana&quot; and &quot;Ragazzo del Popolo&quot; were exhibited
+at Turin in 1880, and were much admired. &quot;Il Falconiere&quot; was exhibited at
+both Turin and Milan. &quot;Un Piccolo Accattone&quot; 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 Peyr&oacute;. She exhibited two works at the National Exposition, 1876&mdash;a
+portrait and a youth studying a picture. In 1878 she sent to the same
+exposition &quot;The Sacrifice of the Saguntine Women.&quot; At the Philadelphia
+Exposition, 1876, she exhibited her &quot;Messenger of Love.&quot; Her &quot;Santa
+Lucia&quot; 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 &quot;A Pensioner,&quot; &quot;A<a name="Page_139"></a> Beggar,&quot; a portrait of Se&ntilde;orita M. J.,
+and a landscape; in 1878, &quot;A Coxcomb,&quot; &quot;Street Venders of &Aacute;vila,&quot; 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
+&quot;Assumption of the Virgin&quot; is in a church at Waterloo; &quot;Christ Appearing
+to His Disciples,&quot; in a church at Hauthem. &quot;The Virgin Consoling the
+Afflicted&quot; was awarded a medal in Paris, and is in the Hospital of St.
+John at Brussels. The &quot;Virgin and Child&quot; was purchased by the Belgian
+Government. Her portraits are good, and among her genre subjects the
+&quot;Young Mother,&quot; the &quot;Sailor's Daughter,&quot; and &quot;Ophelia&quot; 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. &quot;The Little Doctor,&quot; 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 &quot;The Village Barber,&quot; &quot;Contraband,&quot; &quot;The Wonderful Story,&quot; &quot;At
+the Sick Bed,&quot; and &quot;The Violin Player,&quot; 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,
+&quot;David with the Head of Goliath,&quot; was much esteemed. Her &quot;Mary Magdalene&quot;
+and &quot;Judith with the Head of Holofernes&quot; are in the Pitti Palace. The
+latter work is a proof of her talent. Lanzi says: &quot;It is a picture of
+strong coloring, of a tone and intensity which inspires awe.&quot; 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 &quot;Birth of John the Baptist,&quot; in the Gallery of the
+Prado, is worthy of attention, even in that marvellous collection, where
+is also her &quot;Woman Caressing Pigeons.&quot; The Historical Society of New York
+has her picture of &quot;Christ among the Doctors.&quot;</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>&mdash;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 &quot;Adoration of the
+Cross.&quot; One of her most successful works is called &quot;The Choir Boys.&quot;</p>
+
+<br>
+
+<p><b>Giles, Miss&mdash;Mrs. Bernard Jenkin.</b> This sculptor exhibited a
+life-size marble group, called &quot;In Memoriam,&quot; 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
+&quot;Hero&quot; won the prize. In 1901 she exhibited an ambitious group called
+&quot;After Nineteen Hundred Years, and still They Crucify.&quot; 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 &quot;the needle and distaff were enemies to the
+brush and pencil,&quot; 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 Fran&ccedil;ais, 1900; ten silver medals
+from foreign exhibitions. Member of the Soci&eacute;t&eacute; des Artistes Fran&ccedil;ais 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-Carl&egrave;s, Paris. With this exception, Mme.
+Girardet writes: &quot;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.&quot;</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: &quot;L'Enfant Malade,&quot; bought by the city of Paris and
+placed in the Petit Palais des Champs &Eacute;lys&eacute;es; a group called the
+&quot;Grandmother's Blessing,&quot; purchased by the Government and placed in a
+public museum; the bust of an &quot;Old Woman,&quot; acquired by the Swiss
+Government and placed in the Museum of Neuch&acirc;tel; a group, the &quot;Madonna
+and Child,&quot; for which the artist received the gold medal; and two groups
+illustrat<a name="Page_143"></a>ing the prayer, &quot;Give us this day our daily bread.&quot; Also
+portrait statues and busts belonging to private collections.</p>
+
+<p>At the Salon des Artistes Fran&ccedil;ais, 1902, Mme. Girardet exhibited the
+&quot;Grandmother's Blessing&quot; and &quot;L'Enfant Malade.&quot; 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: &quot;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&mdash;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>&quot;The 'B&eacute;n&eacute;diction de l'A&iuml;eule' is less tragic. Behind the granddaughter,
+delightful in her white veil and dress of a <i>premi&egrave;re 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 Soci&eacute;t&eacute; des Artistes Fran&ccedil;ais.&quot;</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 &quot;Satan&quot; 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
+&quot;Peace&quot; 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. Calv&eacute;,
+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. &quot;Rosamond,&quot; 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.
+&quot;The Magic Mantle,&quot; &quot;Rapunzel,&quot; and the &quot;Miracle of the Roses&quot; have
+all&mdash;especially, the first named&mdash;made an impression; another and
+strikingly original picture, called the &quot;Quick and the Dead,&quot; 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, &quot;the lovely flower of Art and Literature of the
+Merwestrom,&quot; which is a poetical way of saying Dordrecht!</p>
+
+<br>
+
+<p><b>Golay, Mary&mdash;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; Soci&eacute;t&eacute; 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 Ath&eacute;n&eacute;e in Geneva, in the autumn of
+1902, she exhibited two pictures of sleep, which afforded an almost
+startling contrast. They were called &quot;Sweet Sleep&quot; and the &quot;Eternal
+Sleep.&quot; 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&mdash;scarlet roses, golden roses&mdash;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&mdash;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 &quot;Abundance
+of Spring.&quot; 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: &quot;One has never seen more
+brilliant peonies, more vigorous or finer branches of lilacs, or iris
+more delicate and distinguished. How they breathe&mdash;how they live&mdash;how
+they smile&mdash;these ephemeral blossoms!&quot;</p>
+
+<br>
+
+<p><b>Gonzalez, In&eacute;s.</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, &quot;Dido,&quot; was much admired. Another&mdash;the portrait
+of the Baron of Santa Barbara&mdash;was acquired by <a name="Page_148"></a>the Economic Society of
+Valencia. In the Provincial Museum is her picture of the &quot;Two Smokers.&quot;</p>
+
+<br>
+
+<p><b>Granby, Marchioness of.</b> Replies as follows to circular: &quot;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.&quot;</p>
+
+<p>I was not &quot;<i>really</i>&quot; anxious enough to be informed about Lady Granby&mdash;who
+drops so readily from the third person to the first&mdash;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 &quot;Bloomingdale,&quot; which was purchased by
+Mr. Robert Hoe; &quot;Ch&acirc;teau of Madame Cliffe,&quot; the property of Dykeman van
+Doren; &quot;Landscape, Amsterdam&quot;; pictures of &quot;Bloomingdale Church,&quot; &quot;St.
+Paul's Church,&quot; and the &quot;North Dutch Church,&quot; all painted on panels taken
+from these churches.</p>
+
+<p>Mrs. Greatorex illustrated the &quot;Homes of Ober-Ammergau&quot; with etchings,
+published in Munich in 1871; also &quot;Summer Etchings in Colorado,&quot;
+published in 1874; and &quot;Old New York from the Battery to Bloomingdale,&quot;
+published in 1875. Eighteen of the drawings for the &quot;Old New York&quot; 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 &quot;Under the Window&quot; appeared, and one hundred and fifty thousand
+copies were sold; it was also translated into French and German. The
+&quot;Birthday Book,&quot; &quot;Mother Goose,&quot; and &quot;Little Ann&quot; followed and were
+accorded the heartiest welcome. It is said that for the above four toy
+books she received $40,000. Wherever they went&mdash;and they were in all
+civilized countries&mdash;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 &quot;Kate Greenaway dressed the children of two
+continents,&quot; 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&mdash;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 Fran&ccedil;ais. Her picture of 1902 is thus spoken
+of in <i>Success</i>, September of that year:</p>
+
+<p>&quot;'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 R&eacute;camier 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>&quot;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.&quot;</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. &quot;Empty,&quot; a child study in oils, 1897, and a water-color, &quot;A
+Silver Latch,&quot; 1900, are among her important works.</p>
+
+<p>To the Academy Exhibition, 1903, she sent a picture of &quot;Nightfall,
+Cullercoats,&quot; and a portrait of &quot;Lily, daughter of Mrs. J. B. Firth.&quot;</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>&quot;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>&quot;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.&quot;</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 &quot;Schurr-Meer,&quot; &quot;The Village Coquette,&quot; &quot;Sunday Afternoon,&quot;
+&quot;At the Garden Gate,&quot; and &quot;Harvest Day in Misdroy.&quot; In 1886 this artist
+married Dr. Gunther, of Berlin.</p>
+
+<br>
+
+<p><b>Guyon, Maximili&egrave;nne.</b> Medal of third class, Paris salon, 1888;
+honorable mention and medal of third class at Exposition Universelle,
+1889; travelling purse, 1894&mdash;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 Soci&eacute;t&eacute; des
+Artistes Fran&ccedil;ais, Soci&eacute;t&eacute; des Aquarellistes Fran&ccedil;ais, and of the Soci&eacute;t&eacute;
+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 &quot;Violinist&quot; and &quot;The River.&quot;
+In the Salon des Artistes Fran&ccedil;ais, 1902, she exhibited two portraits. In
+1903 she exhibited &quot;Mending of the Fish Nets, a scene in Brittany,&quot; and
+&quot;A Study.&quot; 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&mdash;in the
+reproduction that I have&mdash;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&mdash;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. &quot;A Dutch
+Peasant Woman&quot; and &quot;The Midday Prayer of an Aged Couple&quot; 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 &quot;Nativity&quot; is in the South
+Congregational Church, Boston; &quot;Military Music,&quot; 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 &pound;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 &quot;Earthward Board&quot; (?) is in St.
+Bartholomew's Hospital, London; a relief, the &quot;Pleiades,&quot; was purchased
+by the Corporation of Glasgow for the Permanent Exhibition; her
+restoration of the &quot;Hermes&quot; 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 &quot;Virginians&quot; in a new American edition of Thackeray's
+novels. At the Academy, 1903, she exhibited &quot;A Reading from Plato.&quot;</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 &quot;The Keepsake,&quot; &quot;Unwinding the Skein,&quot; &quot;In Silk
+Attire,&quot; and &quot;The Bride's Bouquet.&quot;</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
+&quot;Going Home&quot; 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: &quot;'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.&quot;</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 D&uuml;sseldorf. In the Gallery
+at Hamburg is her &quot;Ruth and Naomi,&quot; 1854; other important works are &quot;The
+Veteran of 1813 and His Grandson, Wounded in 1870,&quot; &quot;The Little Boaster,&quot;
+&quot;A Troubled Hour of Rest,&quot; 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 &quot;Battle of Issus,&quot;
+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 &quot;A Quiet Corner&quot;; in 1865, &quot;Thoughtful&quot;; in 1866,
+&quot;Brother and Sister&quot;; and in 1867, &quot;Margaret.&quot;</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 &quot;Evening Landscape,&quot; &quot;Spring,&quot; &quot;Eve,&quot; 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 &quot;The Recitation&quot; 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,
+&quot;It is painted with distinction and charm&quot;; 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>&quot;Mrs. Hill has mastered great difficulties in becoming a sculptor in
+established practice.&quot;&mdash;<i>Mrs. Tytler's &quot;Modern Painters.&quot;</i></p>
+
+<p>&quot;Mrs. Hill's Captain Cook&mdash;R. Scottish Academy, 1874&mdash;is an interesting
+figure and a perfectly faithful likeness, according to extant portraits
+of the great circumnavigator.&quot;&mdash;<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 &quot;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.&quot;</p>
+
+<p>&quot;An attractive work,&quot; reproduced here, &quot;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.&quot;</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, &quot;Carmen Sylva.&quot; Here
+the artist illustrated the Queen's poem, &quot;Ada,&quot; 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>Fr&auml;ulein Hitz could not stem the &quot;classic&quot; art creed of Berlin, where the
+&quot;new idealism&quot; 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 &quot;Secession.&quot;
+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 &quot;Livre Esthetique,&quot; 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&mdash;&quot;St. George,&quot; after Correggio; &quot;Diana with an Italian
+Greyhound,&quot; after Camera; &quot;Winter,&quot; 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 &quot;A Mother's Joy.&quot; In 1877 she
+exhibited in the same city &quot;Sappho&quot; and &quot;A Mother,&quot; which were much
+admired; at Turin, 1880, &quot;On the Water&quot; and &quot;The Dance&quot; were seen; at
+Milan, 1881, she exhibited &quot;Timon of Athens&quot; and a &quot;Sunset&quot;; at Rome,
+1883, &quot;A Gipsy Girl&quot; and &quot;Flowers.&quot; 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 &quot;The Green Shutters,&quot; 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, &quot;Daphne&quot; and &quot;Medusa,&quot; executed soon after she went to Rome, were
+praised by critics of authority. &quot;Will-o'-the-Wisp,&quot; &quot;Puck,&quot; &quot;Sleeping
+Faun,&quot; &quot;Waking Faun,&quot; and &quot;Zenobia in Chains&quot; followed each other
+rapidly.</p>
+
+<p>Miss Hosmer made a portrait statue of &quot;Maria Sophia, Queen of the
+Sicilies,&quot; and a monument to an English <a name="Page_165"></a>lady to be placed in a church in
+Rome. Her &quot;Beatrice Cenci&quot; 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: &quot;I have not painted many pictures of late years,
+but always something for exhibition every year.&quot; 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 &quot;Captain John,&quot; in National
+Museum; &quot;Laughing Child,&quot; in C. P. Huntington Collection; &quot;Who Comes?&quot; 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&mdash;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 &quot;Poma Bride,&quot;
+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 &quot;The Stream, South Egremont,&quot; which is in a
+private gallery in Denver; &quot;In the Woods&quot; belongs to Mr. Whiting, of
+Great Barrington; and &quot;Sunlight and Shadow&quot; 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: &quot;Dante and<a name="Page_168"></a> Beatrice,&quot; &quot;Joy to the Laborer,&quot;
+&quot;An Italian Garden,&quot; &quot;Where shall Wisdom be Found?&quot; and the
+&quot;Roadmenders,&quot; in Academy Exhibition, 1903.</p>
+
+<p>The only work of Mrs. Hunter's that I have seen is the &quot;Dante and
+Beatrice,&quot; 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: &quot;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>&quot;The school to which they belong is one which has latterly gathered to
+itself a very large number of adherents among the younger painters&mdash;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.&quot;</p>
+
+<br>
+
+<p><b>Hyatt, Harriet Randolph&mdash;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 &quot;Shouting above the Tide,&quot; &quot;Primitive
+Fishing,&quot; &quot;The Choir Invisible,&quot; etc.</p>
+
+<p>The plaster group called the &quot;Boy with Great Dane&quot; 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 &quot;Boy with Great Dane,&quot; already
+mentioned, made in conjunction <a name="Page_171"></a>with her sister; a &quot;Bison,&quot; in a private
+collection in Boston; and &quot;Playing with Fire.&quot;</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, &quot;Love Dominating
+Evil.&quot; 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
+&quot;Book of Emblems&quot; 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 Soci&eacute;t&eacute; des Artistes Fran&ccedil;ais, Soci&eacute;t&eacute; Libre,
+Soci&eacute;t&eacute; 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 &quot;Bacchante&quot;
+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 &quot;Madonna&quot;; 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&mdash;a
+quality sometimes lacking in the work of both men and women sculptors.</p>
+
+<p>Since her d&eacute;but 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
+&quot;Young Scholar,&quot; and the following year the bust of her father; in 1890 a
+&quot;St. Sebastian&quot; in high relief; in 1891 an &quot;Egyptian Harpist,&quot; 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
+&quot;Bacchante,&quot; which in marble was a brilliant success and gained for her a
+second-class medal and the palmes acad&eacute;mique, 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. N&eacute;lie.</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 f&uuml;r bildende
+Kunst:</i> &quot;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.&quot;</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
+&quot;Franzens-Museum&quot; at Br&uuml;nn, 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 D&uuml;sseldorf. 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 &quot;Polish Woman and Children Leaving Their Home, which had
+been Destroyed,&quot; is in the Raczynski Collection, Berlin; &quot;Polish Peasants
+Returning to the Ruins of a Burnt House,&quot; in the Lansdowne Collection,
+London; &quot;A Wounded Soldier Nursed by His Betrothed,&quot; in the Gallery at
+Copenhagen, where is also her portrait of her husband; &quot;An Icelandic
+Maiden,&quot; in the Kunsthalle, Hamburg. Her picture, &quot;Reading the Bible,&quot;
+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
+&quot;Christian Martyrs in the Catacombs.&quot; 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: &quot;Your Holiness, I am a Christian.&quot;</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>Th&eacute;ophile Gautier once said that but three women in Europe merited the
+name of artists&mdash;Rosa Bonheur, Henrietta Brown, and Elizabeth Jerichau;
+and Cornelius called her &quot;the one woman in the D&uuml;sseldorf School,&quot;
+because of her virile manner of painting.</p>
+
+<p>Among her important portraits are those of Frederick VII. of Denmark, the
+brothers Grimm, and &quot;Hans Christian Andersen Reading His Fairy Tales to a
+Child.&quot;</p>
+
+<p>Mme. Jerichau was also an author. In 1874 she published her &quot;Memories of
+Youth,&quot; and later, with her son, the illustrated &quot;Pictures of Travel.&quot;</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 &quot;PORTIA&quot;. Louise Jopling Rowe"></a></p>
+<p class="ctr">MISS ELLEN TERRY AS &quot;PORTIA&quot;</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
+&quot;Japanese Tea Party,&quot; 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: &quot;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&mdash;these are the
+best qualifications for the artist who would succeed.&quot;</p>
+
+<p>In the <i>Art Journal,</i> July, 1874, I read: &quot;'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.&quot;</p><a name="Page_178"></a>
+
+<p>The above-named picture was sold to the Messrs. Agnew, and was followed
+by &quot;The Modern Cinderella,&quot; which was seen at the Paris Exposition in
+1878; at the Philadelphia Exposition in 1876 she exhibited &quot;Five Sisters
+of York.&quot;</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 &quot;Hints to Amateurs.&quot;</p>
+
+<p>At the Royal Academy, 1903, she exhibited &quot;Hark! Hark! the Lark at
+Heaven's Gate Sings,&quot; 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>&mdash;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 Societ&agrave; 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 &quot;Spanish Scene in the Eighteenth Century.&quot;</p><a name="Page_179"></a>
+
+<p>She painted a &quot;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.&quot; She sent this picture to Queen Margharita, &quot;who
+not only graciously accepted it, but sent the artist a beautiful letter
+and a magnificent jewel on which was the Royal Cipher.&quot;</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 &quot;The
+Grandmother&quot;; in 1852, &quot;A Garland with Religious Emblems&quot;; in 1855, &quot;A
+Crucifix Wound with Flowers.&quot;</p>
+
+<br>
+
+<p><b>Kalckreuth, Countess Maria.</b> Medal at Chicago Exposition, 1893.
+Member of the Society of Women Artists in Berlin. Born at D&uuml;sseldorf.
+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 &quot;Christ Raising a Repentant
+Sinner&quot;&mdash;a strong work, broadly painted. Among her important pictures are
+&quot;In the Sunshine,&quot; &quot;Fainthearted,&quot; &quot;Discontented,&quot; 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: &quot;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&mdash;all these causes sufficiently account for
+her popularity.&quot;</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: &quot;As an artist she is
+the pride of the female sex in all times and all nations. Nothing is
+wanting&mdash;composition, coloring, fancy&mdash;all are here.&quot;</p>
+
+<p>Miss Kate Thompson writes: &quot;Her works showed no originality nor any great
+power of execution, and, while sometimes graceful, were generally weak
+and insipid.&quot;</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&mdash;it <a name="Page_181"></a>must have been the individuality of
+the artist&mdash;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&mdash;one as well as the other&mdash;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: &quot;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.&quot;</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&mdash;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, &quot;Miss Angel,&quot; makes Angelica an attractive heroine.</p>
+
+<p>The royal family were much interested in her, and the mother of the King
+visited her&mdash;an honor never before accorded to an artist&mdash;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, &quot;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.&quot;</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: &quot;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&mdash;only the praises of that
+which was worthy of praise. It belonged to her nature to recognize the
+beauty alone&mdash;as the bee draws honey only out of every flower.&quot;</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: &quot;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.&quot; In his work
+called &quot;Winckelmann and His Century,&quot; Goethe again said of her: &quot;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.&quot;</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&mdash;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 &quot;A Young Vestal,&quot; &quot;A Young
+Sibyl,&quot; and &quot;Ariadne Abandoned by Theseus.&quot;</p>
+
+<p>On the margin of one of her pictures she wrote: &quot;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.&quot;</p>
+
+<p>In 1784 Angelica Kauffman painted &quot;Servius Tullius as a Child&quot; for the
+Czar of Russia; in 1786 &quot;Hermann and Thusnelda&quot; and &quot;The Funeral of
+Pallas&quot; for Joseph II. These are now in the Vienna Gallery. Three
+pictures, &quot;Virgil Reading the &AElig;neid to the Empress Octavia,&quot; &quot;Augustus
+Reading Verses on the Death of Marcellus,&quot; and &quot;Achilles Discovered by
+Ulysses, in Female Attire,&quot; were painted for Catherine II. of Russia.
+&quot;Religion Surrounded by Virtues,&quot; 1798, is in the National Gallery,
+London. A &quot;Madonna&quot; and a &quot;Scene from the Songs of Ossian&quot; are in the
+Aschaffenburg Gallery. A &quot;Madonna in Glory&quot; and the &quot;Women of Samaria,&quot;
+1799, are in the New Pinakothek, Munich, where is also the portrait of
+Louis I. of Bavaria, as Crown Prince, 1805. The &quot;Farewell of Abelard and
+Heloise,&quot; together with other works of this artist, are in the Hermitage,
+St. Petersburg. A &quot;Holy Family,&quot; and others, in the Museo Civico, Venice.
+&quot;Prudence Warning Virtue against Folly,&quot; in the Pennsylvania Academy,
+Philadelphia. Portraits of Winckelmann in the St&auml;del Institute,
+Frankfort, <a name="Page_190"></a>and in the Z&uuml;rich 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 &quot;Mill
+near Ischl&quot; 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 &quot;Colt Hunting in the New Forest&quot; was purchased by the trustees
+of the Chantrey Bequest; in 1900 that of &quot;Horses Bathing in the Sea&quot; was
+bought for the National Gallery at Victoria. In 1901 she exhibited &quot;Lord
+Dundonald's Dash on Lady-smith.&quot;</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: &quot;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.&quot;</p>
+
+<p>Mr. Frederick Wetmore, in writing of the Spring Exhibition of the Royal
+Painter Etchers, says: &quot;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.&quot;</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 &quot;Clovelly in Devonshire.&quot; 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 &quot;A grace for beauty and a muse for
+wit.&quot; A biographer records her death from smallpox when twenty-five years
+old, &quot;to the unspeakable reluctancy of her relatives.&quot; She was buried in
+the Savoy Chapel, now a &quot;Royal Peculiar,&quot; 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 &quot;the noblest
+our language has produced.&quot; It begins: &quot;Thou youngest virgin daugh<a name="Page_193"></a>ter of
+the skies.&quot; After praising her poetry Dryden wrote:</p>
+
+<div class="poem"><div class="stanza">
+<p>&quot;Her pencil drew whate'er her soul designed,</p>
+<p>And oft the happy draught surpassed the image of her mind.&quot;</p>
+</div></div>
+
+<p>Of her portrait of James II. he says:</p>
+
+<div class="poem"><div class="stanza">
+<p>&quot;For, not content to express his outward part,</p>
+<p>Her hand called out the image of his heart;</p>
+<p>His warlike mind&mdash;his soul devoid of fear&mdash;</p>
+<p>His high designing thoughts were figured there.&quot;</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 &quot;a harmonious hyperbole, composed of the
+Fall of Adam&mdash;Arethusa&mdash;Vestal Virgins&mdash;Dian&mdash;Cupid&mdash;Noah's Ark&mdash;the
+Pleiades&mdash;the fall of Jehoshaphat&mdash;and the last Assizes.&quot;</p>
+
+<p>Anthony Wood, however, says: &quot;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.&quot;</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 Fr&eacute;miet and of Navez. Her picture of the &quot;Last
+Moments of Egmont&quot; is in the Ghent Museum; among her other <a name="Page_194"></a>historical
+pictures are &quot;Melancthon Predicting Prince Willem's Future&quot; and
+&quot;Elizabeth Sentencing Mary Stuart,&quot; which is in the Hague Museum. The
+&quot;Obstinate Scholar&quot; and &quot;Happier than a King&quot; 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 &quot;Jungle
+Book&quot; 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: &quot;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.&quot;</p>
+
+<p>Her important works are in part the illustrations of &quot;The Little
+Princess,&quot; &quot;The Magic Grammar,&quot; &quot;La Belle Dame sans Merci,&quot; &quot;L'Evangile
+de l'Enfance,&quot; &quot;The Romance of the Swan's Nest,&quot; 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 Sch&auml;ffer 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 &quot;A
+Peasant Home in Southern Austria.&quot;</p>
+
+<br>
+
+<p><b>Kirschner, Marie.</b> Born at Prague, 1852. Pupil of Adolf Lier in
+Munich, and Jules Dupr&eacute; 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 &quot;Village Tulleschitz in Bohemia.&quot; She
+is also, known by many flower pieces and by the &quot;Storm on the Downs of
+Heyst,&quot; &quot;Spring Morning,&quot; and a &quot;Scene on the Moldau.&quot;</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&mdash;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: &quot;In the Wash-house,&quot; owned by
+the Pennsylvania Academy of Fine Arts; portrait of Mrs. Nancy Foster, at
+the Chicago University; &quot;Maternal Instruction,&quot; 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: &quot;Longfellow's thought, 'Your purpose in life must be
+to accomplish well your task,' has been our motto from childhood.&quot;</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 &quot;Le Labourage
+Nivernais,&quot; 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: &quot;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.&quot;</p>
+
+<p>At the Salon des Artistes Fran&ccedil;ais, 1903, Miss Klumpke exhibited a
+picture called &quot;Maternal Affection.&quot;</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 &quot;In the Children's Shoes,&quot; &quot;The Forester's
+Leisure Hours,&quot; and a &quot;Madonna with the Christ Child.&quot;</p>
+
+<p>Two of her works in gouache are worthy of mention: &quot;An Effeminate&quot; and
+&quot;Children Returning from School.&quot;</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. &quot;Morning in the Mountains&quot; and &quot;On the
+Road to Mt. Marcy&quot; were exhibited in 1877; &quot;A November Day&quot; and an
+&quot;Evening Walk,&quot; in 1878; &quot;A House in East Hampton, Two Hundred and Twenty
+Years Old,&quot; in 1880; &quot;On Rondout Creek,&quot; in 1881; and &quot;The Brook,&quot; 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 &quot;Landscape with a View of a Village,&quot; &quot;The Square
+Tower,&quot; and &quot;Huts by the Water.&quot;</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 Br&uuml;nn, Prague, and Budapest.</p>
+
+<br>
+
+<p><b>Kondelka, Baroness Pauline von</b>&mdash;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 &quot;Silence,&quot; 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 &quot;A Bunch of
+Flowers.&quot; 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 Munk&aacute;csy; later she was a
+pupil at the Julian Academy in Paris and the Scuola libera in Florence.
+In the Parish Church at K&ouml;b&ouml;lkut are three of her pictures of sacred
+subjects, and in the Hungarian National Museum a picture of still-life.
+Her &quot;Old Woman,&quot; 1885, is mentioned as attracting favorable notice.</p>
+
+<br>
+
+<p><b>Kora or Callirho&euml;.</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 Callirho&euml;,
+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 &quot;Madonna&quot;; 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>K&uuml;ssner, Amalia.</b> See <a href="#Coudert">Coudert, Amalia K&uuml;ssner</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 &quot;Reception of a Member to the
+Order of St. Lazare,&quot; 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'Angoul&ecirc;me 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 &quot;Sweet
+Repose&quot; and &quot;Masquerading&quot; were sold from the exhibitions in London and
+Glasgow, where they were shown. &quot;Bruges Lace-Makers&quot; 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>&mdash;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 &quot;The Advent Angel&quot;; &quot;The Christ Child,&quot; a
+life-size painting, copied in mosaic for the Conrad memorial, St. Mary's
+Church, Wayne, Pennsylvania; &quot;The Arts&quot; and &quot;The Sciences,&quot; 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&mdash;the great water-color artist of the Roman Campagna&mdash;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 &quot;Study of the Head of
+an old Roman Peasant&quot;; a &quot;Sketch near the Mouth of the Tiber at
+Finniscino&quot;; &quot;An Old Stairway in the Villa d'Este, at Tivoli&quot;; &quot;A View
+from the Villa Colonna, Rome.&quot;</p>
+
+<p>Two of her sketches, one of the &quot;Tiber&quot; and one of the &quot;Villa Medici,&quot;
+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 &quot;Madonna&quot;
+in an old Umbrian church is in a private gallery in Rome; a &quot;Winter Scene
+in the Villa Borghese&quot; and two other sketches are owned in Edinburgh; the
+&quot;Lake in the Villa Borghese&quot; 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 &quot;To-day&quot; and &quot;Galatea,&quot; the
+first being emblematic of America.</p>
+
+<p>She executed many portrait busts, one of them being of Nathaniel
+Hawthorne. &quot;The Captive Pioneer&quot; is a large group. Among her ideal works
+are a statue of Virginia Dare&mdash;the first child born in America of English
+parents; &quot;Undine,&quot; &quot;Evangeline,&quot; &quot;Virginia,&quot; 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
+&quot;Battle for Truth,&quot; &quot;Sentinels of Peace,&quot; &quot;A Contented Old Woman&quot;; and
+among her etchings may be named &quot;The Veiled Picture of Sa&iuml;s,&quot;
+&quot;Prometheus,&quot; &quot;The Microscopist,&quot; &quot;Before the Bar of Reason,&quot; etc. The
+latter was reproduced in <i>Zeitschrift f&uuml;r 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 &quot;Going to
+Baptism&quot; 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 &quot;Strand at Lohic,&quot; 1876, is in the Luxembourg Gallery;
+the &quot;Cliffs of Yport&quot; is in the Museum of Lille; &quot;A Calm at Villers,&quot; in
+the Museum at Lorient; &quot;Coming Tide at Kervillaine,&quot; in the museum of
+Morlaix, etc. Her marine views are numerous and are much admired.</p>
+
+<p>At the Salon of the Artistes Fran&ccedil;ais, 1902, Mme. La Villette exhibited
+&quot;Twilight, Quiberon, Morbihan&quot;; in 1903, &quot;Fort Penthi&egrave;vre, Quiberon,&quot; and
+&quot;A Foaming Wave.&quot;</p>
+
+<br>
+
+<p><b>Le Brun, Mme.</b> See <a href="#Vignee">Vig&eacute;e</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 &quot;Styrian Maiden&quot; belongs to the Austrian Emperor, and is in G&ouml;d&ouml;ll&ouml;
+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 &quot;Portrait of Madame, the Baroness.&quot; She has
+painted many portraits, and is extremely successful in her pictures of
+flowers and fruit.</p>
+
+<p>Among her principal works are &quot;Diana and Her Dog,&quot; &quot;Going out of Church,&quot;
+&quot;Ophelia,&quot; &quot;Sleep,&quot; &quot;The Fall of the Leaves,&quot; and &quot;Manon.&quot;</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
+&quot;L'Abb&eacute; Constantin&quot; and for an edition of &quot;Flirt&quot; are very attractive.</p>
+
+<p>Her &quot;Roses&quot; 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>&quot;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 Soir&eacute;e in Athens
+in the Time of Pericles. Madeleine Lemaire begs you to honor with your
+presence the Greek f&ecirc;te 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'Uz&egrave;s,
+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 Calv&eacute; and Mme. Litoinne sang passages from 'Phil&eacute;mon 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.&quot;</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 &quot;Boys Wrestling,&quot; group in the round; &quot;Study of a
+Boy,&quot; a statuette; &quot;Fishermen Hauling in a Net,&quot; &quot;Boys Fishing,&quot; &quot;The
+Hammer Thrower,&quot; &quot;Rugby Football,&quot; and the &quot;Sea Urchin,&quot; 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, &quot;Sledgehammers: Portion of a Frieze in Relief.&quot;</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 &quot;Freedwoman.&quot; 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 &quot;Death of
+Cleopatra,&quot; in marble. The Marquis of Bute bought her &quot;Madonna with the
+Infant Christ,&quot; an altar-piece. Her &quot;Marriage of Hiawatha&quot; was purchased
+by a New York lady.</p>
+
+<p>Among her other works are &quot;An Old Arrow-Maker and His Daughter,&quot;
+&quot;Asleep,&quot; and terra-cotta busts of Charles Sumner, Longfellow, John
+Brown, and others.</p>
+
+<p>&quot;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.&quot;&mdash;<i>Revolution</i>,
+April, 1871.</p>
+
+<p>&quot;This was not a beautiful work&mdash;'Cleopatra'&mdash;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.&quot;&mdash;<i>Great American Sculptors.</i></p>
+
+<br>
+
+<p><b>Ley, Sophie.</b> Third-class medal at Melbourne; honor diplomas,
+Karlsruhe. Member of the K&uuml;nstlerbund, 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,
+&quot;Fingerhut im Walde,&quot; was awarded a prize. Fr&auml;ulein 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 &quot;Choir of the Capuchins at Rome.&quot;
+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 &quot;Arum Italicum,&quot; exhibited at Milan in 1881,
+and a &quot;Park at Capodimonte,&quot; shown at the International Exposition in
+Rome&mdash;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 &quot;Mother and Child&quot; and &quot;Grandfather and
+Granddaughter.&quot; &quot;The Dance in a Peasant Cottage&quot; is in the Museum of
+Stockholm, where are also her portraits of Queen Louise and the Crown
+Princess of Denmark, 1873.</p>
+
+<p>&quot;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.&quot;&mdash;<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 &quot;Roses,&quot; in
+the Academy of Fine Arts, and &quot;White Roses,&quot; in the Art Club of
+Philadelphia. &quot;Sunset in the Hills&quot; is in a private collection, and &quot;The
+West Window&quot; 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 &quot;Diana's Return from the Chase&quot; 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 &quot;A Man Holding a Glass of Water&quot;; in the Brunswick Gallery
+is her portrait of herself; and several of her works are in the Schwerin
+Gallery. Her pictures of &quot;A Repentant Maiden,&quot; 1781, and of &quot;Ariadne at
+Naxos&quot; 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 &quot;Hall of Beauty&quot; 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 &quot;Artemisia&quot; and a second of
+&quot;Monime Pulling Down Her Diadem,&quot; 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&mdash;a &quot;St. Anthony&quot; and a &quot;St. Theresa.&quot;</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 &quot;Madonna Immaculata&quot; is in the Gymnasial Kirche,
+Meran, and a &quot;Mater Dolorosa&quot; 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; &quot;St. Monica,&quot; &quot;Judith,&quot; and the &quot;Healing of St. Agatha&quot; are in the
+Ravenna Academy; a &quot;Virgin and Child&quot; is in the Louvre, and &quot;Mary with
+the Children&quot; 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 &quot;Baby Belle,&quot; &quot;A Little Runaway,&quot; &quot;A Bouquet for
+Mama,&quot; 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>&quot;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.&quot;&mdash;<i>Clarence Cook, in New York Tribune.</i></p>
+
+<p>&quot;Mrs. Loop is certainly the leading portrait painter among our lady
+artists. She is vigorous, conscientious, and perceptive.&quot;&mdash;<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 &quot;the Rosa Bonheur of
+America.&quot; 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: &quot;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.&quot;</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 &quot;Oxen at Rest,&quot; &quot;The Artist's Friends,&quot; &quot;Hounds in
+the Woods,&quot; painted in California. &quot;Mourning for Their Master,&quot; &quot;The Sick
+Donkey,&quot; and other less important pictures are in private collections in
+Hungary. &quot;The Early Breakfast&quot; 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 &quot;By the Fireside.&quot;</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 &quot;The Singer&quot; 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 &quot;temperance in the use of high relief.&quot;</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 &quot;Retrospection,&quot;
+Boston Art Club; &quot;Tired,&quot; Erie Art Club; &quot;A Good Story,&quot; National Arts
+Club, New York; &quot;The Old Cobbler,&quot; etc.</p>
+
+<p>Her prize picture at the National Academy, New York, 1894, was called
+&quot;The Old Spinner.&quot; 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 &quot;In the Reign of Terror&quot; and &quot;Jephthah's Vow,&quot;
+both in the Liverpool Permanent Collection; &quot;The Mistletoe Bough&quot;;
+&quot;Arrested, or the Nihilist&quot;; &quot;Flight,&quot; exhibited at Royal Academy in
+1901; &quot;King Edward VII.,&quot; 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 &quot;The Nun,&quot; &quot;If a Woman Has
+Long Hair, it is a Glory to Her,&quot; I Cor. xi. 15; &quot;Behind the Curtain,&quot;
+&quot;Christmas in a Children's Hospital,&quot; and &quot;Little Bo-peep.&quot;</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. Lain&eacute;, 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&mdash;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 Soci&eacute;t&eacute; 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, &quot;The October Sun,&quot; &quot;The Last
+Rays,&quot; and &quot;The Rain&quot;; in 1903, &quot;A Snow Scene.&quot;</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 &quot;Saint Catherine&quot; is in the
+Boston Museum of Fine Arts; &quot;Spring Opening the Gate to Love&quot; was in the
+collection of the late Mrs. S. D. Warren; &quot;The Annunciation&quot; is in the
+collection of Mrs. D. P. Kimball, Boston. Other works of hers are a
+triptych, the &quot;Magdalene,&quot; &quot;Death and the Captive,&quot; &quot;The Virgin of the
+Book,&quot; 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>&quot;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.&quot;&mdash;<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&mdash;the Minister of Public
+Instruction&mdash;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. &quot;Modesty and Vanity&quot; is one of her
+genre pictures.</p>
+
+<br>
+
+<p><b>Mangilla, Ada.</b> Gold medal at Ferrara for a &quot;Bacchante,&quot; which is now
+in the Gallery there; gold medal <a name="Page_222"></a>at Beatrice, in Florence, 1890, for the
+&quot;Three Marys.&quot; 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 &quot;A
+Pompeian Lady at Her Toilet,&quot; and &quot;A Pompeian Flower-Seller.&quot; 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. &quot;Floralia&quot; was sold in Venice. To an exhibition of
+Italian artists in London, in 1889, she contributed &quot;The Young Agrippa,&quot;
+which was sold to Thomas Walker. Her grace and fancy appear in the
+drawings which she finds time to make for &quot;Florentia,&quot; and in such
+pictures as &quot;The Rose Harvest.&quot;</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
+&quot;Sympathy,&quot; sold as first prize in Derby Art Union; &quot;Diverse
+Attractions&quot;; &quot;Interesting Discoveries&quot;; &quot;Coming,&quot; sold from the Royal
+Academy; &quot;Gossips&quot;; &quot;The Wedding Gown,&quot; 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, &quot;Camilla,&quot; 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 &quot;Amleto,&quot; &quot;The
+Sulamite Woman,&quot; and &quot;Sappho.&quot; 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 &quot;Youth Weeping over the Tomb
+of the Dead,&quot; and is in the Protestant Cemetery at Florence; a
+bas-relief, the &quot;Angels of Prayer and of the Resurrection&quot;; a group,
+&quot;Romeo and Juliet&quot;; and portraits of Carlo Cattanei, Giuseppe Civinini,
+Signora Allievi, Senator Musio, the traveller De Albertis, and Victor
+Emmanuel.</p>
+
+<br>
+
+<p><b>Marcelle, Ad&egrave;le,</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 &quot;Abyssinian Sheikh&quot; (1870). A &quot;Gorgon&quot; (1865), a &quot;Saviour&quot;
+(1875), &quot;La Bella Romana&quot; (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 W&uuml;rtemberg 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 &quot;Mezze Figure,&quot; 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 W&uuml;rtemberg.</b> Daughter of Louis Philippe, and wife
+of Duke Frederick William Alexander of W&uuml;rtemberg. Born at Palermo, 1813,
+and died at Pisa, 1839. She studied drawing with Ary Scheffer. Her statue
+of &quot;Jeanne d'Arc&quot; is at Versailles; in the Ferdinand Chapel, in the Bois
+de Boulogne, is the &quot;Peri as a Praying Angel&quot;; in the Saturnin Chapel at
+Fontainebleau is a stained-glass window with her design of &quot;St. Amalia.&quot;
+Among her other works are &quot;The Dying Bayard,&quot; 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 &quot;Souvenirs of 1812,&quot; 1831, etc.</p>
+
+<br>
+
+<p><b>Marie Louise, Empress of France.</b> 1791-1846. She studied under
+Prud'hon. Her &quot;Girl with a Dove&quot; is in the Museum of Besan&ccedil;on.</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, &quot;Manette Salomon,&quot; is in
+the Hotel de Ville, Paris; the &quot;Nymphe Accroupie&quot; 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 Fran&ccedil;ais, 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: &quot;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.&quot;</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 Soci&eacute;t&eacute; 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 &quot;Susanna in the Bath,&quot; &quot;David Playing the Harp before Saul,&quot; a
+&quot;Magdalen,&quot; a &quot;Cupid,&quot; a &quot;Boy with a Linnet,&quot; and a &quot;Nativity.&quot; Some of
+these were <a name="Page_228"></a>awarded prizes. In the Chapel of Relics in the new Cathedral
+at Cadiz are her &quot;Martyrdom of St. Lawrence&quot; and a &quot;Mater Dolorosa.&quot;</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: &quot;St. Martin&quot; in the church at Alto&eacute;; &quot;St.
+Philomena&quot; in the church at Busseto; the &quot;Madonna del Carmine&quot; and &quot;St.
+Anna&quot; 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 &quot;Pets,&quot; 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: &quot;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.&quot;</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 &quot;Le Buveur&quot; is in the Museum of Geneva; &quot;Five
+o'Clock Tea,&quot; also in a Geneva Museum; &quot;La Bohemienne&quot; is at Nice; &quot;The
+Engagement&quot;&mdash;a dancer&mdash;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: &quot;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.&quot; It is well known that the famous sculptor is
+a remarkable portraitist.</p>
+
+<p>In a review of the Salon at Nice we read: &quot;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.&quot;</p>
+
+<br>
+
+<p><b>Massolien, Anna.</b> Born at G&ouml;rlitz, 1848. A pupil of G. Gr&auml;f and of
+the School of Women Artists in Berlin. Her portraits of Field Marshal von
+Steinmetz, Br&uuml;ckner, 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, &quot;Head of a Young Girl,&quot; is in the Luxembourg;<a name="Page_231"></a> &quot;A Jewess of
+Algiers,&quot; 1866, is in the Museum of Lille; &quot;The Intrigue under the
+Portico of the Doge's Palace&quot; 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&mdash;&quot;View of the Magdalen Chapel in the
+Garden at Nymphenburg,&quot; 1832, and &quot;Outlook on the Islands, Procida and
+Ischia,&quot; 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
+&quot;palmes acad&eacute;mique&quot; 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 &quot;Mama!&quot; a statue in marble; &quot;Lok&eacute;,&quot; a
+statue; &quot;Dans les Vagues,&quot; a marble bust; &quot;Funeral Monument,&quot; 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 Fran&ccedil;ais, 1902, she exhibited four portraits,
+and in 1903, &quot;Confidence.&quot;</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, &quot;Mother and Child,&quot; was hung on the line.</p>
+
+<p>Miss Maury has made an especial study of child life. Among her pictures
+are &quot;Little Sister,&quot; &quot;Choir Boy,&quot; &quot;Late Breakfast,&quot; and &quot;First Steps.&quot;
+The latter picture and the &quot;Baby in a Go-Cart&quot; have been published in the
+Copley Prints.</p>
+
+<p>&quot;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&mdash;also a
+pastel&mdash;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.&quot;&mdash;<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, &quot;November,&quot; 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. Del&eacute;cluse; 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: &quot;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>&quot;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.&quot;</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: &quot;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.&quot;</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>&quot;Alice in Wonderland&quot; and &quot;Through the Looking-Glass.&quot; De</p>
+<p class="i4">Luxe edition in color. New York, 1899.</p><a name="Page_235"></a>
+</div><div class="stanza">
+<p>&quot;The Calendar of Omar Khayyam.&quot; In color. New York, 1900.</p>
+</div><div class="stanza">
+<p>&quot;The Altar Service.&quot; Thirty-six wood-cut blocks printed on</p>
+<p class="i3">Japan vellum. London, 1902.</p>
+</div><div class="stanza">
+<p>&quot;The Coronation Prayer-Book.&quot; (Wood-cut borders.) Oxford</p>
+<p class="i3">University Press, 1902.</p>
+</div><div class="stanza">
+<p>&quot;Cathedrals of Northern France.&quot; In collaboration with Francis</p>
+<p class="i3">Miltoun. Boston and London, 1903.</p>
+</div><div class="stanza">
+<p>&quot;Cathedrals of Southern France.&quot; In collaboration with Francis</p>
+<p class="i3">Miltoun. Sold for publication in London and Boston, 1904.</p>
+</div><div class="stanza">
+<p>&quot;A Dante Calendar.&quot; London, 1903.</p>
+</div><div class="stanza">
+<p>&quot;A Rubaiyat Calendar.&quot; Boston, 1903.</p>
+</div><div class="stanza">
+<p>&quot;The King's Classics.&quot; (Designs and Decorations.) London,</p>
+<p class="i3">1902-1903.</p>
+</div><div class="stanza">
+<p>&quot;The Book of Days.&quot; A Calendar. Sold in London for 1904.</p>
+</div></div>
+
+<p>After speaking of several works by Miss McManus, a notice from London
+says: &quot;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>&quot;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>&quot;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>&quot;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&mdash;even that which would have accrued from a proper
+valuation of her work.</p>
+
+<p>&quot;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>&quot;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.&quot;</p>
+
+<p>Moring's <i>Quarterly</i> says in regard to the special work which Mrs.
+Mansfield has done: &quot;It is so seldom that an artist is able to take in
+hand what may be termed the entire decoration of a book&mdash;including in
+that phrase cover, illustration, colophon, head- and tail-pieces, initial
+letters, and borders&mdash;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.&quot;</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,
+&quot;Maria Medici F. MDLXXXII.&quot; Another portrait of a girl, attributed to
+her, is signed, &quot;L. O. 1617.&quot; 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 &quot;The Wonderful Transformations of
+Caterpillars.&quot; 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&mdash;of which
+a French poet wrote:</p>
+
+<div class="poem"><div class="stanza">
+<p>&quot;Sibylla &agrave; Surinam va chercher la nature,</p>
+<p>Avec l'esprit d'un Sage, et le coeur d'un Heros&quot;</p>
+</div></div>
+
+<p>&mdash;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 &quot;lantern
+flies,&quot; 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 &quot;Metamorphoses Insectorum Surinamensium,&quot; etc.
+The illustrations were her own, and she pictured many most interesting
+objects&mdash;animals and vegetables as well <a name="Page_240"></a>as insects&mdash;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 &quot;History of the Insects of Europe, Drawn
+from Nature, and Explained by Maria Sibylla Merian.&quot; 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 &quot;Basket of Flowers&quot; by this
+artist, and in the Basle Museum a picture of &quot;Locust and Chafers.&quot;</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 &quot;Love Locked Out&quot; 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&mdash;whom she married&mdash;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
+B&ouml;hmischbrod, 1845. Pupil of P&ouml;nninger and Eisenmenger. A painter of
+portraits and of sacred and genre subjects. Three of her portraits are
+well known&mdash;those of Baron Thienen, General von Neuwirth, and Baron
+Eber-Eschenbach. The altar-piece in the chapel of the Vienna Institute, a
+&quot;Holy Family,&quot; 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>M&ouml;ller, 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. &quot;Blessing a
+Tomb, Westminster,&quot; was at the Philadelphia Exposition, 1876; &quot;Corner of
+St. Mark's&quot; and &quot;Fishing Boats, Venice,&quot; were at Paris, 1878.</p>
+
+<p>In 1874 she exhibited at the Society of British Artists, &quot;Il Giardino
+Publico&quot;&mdash;the Public Garden&mdash;of which a writer in the <i>Art Journal</i> said:
+&quot;'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.&quot;</p>
+
+<p>[<i>No reply to circular</i>.]</p>
+
+<br>
+
+<p><b>Moretto, Emma.</b> Venetian painter, exhibited at Naples, in 1877,
+&quot;Abbey of St. Gregory at Venice&quot;; at Turin, in 1880, a fine view of the
+&quot;Canal of the Giudecca,&quot; and &quot;Canal of S. Giorgio&quot;; at the National
+Exposition in Milan, 1881, &quot;Sunset&quot; and a marine view; at Rome, in 1883,
+&quot;Excursion on the Lagoon.&quot; Still others of the same general character
+are: &quot;A Gondola,&quot; &quot;At St. Mark's,&quot; &quot;Grand Canal,&quot; &quot;Morning at Sea,&quot; 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 &quot;The
+Day&quot;&mdash;original in Parma&mdash;and &quot;The Night.&quot;</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 &quot;Holy Mother
+with the Christ Child, Mary Magdalen, Hieronymus, and Two Angels,&quot; which
+she sent by Cardinal Albani to the Duke's father&mdash;Frederick Augustus II.
+of Saxony and Augustus III. of Poland&mdash;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 &quot;Miss Moser's Room.&quot;</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: &quot;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.&quot;</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 &quot;Music in Morocco,&quot; &quot;A
+Moorish Saint,&quot; &quot;The Greek Betrothed,&quot; etc. Other subjects are &quot;The Gipsy
+Queen,&quot; &quot;Dalmatian Peasant,&quot; &quot;The Old Story in Spain,&quot; 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&mdash;where Ghirlandajo saw, in the streets, in churches, and on
+various ceremonial occasions, the beautiful women with whom he still
+makes us acquainted&mdash;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, &quot;Get thee to a nunnery,&quot; and his assertion, &quot;I have
+heard of your paintings, too,&quot; 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 &quot;proved&quot;
+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
+&quot;Adoration of the Magi&quot; 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
+&quot;Madonna Surrounded by Saints&quot; for the choir of Santa Lucia at Pistoja.
+There are pictures attributed to Plautilla Nelli in Berlin&mdash;notably the
+&quot;Visit of Martha to Christ,&quot;&mdash;which are characterized by the earnestness,
+purity, and grace of her beloved Fra Bartolommeo. Her &quot;Adoration of the
+Wise Men&quot; is at Parma; the &quot;Descent from the Cross&quot; in Florence; the
+&quot;Last Supper&quot; 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 &quot;Suor<a name="Page_248"></a> Plautilla,&quot; 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
+&quot;Invitation to the Wedding&quot; was well received, and her portraits of
+Schiller and Perczel are in public galleries&mdash;the former in the Vienna
+K&uuml;nstlerhaus, 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, &quot;Prometheus Bound,&quot; 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 Societ&agrave; degli Aquarelliste.</p>
+
+<p>Her pictures are chiefly figure subjects, among which are &quot;Those Evening
+Bells,&quot; &quot;The Scarlet Letter,&quot; &quot;A Daughter of Eve,&quot; &quot;Indian after the
+Chase,&quot; &quot;Searching the Scriptures,&quot; etc.</p>
+
+<p>In the <i>Studio</i>, March, 1901, in writing of the exhibition of the
+American Water-Color Society, the critic says: &quot;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.&quot;</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:
+&quot;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&mdash;ranging all along the line of oil paintings,
+water-colors of the most exquisite type, wash drawings, crayons, and
+pastels&mdash;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.&quot;</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 &quot;Old Norwich.&quot; 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.
+&quot;Norwich River at Evening&quot; is not only a charming picture, but shows, in
+its perspective and its values, the hand of a skilful artist. &quot;Mousehold
+Heath,&quot; showing a rough and broken country, is one of her strongest
+pictures in oils; &quot;Stretching to the Sea&quot; is also excellent. Among the
+water-colors &quot;Strangers' Hall,&quot; Norwich, and &quot;Fleeting Clouds,&quot; 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: &quot;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.&quot;</p>
+
+<p>Her &quot;Brancaster Staithe&quot; and &quot;Fir Trees, Crown Point,&quot; 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 &quot;Earlham&quot; and a water-color of &quot;Strangers' Hall,&quot; 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 &quot;Magdalen in the
+Desert,&quot; &quot;Laura and Petrarch,&quot; &quot;Joseph with the Christ-Child,&quot; &quot;Francis
+I. at the Battle of Pavia,&quot; and many good copies after celebrated
+painters.</p>
+
+<br>
+
+<p><b>Niederh&auml;usen, Mlle. Sophie.</b> Medal at the Swiss National Exposition,
+1896. Member of the Exposition permanente de l'Ath&eacute;n&eacute;e, 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. Niederh&auml;usen 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 &quot;Bord du Lac de Gen&egrave;ve,&quot; 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 &quot;Reietti,&quot; &quot;The Good-Natured One,&quot; &quot;September,&quot; &quot;In the
+Country,&quot; &quot;Music,&quot; and &quot;Contrasts.&quot;</p>
+
+<br>
+
+<p><a name="Normand"></a><b>Normand, Mrs. Ernest&mdash;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 &quot;Sir Richard Whittington and His Charities.&quot;</p>
+
+<p>In the past ten years she has exhibited &quot;Mariana,&quot; 1893; &quot;Psyche at the
+Throne of Venus,&quot; 1894; &quot;Apollo <a name="Page_254"></a>and Daphne,&quot; 1895; &quot;Summer,&quot; 1896;
+&quot;Isabella,&quot; 1897; &quot;Diana and Calisto,&quot; 1899; &quot;Portrait of Marquis of
+Dufferin and Ava,&quot; 1901; &quot;Lady Winifred Renshaw and Son,&quot; and the
+&quot;Sirens,&quot; 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 Soci&eacute;taire 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 &quot;The Children,&quot;
+&quot;Evening Toilet of the Baby,&quot; &quot;In the Shade at Pen'march,&quot; &quot;Brother and
+Sister at Pen'march,&quot; &quot;The Madeleine Chapel at Pen'march.&quot; In 1903, &quot;Our
+Lady of Joy, Pen'march,&quot; &quot;Around the Cradle,&quot; &quot;The Little Sister,&quot; and &quot;A
+Breton Interior.&quot;</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&mdash;the first of its kind to be confided to an
+American woman&mdash;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 &quot;The Romance of the Founding of the
+State,&quot; 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: &quot;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>na&iuml;ve</i> imagination, free of any obsessions.&quot;</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 &quot;Raphael and the Fornarina,&quot; 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 &quot;Day of the Dupes,&quot; 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, &quot;Peter the Great and Catherine&quot; and
+&quot;Maria Theresa and Frederick the Great.&quot; 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. &quot;A Faunesse,&quot; as it was called, in the
+exposition of that year, was a remarkable work, and thus described by
+Barty:</p>
+
+<p>&quot;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.&quot;</p>
+
+<p>Mme. O'Connell then executed several fine portraits&mdash;two of Rachel, one
+of M. O'Connell, others of Charles Edward and Th&eacute;ophile 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&mdash;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 p&acirc;te 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 &quot;St. Magdalen in the Desert&quot; and a
+&quot;Charity Surrounded by Children&quot; 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: &quot;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>&quot;</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> &quot;A View near Parma,&quot; the &quot;Faces of Montmorency,&quot; and
+the &quot;Bridge of Attaro&quot; 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 &quot;Max M&uuml;ller's Memories&quot; and other
+publications. For use in schools she made a color print, &quot;Reading of the
+Declaration of Independence before the Army.&quot;</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 &quot;Mary and Her
+Lamb,&quot; the &quot;Ten Little Injuns,&quot; 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&mdash;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
+G&ouml;ttingen, 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, &quot;A Woman's Soul.&quot; 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&mdash;more
+accusing than complaining.</p>
+
+<p>In 1899 Frau Paczka exhibited in Berlin, &quot;Vanitas,&quot; 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 &quot;Magdalen&quot; to Parma. &quot;First
+Love&quot; appeared at Naples in 1877, and &quot;The Maskers&quot;&mdash;pastel&mdash;at Venice in
+1881. A &quot;Girl with a Cat,&quot; a &quot;Roman Girl,&quot; and a &quot;Seller of Eggs&quot;&mdash;the
+latter in Venetian costume&mdash;are works of true value. Her copies of
+Titian's &quot;St. Mark&quot; and of Gian Bellini's &quot;Supper at Emmaus&quot; 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> &quot;Three Sibyls,&quot;
+1617; an &quot;Annunciation,&quot; &quot;Cephalus and Procris,&quot; &quot;Latona,&quot; 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 &Eacute;couen, 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&mdash;now a chapel&mdash;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 Br&uuml;gge, 1825. Pupil of P. de Cock and Suv&eacute;e. In
+1753, she went to Br&uuml;gge 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 Br&uuml;gge.</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
+Societ&agrave; 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 &quot;Marine View
+of Naples,&quot; &quot;In the Gulf,&quot; &quot;Fair Weather,&quot; and &quot;Evening at Sea&quot;; also a
+genre picture, &quot;Frusta l&agrave;,&quot; 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 &quot;Elector Frederick of Saxony Refusing to
+Accept the Interim.&quot; Another good example of her historical work is the
+&quot;Reconciliation of Charlemagne with Thassilo of Bavaria.&quot; A well-known
+and strongly modelled portrait of Minister Von Stoach and several Luther
+portraits, &quot;Luther's Family Devotion&quot; and &quot;Luther Finds the First Latin
+Bible,&quot; show her facility in this branch of art. She also painted a
+&quot;Christ on the Cross.&quot;</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. &quot;A View of Lecco, Lake Como,&quot; &quot;Casolare,&quot; and
+&quot;A Lombard Plain&quot; 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: &quot;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 'Mar&eacute;chal 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.&quot; To the London Academy, 1903, she
+sent a picture called &quot;York and Lancaster.&quot;</p>
+
+<br>
+
+<p><b>Perrier, Marie.</b> Mention honorable at Salon des Artistes Fran&ccedil;ais,
+1899; Prix Marie Bashkirtseff, 1899; honorable mention, Paris Exposition,
+1900; numerous medals from foreign and provincial exhibitions; medals in
+gold and silver at Rouen, N&icirc;mes, Rennes, etc.; bronze medals at Amiens
+and Angers. Member of the Soci&eacute;t&eacute; des Artistes Fran&ccedil;ais; 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 &quot;Jeanne d'Arc&quot; 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&mdash;&quot;Breakfast at the Communal
+School&quot;; &quot;After School at Montmartre&quot; were at the Salon des Artistes
+Fran&ccedil;ais, 1903; others are &quot;Manual Labor at the Maternal School,&quot;
+&quot;Flowers,&quot; and &quot;Recreation of the Children at the Maternal School.&quot; Of
+the last Gabriel Moury says, &quot;It is one of the really good pictures in
+the Salon.&quot;</p>
+
+<p>This artist decorated a villa near N&icirc;mes with four large panels
+representing the &quot;Seasons,&quot; twelve small panels, the &quot;Hours,&quot; 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 &quot;Life of the Children of Paris.&quot; They are &quot;Children at
+School and after School,&quot; &quot;Children on the Promenade and Their Games,&quot;
+and &quot;Children at Home.&quot;</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
+Soci&eacute;t&eacute; 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 &quot;Japanese Lacemaker&quot; 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 &quot;A Siesta,&quot;
+&quot;Dolce far Niente,&quot; &quot;Multiplication,&quot; 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 &quot;Faith&quot; and &quot;Silken Tresses.&quot;</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 &quot;Dolls' Dressmaker,&quot; &quot;Little-Red-<a name="Page_273"></a>Cap,&quot; &quot;Old
+Curiosity Shop,&quot; etc. At the Academy, 1903, she exhibited &quot;Some Spring
+Flowers.&quot;</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 &quot;Roses and Grapes&quot; is in the National Gallery, London; and
+one of &quot;Autumn Flowers&quot; 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
+&quot;Silk-cocoon Carder of Quimper&quot; and &quot;Charity&quot; appeared; and at Turin, in
+1884, when &quot;The Three Ages,&quot; &quot;The Poor Blind Man,&quot; and a portrait of the
+Prince of Naples were shown, all exquisite in sentiment and excellent in
+execution. The &quot;Silk-cocoon Carder of Quimper&quot; has been thus noticed by
+De Rengis: &quot;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&mdash;if worth it is&mdash;that a young woman should
+be carried by natural inclination into such care for detail.&quot;</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
+&quot;Cocciara,&quot; and in 1887 &quot;A Friar Cook.&quot; Her &quot;Fortune-Teller&quot; 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, &quot;In the Land of Dreams&quot; 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 &quot;Praying Women
+of Bethlehem&quot; is an excellent example of her art.</p>
+
+<p>In 1883 she exhibited at Rome, &quot;In the Temple at Bethlehem&quot;; at Turin in
+1884, &quot;In the Seventeenth Century&quot; and &quot;The Nun&quot;; at Venice in 1887, an
+exquisite portrait in water-colors.</p>
+
+<br>
+
+<p><b>Poppe-L&uuml;deritz, 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, &quot;painted
+with Holbein-like delicacy and truthfulness&quot;&mdash;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 &quot;Sappho&quot; and &quot;Euphrosine&quot; 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 &quot;Adoration of
+the Kings.&quot;</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 &quot;The Resurrection&quot; by John La Farge, in the
+Church of St. Thomas, New York, is the work of this artist. She also
+illustrated &quot;Engravings on Wood,&quot; by William M. Laffan, in which book her
+work is commended.</p>
+
+<p>Miss Powell is now employed by Messrs. Houghton, Mifflin &amp; Co., and
+writes me: &quot;So far as I know, I am, at present, the only woman in America
+engaged in the practise of engraving as a fine art.&quot;</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 &quot;Falls of the Rhine near
+Laufen,&quot; 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 &quot;Mors Imperator&quot; created a sensation by reason of its striking
+qualities rather than by intrinsic artistic merit. In the gallery at Metz
+is her picture of &quot;Irene von Spilimberg on the Funeral Gondola.&quot;</p>
+
+<p>In 1883 she exhibited in Rome, &quot;Answered,&quot; a study of thistles; &quot;In
+Autumn,&quot; a variety of fruits; and &quot;Questions,&quot; a charming study of
+carnations. At Berlin, in 1890, &quot;Meadow Saffron and Cineraria&quot; 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&mdash;too
+good to be refused but not of a satisfactory quality&mdash;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 &quot;Lady Drinking Tea&quot; 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 &quot;Forsaken,&quot; 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 D&uuml;rr.</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 &quot;Tom Wreath,&quot; 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 &quot;Death Warrant of Mary Stuart,&quot; Lindenschmidt's &quot;In Thought,&quot;
+and Laufberger's &quot;Hunting Fanfare.&quot; 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. &quot;Old Wine, Young Wife,&quot; was
+at Milan, 1881; in same city, 1883, &quot;An Aggression,&quot; &quot;The Visit,&quot; &quot;The
+Betrothed.&quot; She also sent to Rome, in 1883, two pictures, one of which,
+&quot;The Harem,&quot; was especially noteworthy. In 1884, at Turin, she exhibited
+&quot;Tea&quot; and <a name="Page_279"></a>the &quot;Four Ages&quot;; these, were excellent in tone and technique
+and attractive in subject. At Milan, 1886, her &quot;Will He Arrive?&quot; 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, Aim&eacute;e.</b> At the Swiss National Exposition, 1896, a large
+picture of a &quot;Genevese Watchmaker&quot; by this artist was purchased; By the
+Government and is in the Museum at Neuch&acirc;tel. 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 Soci&eacute;t&eacute; des Beaux-Arts of
+Lausanne, Soci&eacute;t&eacute; des Femmes peintres et sculpteurs de la Suisse romande,
+Soci&eacute;t&eacute; 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 Neuch&acirc;tel. GENEVESE WATCHMAKER. Aim&eacute;e Rapin"></a></p>
+<p class="ctr">In the Museum at Neuch&acirc;tel</p>
+<p class="ctr">GENEVESE WATCHMAKER</p>
+<p class="ctr">Aim&eacute;e Rapin</p>
+
+<p>Mlle. Rapin writes me: &quot;I am, above all, a portrait painter, and my
+portraits are in private hands.&quot; 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: &quot;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 &Eacute;cole 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 sensibilit&eacute;</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 Sal&eacute;ve, and nearer the time-honored towers of the Cathedral of St.
+Pierre. Here is a composition dealing with simple life&mdash;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>r&eacute;sum&eacute;</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>&quot;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.&quot;</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 &quot;Point-lace-maker.&quot; A series
+of sixteen &quot;Phantasies&quot; by this artist has been published in Munich.</p>
+
+<br>
+
+<p><b>Rath, Henriette.</b> Honorary member of the Soci&eacute;t&eacute; des Arts, 1801. Born
+in 1772, she died in 1856 at Genf, where, with her sister, she founded
+the Mus&eacute;e 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>&quot;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.&quot;&mdash;<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 &quot;The Lute-Player,&quot; &quot;All is
+not Gold that Glitters,&quot; &quot;Humanity,&quot; and &quot;In illo Tempore?&quot;</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 &quot;St. Elizabeth and the Child
+John.&quot; Among her best works are &quot;The Death of St. Catherine of
+Alexandria,&quot; &quot;The Death of Tasso,&quot; 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
+Gr&ouml;nland. 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 D&uuml;sseldorf 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 S&eacute;rang&eacute;ly
+and Vafflard in Paris. In 1814 she painted a &quot;Magdalen at the Feet of
+Christ&quot; for a church in Marseilles. She also painted many good portraits
+and a picture called &quot;The Young Mother Playing the Mandolin.&quot;</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 &quot;Cinderella&quot; is in the Museum of Poitiers; &quot;At Church in
+Poitou&quot; 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 &quot;symbolic expression of emotion&quot; and the so-called
+&quot;allegorical subjects.&quot; The artist writes: &quot;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.&quot;</p>
+
+<p>When but fourteen years old this artist exhibited at the National
+Academy, New York, a picture of waves, &quot;The Wild Horses of the Sea,&quot;
+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&mdash;not to become <a name="Page_286"></a>a painter distinguished for clever
+mannerism, but &quot;to attain a definite end; one which is difficult to reach
+and requires widely applied effort.&quot;</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>&quot;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.&quot;</p>
+
+<p>&quot;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.&quot;</p>
+
+<p>Miss Richards has written &quot;Letter and Spirit,&quot; containing fifty-seven
+&quot;Dramatic Sonnets of Inward Life.&quot;</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: &quot;In imaginative
+comprehension they are more than illustrations; they are interpretations.
+I find in them an assemblage of great qualities&mdash;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&mdash;all carried out with great purity and
+completeness.&quot;</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: &quot;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>&quot;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.&quot;</p>
+
+<p>&quot;'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&mdash;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&mdash;except in the case of the leader&mdash;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>&quot;But an artistic creator who is really inspired with his art and not with
+himself is never satisfied; he presses on and on&mdash;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.&quot;</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 &quot;Saint Barbara.&quot; 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 &quot;The Gardener's
+Children.&quot; In 1888 and 1889 she exhibited &quot;The Coronation of Esther&quot; and
+a picture of &quot;Oleanders.&quot;</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 D&uuml;sseldorf, and of
+Couture in Paris, where she resided several years. Among her important
+works are &quot;The First Battle between the Puritans and Indians&quot; and
+&quot;Washington and His Staff Welcoming a Provision Train,&quot; 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: &quot;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.&quot;</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 &quot;Il Tintoretto,&quot; who has
+been called &quot;the thunder of art,&quot; and who avowed his ambition to equal
+&quot;the drawing of Michael Angelo and the coloring of Titian.&quot;</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 &quot;A Wedding Garland,&quot;
+&quot;Hawthorne,&quot; 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, &quot;Cari Fiori!&quot; at Palermo, &quot;Flora&quot;; and in Rome, &quot;A Sicilian
+Contadina.&quot; In 1888 her picture, &quot;Spring,&quot; 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&mdash;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 &quot;Queen Isabel the Catholic Reading with Do&ntilde;a Beatriz de
+Galindo&quot;; honorable mention, 1860, for her &quot;Boabdil Returning from
+Prison.&quot;</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 C&aacute;rlos 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 &quot;Cat in a Window,&quot; 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 &quot;Friend of Man&quot; 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 &quot;Setter Dogs.&quot; &quot;A Cart Drawn by
+Dogs&quot; is in the Museum at Hanover; &quot;Dog and Pigeon,&quot; in the Stettin
+Museum; &quot;Coming from Market&quot; 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, &quot;Jem&quot; and &quot;Monmouth.&quot;
+The last name is classical, since the cat of Mother Michel has been made
+immortal.</p>
+
+<p>Miss Winslow, in &quot;Concerning Cats,&quot; says that &quot;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&quot;
+felinarian &quot;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&mdash;they are all in Mme. Ronner's cats' faces, just as we see
+them in our own cats.&quot;</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 &quot;eighty years young.&quot;</p>
+
+<p>The editor of the <i>Magazine of Art</i>, M. H. Spielman, in an article on the
+Royal Academy Exhibition, 1903, writes: &quot;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.&quot; Her pictures of this year
+were called &quot;The Ladybird&quot; and &quot;Coaxing.&quot; 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 &quot;Memorial&quot; by her is in Salisbury Cathedral.
+Her reliefs of children are, however, her best works; that of a &quot;Boy on a
+Dolphin&quot; is most attractive. &quot;Christ Blessing Little Children&quot; 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 Sanit&agrave;, 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
+&quot;Ascension.&quot; 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 &quot;Joseph and Potiphar's Wife,&quot;
+which Vasari called &quot;a lovely picture, sculptured with womanly grace, and
+more than admirable.&quot;</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. &quot;Well calculated to awaken the envy,
+not of women only, but also of men.&quot; 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: &quot;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&mdash;she ornamented a useful article&mdash;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>&quot;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.&quot;</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 &quot;Triumph of Civilization over Barbarism,&quot; 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 &quot;Four Seasons&quot; may be called her
+<i>chef-d'oeuvre</i>. The writer quoted above also says:</p>
+
+<p>&quot;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.&quot;</p>
+
+<br>
+
+<p><b>Rude, Mme. Sophie Fr&eacute;miet.</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 &quot;Sleeping Virgin,&quot; 1831, and that of
+the<a name="Page_304"></a> &quot;Arrest of the Duchess of Burgundy in Bruges,&quot; 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 D&uuml;sseldorf.</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, &quot;respected by the great, beloved even
+by her rivals, praised by all who knew her.&quot;</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 &quot;Bouquet of
+Flowers with Insects&quot; 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: &quot;Elijah in the Desert,&quot; at Lyons; &quot;The Legend
+of the Alyscamps,&quot; at N&icirc;mes; &quot;The Village Maiden,&quot; at Grenoble; &quot;Field
+Flowers,&quot; at Havre, etc. She also painted portraits and historical
+subjects, among <a name="Page_306"></a>which are &quot;Psyche in Olympus,&quot; &quot;The Daughters of
+Jerusalem in the Babylonian Captivity,&quot; and the &quot;Daughter of Jairus.&quot;</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 D&uuml;sseldorf, and finally of
+Eisenmenger in Vienna. After travelling in Italy in 1879, she settled in
+Darmstadt. She made several beautiful copies of Holbein's &quot;Madonna,&quot; 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: &quot;St. Elizabeth&quot; is at Biedenkopf,
+&quot;Mary's Departure from the Tomb of Christ&quot; is at Nierstein, and &quot;Christ
+with St. Louis and St. Elizabeth&quot; 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 &quot;The Marys at the Grave.&quot; Her later pictures include &quot;The
+Citron-Vender&quot; 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&mdash;about
+four hundred and thirty dollars&mdash;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 &quot;Morning Light,&quot;
+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 &quot;the wonder of creation.&quot;</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 &quot;Fountain of Abundance.&quot;
+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: &quot;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.&quot;</p>
+
+<p>At the exhibition of the Philadelphia Water-Color Club, 1903, the <i>Press</i>
+said: &quot;These brilliant and overpowering <a name="Page_313"></a>combinations of color carry to
+a limit not before reached the decorative possibilities of flowers.&quot;</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 K&uuml;gelgen; 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 &quot;Ulysses and the Sirens,&quot;
+and one of &quot;Christ, the Compassionate,&quot; which is in the church at
+Schestadt, Holstein.</p>
+
+<br>
+
+<p><b>Serrano y Bartolom&eacute;, 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
+&quot;Peasant Girl&quot;&mdash;the last two are in the Museum of Murcia. In 1878 she
+sent &quot;A Kitchen Maid on Saturday,&quot; 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 &quot;A Village Incident&quot; is owned by the Philadelphia Social
+Art Club; &quot;Where Roses Bloom&quot; is in the Boston Art Club; portrait of
+Professor William R. Ware is in the Library of Columbia University. Her
+portrait of Amalia K&uuml;ssner 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>&quot;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&mdash;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.&quot;</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 M&uuml;ller'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 &quot;On the Calumet,&quot; &quot;Willow Island,&quot;
+&quot;Keene Valley, New York,&quot; &quot;Returning from the Fair,&quot; 1878, which was
+exhibited in Chicago, New York, and Boston. To the Centennial,
+Philadelphia, 1876, she sent her &quot;Illinois Prairie.&quot;</p>
+
+<p>&quot;Returning from the Fair&quot; shows a group of Alderney cattle in a road
+curving through a forest. At the time of its exhibition an art critic
+wrote: &quot;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.&quot;</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
+&quot;Cedric's Daughter,&quot; &quot;Thoughts of Youth are Long Thoughts,&quot; &quot;Dream of the
+Past,&quot; &quot;Pippa Passes,&quot; &quot;Dorothy's Bridesmaid's Dress,&quot; 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 &quot;Baptism of Christ&quot; 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 &quot;St. Anthony Adoring the Virgin and
+Infant Jesus,&quot; by the Sirani, which is much admired; several other works
+of hers are in her native city. &quot;The Death of Abel&quot; is in the Gallery of
+Turin; the &quot;Charity,&quot; in the Sciarra Palace in Rome; &quot;Cupids&quot; and a
+picture of &quot;Martha and Mary,&quot; in the Vienna Gallery; an &quot;Infant Jesus&quot;
+and a picture <a name="Page_318"></a>called &quot;A Subject after Guido&quot; 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
+&quot;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.&quot;</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 &quot;Il Penello Lagrimato,&quot; 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. &quot;The Child's Calendar&quot; 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
+Fran&ccedil;ais, 1902, she exhibited &quot;Sybille&quot; and &quot;Monica&quot;; in 1903, &quot;The Dance
+of Terpsichore&quot; and &quot;Princesse Lointaine.&quot;</p>
+
+<p>[<i>No reply to circular</i>.]</p>
+
+<br>
+
+<p><b>Span&ograve;, Maria.</b> Silver medal, Naples, 1859, for a picture of a
+&quot;Contadina of Sorrento.&quot; Born in Naples, 1843. Pupil of her father,
+Raffaele Span&ograve;, 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. &quot;A Confidence&quot; was bought by
+the Gallery at Capodimonte, and two of her pictures were acquired by the
+Provincial Council of Naples&mdash;a &quot;Contadina,&quot; life size, and a &quot;Country
+Farmyard.&quot; One of her best pictures is &quot;Bice at the Castle of Rosate.&quot;</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&mdash;little stone
+cottages, bridges, river and mountain scenes. &quot;Castle Rock, North Devon,&quot;
+was exhibited at Buffalo, and is owned by Herbert Mason, Esq., of
+Toronto. &quot;A Peep at Snowdon&quot; and &quot;Dutch Farm Door, Ontario,&quot; 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: &quot;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.&quot;</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 &quot;Village at Twilight.&quot;
+&quot;Florence&quot; is owned by the Klio Club; &quot;Trophies of the Fields,&quot; 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' Athen&aelig;um Club. Born in
+London. Pupil of Sir Edward Poynter&mdash;then Mr. Poynter&mdash;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, &quot;His First Offence,&quot; is in the Tate National Gallery; &quot;Leap
+Frog,&quot; in the National Gallery of Natal, Pietermaritzburg. Other pictures
+of hers are &quot;A Water Nymph,&quot; &quot;The Bathers,&quot; etc., which are in private
+galleries. &quot;Leap Frog&quot; 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
+&quot;Joseph.&quot; This was followed by &quot;Columbus&quot; and &quot;Satan Descending to tempt
+Mankind.&quot; For Central Park, New York, she executed a large fountain, the
+subject being &quot;The Angel of the Waters.&quot;</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&mdash;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 &quot;A Candlestick Representing
+a Girl Asleep under a Poppy,&quot; &quot;Figure of Spring,&quot; and the &quot;Spirit of
+Flame.&quot;</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&mdash;several of whose works are owned in America&mdash;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 &quot;Lady Pray's Desire.&quot; In 1870 she exhibited at the Royal
+Academy, &quot;Saint Barbara&quot; and &quot;The Mystic Tryst.&quot; In 1873 she exhibited
+&quot;The Finding of Sir Lancelot Disguised as a Fool&quot; and &quot;Sir Tristram and
+La Belle Isolde,&quot; both in water-colors. Of these, a writer in the <i>Art
+Journal</i> said: &quot;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.&quot;</p>
+
+<p>W. M. Rossetti wrote: &quot;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.&quot;</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 D&uuml;sseldorf, and J. Bauck in
+Munich. Her &quot;Lake of Scheverin&quot; 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 &quot;A Journey through Africa,&quot; 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&mdash;have <a name="Page_327"></a>been called masterpieces&mdash;of the most
+intimate and intelligent study of nature.</p>
+
+<p>Among her works are &quot;A Quartet of Cats,&quot; &quot;The Hostile Brothers,&quot; and &quot;The
+Outcast.&quot;</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, &quot;A Parting,&quot; is in the Liverpool Gallery; &quot;Childhood's
+Wonder,&quot; in the Nottingham Gallery; &quot;Aucassin and Nicolette,&quot; 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: &quot;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.&quot; Of a portrait of a child the same writer says: &quot;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>&quot;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.&quot;</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, &quot;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.&quot;</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&mdash;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 &quot;Mother and Child,&quot; 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 &quot;A Vene<a name="Page_330"></a>tian Matron&quot; and &quot;A Violinist,&quot; 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&mdash;decorative art&mdash;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, &quot;in tender, opalescent color.&quot;</p>
+
+<p>One of her medal pictures is the &quot;Head of a Madonna,&quot; 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 &quot;Madonna and Child,&quot; 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 &quot;Mother and Child,&quot; which was much admired. The mother&mdash;in an
+arbor&mdash;held the child up and reverently kissed the cheek. It was called
+&quot;Love,&quot; and was exhibited in New York, Philadelphia, and Chicago.</p>
+
+<p>Mrs. Swope's most ambitious work&mdash;five by three feet in size&mdash;represents
+an allegorical subject and is called &quot;Revelation.&quot;</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'Ath&eacute;n&eacute;e, 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 Br&eacute;ry, 1861. Pupil of Merci&eacute;. Her principal
+works are a plaster statue, &quot;New France,&quot; 1886, in the Museum of
+Issoudun; a statue of Voltaire; a plaster statue, &quot;Life&quot;; a plaster
+group, the &quot;Last Farewells&quot;; a statue of &quot;Diana,&quot; in the Museum of
+Amiens; a great number of portrait busts, among them those of Jules
+Gr&eacute;vy, Flammarion, J. Claretie, etc.</p>
+
+<p>At the Salon, Artistes Fran&ccedil;ais, 1902, this artist exhibited a &quot;Portrait
+of M. G. L.,&quot; and in 1904 &quot;A Vision&quot; and &quot;La Dame aux Camelias.&quot;</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: &quot;When the
+exhibition of bookbinding was held some time ago at the Mus&eacute;e 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.&quot;</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: &quot;Flora McIvor and Rose
+Bradwardine,&quot; 1848; &quot;Portrait of Abb&eacute; Jacquet,&quot; 1859; &quot;Portrait of a
+Lady,&quot; 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: &quot;A Russian
+Horse&quot;; &quot;Lost Dogs&quot;; &quot;Russian Greyhounds&quot;; &quot;Huntsmen and a Poacher,&quot; in
+the Museum of Semur; &quot;Combat of Dogs,&quot; purchased by the Government; &quot;Cow
+and Calf,&quot; in the Museum of Nevers; &quot;Stag and Bloodhound,&quot; in the Museum
+of Troyes, etc.</p><a name="Page_334"></a>
+
+<p>At the Salon, Artistes Fran&ccedil;ais, 1902, Mme. Thomas-Soyer exhibited &quot;An
+Irish Setter and a Laverock,&quot; and in 1903 &quot;Under the White Squall.&quot;</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 &quot;The Flower-Girl.&quot; 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 &quot;Essays on Art,&quot; Palgrave wrote: &quot;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.&quot;</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 &Eacute;mile Ollivier,
+president of the Acad&eacute;mie Fran&ccedil;aise. Monsieur Ollivier, in a personal
+note to the artist, made the following comment upon the portrait of his
+daughter: &quot;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.&quot;
+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, Felicit&eacute; Chastanier.</b> This remarkable artist, not long
+since, when eighty-four years old, sent to the exhibition at Nice&mdash;which
+is, in a sense, a branch of the Paris Salon&mdash;three portraits which she
+had just finished. &quot;They were hung in the place of honor and unanimously
+voted to belong to the first class.&quot;</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: &quot;That
+daughter of yours is wonderfully gifted, and if she were a man I would
+make a great artist of her.&quot; 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: &quot;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.&quot;</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: &quot;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!&quot;</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. &quot;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.&quot;</p>
+
+<p>In October, 1854, her picture of a &quot;Madonna and Child&quot; was thus noticed
+by the same paper: &quot;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.&quot;</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 &quot;Girl in the Garden,&quot; &quot;Blossoming Meadows,&quot; &quot;Autumn Morning,&quot; 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
+D&uuml;sseldorf. 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 Jos&eacute; de Urmeneta,
+professor of painting and sculpture and director of the Cadiz Academy,
+continued her work under his direction. A &quot;St. Filomena&quot; and
+&quot;Resurrection of the Body,&quot; exhibited in 1846, are among her best
+pictures. Her &quot;St. Jeronimo&quot; 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 &quot;Reclining Venus, lying on a
+blue cushion, with a Cupid at her side.&quot;</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>Vig&eacute;e, 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: &quot;All the fairies gathered about the
+cradle of Elizabeth Vig&eacute;e, 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&mdash;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&mdash;before which all the sovereigns of Europe and
+all those whom genius had crowned should place themselves as subjects for
+her brush.&quot;</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 Vig&eacute;e Le Brun"></a></p>
+<p class="ctr">A FRENCH PRINCE</p>
+<p class="ctr">Marie Vig&eacute;e 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&mdash;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 &quot;Souvenirs,&quot; speaks of
+as good and thinks some of them worthy of comparison with those of the
+famous Latour. M. Vig&eacute;e 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. Vig&eacute;e 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&mdash;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 &quot;calm,&quot;<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 &quot;Souvenirs,&quot; 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 &quot;calm.&quot; The poem read was the &quot;Voyage du jeune Anacharsis en
+Gr&egrave;ce,&quot; 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>&agrave; 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: &quot;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 Cubi&egrave;res, 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!&quot;</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: &quot;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&mdash;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>&quot;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.&quot;</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: &quot;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.&quot;</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: &quot;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.&quot; 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&mdash;years crowded with kindness, labor, honor, attainment, joy, and
+sorrow. Her daughter was the one all-absorbing passion&mdash;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 d&eacute;but 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 &quot;time devoted to
+tears.&quot;</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&mdash;in spite of the remonstrances of her friends, and the
+inducements offered her to remain&mdash;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: &quot;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!&quot;</p><a name="Page_348"></a>
+
+<p>But the new r&eacute;gime 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 &quot;Souvenirs,&quot; 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: &quot;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.&quot;</p>
+
+<p>During the last years of her life the most distinguished society of Paris
+was wont to assemble about her&mdash;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 &quot;calm&quot; 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 Vig&eacute;e Le Brun, dying at the
+age of eighty-seven.</p>
+
+<p>Mme. Le Brun's works numbered six hundred and sixty portraits&mdash;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: &quot;In short, Mme. Le Brun
+belonged entirely to the eighteenth century&mdash;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
+noy&eacute;</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.&quot;</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 &quot;La
+Santa,&quot; 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 &quot;Madonna and Child,&quot; 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 &quot;St. Ursula folding her Robe about her Companions.&quot; 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 &quot;the Dutch Muses.&quot; 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 C&aelig;cilia.</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 &quot;Grandmother telling Stories&quot; is in
+the Museum of Stettin. Among her works are &quot;An Artist's Travels&quot; a
+&quot;German Emigrant,&quot; and &quot;School Friends.&quot;</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 &quot;A Young Mother&quot;; &quot;Twin Sisters&quot;; &quot;His First Journey&quot;; &quot;Girl
+Reading,&quot; etc.</p>
+
+<p>In the <i>Century Magazine</i>, September, 1897, Arthur Hoeber wrote: &quot;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 na&iuml;ve 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.&quot;</p>
+
+<p>This author also notices the affiliation of this young woman with the
+efforts of the Tanagra workers, and says: &quot;But if the inspiration of the
+young woman is evident, her work can in no way be called imitative.&quot;</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.
+&quot;Der M&uuml;hlengrund,&quot; 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 &quot;Joan of Arc,&quot;
+&quot;Palissy the Potter,&quot; and &quot;Mrs. Fry and Mary Saunderson visiting
+Prisoners at Newgate,&quot; the last dedicated by permission to Queen
+Victoria. This picture was purchased by an American.</p>
+
+<p>Of her picture of &quot;Mary of Scotland, giving her infant to the Care of
+Lord Mar,&quot; Palgrave wrote: &quot;This work is finely painted, and tells its
+tale with clearness.&quot; Among her numerous works are: &quot;The Poet Hogg's
+First Love&quot;; &quot;Chatterton,&quot; the poet, in the Muniment Room, Bristol; &quot;Lady
+Jane Grey refusing the Crown of<a name="Page_355"></a> England&quot;; &quot;Antwerp Market&quot;; &quot;Queen Mary
+of Scots' farewell to James I.&quot;; &quot;Washing Day at the Liverpool Docks&quot;;
+&quot;The Princes in the Tower&quot;; &quot;George III. and Mrs. Delayney, with his
+family at Windsor&quot;; &quot;The Young Pretender,&quot; and many others.</p>
+
+<p>When sixteen Mrs. Ward exhibited two heads in crayon. In 1903, at the
+Academy, she exhibited &quot;The Dining-room, Kent House, Knightsbridge.&quot; 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 Z&uuml;rich, 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 &quot;La Vierge au Lys,&quot;
+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 &quot;Vierge aux Rosiers,&quot; 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 Fran&ccedil;ais, Champs
+Elys&eacute;es, 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>&quot;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&mdash;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.&quot;</p>
+
+<p>One of her pictures, called &quot;La Chrysanth&egrave;me,&quot; 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: &quot;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&mdash;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&mdash;and all this, all these rare qualities and honest efforts
+we find in her last picture, The Virgin.</p>
+
+<p>&quot;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.&quot;&mdash;<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: &quot;Mother and Child in the Garden,&quot; and &quot;A Widow and
+Child,&quot; 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 &quot;Silence.&quot; 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 &quot;Attention!&quot; an allegorical figure; &quot;An Angel&quot;; &quot;A
+Venus&quot;; and &quot;A Diana.&quot; 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 D&uuml;sseldorf. In
+1841 she began to study with Stilke in D&uuml;sseldorf; 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 D&uuml;sseldorf. In the Museum
+at Hanover is &quot;The Colonist's Children Crowning a Negro Woman,&quot; 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&mdash;especially the so-called ideal genre&mdash;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 &quot;Faith&quot; is in the Luxembourg
+Gallery. At the Salon des Artistes Fran&ccedil;ais, 1903, Madame de Wentworth
+exhibited the &quot;Portrait of Mlle. X.,&quot; and &quot;Solitude.&quot;</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 &quot;Beg for It.&quot;
+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 &quot;Peggy,&quot; 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 &quot;Lotos-Eaters&quot;
+is in Newton and Cambridge, in marble; &quot;Lady Godiva,&quot; 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, &quot;Roma,&quot;
+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: &quot;The Minute Man,&quot;
+in Corcoran Art Gallery, Washington, D. C.; &quot;The Volunteer,&quot; 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.; &quot;Bull and Bear&quot; and the &quot;Polo
+Player&quot; in bronze, owned by Tiffany &amp; Co.; &quot;Retribution&quot; 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&mdash;commonly known
+as Johann Canon&mdash;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 &quot;Moderne Kunst&quot; says, in general, that she
+shows us real human beings under the &quot;pr&eacute;cieuses ridicules,&quot; 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&mdash;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 &quot;storm and stress&quot; 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 Sch&auml;ffer 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 &quot;Bauernhofe&quot; was, by its excellent color, a
+disadvantage to the pictures near it, and the shore motive in &quot;Abbazia&quot;
+was full of artistic charm. At Vienna, 1893, she exhibited a cycle, &quot;The
+Months,&quot; 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: &quot;On the Rialto&quot;;
+&quot;Morning on the Shore&quot;; and &quot;In Venice.&quot;</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 &quot;The Spirit of the State of Missouri,&quot; 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. &quot;The Smoker,&quot; and &quot;Mother and
+Daughter,&quot; 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 &quot;Holland Family at Prayer,&quot; exhibited at the Paris Salon, 1893, and
+&quot;Jessica,&quot; belong to the Public Library in Williamsport; &quot;Clam-Diggers
+Coming Home&mdash;Cape Cod&quot; was in the Venice Exhibition, 1903; one of her
+pictures shows the &quot;Julian Academy, Criticism Day.&quot;</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 &quot;Milly&quot; and &quot;Echo&quot;; in 1894, &quot;The Prodigal&quot;; in 1895, a
+water-color, &quot;Lilies&quot;; in 1896, &quot;Rejected&quot;; in 1897, a portrait of Mrs.
+Laurence Phillips; in 1898, &quot;The Song of Ages,&quot; 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: &quot;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.&quot;</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 &quot;Musical Conversation&quot;
+is in the Museum of Schwerin. Her &quot;Cleopatra&quot; and &quot;Semiramis&quot; 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: &quot;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>&quot;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.&quot;</p>
+
+<p>Of the Carrie Brown Memorial Fountain he says: &quot;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&mdash;duty, passion, and avarice&mdash;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>&quot;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.&quot;</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
+&quot;Festoon of Flowers and Fruits with a Medallion in the Centre, on which
+is a Landscape&quot;; and a &quot;Garland of Flowers with a Similar Medallion.&quot;</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
+&quot;picture-miniatures&quot; 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' &quot;Dutch
+Painters of the Nineteenth Century&quot;:</p>
+
+<p>&quot;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&mdash;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.&quot;</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 &quot;The Forester's
+Cottage,&quot; &quot;Autumn in Doorwerth,&quot; &quot;The Old Birch,&quot; and the &quot;Old Oaks of
+Wodan at Sunset.&quot;</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 D&uuml;rr. 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 &quot;God-given talent&quot; 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 &quot;A Song of
+Angiola in Heaven.&quot;</p>
+
+<div class="poem"><div class="stanza">
+<p>&quot;Then set I lips to hers, and felt,&mdash;</p>
+<p>Ah, God,&mdash;the hard pain fade and melt.&quot;</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, &quot;Ariadne in
+Naxos,&quot; 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>&quot;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.&quot;</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 &quot;Ithuriel&quot; W. S. Sparrow wrote: &quot;It may be thought that this Ithuriel
+is too mild&mdash;too much like Shakespeare's Oberon&mdash;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.&quot;</p>
+
+<p>The myth of &quot;Boreas and Orithyia,&quot; 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 &quot;Medusa,&quot; a bronze bust; and a &quot;Mater Dolorosa,&quot; 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. Carri&egrave;re.</p>
+
+<p>Her work is tinged with the melancholy and intensity of her
+nature&mdash;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 &quot;Sweet Dream,&quot; 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, &quot;It is only a dream, after
+all.&quot; &quot;Chanson,&quot; 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 D&uuml;rr, 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 &quot;Cinderella,&quot; 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, &quot;A Young Girl
+with Pussy-Willows&quot; and &quot;A Neapolitan Water Carrier&quot; were seen. In 1887,
+in Berlin, her &quot;Vanitas, Vanitatum Vanitas&quot; and the &quot;Net-Mender&quot; were
+exhibited, and ten years later &quot;Cheerfulness&quot; was highly commended. At
+Munich, in 1899, her picture, called &quot;Elegie,&quot; 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 &quot;the best in the world.&quot;</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 &quot;A
+Child Holding a Rose,&quot; &quot;Souvenir,&quot; and &quot;A Young Girl Playing with a Fan.&quot;</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: &quot;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.&quot; 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&mdash;or, as one critic wrote, &quot;to play
+with color.&quot;</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&mdash;- the court preacher&mdash;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 D&uuml;sseldorf,
+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, &quot;A Quiet Corner,&quot;<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 &quot;The Fiddlers,&quot;
+which had been sold as a work of Frans Hals for &pound;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 &quot;A Dutch Courtesan Drinking with a Young Man.&quot;
+The monogram on the picture was called that of Frans Hals, but as
+reproduced and explained by C. Hofstede de Groot in the &quot;<i>Jahrbuch f&uuml;r
+K&ouml;niglich-preussischen Kunst-Sammlungen</i>&quot; for 1893, it seems evident that
+the signature is J. L. and not F. H.</p>
+
+<p>Similar initials are on the &quot;Flute Player,&quot; in the gallery at Stockholm;
+the &quot;Seamstress,&quot; 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&mdash;a
+tendency which permits the following of original methods, and affords an
+outlet for energy and strength of temperament.</p>
+
+<p>Fr&auml;ulein Mach has made a name in both portrait and genre painting. Her
+&quot;Waldesgrauen&quot; 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 Fran&ccedil;oise Constance.</b> As early as 1806 this artist
+received a gold medal from the Paris Salon, awarded to her picture of
+&quot;Venus and Love Asleep.&quot; Born 1775, died 1821. She studied under Suv&eacute;e,
+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 d&eacute;but at the Salon of 1896 with a portrait of
+&quot;Citizeness Mayer,&quot; painted by herself, and showing a sketch for the
+portrait of her mother; also a picture of a &quot;Young Scholar with a
+Portfolio Under His Arm,&quot; and a miniature. From this time her work was
+seen at each year's salon.</p>
+
+<p>Her pictures in 1810 were the &quot;Happy Mother&quot; and the &quot;Unhappy Mother,&quot;
+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 &quot;Dream of Happiness,&quot; 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 &quot;Confidence.&quot; &quot;Innocence Prefers
+Love to Riches&quot; and the &quot;Torch of Venus&quot; 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&mdash;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: &quot;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.&quot;</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>M&ouml;ller, Agnes Slott, or Slott-M&ouml;ller, 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&mdash;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 &quot;St. Agnes&quot; is an interesting rendering of a well-worn subject.
+&quot;Adelil the Proud,&quot; 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&mdash;that caused her to tremble violently&mdash;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-M&ouml;ller 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 Eug&egrave;ne Manet she came under the influence of his famous
+brother,<a name="Page_389"></a> &Eacute;douard. This artist signed her pictures with her maiden name,
+being too modest to use that which she felt belonged only to &Eacute;douard
+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: &quot;Berthe Morizot will remain the most fascinating figure of
+Impressionism&mdash;the one who has stated most precisely the femininity of
+this luminous and iridescent art.&quot;</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&mdash;although she painted others&mdash;were
+sea-coast views, flowers, orchards, and gardens and young girls in every
+variety of costume.</p>
+
+<p>After the death of &Eacute;douard 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: &quot;The Memories of the Oise,&quot;
+1864; &quot;Ros-Bras,&quot; &quot;Finist&egrave;re,&quot; 1868; &quot;A Young Girl at a Window,&quot; 1870; a
+pastel, &quot;Blanche,&quot; 1873; &quot;The Toilet,&quot; and &quot;A Young Woman at the Ball.&quot;</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,
+&quot;The Old Couple.&quot;</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&mdash;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&mdash;for example, Salome and
+Herodias, in whom one scarcely looks for such an element.</p>
+
+<p>Her portrait of Roybet and a picture of &quot;Bianca Capello&quot; were exhibited
+at Munich in 1893 and at Antwerp in 1894. The &quot;Pensierosa&quot; and a little
+girl were at the Paris Salon in 1894, and were much admired. &quot;Herodias&quot;
+appeared at Vienna in 1894 and at Berlin the following year, while
+&quot;Primavera&quot; 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 &quot;Vittoria
+Colonna&quot; and a &quot;Venetian Girl&quot; were sent to Munich. These were followed
+by the &quot;Flower of the Alps&quot; and &quot;Desdemona&quot; in 1896; &quot;Do&ntilde;a Mona,&quot;
+palpitating with life, and &quot;Faustalla of Pistoia,&quot; with short golden hair
+and a majestic poise of the head, in 1897; &quot;Salome&quot; and &quot;Angelica,&quot; two
+widely differing pictures in character and color, in 1898; &quot;Mina of
+Fiesole,&quot; 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;
+&quot;L'Infante,&quot; one of her most noble creations, of a remarkably fine
+execution, and a ravishing child called &quot;Roger&quot;&mdash;with wonderful blond
+hair&mdash;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
+M&uuml;lhausen.</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 &quot;an oasis in a desert of portraits.&quot; &quot;Anno 1793&quot; and &quot;A Mother and
+Child&quot; 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 M&uuml;ller.</p><a name="Page_393"></a>
+
+<p>In the spring of 1880 she went again to Paris, only to &quot;feast on things
+artistic.&quot; 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> &quot;This artist,&quot; says a recent critic, &quot;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.&quot;</p>
+
+<p>The fifty pictures exhibited by Miss Van der Veer in Philadelphia, in
+February, 1904, included interiors, portraits&mdash;mostly in pastel&mdash;flower
+studies and sketches, treating Dutch peasant life. Among the most notable
+of these may be mentioned &quot;The Chimney Corner,&quot; &quot;Saturday Morning,&quot;
+&quot;Mother and Child,&quot; 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 &quot;Portal of the Church of the
+Magdalene.&quot; 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. &quot;Mayence at Sunset&quot; and the
+&quot;Leipzig Market-Place in Winter&quot; 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>
+
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of 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
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+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
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D.
+
+Author: Clara Erskine Clement
+
+Release Date: April 15, 2004 [EBook #12045]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK WOMEN IN THE FINE ARTS ***
+
+
+
+
+Produced by Suzanne Shell, and the Online Distributed Proofreading Team.
+
+
+
+
+
+
+[Illustration: Alinari, Photo.
+
+In the Bologna Gallery
+
+THE INFANT CHRIST
+
+ELISABETTA SIRANI]
+
+
+
+
+WOMEN
+
+IN THE FINE ARTS
+
+FROM THE SEVENTH CENTURY B. C.
+
+TO THE
+
+TWENTIETH CENTURY A. D.
+
+BY
+
+CLARA ERSKINE CLEMENT
+
+1904
+
+
+
+
+PREFATORY NOTE
+
+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.
+
+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.
+
+I wish especially to acknowledge the courtesy of those who have given me
+photographs of their pictures and sculpture, to be used as illustrations.
+
+CLARA ERSKINE CLEMENT.
+
+
+
+
+LIST OF ILLUSTRATIONS.
+
+THE INFANT CHRIST                  _Elisabetta Sirani_
+In the Bologna Gallery. By permission of Fratelli Alinari.
+
+A PORTRAIT                         _Elizabeth Gowdy Baker_
+
+A PORTRAIT                         _Adelaide Cole Chase_
+From a Copley print.
+
+A CANADIAN INTERIOR                _Emma Lampert Cooper_
+
+ANGIOLA                            _Louise Cox_
+From a Copley print.
+
+DOROTHY                            _Lydia Field Emmet_
+From a Copley print.
+
+JUDITH WITH THE HEAD OF HOLOFERNES _Artemisia Gentileschi_
+In the Pitti Gallery. By permission of Fratelli Alinari.
+
+GIVE US THIS DAY OUR DAILY BREAD   _Berthe Girardet_
+
+THE DEPARTURE OF SUMMER            _Louise L. Heustis_
+From a Copley print.
+
+MINIATURE OF PERSIS BLAIR          _Laura Coombs Hills_
+
+CHILD OF THE PEOPLE                _Helen Hyde_
+
+MOTHER AND CHILD                   _Phoebe A. Jenks_
+
+MISS ELLEN TERRY AS "PORTIA"       _Louise Jopling Rowe_
+
+ANGELICA KAUFFMAN                  _Angelica Kauffman_
+In the Uffizi Gallery. By permission of Fratelli Alinari.
+
+PORTRAIT OF ROSA BONHEUR           _Anna E. Klumpke_
+
+A FAMILY OF DOGS                   _Matilda Lotz_
+
+FRITZ                              _Clara T. MacChesney_
+From a Copley print.
+
+SAINT CATHERINE                    _Mary L. Macomber_
+From a Copley print.
+
+MONUMENT FOR A TOMB                _Ida Matton_
+In Cemetery in Gefle, Sweden.
+
+DELFT                              _Blanche McManus Mansfield_
+
+AN INDIAN AFTER THE CHASE          _Rhoda Holmes Nichols_
+
+FLOWERS                            _Helen Searle Pattison_
+
+ST. CHRISTOPHER                    Engraved by _Caroline A. Powell_
+In Doge's Palace, Venice
+
+GENEVESE WATCHMAKER                _Aimee Rapin_
+In the Museum at Neuchatel.
+
+MAY DAY AT WHITELANDS COLLEGE, CHELSEA. _Anna Mary Richards_
+
+FRUIT, FLOWERS, AND INSECTS        _Rachel Ruysch_
+In the Pitti Gallery. By permission of Fratelli Alinari.
+
+A FROG FOUNTAIN                    _Janet Scudder_
+
+A FRENCH PRINCE                    _Marie Vigee Le Brun_
+
+LA VIERGE AU ROSIER                _Sadie Waters_
+By courtesy of Braun, Clement et Cie.
+
+SONG OF AGES                       _Ethel Wright_
+From a Copley print.
+
+STATUE OF DANIEL BOONE             _Enid Yandell_
+Made for St. Louis Exposition.
+
+
+
+
+INTRODUCTION
+
+
+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.
+
+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.
+
+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.
+
+Calypso was famous for the excellence of her character 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."
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+At present we have no reliable records of the lives and works of women
+artists before the time of the Renaissance in Italy.
+
+       *       *       *       *       *
+
+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 _resume_ 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.
+
+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 with this view, and the study of these four centuries is of
+absorbing interest.
+
+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 Mediaeval 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 Mediaeval formality and ugliness; a time when the spirit of
+art should be revived with an impulse prophetic of its coming glory.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+This expansion of thought and purpose was inaugurating an art attractive
+to women, to which the increasing liberty of artistic theory and
+practice must logically make them welcome; a result which is a
+distinguishing feature of sixteenth-century painting.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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.
+
+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 biographical 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.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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.
+
+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.
+
+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. Francois 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.
+
+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.
+
+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
+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.
+
+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 "_College_" 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.
+
+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.
+
+       *       *       *       *       *
+
+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 the English Court, as the Italians crossed the
+Alps to serve the kings of France.
+
+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."
+
+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.
+
+       *       *       *       *       *
+
+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 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 Duerer and the
+younger Holbein painted their great pictures, while Luther, Melanchthon
+and their sympathizers disseminated the doctrines of advancing
+Protestantism.
+
+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.
+
+In 1521 Albert Duerer 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 Duerer 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!"
+
+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.
+
+       *       *       *       *       *
+
+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 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.
+
+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 _little_ of
+Parmigianino's grace; but without so much study and weary labor let him
+apply himself to imitate the works which our Niccolo--dell Abbate--left
+us here." Kugler calls this "a patchwork ideal," which puts the matter in
+a nut-shell.
+
+At one period the Eclectics produced harmonious pictures in a manner
+attractive to women, many of whom 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.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+Not a few gifted women of this time are remembered 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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+The Academie 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.
+
+Madame de Maintenon patronized learning; at the Hotel Rambouillet men and
+women of genius met the world of 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 Sevigne wrote her marvellous letters; Mademoiselle de Scudery 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.
+
+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 Cheron, they won both artistic and literary fame.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+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.
+
+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 Rachel Ruysch disputed
+honors with them, and many other women excelled in this delightful art.
+
+An interesting feature in art at this time was the intimate association
+of men and women artists and the distinction of women thus associated.
+
+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.
+
+       *       *       *       *       *
+
+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 Gibson, 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.
+
+       *       *       *       *       *
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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
+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.
+
+       *       *       *       *       *
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+Italian women, especially in the second half of the century, 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.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+In France, in the beginning of this century Watteau, 1684-1721, painted
+his interesting pictures of _La Belle Societe_, 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 pupil David
+won recognition from the world of the First Empire.
+
+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 _pot-pourri_, it was far enough above worthlessness not to be
+ignored, but so far short of excellence as not to be admired.
+
+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 Vigee
+Le Brun, have we reliable knowledge of their lives and works.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+Many German women emulated the examples of the earlier flower painters,
+but no one was so important as to merit special attention, though a
+goodly number were elected to academies and several appointed painters to
+the minor courts.
+
+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.
+
+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.
+
+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.
+
+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.
+
+As frequently happens in a study of this kind, I find long lists of the
+names of women artists of this period of 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.
+
+       *       *       *       *       *
+
+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."
+
+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.
+
+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 commonplace and void
+of incident. Of the few exceptions to this rule I have written in the
+later pages of this book.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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 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.
+
+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 _par excellence_ of expansion, and in various
+directions an epoch-making era.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+Nothing that makes a part in human experience is now 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.
+
+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!
+
+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.
+
+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.
+
+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.
+
+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, brings artistic objects to
+the sight and knowledge of all, at prices suited to moderate means.
+
+       *       *       *       *       *
+
+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.
+
+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?
+
+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.
+
+       *       *       *       *       *
+
+The advantages for the study of Art have been largely improved and
+increased in this period. In numberless 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.
+
+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.
+
+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."
+
+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.
+
+Trollope's estimate of the position of women in England, which was not
+unlike that in America, forty-five years ago, when contrasted with that
+of the present day, affords another striking example of the expansion of
+the nineteenth century.
+
+       *       *       *       *       *
+
+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.
+
+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.
+
+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
+developed 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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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 discovered a patience of
+beauty, a reconciling, in the concert of landscape mystery with labor."
+
+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?
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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 Ruskin 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."
+
+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.
+
+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."
+
+Rossetti's "Girlhood of Virgin Mary," Holman Hunt's "Light of the World,"
+and Millais' "Christ in the House of His Parents" have been called the
+Trilogy of Pre-raphaelite Art.
+
+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.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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 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.
+
+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.
+
+The word Impressionism calls to mind the names of Manet, Monet, Pissaro,
+Mme. Berthe Morisot, Paul Cezanne, 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.
+
+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 conventions and introducing a new manner of seeing and
+representing Nature.
+
+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.
+
+       *       *       *       *       *
+
+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.
+
+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 _motifs_ 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.
+
+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.
+
+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.
+
+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.
+
+       *       *       *       *       *
+
+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 unusual for an artist to study under
+Dutch, German, and Italian masters, as well as French.
+
+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.
+
+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 _Grand prix de Rome_ conferred by _l'Ecole des Beaux
+Arts_.
+
+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 _l'Ecole des Beaux Arts_, this narrowness of the American Academy in
+the Eternal City is especially pronounced.
+
+One can but approve the encouragement afforded women artists in France,
+by the generosity with which their excellence is recognized.
+
+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 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.
+
+
+
+
+<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 Duesseldorf. 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.
+
+
+
+<b>ABBATT, AGNES DEAN.</b> Bronze medal, Cooper Union; silver medal,
+Massachusetts Charitable Mechanics' Association. Member of American Water
+Color Society.
+
+[_No reply to circular_.]
+
+
+
+<b>ABBEMA, MME. LOUISE.</b> Officer of the Merite des Arts; honorable
+mention, Salon of 1881; bronze medal, Paris Exposition, 1900; Hors
+Concours, 1903, at Exposition of Limoges. Born at Etampes, 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.
+
+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.
+
+Mme. Abbema illustrated "La Mer," by Maizeroy, and has contributed to the
+_Gazette des Beaux-Arts_ and several other Parisian publications.
+
+At the Salon of the Artistes Francais, 1902, she exhibited the "Portrait
+of Pierre," and in 1903 a portrait of the Countess P. S.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<b>ABBOTT, KATHERINE G.</b> Bronze medal, Paris Exposition, 1900; honorable
+mention, Buffalo Exposition, 1901.
+
+[_No reply to circular_.]
+
+
+
+<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 Societe des Artistes
+Francais. Born at Asnieres (Seine). Pupil of Cabanel, Antoine Vollon, and
+Leon Comerre.
+
+A painter of figure subjects and portraits. Several of her works are in
+private collections in the United States. 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."
+
+"The Dull Season" is in London; "Cinderella" and many others in Paris.
+
+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 Chateau de Becon, is an ideal
+home for an artist, and one can well understand her distaste for realism
+and the professional model.
+
+"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.
+
+At the Salon of 1903 Mlle. Fould exhibited "La
+Chatouilleuse"--Tickling--and "Nasturtiums." The first shows a young
+woman seated, wearing a decollete 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.
+
+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. 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.
+
+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.
+
+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.
+
+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.
+
+
+
+<b>ADAM, MME. NANNY.</b> First prize from the Union of Women Painters and
+Sculptors, Paris. Medal from the Salon des Artistes Francais, and "honors
+in many other cities." Member of the Societe des Artistes Francais. Born
+at Crest (Drome). 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 at the Salon Artistes Francais in 1902, was purchased by the
+French Government. In 1903 she exhibited "June Twilight, Venice," and
+"Morning Fog, Holland."
+
+
+
+<b>ADELSPARRE, SOPHIE ALBERTINE.</b> Born in Oland 1808-62. In Stockholm
+she received instruction from the sculptor Ovarnstroem 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."
+
+
+
+<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 under Grundmann, Champney, and
+Stone; Pennsylvania Academy under Thomas Eakins; Drexel Institute under
+Howard Pyle.
+
+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.
+
+Miss Ahrens is also favorably known as a designer for stained-glass
+windows.
+
+
+
+<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
+Mueller. 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.
+
+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.
+
+
+
+<b>ALEXANDER, FRANCESCA.</b> Born in Florence, Italy. Daughter of the
+portrait painter, Francis Alexander. 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.
+
+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."
+
+
+
+<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."
+
+
+
+<b>ALLINGHAM, HELEN.</b> Honorable mention at Paris Exhibition, 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.
+
+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.
+
+Her pictures are of genre subjects, chiefly from English rural life and
+landscapes. She has also been successful as an illustrator for the
+_Graphic_, the _Cornhill Magazine_, 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.
+
+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.
+
+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 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."--_Notes of the Academy_, 1875.
+
+
+
+<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.
+
+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.
+
+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 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.
+
+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,
+
+    Lie on mother's knee, my own,
+      Dance your heels about me!
+    Apples leave the tree, my own.
+      Soon you'll live without me."
+
+
+
+<b>AMEN, MADAME J.</b> Honorable mention, Paris, 1901.
+
+[_No reply to circular_.]
+
+
+
+<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."
+
+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.
+
+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.
+
+
+
+<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."
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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 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."
+
+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.
+
+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 Moncada--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.
+
+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 himself better pleased
+that she had given him a daughter, and made the declaration good by
+devotion to this child so long as he lived.
+
+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."
+
+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.
+
+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.
+
+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?
+
+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
+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.
+
+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!
+
+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, is in the Sienna
+Gallery. He holds a brush in his hand, and is probably one of her
+masters.
+
+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.
+
+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.
+
+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 _bal
+masque_, given by Isabella in the fashion of her own country, when Philip
+condescended to open the ball with the Queen; or of the sylvan fetes 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.
+
+
+
+<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 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.
+
+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.
+
+"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.
+
+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."
+
+
+
+<b>ANTIGNA, MME. HELENE MARIE.</b> Born at Melun. Pupil 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.
+
+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 a l'eau," etc.
+
+
+
+<b>APPIA, MME. THERESE.</b> Member of the Society of the Permanente
+Exposition of the Athenee, Geneva. Born at Lausanne. Pupil of Mercie and
+Rodin at Paris.
+
+Mme. Appia, before her marriage, exhibited at the Paris Salon several
+years continuously. Since then she has exhibited at Turin and Geneva.
+
+She has executed many portrait busts; among them are those of M.
+Guillaume Monod, Paris, Commander Paul Meiller, and a medallion portrait
+of Pere Hyacinthe, etc.
+
+
+
+<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.
+
+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.
+
+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."
+
+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.
+
+
+
+<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.
+
+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 _Girls' Own Journal,_ 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 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.
+
+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.
+
+
+
+
+
+[_No reply to circular_.]
+
+
+
+<b>ASSCHE, AMELIE 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 debut 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.
+
+
+
+<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 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 Luettich 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 Leon Kindt.
+
+
+
+<b>ATHES-PERRELET, LOUISE.</b> First prize and honorable mention, class
+Gillet and Hebert, 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 Neuchatel.
+Studies made at Geneva under Mme. Carteret and Mme. Gillet and Professors
+Hebert 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.
+
+
+
+<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.
+
+Her favorite subjects are wild animals, and she is successful in the
+illustration of books. Her pictures are in 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.
+
+
+
+<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 Compiegne" and "Marie Louise Taking Leave
+of her Family" are in the Versailles Gallery.
+
+
+
+<b>BABIANO Y MENDEZ NUNEZ, CARMEN.</b> At the Santiago Exposition, 1875,
+this artist exhibited two oil paintings and two landscapes in crayon; at
+Coruna, 1878, a portrait in oil of the Marquis de Mendez Nunez; at
+Pontevedra, 1880, several pen and water-color studies, three life-size
+portraits in crayon, and a work in oil, "A Girl Feeding Chickens."
+
+
+
+<b>BAILY, CAROLINE A. B.</b> Gold medal, Paris Exposition, 1900;
+third-class medal, Salon, 1901.
+
+[_No reply to circular_.]
+
+
+
+<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 Arts, Cowles Art School,
+Boston; under Frederick Freer, William Chase, and Siddons Mowbray.
+
+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.
+
+[Illustration: A PORTRAIT
+
+ELIZABETH GOWDY BAKER]
+
+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 _beautiful_ for women and children, and
+sufficiently strong for portraits of men."
+
+She rarely exhibits, and her portraits are in private houses.
+
+
+
+<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, to her astonishment, that the Minerva
+Academy considered the picture as belonging to them.
+
+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.
+
+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.
+
+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."
+
+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 will produce that which is good." To this she remained
+faithful all her days.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<b>BANUELOS, 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."
+
+
+
+<b>BARRANTES MANUEL DE ARAGON, MARIA DEL CARMEN.</b> Member 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.
+
+
+
+<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 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!
+
+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."
+
+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-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."
+
+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.
+
+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.
+
+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.
+
+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. 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.
+
+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."
+
+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 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.
+
+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."
+
+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."
+
+The picture was called the "Meeting," and shows seven gamins talking
+together before a wooden fence at the corner of a street. Francois Coppee
+wrote of it: "It is a _chef d'oeuvre_, 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."
+
+
+Previous to this time, her picture of two boys, called "Jean and
+Jacques," had been reproduced in the Russian _Illustration_, 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 Sevres, to paint in the
+open.
+
+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"!
+
+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!"
+
+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.
+
+A friendship had grown up between the families Bashkirtseff 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!"
+
+These visits were continued. October 20th she writes of his increasing
+feebleness. She wrote no more, and in eleven days was dead.
+
+In 1885 the works of Marie Bashkirtseff were exhibited. In the catalogue
+was printed Francois Coppee'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:
+
+"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.
+
+"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 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."
+
+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!"
+
+
+
+<b>BAUCK, JEANNA.</b> Born in Stockholm in 1840. Portrait and landscape
+painter. In 1863 she went to Dresden, and studied figure work with
+Professor Ehrhardt; later she moved to Duesseldorf, 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.
+
+
+
+<b>BAUERLE, MISS A.</b>
+
+[_No reply to circular_.]
+
+
+
+<b>BAXTER, MARTHA WHEELER.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+Her drawing was excellent and spirited, her color strong and pure, and
+her portraits were sought by many distinguished persons.
+
+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.
+
+
+
+<b>BEAURY-SAUREL, MME. AMELIE.</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 Leon Say, Felix
+Voisin, Barthelemy 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.
+
+This artist has also contributed to several magazines. At the Salon of
+the Artistes Francais, 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.
+
+
+
+<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
+Institute, 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 Societe 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.
+
+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 _Century Magazine_, 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."
+
+Seven years later, in the _International Studio_, 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 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.
+
+"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."--_Charles H. Caffin_.
+
+In the _International Studio_ 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 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."--_Charles H. Caffin_.
+
+A writer in the _Mail and Express_ 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."
+
+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!
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+Miss Beck paints portraits and her works have been 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.
+
+Miss Beck edited the Catalogue of the Wilstach Collection of Paintings in
+Memorial Hall, Fairmount Park, Philadelphia.
+
+
+
+<b>BECKINGTON, ALICE.</b>
+
+[_No reply to circular_.]
+
+
+
+<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 Chevalier de l'Ordre de Leopold 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: "Lisiere de bois dans
+les Dunes (Zelande)," "Le Village de Domburg (Zelande)," and "Interieur
+de bois a Oost-Kapel (Holland)." Other well-known works are "Die Campine"
+and "Aus der Umgebung von Oosterbeck."
+
+
+
+<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
+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.
+
+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.
+
+Fraeulein 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.
+
+
+
+<b>BELLE, MLLE. ANDREE.</b> Member of the Societe 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.
+
+At the Salon des Beaux Arts, 1902, this artist exhibited a large pastel,
+"A Halt at St. Mammes" and a "Souvenir of Bormes," showing the tomb of
+Cazin. In 1903 she exhibited a pastel called "Calvary," now in the Museum
+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.
+
+
+
+<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.
+
+
+
+<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."
+
+
+
+<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 possible 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.
+
+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."
+
+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 aine. The legend is "'La
+Jeune Fille et la Mort,' or Coquelin aine, 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 francs--for her civil burial at
+the Comedie Francaise.
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<b>BEVERIDGE, KUeHNE.</b> Honorable mention in Paris twice. Born in
+Springfield, Illinois. Studied under William R. O'Donovan in New York,
+and under Rodin in Paris.
+
+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.
+
+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.
+
+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.
+
+Her mother is now the Countess von Wrede, her home 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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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 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.
+
+
+
+<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.[1]
+
+[Footnote 1: See Appendix.]
+
+
+<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.
+
+
+
+<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.
+
+
+
+<b>BLAU, TINA.</b> Honorable mention in Paris, 1883, for her "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 Schaeffer 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."
+
+
+
+<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.
+
+At the Salon of the Artistes Francais, 1903, Mme. Bloch exhibited a
+"Portrait of M. Frederic Passy, Member of the Institute."
+
+
+
+<b>BOCCARDO, LINA ZERBINAH.</b> Rome.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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.
+
+This artist paints portraits principally. She has been successful, and
+her pictures are in Geneva, Lausanne, Vevey, Paris, Lyons, Marseilles,
+Dresden, Naples, etc.
+
+
+
+<b>BOMPIANI-BATTAGLIA, CLELIA.</b> Born in Rome, 1847. 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.
+
+
+
+<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."
+
+Mme. Peyrol was associated with her famous sister in the conduct of the
+Free School of Design, founded by Rosa Bonheur in 1849.
+
+
+
+<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.
+
+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
+anatomically 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.
+
+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.
+
+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.
+
+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."
+
+The story of her life is of great interest, and can be but slightly
+sketched here.
+
+She was afoot betimes in the morning, and often walked ten or twelve
+miles and worked hard all day. The difficulty 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.
+
+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.
+
+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.
+
+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!
+
+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, 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.
+
+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.
+
+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 connoisseurs. 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.
+
+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.
+
+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 Sevres 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.
+
+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, 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.
+
+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
+anything 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.
+
+
+
+<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.
+
+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.
+
+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.'"
+
+Miss Bonsall has prepared a "Cat Calendar" and a "Child's Book about
+Cats," which were promised to appear in the autumn of 1903.
+
+
+
+<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.
+
+This artist paints portraits, which are in private hands.
+
+
+
+<b>BONTE, PAULA.</b> Born in Magdeburg, 1840, and from 1862 to 1864 was a
+pupil of Pape in Berlin. She travelled 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.
+
+
+
+<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 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."
+
+
+
+<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 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.
+
+
+
+<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.
+
+
+
+<b>BOUGUEREAU, MME. ELIZABETH JANE.</b> See Gardner.
+
+
+
+<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. Cave, 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.
+
+
+
+<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 Academique, 1895; the Rosette of an
+Officer of the Public Instruction in 1902. Member of the Societe des
+Artistes Francais, of the Union des Femmes Peintres et Sculpteurs, and of
+the Association de Baron Taylor. Born at Paris, 1870. Pupil of Ferdinand
+Humbert and G. C. Saintpierre.
+
+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
+Theophile 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.
+
+At the Salon des Artistes Francais, 1902, Mme. Bourrillon-Tournay
+exhibited two portraits, one being that of her mother; in 1903, that of
+M. Boyer and one of Mme. B.
+
+
+
+<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.
+
+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.
+
+"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 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."
+
+
+
+<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 "Via
+Crucis," by Viganoni.
+
+In 1881 this artist entered the Ursuline Convent at Piacenza, where she
+continues to paint religious pictures.
+
+
+
+<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 portrait statue of President
+Monroe; beside the figure is a globe, on which he points out the junction
+of the Mississippi and Missouri rivers.
+
+[_No reply to circular_.]
+
+
+
+<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, Felix 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."
+
+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.
+
+
+
+<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 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.
+
+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."
+
+
+
+<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 Societe Nationale des Beaux-Arts. A Swiss artist, who
+made her studies at the Julian Academy under Robert-Fleury.
+
+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.
+
+At the Salon of 1902 Mlle. Breslau exhibited six pictures, 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."
+
+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!"
+
+"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."
+
+"I am jealous of Breslau. She does not draw at all like a woman."
+
+"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."
+
+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.
+
+
+
+<b>BREWSTER, ADA AUGUSTA.</b>
+
+[_No reply to circular_.]
+
+
+
+<b>BRICKDALE, MISS ELEANOR FORTESCUE.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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 de' Francesi the third chapel on the left
+aisle, dedicated to St. Louis, and with having also painted the
+altar-piece in this chapel.
+
+
+
+<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 _Art Journal_ 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."
+
+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."
+
+Her pictures are in private collections, and are much valued by their
+owners.
+
+
+
+<b>BROOKS, MARIA.</b>
+
+[_No reply to circular_.]
+
+
+
+<b>BROWNSCOMBE, JENNIE.</b> Pupil of the National Academy and the Art
+Students' League, New York, and of Henry Mosler in Paris.
+
+Paints genre subjects, among which are: "Love's Young Dream," "Colonial
+Minuet," "Sir Roger de Coverly at Carvel Hall," "Battle of Roses," etc.
+
+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.
+
+Miss Brownscombe exhibits at many American exhibitions and has had her
+work accepted at the Royal Academy, London.
+
+
+
+<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
+Dupre 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.
+
+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.
+
+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 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.
+
+
+
+<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.
+
+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.
+
+
+
+<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 L1,320.
+
+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.
+
+T. Chasrel wrote in _L'Art_: "Her touch without over-minuteness has the
+delicacy and security of a fine work of the needle. The accent is just
+without that seeking 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."
+
+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."
+
+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.
+
+
+
+<b>BRUNE, MME. AIMEE PAGES.</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."
+
+
+
+<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
+Bruehl, Prince and Princess Biron von Kurland, and the youngest son of
+Prince Radziwill. She resides in Brussels.
+
+
+
+<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 L50.
+
+Miss Butler exhibited "A Corner of the Bargello, Florence," at the London
+Academy in 1903.
+
+[_No reply to circular_.]
+
+
+
+<b>BUTLER, LADY ELIZABETH.</b> Born in Lausanne about 1844. Elizabeth
+Southerden Thompson. As a child this artist 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 L3,000. This was followed by kindred subjects.
+
+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."
+
+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."
+
+Lady Butler has recently appeared as an author, publishing "Letters from
+the Holy Land," illustrated by sixteen most attractive drawings in
+colors. The _Spectator_ 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."
+
+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 because I have always said that no
+woman could paint, and secondly because I thought what the public made
+such a fuss about _must_ 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."
+
+The _Art Journal_, 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."
+
+Her recent picture, "Within Sound of the Guns," shows a company of
+mounted soldiers on the confines of a river in South Africa.
+
+[_No reply to circular_.]
+
+
+
+<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 Professor
+Newbery, and at the Colarossi Academy, Paris, under Raphael Collin and
+Gustave Courtois.
+
+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."
+
+In the _Magazine of Art_, 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."
+
+In the _Studio_ of May, 1903, J. L. C., who writes of the same
+exhibition, calls this picture "admirable in both action and color."
+
+
+
+<b>CARL, KATE A.</b> Honorable mention, Paris Salon, 1890; Chevalier of the
+Legion of Honor, 1896; honorable mention, Paris Exposition, 1900. Associe
+de la Societe Nationale des Beaux-Arts. Born in New Orleans. Pupil of
+Julian Academy and of Courtois in Paris.
+
+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.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<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 L500, and divided it between Vandyck and
+Mistress Carlisle. Her copies after the Italian masters were of great
+excellence.
+
+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 constantly in contact with Vandyck, could praise
+Mistress Carlisle, we must believe her to have been a good painter.
+
+Mistress Anne has sometimes been confounded with the Countess of
+Carlisle, who was distinguished as an engraver of the works of Salvator
+Rosa, etc.
+
+
+
+<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.
+
+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 L100 a year in recognition of his
+services.
+
+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.
+
+She painted a great number of portraits of titled ladies 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.
+
+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."
+
+
+
+<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.
+
+At the Salon of the Artistes Francais, 1902, Mlle. Carpentier exhibited a
+picture called "Reflection," and in 1903 a portrait of Mme. L. T. and the
+"Little Goose-Herders."
+
+
+
+<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 brother-in-law, Antonio Pellegrini,
+whom she later accompanied to Paris and London and assisted in the
+decorative works he executed there.
+
+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.
+
+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.
+
+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.
+
+While in England Rosalba painted many portraits in crayon and pastel, in
+which art she was not surpassed by any artist of her day.
+
+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.
+
+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
+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."
+
+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.
+
+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."
+
+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.
+
+
+
+<b>CASSATT, MARY.</b> Born in Pittsburg. Studied in Pennsylvania schools,
+and under Soyer and Bellay in Paris. She has lived and travelled much in
+Europe, and her pictures, which are of genre subjects, include scenes in
+France, Italy, Spain, and Holland.
+
+Among her principal works are "La tasse de the," "Le lever du bebe,"
+"Reading," "Mere et Enfant," and "Caresse Maternelle."
+
+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."
+
+Miss Cassatt executed a large, decorative picture for the north tympanum
+of the Woman's Building at the Columbian Exhibition.
+
+A writer in the _Century Magazine_, 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."
+
+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
+Hoeber described it as "securing great charm of manner, of color, and of
+grace."
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+[Illustration: From a Copley Print.
+
+A PORTRAIT
+
+ADELAIDE COLE CHASE]
+
+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."
+
+
+
+<b>CHAUCHET, CHARLOTTE.</b> Honorable mention at the Salon, 1901;
+third-class medal, 1902. Member of the Societe des Artistes Francais 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 "Maree"--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.
+
+The works of Mlle. Chauchet have been much praised. The _Petit Moniteur_,
+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 "Maree," the _Depeche de Brest_ 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."
+
+In the _Courrier de l'Est_ 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."
+
+In the _Union Republicaine de la Marne_, H. Bernard 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."
+
+Chaussee, Mlle. Cecile de.
+
+[_No reply to circular_.]
+
+
+
+<b>CHERON, 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.
+
+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.
+
+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, 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.
+
+In her youth Elizabeth Cheron 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."
+
+Mlle. Cheron'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.
+
+She died when sixty-three and was buried in the church of St. Sulpice. I
+translate the lines written by the Abbe Bosquillon and placed beneath her
+portrait: "The unusual possession of two exquisite talents will render
+Cheron an ornament to France for all time. Nothing save the grace of her
+brush could equal the excellencies of her pen."
+
+Pictures by this artist are seen in various collections in France, but
+the larger number of her works were portraits which are in the families
+of her subjects.
+
+
+
+<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 Delecluse Academies in Paris,
+also of Merson, and of the Art Students' League in New York.
+
+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.
+
+An exhibition of ten portraits by this artist was held in Chicago in
+1903, and was favorably noticed. Mrs. Cherry resides in Houston, Texas.
+
+
+
+<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
+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
+Laugee in Picardie.
+
+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.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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 are at pasture in idyllic peace. Here is to be
+found the cheery freshness of country life."
+
+
+
+<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 Emile 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."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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 sittings 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 Cafe 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.
+
+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.
+
+"Lion Tamers in the Time of Nero" is one of her important pictures of
+animals, of which she has made many sketches.
+
+
+
+<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.
+
+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
+Delecluse and Colarossi Academies.
+
+[Illustration: A CANADIAN INTERIOR
+
+EMMA LAMPERT COOPER]
+
+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."--_Brooklyn
+Standard Union_.
+
+
+
+<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 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.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+After her father's death Maria ardently desired to become a nun, but her
+mother persuaded her to go to England. Here she came under the influence
+of Angelica Kauffman, and devoted herself assiduously to painting.
+
+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.
+
+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.
+
+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:
+
+"Many of the rooms were more like scenes of enchantment 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 Sevres, 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."
+
+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.
+
+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. Recamier.
+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."
+
+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.
+
+
+
+<b>COUDERT, AMALIA KUeSSNER.</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.
+
+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.
+
+
+
+<b>COUTAN-MONTORGUEIL, MME. LAURE MARTIN.</b> Honorable mention, Salon des
+Artistes Francais, 1894. Born at Dun-sur-Auron, Cher. Pupil of Alfred
+Boucher.
+
+This sculptor has executed the monument to Andre Gill, Pere Lachaise;
+that of the Poet Moreau, in the 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 Vogue, and numerous statuettes and other compositions.
+
+At the Salon, Artistes Francais, 1903, she exhibited "Fortune" and "A
+Statuette."
+
+
+
+<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.
+
+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.
+
+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.
+
+Regarding their work in the Chapel of Christ Church, New Haven, Miss
+Genevieve Cowles writes me: "These 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."
+
+These artists are now, November, 1903, engaged upon a landscape frieze
+for a dining-room in a house at Watch Hill.
+
+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."
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+[Illustration: From a Copley Print.
+
+ANGIOLA
+
+LOUISE COX]
+
+A writer in the _Cosmopolitan_ 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."
+
+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."
+
+
+
+<b>CRESPO DE REIGON, ASUNCION.</b> Honorable mention at 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.
+
+
+
+<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."
+
+
+
+<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."
+
+
+
+<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.
+
+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."
+
+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.
+
+This decided her to test herself, and, obtaining wax and the proper
+tools, she worked industriously until she 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.
+
+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.
+
+She at once began the study of anatomy under Cruikshanks, modelling with
+Cerrachi, and the handling of marble in the studio of Bacon.
+
+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!
+
+Mrs. Damer was childless, and very soon after her husband's death she
+travelled in Europe and renewed her 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 L2,000 a year for
+its maintenance.
+
+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.
+
+Those who have written of Mrs. Darner's art have taken extreme views.
+They have praised _ad nauseam_, 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
+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."
+
+Cerrachi made a full length figure of Mrs. Damer, which he called the
+Muse of Sculpture, and Darwin, the poet, wrote:
+
+    "Long with soft touch shall Damers' chisel charm,
+    With grace delight us, and with beauty warm."
+
+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.
+
+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." She did not hesitate to openly express her
+sympathy with the American colonies, and bravely defended their cause.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+<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 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 Duesseldorf, where
+she studied four years under Sohn, all the time supporting herself. Her
+pictures were genre subjects introducing children, which found a ready
+sale.
+
+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.
+
+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 Duesseldorf Gallery. Her
+painting of "Effie Deans" attracted much attention.
+
+Mrs. Dassel interested herself in charities and was admired as an artist
+and greatly respected as a woman. She died in 1857.
+
+
+
+<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 School and Royal Academy School. Has exhibited several years at
+the Royal Academy Exhibition and Institute of Painters in Water-Colors.
+
+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."
+
+To the Academy Exhibition of 1903 Mrs. Lewis sent "On the Mountain-side,
+Engelberg."
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+Her pictures are in private hands in Washington, New York, and Boston.
+
+The following article written at the time of an exhibition by Mrs. de
+Haas gives a just estimate of her work:
+
+"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.
+
+"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.
+
+"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
+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.
+
+"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.
+
+"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.
+
+"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.
+
+"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.
+
+"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.'"
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<b>DELACROIX-GARNIER, MME. P.</b> Honorable mention, Salon des Artistes
+Francais; medal at Exposition, Paris, 1900, for painting in oils; and a
+second medal for a treatise on water-colors. Member of the Societe des
+Artistes Francais, 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.
+
+Mme. Delacroix-Garnier has painted numerous portraits; among them those
+of the Dowager Duchess d'Uzes, Jules Garnier, and the Marquis Guy de
+Charnac, the latter exhibited at the Salon des Artistes Francais, 1903.
+At the same Salon in 1902 she exhibited the portrait of J. J. Masset,
+formerly a professor in the Paris Conservatory.
+
+Among her pictures are the "Happy Mother," "Temptation," "Far from
+Paris," "Maternal Joys," and in the Salon des Artistes Francais, 1903,
+"Youth which Passes."
+
+
+
+<b>DELASALLE, ANGELE.</b> Honorable mention, Salon des Artistes Francais,
+1895; third-class medal, 1897; second-class medal, 1898; travelling
+purse, 1899; Prix Piot, of the Institute, 1899; silver medal, Paris
+Exposition, 1900. Member of the Societe des Artistes Francais, the
+Societe Nationale des Beaux-Arts, Societe des prix du Salon et boursiers
+de voyage de la Societe Nationale. Born in Paris. Pupil of Jean Paul
+Laurens and Benjamin-Constant.
+
+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.
+
+At the Salon des Artistes Francais, 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.
+
+In the _Magazine of Art_, 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 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.
+
+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.
+
+
+
+<b>DELORME, BERTHE.</b> Medals at Nimes, Montpellier, Versailles, and
+London. Member of the Societe des Artistes Francais. Born at Paris. Pupil
+of A. Chaplin.
+
+Mlle. Delorme has painted a great number of portraits, which are in the
+hands of her subjects. Her works are exhibited in the Salon au Grand
+Palais. In 1902 she exhibited a "Portrait of Mlle. Magdeleine D."
+
+
+
+<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
+Societe des Artistes Francais; member of the committee of the Central
+Union of Decorative Arts and of the American National Institute; member
+of the Verein der Schriftstellerinnen und Kuenstlerinnen of Vienna; one of
+the founders of the Societe Populaire des Beaux-Arts and of the Societe
+de bienfaisance l'Allaitement Maternel, etc. Born at Courriere, Pas de
+Calais, 1859. Pupil of her father, Jules Breton.
+
+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
+Domremy" in a gallery at Lille; other pictures are in New York,
+Minneapolis, and other American cities; also in Berlin and Alexandria,
+Egypt.
+
+At the Salon des Artistes Francais, in 1902, Mme. 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.
+
+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.
+
+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.
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<b>DIETERLE, MME. M.</b>
+
+[_No reply to circular_.]
+
+
+
+<b>DIETRICH, ADELHEID.</b> Born in Wittemberg, 1827. Daughter and pupil of
+Edward Dietrich, whose teaching she supplemented 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.
+
+
+
+<b>DIETRICHSEN, MATHILDE--NEE BONNEIRE.</b> Born in Christiania, 1847. When
+but ten years old she began the study of art at Duesseldorf, 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.
+
+
+
+<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.
+
+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 conspicuous on account of its
+strength, directness, and firmness, allied to delicacy of touch.
+
+"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."--_Success_, September, 1902.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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 Societe des Artistes Francais. Born in Paris, 1840.
+Studies made at the Museum of the Louvre.
+
+Mme. Dubourg has exhibited her works at the Salons regularly since 1868,
+and her pictures are now seen in the Museums of Grenoble and Pau, as
+well as in many private collections. Her subjects are of still life.
+
+At the Salon of the Artistes Francais, in 1902, Mme. Dubourg exhibited a
+"Basket of Flowers."
+
+
+
+<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.
+
+
+
+<b>DUCOUDRAY, MLLE. M.</b> Honorable mention, 1898; honorable mention,
+Paris Exposition, 1900. At the Salon des Artistes Francais, in 1902, this
+sculptor exhibited "Mon Maitre Zacharie Astruc," and in 1903, "En
+Bretagne."
+
+[_No reply to circular_.]
+
+
+
+<b>DUFAU, CLEMENTINE HELENE.</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 Societe des Artistes Francais and
+of the Societa Heleno Latina, Rome. Born at Quinsac (Gironde).
+
+Studies made at Julian Academy, under Bouguereau and Robert-Fleury. Mlle.
+Dufau calls her works illustrations and posters, and gives the following
+as the principal examples:
+
+"Fils des Mariniers," in Museum of Cognac; "Rhythme," "Dryades,"
+"Automne," a study, Manzi collection; "Espagne," "Ete," 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.
+
+
+
+<b>DUHEM, MARIE.</b> Officer of the Academy, 1895; member of the Societe
+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.
+
+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.
+
+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."
+The first is a scene at nightfall and is rendered with great delicacy and
+refinement.
+
+
+
+<b>DUPRE, 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 Dupre, who detected her artistic promise in her
+childish attempts at modelling. She has executed a number of notable
+sepulchral monuments, one for Adele 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 Pieta," one of her father's most famous sculptures.
+
+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.
+
+She has a wide reputation in Italy for her statues of the "Young Giotto,"
+"St. Peter in Prison," and "San Giuseppe Calasanzio."
+
+
+
+<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 _Art Journal_, March,
+1873, spoke of her as "one of our most accomplished female sculptors."
+Her bust of Queen Victoria is in the Middle Temple, London; 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.
+
+
+
+<b>D'UZES, MME. LA DUCHESSE.</b> Honorable mention, Paris Salon, 1889. Born
+in Paris, 1847. Pupil of Bonnassieux and Falguiere. The principal works
+of this artist are "Diana Surprised," in marble; "Saint Hubert," in the
+church of the Sacre-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 Emile Augier, the commission
+for which was obtained in a competition with other sculptors; and many
+busts and statuettes.
+
+In the spring of 1903, at the twenty-second exhibition of the Society of
+Women Painters and Sculptors, the Duchesse d'Uzes 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.
+
+
+
+<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."
+
+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.
+
+This artist exhibits in the United States as well as in the chief cities
+of England, and has held private exhibitions 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."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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 fond of
+painting birds and is successful in this branch of her art.
+
+
+
+<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.
+
+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."
+
+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.
+
+
+
+<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, Paris, under Robert-Fleury, Giacomotti, and Bouguereau; at the
+Shinnecock School of Art under W. M. Chase; at Academie Viete, Paris,
+under Collin, and in a private studio under Mac Monnies.
+
+[Illustration: From a Copley Print.
+
+DOROTHY
+
+LYDIA FIELD EMMET]
+
+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.
+
+
+
+<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.
+
+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.
+
+
+
+<b>ESCALLIER, MME. ELEONORE.</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 Legion
+d'Honneur.
+
+
+
+<b>ESCH, MATHILDE.</b> Born at Kletten, Bohemia, 1820. Pupil of
+Waldmueller in Vienna. She also studied a long time in Duesseldorf 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.
+
+
+
+<b>ESINGER, ADELE.</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."
+
+
+
+<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.
+
+Here, in the quaint old city--a large part of which we still describe as
+mediaeval--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.
+
+We cannot now point to any pictures as exclusively hers, as she worked in
+concert with her brothers. It is, 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.
+
+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."
+
+A Madonna in the National Gallery in London is attributed to Margaretha
+van Eyck.
+
+
+
+<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.
+
+After Neher's designs, she modelled reliefs for the bronze doors at the
+castle of Weimar.
+
+
+
+<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 Broeck in London, Canada, and later of William Chase in New York.
+Now studying in Paris.
+
+
+
+<b>FASSETT, CORNELIA ADELE.</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.
+
+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.
+
+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.
+
+The _Arcadian_, 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 naturally 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."
+
+The _Washington Capital_, 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."
+
+In the _Washington Star_, 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:
+
+"'The Florida case before the electoral commission, February 5, 1877.
+Painted from life sittings in the United States Supreme Court room by
+Cornelia Adele Fassett.'"
+
+"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."--_David S. Barry_, in
+_Pearson's Magazine_.
+
+
+
+<b>FAUVEAU, FELICIE DE.</b> Second-class medal at Florence in 1827, when
+she made her debut 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.
+
+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.
+
+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."
+
+
+
+<b>FAUX-FROIDURE, MME. EUGENIE 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 Societe des Artistes
+Francais, 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.
+
+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 Evreux, 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.
+
+At the Limoges Exposition, May to November, 1903, Mme. Faux-Froidure was
+announced as hors concours in water-colors.
+
+La Societe Francais des Amis des Arts purchased from the Salon, 1903, two
+water-colors by Mme. Faux-Froidure--"Roses" and "Loose Flowers," or
+"Jonchee fleurie."
+
+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.
+
+Of a triptych, called the "Life of Roses," exhibited at the Salon des
+Artistes Francais, 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."
+
+
+
+<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."
+
+
+
+<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
+Duesseldorf, of Robie in Brussels, and of Hertel and Skarbina in Berlin.
+
+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.
+
+
+
+<b>FLESCH-BRUNNENGEN, LUMA VON.</b> Born in Bruenn in 1856. In Vienna she
+worked under Schoener, 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.
+
+
+
+<b>FLEURY, MME. FANNY.</b>
+
+[_No reply to circular_.]
+
+
+
+<b>FOCCA, SIGNORA ITALIA ZANARDELLI.</b> Silver medal at Munich, 1893;
+diploma of gold medal at Women's Exhibition, London, 1900. Member of
+Societa Amatorie Pittori di Belle Arti, of the Unione degli Artisti, and
+of the Societa Cooperativa, all in Rome.
+
+Born in Padua, 1872. Pupil of Ottin in Paris, and of the Academy of Fine
+Arts in Rome.
+
+The principal works of this sculptor are a "Bacchante," now in St.
+Petersburg; "Najade," sold in London; "The 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.
+
+Signora Focca is a professor of drawing in the Normal Schools of Rome.
+
+
+
+<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.
+
+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.
+
+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."--_Tuckerman's Book of the Artists._
+
+"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."--_Boston Advertiser,_ January, 1878.
+
+
+
+<b>FONTAINE, JENNY.</b> Silver medal, Julian Academy, 1889; silver medal at
+Amiens Exposition, 1890 and 1894; honorable 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 Societe des Artistes
+Francais, Paris; Societe de l'Union Artistique, du Pas-de-Calais, at
+Arras; corresponding member of the Academy of Arras. Pupil of Jules
+Lefebvre and Benjamin-Constant.
+
+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.
+
+At the Salon of 1902 she exhibited her own portrait; in 1903, portraits
+of MM. Rene et Georges D. The _Journal des Arts_, 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 _portraitiste_ in our Salons, and two of her works are here: a portrait
+of a young girl and one of General Jeanningros."
+
+
+
+<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.
+
+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. 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.
+
+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.
+
+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."
+
+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.
+
+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.
+
+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 their exaggerations, and our comparatively cold adjectives
+would be taxed beyond their power of expression.
+
+
+
+<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.
+
+
+
+<b>FOORD, MISS J.</b> A painter of plants and flowers, which are much
+praised. An article in the _Studio_, 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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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 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."
+
+
+
+<b>FORBES, MRS. STANHOPE.</b> Mr. Norman Gastin, in an article upon the
+work of the Royal Academician, Stanhope Forbes, in the _Studio_, July,
+1901, pays the following tribute to the wife of the artist, whose maiden
+name was Elizabeth Armstrong:
+
+"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."
+
+[_No reply to circular_.]
+
+
+
+<b>FORTI, ENRICA.</b> Rome.
+
+[_No reply to circular_.]
+
+
+
+<b>FORTIN DE COOL, DELFINA.</b> Third-class medal, Madrid, 1864, for the
+following works reproduced on porcelain: 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.
+
+This artist, who was French by birth, was a pupil of her father. For
+paintings executed in the imperial works at Sevres, she was awarded
+prizes at Blois, Besancon, Rouen, Perigueux, and Paris.
+
+
+
+<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."
+
+
+
+<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.
+
+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 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.
+
+
+
+<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."
+
+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.
+
+"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."--_The Revolution_, May, 1871.
+
+
+
+<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 Koegler. Miss French is a miniaturist and exhibited at the
+Royal Academy, London, in 1901, a case of her works which she was later
+specially invited to send to an exhibition in Liverpool, and several
+other exhibits.
+
+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.
+
+
+
+<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.
+
+
+
+<b>FRIEDLAeNDER, CAMILLA.</b> Born in Vienna, 1856. She was instructed by
+her father, Friedrich Friedlaender. 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.
+
+
+
+<b>FRIEDRICH, CAROLINE FRIEDERIKE.</b> Born in Dresden. 1749-1815. Honorary
+member of Dresden Academy. In the Dresden Gallery is a picture by this
+artist, "Pastry on a Plate with a Glass of Wine," signed 1799.
+
+
+
+<b>FRIEDRICHSON, ERNESTINE.</b> Born in Dantzig, 1824. Pupil of Marie
+Wiegmann in Duesseldorf, 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.
+
+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.
+
+
+
+<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 Zuerich, 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 Zuerich, 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 Zuerich and was
+urged to remain in Switzerland, but she was ambitious of further study,
+and went again to 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.
+
+
+
+<b>FRISHMUTH, HARRIET WHITNEY.</b>
+
+[_No reply to circular_.]
+
+
+
+<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 Gruetzner 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.
+
+
+
+<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 Rueckert. At an exhibition
+by the women artists of Berlin, 1892, a pen study by Fraeulein Froriep
+attracted attention and was admired for its spirit and its clear
+execution.
+
+
+
+<b>FRUMERIE, MME. DE.</b> Honorable mention at the Salon des Artistes
+Francais in 1893 and 1895. Born in Sweden, she studied in the School of
+Fine Arts in Stockholm. There she gained a prize which entitled her to
+study abroad during four years.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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."
+
+
+
+<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.
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<b>GARRIDO Y AGUDO, MARIA DE LA SOLEDAD.</b> Born in Salamanca. Pupil of
+Juan Peyro. 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.
+
+
+
+<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 Beggar," a portrait of Senorita M. J.,
+and a landscape; in 1878, "A Coxcomb," "Street Venders of Avila," 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.
+
+
+
+<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.
+
+
+
+<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 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.
+
+
+
+<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.
+
+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.
+
+[Illustration: Alinari, Photo.
+
+In the Pitti Gallery, Florence
+
+JUDITH WITH THE HEAD OF HOLOFERNES
+
+ARTEMISIA GENTILESCHI]
+
+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."
+
+After her return to Italy from England, this artist was 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.
+
+
+
+<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."
+
+
+
+<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.
+
+
+
+<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.
+
+As Abbess of this community she proved herself to be 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.
+
+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.
+
+
+
+<b>GIRARDET, BERTHE.</b> Gold medal at the Paris Exposition, 1900;
+honorable mention, Salon des Artistes Francais, 1900; ten silver medals
+from foreign exhibitions. Member of the Societe des Artistes Francais 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-Carles, 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."
+
+[Illustration: GIVE US THIS DAY OUR DAILY BREAD
+
+BERTHE GIRARDET]
+
+Among her works are: "L'Enfant Malade," bought by the city of Paris and
+placed in the Petit Palais des Champs Elysees; 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 Neuchatel; a group, the "Madonna
+and Child," for which the artist received the gold medal; and two groups
+illustrating the prayer, "Give us this day our daily bread." Also
+portrait statues and busts belonging to private collections.
+
+At the Salon des Artistes Francais, 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.
+
+A writer, G. M., in the _Studio_ 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.
+
+"The 'Benediction de l'Aieule' is less tragic. Behind the granddaughter,
+delightful in her white veil and dress of a _premiere communicante_,
+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 Societe des Artistes Francais."
+
+
+
+<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.
+
+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. Calve,
+Mrs. Walter Palmer, and a bust of the late Queen, in ivory, which she
+exhibited in 1903.
+
+
+
+<b>GLEICHEN, COUNTESS HELENA.</b>
+
+[_No reply to circular_.]
+
+
+
+<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 been seriously hampered by
+ill health, and her achievements in the face of such a drawback are all
+the more remarkable.
+
+
+
+<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!
+
+
+
+<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; Societe 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.
+
+Mme. Golay has executed a variety of pictures both in oil and
+water-colors. In an exhibition at the Athenee 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 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.
+
+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.
+
+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 _Tribune_ 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!"
+
+
+
+<b>GONZALEZ, INES.</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 the Economic Society of
+Valencia. In the Provincial Museum is her picture of the "Two Smokers."
+
+
+
+<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."
+
+I was not "_really_" 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!
+
+
+
+<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.
+
+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.
+
+
+
+<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 of Prince and Princess Lippe-Detmold, Princess
+Hohenlohe-Langenburg, Prince Wittgenstein, the hereditary Princess Reuss,
+and Princess Biron von Kurland.
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+Among her most important works are "Bloomingdale," which was purchased by
+Mr. Robert Hoe; "Chateau 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.
+
+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.
+
+
+
+<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.
+
+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.
+
+She soon made illustrations for _Little Folks_ and the _London News_. 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.
+
+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 one in an entire collection as no single book or picture could
+do.
+
+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.
+
+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.
+
+
+
+<b>GREENE, MARY SHEPARD.</b> Third-class medal, 1900, second-class medal,
+1902, at Salon des Artistes Francais. Her picture of 1902 is thus spoken
+of in _Success_, September of that year:
+
+"'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 Recamier 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 work. She has a rare idea of grace and great
+strength of treatment.
+
+"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."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+Mrs. Grey was fortunate in having the first picture she sent to London
+sold, and has continued to find purchasers 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.
+
+To the Academy Exhibition, 1903, she sent a picture of "Nightfall,
+Cullercoats," and a portrait of "Lily, daughter of Mrs. J. B. Firth."
+
+
+
+<b>GUILD, MRS. CADWALLADER.</b> I quote from the Boston _Transcript_ a
+portion of an article relative to this sculptor, some of whose works were
+exhibited in Boston in 1903:
+
+"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.'
+
+"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 excellency 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."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<b>GUYON, MAXIMILIENNE.</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 Societe des
+Artistes Francais, Societe des Aquarellistes Francais, and of the Societe
+des Prix du Salon et Boursiers de Voyage. Born at Paris. Pupil of the
+Julian Academy under Robert-Fleury, Jules Lefebvre, and Gustave
+Boulanger.
+
+Mme. Guyon is a successful portrait painter, and her works are numerous.
+Among her pictures of another sort are the "Violinist" and "The River."
+In the Salon des Artistes Francais, 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.
+
+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.
+
+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?
+
+
+
+<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.
+
+
+
+<b>HALE, ELLEN DAY.</b> Medal at exhibition of Mechanics' Charitable
+Association. Born in Worcester, Massachusetts. Pupil of William M. Hart
+and of Dr. Rimmer, in Boston, and of the Julian Academy, Paris.
+
+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.
+
+
+
+<b>HALLOWELL, MAY.</b> See Loud.
+
+
+
+<b>HALSE, EMMELINE.</b> This artist, when in the Royal Academy Schools, was
+awarded two silver medals and a prize of L30. 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.
+
+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.
+
+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.
+
+
+
+<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 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.
+
+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."
+
+
+
+<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.
+
+
+
+<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.
+
+Her principal works are "The Keepsake," "Unwinding the Skein," "In Silk
+Attire," and "The Bride's Bouquet."
+
+
+
+<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.
+
+Mr. Harrison N. Howard, in _Brush and Pencil_, 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."
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<b>HEEREN, MINNA.</b> Born in Hamburg; living in Duesseldorf. 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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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."
+
+
+
+<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.
+
+
+
+<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.
+
+[Illustration: From a Copley Print.
+
+THE DEPARTURE OF SUMMER
+
+LOUISE L. HEUSTIS]
+
+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 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.
+
+As an illustrator Miss Heustis has been employed by _St. Nicholas,
+Scribner's_, and _Harper's Magazine_.
+
+
+
+<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.
+
+"Mrs. Hill has mastered great difficulties in becoming a sculptor in
+established practice."--_Mrs. Tytler's "Modern Painters."_
+
+"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."--_Art Journal_, April, 1874.
+
+
+
+<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 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.
+
+[Illustration: MINIATURE OF PERSIS BLAIR
+
+LAURA COOMBS HILLS]
+
+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."
+
+"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 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."
+
+
+
+<b>HINMAN, LEANA MCLENNAN.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+Fraeulein 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,
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<b>HOGARTH, MARY.</b> Exhibits regularly at the New English 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.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+Miss Hosmer made a portrait statue of "Maria Sophia, Queen of the
+Sicilies," and a monument to an English 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.
+
+For Lady Ashburton Miss Hosmer made her Triton and Mermaid Fountains, and
+a Siren Fountain for Lady Marian Alford.
+
+
+
+<b>HOUSTON, CAROLINE A.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+A portrait painter whose pictures are in private hands. They have been
+exhibited in Paris, London, Naples, New York, Philadelphia, and Boston.
+
+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.
+
+
+
+<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. Congress 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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+Her Indian children are attractive, we must admit, and 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.
+
+
+
+<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.
+
+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.
+
+Mrs. Hulbert is also favorably known as an illustrator and decorative
+designer.
+
+
+
+<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.
+
+The following list of the titles of Mrs. Hunter's works will give an idea
+of the subjects she affects: "Dante and Beatrice," "Joy to the Laborer,"
+"An Italian Garden," "Where shall Wisdom be Found?" and the
+"Roadmenders," in Academy Exhibition, 1903.
+
+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 _Studio,_ 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 at which they can be said to have shown any
+diminution in the earnestness of their artistic intentions.
+
+"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 completely 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."
+
+
+
+<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.
+
+Among this artist's pictures are "Shouting above the Tide," "Primitive
+Fishing," "The Choir Invisible," etc.
+
+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.
+
+
+
+<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.
+
+The principal works of this artist are the "Boy with Great Dane," already
+mentioned, made in conjunction with her sister; a "Bison," in a private
+collection in Boston; and "Playing with Fire."
+
+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.
+
+
+
+<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.
+
+[Illustration: CHILD OF THE PEOPLE
+
+HELEN HYDE]
+
+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.
+
+
+
+<b>IGHINO, MARY.</b> A sculptor residing in Genoa. Since 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.
+
+
+
+<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.
+
+
+
+<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 Societe des Artistes Francais, Societe Libre,
+Societe des prix du Salon et boursiers de voyage. Born in Paris. Pupil of
+her father.
+
+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. At
+the Salon of 1902 Mlle Itasse exhibited a "Madonna"; in 1903, a portrait
+of M, W.
+
+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.
+
+Since her debut 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 academique, 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.
+
+
+
+<b>JACQUEMART, MLLE. NELIE.</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, General 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.
+
+Paul d'Abrest wrote of Mlle. Jacquemart, in the _Zeitschrift fuer bildende
+Kunst:_ "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."
+
+
+
+<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 Bruenn, while several others were acquired by the
+Imperial House of Austria.
+
+
+
+<b>JENKS, PHOEBE A. PICKERING.</b> Born in Portsmouth, New Hampshire, 1849.
+Mrs. Jenks writes that she has had no teachers.
+
+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.
+
+[Illustration: MOTHER AND CHILD
+
+PHOEBE JENKS]
+
+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.
+
+
+
+<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 Duesseldorf. In Rome she married the Danish
+sculptor Jerichau and afterward lived in Copenhagen. She travelled in
+England, France, Russia, Greece, Turkey, and Egypt.
+
+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.
+
+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."
+
+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.
+
+Theophile 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 Duesseldorf School,"
+because of her virile manner of painting.
+
+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."
+
+Mme. Jerichau was also an author. In 1874 she published her "Memories of
+Youth," and later, with her son, the illustrated "Pictures of Travel."
+
+
+
+<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.
+
+Since 1871 Mrs. Jopling has been a constant exhibitor at the Royal
+Academy and other London exhibitions, and frequently also at the Paris
+Salon.
+
+[Illustration: MISS ELLEN TERRY AS "PORTIA"
+
+LOUISE JOPLING ROWE]
+
+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 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.
+
+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.
+
+Many of her pupils receive good prices for their works, and also earn
+large sums for their portraits in black and white.
+
+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."
+
+In the _Art Journal,_ 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."
+
+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."
+
+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."
+
+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.
+
+
+
+<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 Societa Cooperativa, Rome. Born in the same city, and
+pupil of the Institute of Fine Arts and of her brother, Cavaliere
+Professore Pio Joris.
+
+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."
+
+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."
+
+
+
+<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."
+
+
+
+<b>KALCKREUTH, COUNTESS MARIA.</b> Medal at Chicago Exposition, 1893.
+Member of the Society of Women Artists in Berlin. Born at Duesseldorf.
+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.
+
+
+
+<b>KAUFFMAN, ANGELICA.</b> An original member of the 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.
+
+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."
+
+[Illustration: Alinari, Photo.
+
+In the Uffizi, Florence
+
+PORTRAIT OF ANGELICA KAUFFMAN
+
+PAINTED BY HERSELF]
+
+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."
+
+Miss Kate Thompson writes: "Her works showed no originality nor any great
+power of execution, and, while sometimes graceful, were generally weak
+and insipid."
+
+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 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.
+
+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.
+
+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.
+
+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.
+
+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. Leonardo had lived and taught in Milan, and his
+influence with that of other Lombard masters stirred Angelica to her very
+soul.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Angelica was now eighteen years old, and in a measure 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.
+
+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.
+
+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.
+
+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, 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."
+
+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.
+
+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.
+
+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.
+
+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 to the Queen. Until this time no
+one save her father had known of it.
+
+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.
+
+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 clasp a hand of both, so that each imagined himself the
+cavalier of her choice."
+
+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.
+
+The old Kauffman lived to visit his home in Schwarzenburg and to reach
+Southern Italy, but died soon after.
+
+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."
+
+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 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. _No living painter_ excels
+her in dignity or in the delicate taste with which she handles the
+pencil."
+
+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.
+
+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.
+
+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 gentle womanliness. Just before she died she
+desired to hear one of Gellert's spiritual odes.
+
+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.
+
+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.
+
+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 interesting; Angelica was
+interesting with no thought of being so.
+
+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."
+
+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."
+
+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 Aeneid 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 Staedel Institute,
+Frankfort, and in the Zuerich 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.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+
+
+<b>KEITH, DORA WHEELER.</b>
+
+[_No reply to circular_.]
+
+
+
+<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."
+
+In July, 1903, in his article on the Royal Academy Exhibition, the editor
+of the _Magazine of Art_, 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."
+
+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."
+
+[_No reply to circular_.]
+
+
+
+<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 Artists 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.
+
+
+
+<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 _con amore._ 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.
+
+
+
+<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.
+
+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.
+
+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 daughter of
+the skies." After praising her poetry Dryden wrote:
+
+    "Her pencil drew whate'er her soul designed,
+    And oft the happy draught surpassed the image of her mind."
+
+Of her portrait of James II. he says:
+
+    "For, not content to express his outward part,
+    Her hand called out the image of his heart;
+    His warlike mind--his soul devoid of fear--
+    His high designing thoughts were figured there."
+
+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."
+
+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."
+
+
+
+<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 Fremiet and of Navez. Her picture of the "Last
+Moments of Egmont" is in the Ghent Museum; among her other 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.
+
+
+
+<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.
+
+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 them with appropriate figures, faces, costumes,
+and surroundings; to make them speak after their own characters."
+
+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.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<b>KIRCHSBERG, ERNESTINE VON.</b> Medal at Chicago Exposition, 1893. Born
+in Verona, 1857. Pupil of Schaeffer 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."
+
+
+
+<b>KIRSCHNER, MARIE.</b> Born at Prague, 1852. Pupil of Adolf Lier in
+Munich, and Jules Dupre 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."
+
+
+
+<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.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<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 given at the annual Portrait
+Concours, between the men and women students of the above Academy.
+
+[Illustration: PORTRAIT OF ROSA BONHEUR
+
+ANNA E. KLUMPKE]
+
+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.
+
+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."
+
+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.
+
+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 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.
+
+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."
+
+At the Salon des Artistes Francais, 1903, Miss Klumpke exhibited a
+picture called "Maternal Affection."
+
+
+
+<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."
+
+Two of her works in gouache are worthy of mention: "An Effeminate" and
+"Children Returning from School."
+
+
+
+<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 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.
+
+
+
+<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."
+
+
+
+<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 Bruenn, Prague, and Budapest.
+
+
+
+<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.
+
+
+
+<b>KONEK, IDA.</b> Born at Budapest, 1856. Her early art studies were under
+G. Vastagh, C. von Telepy, W. Lindenschmit, and Munkacsy; later she was a
+pupil at the Julian Academy in Paris and the Scuola libera in Florence.
+In the Parish Church at Koeboelkut 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.
+
+
+
+<b>KORA OR CALLIRHOE.</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.
+
+Her story has been often told, and runs in this wise: Kora, or Callirhoe,
+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.
+
+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.
+
+The time for the apprentice to leave his master came all too soon. As he
+sat with Kora the evening before 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.
+
+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.
+
+
+
+<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.
+
+
+
+<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 Florence, Rome, and Southern Italy. She has an excellent
+reputation as a portrait painter, and occasionally paints subjects of
+still-life.
+
+
+
+<b>KUeSSNER, AMALIA.</b> See Coudert, Amalia Kuessner.
+
+
+
+<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.
+
+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'Angouleme and other noble ladies.
+
+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 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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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.
+
+Miss Lamb has painted portraits principally, a large number of which are
+in Boston in the homes of the families 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.
+
+In 1887 Miss Lamb painted an admirable portrait of Mohini Mohun
+Chatterji, a Brahmin, who spent some months in Boston.
+
+
+
+<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.
+
+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."
+
+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.
+
+
+
+<b>LANDER, LOUISA.</b> Born in Salem, 1826. Manifested 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.
+
+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.
+
+
+
+<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 Sais,"
+"Prometheus," "The Microscopist," "Before the Bar of Reason," etc. The
+latter was reproduced in _Zeitschrift fuer bildende Kunst_ in 1893, and
+was said to show a powerful fancy.
+
+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.
+
+
+
+<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. Officer 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.
+
+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.
+
+At the Salon of the Artistes Francais, 1902, Mme. La Villette exhibited
+"Twilight, Quiberon, Morbihan"; in 1903, "Fort Penthievre, Quiberon," and
+"A Foaming Wave."
+
+
+
+<b>LE BRUN, MME.</b> See Vigee.
+
+
+
+<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 Goedoelloe
+castle.
+
+Her portraits are seen at many exhibitions, and art critics mention her
+with respect.
+
+[_No reply to circular_.]
+
+
+
+<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 miniaturist, 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.
+
+Among her principal works are "Diana and Her Dog," "Going out of Church,"
+"Ophelia," "Sleep," "The Fall of the Leaves," and "Manon."
+
+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'Abbe Constantin" and for an edition of "Flirt" are very attractive.
+
+Her "Roses" at the Salon of 1903 were especially fine, so fresh and
+brilliant that they seemed to be actual blossoms.
+
+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:
+
+"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 Soiree in Athens
+in the Time of Pericles. Madeleine Lemaire begs you to honor with your
+presence the Greek fete which she will give in her humble abode on
+Tuesday. Banquet, dances, games, and cavalcade. Ancient Greek costume de
+rigueur.' Every one invited responded yes, and from the Duchess d'Uzes,
+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 Calve and Mme. Litoinne sang passages from 'Philemon 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."
+
+[_No reply to circular_.]
+
+
+
+<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. Member of the Ridley Art Club. Born in Llandaff,
+Glamorganshire.
+
+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.
+
+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."
+
+
+
+<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.
+
+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.
+
+"Among Miss Lewis's works are two small groups illustrating Longfellow's
+poem of Hiawatha. Her first, '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."--_Revolution_,
+April, 1871.
+
+"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."--_Great American Sculptors._
+
+
+
+<b>LEY, SOPHIE.</b> Third-class medal at Melbourne; honor diplomas,
+Karlsruhe. Member of the Kuenstlerbund, 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.
+
+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.
+
+A recently published design for the wall decoration of a school,
+"Fingerhut im Walde," was awarded a prize. Fraeulein Ley receives young
+women students in her atelier in Karlsruhe.
+
+
+
+<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.
+
+
+
+<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 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.
+
+"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."--_History of Modern Painters._
+
+
+
+<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.
+
+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.
+
+
+
+<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. 1722-1782. 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.
+
+
+
+<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.
+
+
+
+<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."
+
+
+
+<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 the
+Croatian churches. The "Madonna Immaculata" is in the Gymnasial Kirche,
+Meran, and a "Mater Dolorosa" in the Klosterkirche, Bruck a. d. Meer.
+
+
+
+<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.
+
+
+
+<b>LONGMAN, E. B.</b> This sculptor has a commission to execute a statue of
+Victory for a dome at the St. Louis Exposition.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+"Mrs. Loop's picture is an honest, unpretending work, well drawn,
+naturally posed, and clearly, solidly colored. There is not a trace of
+affectation about it. The artistic effects are produced in the most
+straightforward way."--_Clarence Cook, in New York Tribune._
+
+"Mrs. Loop is certainly the leading portrait painter among our lady
+artists. She is vigorous, conscientious, and perceptive."--_Chicago
+Times,_ 1875.
+
+
+
+<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.
+
+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."
+
+[Illustration: A FAMILY OF DOGS
+
+MATILDA LOTZ]
+
+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."
+
+
+
+<b>LOUD, MAY HALLOWELL.</b> Member of the Copley Society 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.
+
+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."
+
+
+
+<b>LOUISE, PRINCESS.</b> See Argyll.
+
+
+
+<b>LUSK, MARIE K.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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 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.
+
+[Illustration: From a Copley Print.
+
+FRITZ
+
+CLARA T. MacCHESNEY]
+
+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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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."
+
+
+
+<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. Laine, in Munich under Professor
+Herterich, and in Paris under Louis Deschamps and Julius Rolshoven; also
+with Mlle. J. Devina in miniature painting.
+
+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.
+
+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.
+
+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.
+
+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 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.
+
+
+
+<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 Societe Nationale des Beaux-Arts, Paris;
+member of the Society of American Artists, New York. Born at New Haven,
+Connecticut, about 1860.
+
+Pupil of School of Fine Arts, St. Louis, Academy Julian, Paris, and of
+Carolus Duran.
+
+Exhibited at Salon des Beaux-Arts, 1902, "The October Sun," "The Last
+Rays," and "The Rain"; in 1903, "A Snow Scene."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+[Illustration: From a Copley Print.
+
+SAINT CATHERINE
+
+MARY L. MACOMBER]
+
+"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."--_Art
+Interchange,_ April, 1899.
+
+
+
+<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.
+
+
+
+<b>MANGILLA, ADA.</b> Gold medal at Ferrara for a "Bacchante," which is now
+in the Gallery there; gold medal 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.
+
+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."
+
+This highly accomplished woman, who has musical and literary talent, is
+the wife of Count Francessetti di Mersenile.
+
+
+
+<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 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.
+
+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.
+
+
+
+<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.
+
+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.
+
+Miss Manly has done much work for publishers, which has been reproduced
+in colors and in black and white. She usually combines figures and
+landscape.
+
+
+
+<b>MANTOVANI, SIGNORA S. ROME.</b>
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<b>MARCELLE, ADELE,</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 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.
+
+
+
+<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.
+
+
+
+<b>MARIA FEODOROVNA,</b> wife of the Czar Peter I. As Princess Dorothea
+Auguste Sophie of Wuertemberg 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.
+
+
+
+<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.
+
+
+
+<b>MARIE, DUCHESS OF WUeRTEMBERG.</b> Daughter of Louis Philippe, and wife
+of Duke Frederick William Alexander of Wuertemberg. 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.
+
+
+
+<b>MARIE LOUISE, EMPRESS OF FRANCE.</b> 1791-1846. She studied under
+Prud'hon. Her "Girl with a Dove" is in the Museum of Besancon.
+
+
+
+<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.
+
+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 Francais, Marguerite Durand, Editeur de la Fronde, Mlle.
+Richepin, and many others.
+
+Mme. Marlef has the power of keen observation, so necessary to a painter
+of portraits. Although there is 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 _World_ writes of this artist: "She has
+exquisite color sense and delights in presenting that _exaltation de la
+vie_, 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."
+
+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 Societe Nationale des Beaux-Arts.
+
+
+
+<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 awarded prizes. In the Chapel of Relics in the new Cathedral
+at Cadiz are her "Martyrdom of St. Lawrence" and a "Mater Dolorosa."
+
+
+
+<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.
+
+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.
+
+
+
+<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 Altoe; "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.
+
+
+
+<b>MASSEY, MRS. GERTRUDE.</b> Member of the Society of Miniaturists. Born
+in London, 1868. Has studied with private teachers in London and Paris.
+
+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.
+
+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.
+
+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 _genuine_ old-fashioned garden
+in St. John's Wood."
+
+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.
+
+
+
+<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.
+
+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 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.
+
+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."
+
+
+
+<b>MASSOLIEN, ANNA.</b> Born at Goerlitz, 1848. A pupil of G. Graef and of
+the School of Women Artists in Berlin. Her portraits of Field Marshal von
+Steinmetz, Brueckner, and G. Schmidt by their excellence assured the
+reputation of this artist, whose later portraits are greatly admired.
+
+
+
+<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 Jewess of
+Algiers," 1866, is in the Museum of Lille; "The Intrigue under the
+Portico of the Doge's Palace" was painted in 1865.
+
+
+
+<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.
+
+
+
+<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 academique" 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.
+
+[Illustration: In Cemetery In Gefle, Sweden
+
+MONUMENT FOR A TOMB
+
+IDA MATTON]
+
+Among the works of this artist are "Mama!" a statue in marble; "Loke," 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.
+
+At the Salon des Artistes Francais, 1902, she exhibited four portraits,
+and in 1903, "Confidence."
+
+
+
+<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
+the Salon of 1900 her picture, "Mother and Child," was hung on the line.
+
+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.
+
+"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."--_The Mirror, St. Louis,_ April 10, 1902.
+
+
+
+<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.
+
+
+
+<b>MCCROSSAN, MARY.</b> Silver and bronze medals, Liverpool; silver medal
+and honorable mention, Paris. Has 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. Delecluse; St. Ives, Cornwall, under
+Julius Ollson.
+
+The principal works of this artist are marine subjects and landscapes,
+and are mostly in private collections.
+
+In the _Studio,_ 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.
+
+"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."
+
+
+
+<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 Academy and of H. F. Farny and
+Frank Duveneck in private classes.
+
+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.
+
+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."
+
+This artist has written several books on china painting and pottery
+decoration.
+
+
+
+<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:
+
+    "Alice in Wonderland" and "Through the Looking-Glass." De
+        Luxe edition in color. New York, 1899.
+
+    "The Calendar of Omar Khayyam." In color. New York, 1900.
+
+    "The Altar Service." Thirty-six wood-cut blocks printed on
+       Japan vellum. London, 1902.
+
+    "The Coronation Prayer-Book." (Wood-cut borders.) Oxford
+       University Press, 1902.
+
+    "Cathedrals of Northern France." In collaboration with Francis
+       Miltoun. Boston and London, 1903.
+
+    "Cathedrals of Southern France." In collaboration with Francis
+       Miltoun. Sold for publication in London and Boston, 1904.
+
+    "A Dante Calendar." London, 1903.
+
+    "A Rubaiyat Calendar." Boston, 1903.
+
+    "The King's Classics." (Designs and Decorations.) London,
+       1902-1903.
+
+    "The Book of Days." A Calendar. Sold in London for 1904.
+
+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.
+
+[Illustration: DELFT
+
+BLANCHE McMANUS MANSFIELD]
+
+"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
+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.
+
+"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.
+
+"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.
+
+"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.
+
+"She paints well in water-colors and in oil, and her 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."
+
+Moring's _Quarterly_ 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."
+
+
+
+<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.
+
+
+
+<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 of excellent quality were
+executed by her, and on them her reputation rests.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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:
+
+    "Sibylla a Surinam va chercher la nature,
+    Avec l'esprit d'un Sage, et le coeur d'un Heros"
+
+--which indicates the view then held of a journey which would now attract
+no attention.
+
+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.
+
+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 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.
+
+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."
+
+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.
+
+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.
+
+
+
+<b>MERRITT, MRS. ANNA LEA.</b> Honorable mention, Paris Exposition, 1889;
+two medals and a diploma, Chicago 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.
+
+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.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<b>MICHIS, MARIA.</b> See Cattaneo.
+
+
+
+<b>MILBACHER, LOUISE VON.</b> Prize at Berlin in 1886. Born at
+Boehmischbrod, 1845. Pupil of Poenninger 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.
+
+
+
+<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; gold medal. Member of the International Artistic
+Association. Born in Rome. Pupil of Professore Commendatore Pietro Vanni.
+
+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.
+
+
+
+<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.
+
+
+
+<b>MOeLLER, 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.
+
+
+
+<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 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.
+
+In 1874 she exhibited at the Society of British Artists, "Il Giardino
+Publico"--the Public Garden--of which a writer in the _Art Journal_ 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."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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 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."
+
+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.
+
+
+
+<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.
+
+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."
+
+
+
+<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.
+
+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."
+
+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.
+
+
+
+<b>MUNTZ, LAURA A.</b>
+
+[_No reply to circular_.]
+
+
+
+<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 figures. 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.
+
+
+
+<b>NATHAN, SIGNORA LILIAH ASCOLI.</b> Rome.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+
+
+<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.
+
+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 _post obitum_ atomizers of the great poet's every word.
+
+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.
+
+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.
+
+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.
+
+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 Plautilla," the name by which she came to be known in
+all Italy.
+
+
+
+<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
+Kuenstlerhaus, and the latter in the Deputy House at Budapest.
+
+
+
+<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.
+
+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.
+
+[_No reply to circular_.]
+
+
+
+<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 Garibaldi, of
+J. Grimm, 1863, "Prometheus Bound," 1868, and a statue of Louis II. of
+Bavaria.
+
+
+
+<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 Societa degli Aquarelliste.
+
+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.
+
+In the _Studio_, 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."
+
+[Illustration: AN INDIAN AFTER THE CHASE
+
+RHODA HOLMES NICHOLS]
+
+Mrs. Nicholls is also known as an illustrator. Harold Payne says of her:
+"Rhoda Holmes Nicholls, although 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."
+
+
+
+<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.
+
+Miss Nichols has held three exhibitions of her pictures both in oil and
+water-colors in London. She has executed 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.
+
+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.
+
+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.
+
+I quote the following paragraph from the _Studio_ 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 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."
+
+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.
+
+
+
+<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.
+
+
+
+<b>NIEDERHAeUSEN, MLLE. SOPHIE.</b> Medal at the Swiss National Exposition,
+1896. Member of the Exposition permanente de l'Athenee, Geneva. Born at
+Geneva. Pupil of Professor Wymann and M. Albert Gos, and of M. and Mme.
+Demont-Breton in France.
+
+Mlle. Niederhaeusen paints landscapes principally, and has taken her
+subjects from the environs of Geneva, in the Valais, and in
+Pas-de-Calais, France.
+
+Her picture, called the "Bord du Lac de Geneve," was purchased by the
+city and is in the Rath Museum. She also paints flowers, and uses
+water-colors as well as oils.
+
+
+
+<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."
+
+
+
+<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.
+
+Mrs. Normand executed decorative frescoes in the Royal Exchange, London,
+the subject being "Sir Richard Whittington and His Charities."
+
+In the past ten years she has exhibited "Mariana," 1893; "Psyche at the
+Throne of Venus," 1894; "Apollo 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.
+
+[_No reply to circular_.]
+
+
+
+<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 Societaire 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.
+
+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."
+
+[_No reply to circular_.]
+
+
+
+<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 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.
+
+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.
+
+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.
+
+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.
+
+Mr Charles A. Caffin, in his article upon the exhibition 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 _naive_ imagination, free of any obsessions."
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+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 portrait 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:
+
+"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."
+
+Mme. O'Connell then executed several fine portraits--two of Rachel, one
+of M. O'Connell, others of Charles Edward and Theophile Gautier, which
+were likened to works of Vandyck, and a portrait in crayon of herself
+which was a _chef-d'oeuvre_. 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
+eyes of poets and of the women of society. She worked with great
+freedom, used a thick pate 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.
+
+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.
+
+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.
+
+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!
+
+
+
+<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.
+
+Maria van Oosterwyck and Rachel Ruysch disputed honors with the above
+named and are still famous for their talents.
+
+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.
+
+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.
+
+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 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 _unattained by any other flower painter_"
+
+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.
+
+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.
+
+
+
+<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 View near Parma," the "Faces of Montmorency," and
+the "Bridge of Attaro" are three of her works which are especially
+admired.
+
+
+
+<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.
+
+A decorative artist who has executed mural decoration in a private house
+in Chicago, and has illustrated "Max Mueller's Memories" and other
+publications. For use in schools she made a color print, "Reading of the
+Declaration of Independence before the Army."
+
+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.
+
+
+
+<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 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.
+
+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.
+
+
+
+<b>PACZKA-WAGNER, CORNELIA.</b> Honorable mention, Berlin, 1890. Born in
+Goettingen, 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.
+
+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 prostrate Adam and his wife--more
+accusing than complaining.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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 "Three Sibyls,"
+1617; an "Annunciation," "Cephalus and Procris," "Latona," and landscapes
+after the works of Bril, Savery, Willars, etc.
+
+
+
+<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.
+
+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.
+
+[Illustration: FLOWERS
+
+HELEN SEARLE PATTISON]
+
+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 Ecouen, 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.
+
+Mrs. Pattison lived but a few months in Jacksonville, dying in November,
+1884.
+
+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 Design in New York. Her subjects were still-life, fruit,
+and flowers, and her works are widely distributed.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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 Philadelphia and again pursued
+her artistic labors. She married a second husband, General William
+Duncan, and from this time gave up professional painting.
+
+
+
+<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.
+
+
+
+<b>PELICHY, GEERTRUIDA.</b> Honorary member of the Academy of Vienna. Born
+in Utrecht, 1744; died in Bruegge, 1825. Pupil of P. de Cock and Suvee. In
+1753, she went to Bruegge 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 Bruegge.
+
+
+
+<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
+Societa 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
+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 la," which was sold while in an exhibition in
+Rome.
+
+
+
+<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."
+
+
+
+<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.
+
+
+
+<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, 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.
+
+A critic in the _Studio_ 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 'Marechal 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."
+
+
+
+<b>PERRIER, MARIE.</b> Mention honorable at Salon des Artistes Francais,
+1899; Prix Marie Bashkirtseff, 1899; honorable mention, Paris Exposition,
+1900; numerous medals from foreign and provincial exhibitions; medals in
+gold and silver at Rouen, Nimes, Rennes, etc.; bronze medals at Amiens
+and Angers. Member of the Societe des Artistes Francais; 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.
+
+Mlle. Perrier's picture of "Jeanne d'Arc" is in a provincial museum;
+several pictures by her belonging to the 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
+Francais, 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."
+
+This artist decorated a villa near Nimes 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.
+
+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."
+
+
+
+<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.
+
+Miss Perry has exhibited her portrait of Mrs. U. in the Salon of the
+Societe Nationale des Beaux-Arts and in Philadelphia. She paints
+landscapes and portraits.
+
+
+
+<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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+<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.
+
+At the Academy, 1903, she exhibited "Faith" and "Silken Tresses."
+
+
+
+<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-Cap," "Old
+Curiosity Shop," etc. At the Academy, 1903, she exhibited "Some Spring
+Flowers."
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+Her picture of "Roses and Grapes" is in the National Gallery, London; and
+one of "Autumn Flowers" in the Museum at Stuttgart.
+
+
+
+<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."
+
+
+
+<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 Beatrice of that year she exhibited
+"Cocciara," and in 1887 "A Friar Cook." Her "Fortune-Teller" attracted
+general attention at Venice in 1887.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+
+
+<b>POPPE-LUeDERITZ, ELIZABETH.</b> Honorable mention, Berlin, 1891. For the
+second time only the Senate of the 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.
+
+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.
+
+
+
+<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."
+
+
+
+<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.
+
+[Illustration: Doge's Palace, Venice
+
+ST. CHRISTOPHER
+
+ENGRAVED BY CAROLINE A. POWELL]
+
+Miss Powell was an illustrator of the _Century Magazine_ 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.
+
+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."
+
+
+
+<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 London, where
+she devoted herself to aquatints. She executed more than seventy plates,
+some of them of great size.
+
+
+
+<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.
+
+
+
+<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."
+
+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.
+
+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.
+
+
+
+<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.
+
+
+
+<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 Duerr.
+
+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 the above she has
+painted more than one hundred portraits of men, women, and children,
+which belong to the families of the subjects.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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 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.
+
+
+
+<b>RAE, HENRIETTA.</b> See Normand, Mrs. Ernest
+
+
+
+<b>RAGUSA, ELEANORA.</b> See O'Tama.
+
+
+
+<b>RAPIN, AIMEE.</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 Neuchatel. 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 Societe des Beaux-Arts of
+Lausanne, Societe des Femmes peintres et sculpteurs de la Suisse romande,
+Societe 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.
+
+[Illustration: In the Museum at Neuchatel
+
+GENEVESE WATCHMAKER
+
+AIMEE RAPIN]
+
+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 _Studio_ of April, 1903,
+R. M. writes: "The subject 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 Ecole 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
+_merveilleux frisson de sensibilite_ 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 Saleve, 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 _resume_ 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.
+
+"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 expressed the
+individual character and history of each of her subjects."
+
+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.
+
+
+
+<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.
+
+
+
+<b>RATH, HENRIETTE.</b> Honorary member of the Societe des Arts, 1801. Born
+in 1772, she died in 1856 at Genf, where, with her sister, she founded
+the Musee Rath. She studied under Isabey, and was well and favorably
+known as a portrait and enamel painter.
+
+
+
+<b>REAM, VINNIE.</b> See Hoxie.
+
+
+
+<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.
+
+"Mrs. Redmond is a Swiss woman, now residing in New York. She has
+exhibited her works in the Paris 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."--_Boston
+Transcript_.
+
+
+
+<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?"
+
+[_No reply to circular_.]
+
+
+
+<b>REINHARDT, SOPHIE.</b> Born at Kirchberg, 1775; died at Karlsruhe, 1843.
+Pupil of Becker. She travelled in 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.
+
+
+
+<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
+Groenland. 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.
+
+
+
+<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 Duesseldorf 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.
+
+
+
+<b>REVEST, CORNELIA LOUISA.</b> Second-class medals in 1819 and 1831 in
+Paris. Born in Amsterdam, 1795; died in Paris, 1856. Pupil of Serangely
+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."
+
+
+
+<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, 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.
+
+
+
+<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.
+
+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."
+
+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 painter distinguished for clever
+mannerism, but "to attain a definite end; one which is difficult to reach
+and requires widely applied effort."
+
+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.
+
+[Illustration: MAY DAY AT WHITELANDS COLLEGE, CHELSEA
+
+ANNA M. RICHARDS]
+
+"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."
+
+"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."
+
+Miss Richards has written "Letter and Spirit," containing fifty-seven
+"Dramatic Sonnets of Inward Life."
+
+These she has illustrated by sixty full-page pictures. Of 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."
+
+
+
+<b>RICHARDS, SIGNORA EMMA GAGIOTTI.</b> Rome.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+A critic in the _Studio_ 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 she gained the gold medal for her 'Unbesiegbaren'
+(The Unconquerable).
+
+"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 _en evidence_. 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."
+
+"'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 _whole_ 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 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.
+
+"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."
+
+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.
+
+
+
+<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 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."
+
+
+
+<b>ROBERTS, ELIZABETH WENTWORTH.</b>
+
+[_No reply to circular_.]
+
+
+
+<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 Duesseldorf, 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.
+
+A critic of the New York _Evening Post_ 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."
+
+
+
+<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 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."
+
+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.
+
+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.
+
+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 Ferdinand, each in
+turn invited Marietta to be the painter of his Court.
+
+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.
+
+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.
+
+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.
+
+
+
+<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.
+
+
+
+<b>ROCCO, LILI ROSALIA.</b> Honorable mention, a bronze 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.
+
+
+
+<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!
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+<b>RODRIGUEZ DE TORO, LUISA.</b> Honorable mention, Madrid, 1856, for a
+picture of "Queen Isabel the Catholic Reading with Dona Beatriz de
+Galindo"; honorable mention, 1860, for her "Boabdil Returning from
+Prison."
+
+Born in Madrid; a descendant of the Counts of Los Villares, and wife of
+the Count of Mirasol. Pupil of Carlos Ribera.
+
+
+
+<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!
+
+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.
+
+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.
+
+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.
+
+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.
+
+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, 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."
+
+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."
+
+The editor of the _Magazine of Art_, 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.
+
+
+
+<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 of her works is in the Royal Museum at Amsterdam, and another in the
+Museum at Breslau.
+
+
+
+<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.
+
+At the Academy, 1903, she exhibited a panel for an organ chamber, in low
+relief.
+
+
+
+<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.
+
+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.
+
+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 Sanita, was one of their joint works.
+
+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.
+
+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.
+
+
+
+<b>ROSALBA.</b> See Carriera.
+
+
+
+<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.
+
+Her first work in sculpture was a minute representation of the
+Crucifixion on a peach stone! The executioners, 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.
+
+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."
+
+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.
+
+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 Bologna for the coronation of Charles V. he asked
+for Properzia, only to hear that she had been buried that very week.
+
+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.
+
+
+
+<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.
+
+
+
+<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 _Brush and Pencil_, 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 ambitious 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.
+
+"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 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."
+
+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.
+
+Perhaps her panels of the "Four Seasons" may be called her
+_chef-d'oeuvre_. The writer quoted above also says:
+
+"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."
+
+
+
+<b>RUDE, MME. SOPHIE FREMIET.</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 "Arrest of the Duchess of Burgundy in Bruges," 1841, are in the
+Dijon Museum.
+
+
+
+<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.
+
+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 Duesseldorf.
+
+[Illustration: Alinari, Photo.
+
+In the Pitti Gallery, Florence
+
+FRUIT, FLOWERS, AND INSECTS
+
+RACHEL RUYSCH]
+
+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.
+
+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."
+
+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.
+
+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.
+
+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.
+
+
+
+<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 Nimes; "The Village Maiden," at Grenoble; "Field
+Flowers," at Havre, etc. She also painted portraits and historical
+subjects, among which are "Psyche in Olympus," "The Daughters of
+Jerusalem in the Babylonian Captivity," and the "Daughter of Jairus."
+
+She was a sister of E. Puyroche-Wagner.
+
+
+
+<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.
+
+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.
+
+
+
+<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 Duesseldorf, 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 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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<b>SCHUMANN, ANNA MARIA.</b> Was called by the Dutch 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.
+
+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.
+
+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.
+
+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.
+
+At the University of Utrecht an honorable place was reserved for her in
+the lecture-rooms, and she frequently 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.
+
+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?
+
+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."
+
+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, philosophers, and theologians regarding
+important questions of her time.
+
+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.
+
+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.
+
+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.
+
+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
+virtues were many and her few faults were such as could not belong to an
+ignoble nature.
+
+
+
+<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.
+
+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.
+
+[Illustration: A FROG FOUNTAIN
+
+JANET SCUDDER]
+
+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.
+
+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.
+
+A memorial figure in marble is in Woodlawn Cemetery, 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.
+
+
+
+<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.
+
+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."
+
+At the exhibition of the Philadelphia Water-Color Club, 1903, the _Press_
+said: "These brilliant and overpowering combinations of color carry to
+a limit not before reached the decorative possibilities of flowers."
+
+Mrs. Sears' honors have been awarded to her portraits.
+
+
+
+<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 Kuegelgen; 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.
+
+
+
+<b>SERRANO Y BARTOLOME, 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.
+
+
+
+<b>SEWELL, AMANDA BREWSTER.</b> Bronze medal, Chicago, 1893; bronze medal,
+Buffalo, 1901; silver medal, Charleston; 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.
+
+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 Kuessner will be exhibited and published.
+
+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:
+
+"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 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."
+
+
+
+<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.
+
+She is best known for her excellent copies of old pictures, and
+especially by her copy of the Sistine Madonna, from which Mueller's
+engraving was made.
+
+
+
+<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."
+
+"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, 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."
+
+
+
+<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.
+
+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.
+
+
+
+<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, she was a singularly admirable woman and a gifted artist.
+
+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.
+
+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.
+
+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.
+
+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 called "A Subject after Guido" are in the Hermitage at
+Petersburg.
+
+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.
+
+Her paintings on copper and her etchings were most attractive; indeed,
+all her works revealed the innate grace and refinement of her nature.
+
+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."
+
+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.
+
+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.
+
+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.
+
+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.
+
+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.
+
+
+
+<b>SMITH, JESSIE WILLCOX.</b> Mary Smith prize, Pennsylvania Academy of
+Fine Arts, 1903. Member of the 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.
+
+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.
+
+
+
+<b>SONREL, MLLE. E.</b> Honorable mention, Paris, 1893; third-class medal,
+1895; bronze medal, Paris Exposition, 1900. At the Salon des Artistes
+Francais, 1902, she exhibited "Sybille" and "Monica"; in 1903, "The Dance
+of Terpsichore" and "Princesse Lointaine."
+
+[_No reply to circular_.]
+
+
+
+<b>SPANO, MARIA.</b> Silver medal, Naples, 1859, for a picture of a
+"Contadina of Sorrento." Born in Naples, 1843. Pupil of her father,
+Raffaele Spano, 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."
+
+
+
+<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 of learned men, which she preferred before that of the world of
+fashion.
+
+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.
+
+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.
+
+
+
+<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 of Lady Artists, and
+have been sold from these exhibitions.
+
+I quote from the _Queen_, 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."
+
+
+
+<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.
+
+Pupil of Art Institute in Chicago. Paints portraits, figure subjects, and
+landscapes. The Cahn prize was awarded to the "Village at Twilight."
+"Florence" is owned by the Klio Club; "Trophies of the Fields," by the
+Union League Club, Chicago.
+
+Recently Miss Stacey has painted a number of successful portraits.
+
+
+
+<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 _en route_. She painted views in Switzerland and Italy, and two of
+her landscapes are in the gallery in Christiania.
+
+
+
+<b>STANLEY, LADY DOROTHY.</b> Member of the Ladies' Athenaeum 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.
+
+Lady Stanley has exhibited at the Royal Academy, the new Gallery, at the
+English provincial exhibitions, and at the Salon, Paris.
+
+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.
+
+
+
+<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 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."
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+Miss Stevens mentions as her principal works "A Candlestick Representing
+a Girl Asleep under a Poppy," "Figure of Spring," and the "Spirit of
+Flame."
+
+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.
+
+Miss Stevens is modest about her work and does not 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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<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 _Art
+Journal_ 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 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."
+
+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."
+
+[_No reply to circular_.]
+
+
+
+<b>STOCKS, MINNA.</b> Born in Scheverin, 1846. Pupil of Schloepke in
+Scheverin, Stiffeck in Berlin, E. Bosch in Duesseldorf, and J. Bauck in
+Munich. Her "Lake of Scheverin" is in the Museum of her native city.
+
+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 been called masterpieces--of the most
+intimate and intelligent study of nature.
+
+Among her works are "A Quartet of Cats," "The Hostile Brothers," and "The
+Outcast."
+
+
+
+<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.
+
+Her picture, "A Parting," is in the Liverpool Gallery; "Childhood's
+Wonder," in the Nottingham Gallery; "Aucassin and Nicolette," in the
+Pittsburg Gallery, etc.
+
+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 _Spectator_ 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.
+
+"Another portrait by the same artist is hung on 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."
+
+At the Academy, in 1903, Mrs. Stokes exhibited a portrait of J. Westlake,
+Esq., K.C.
+
+
+
+<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.
+
+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."
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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 _Tribune_. Her calendars, too, are artistic and
+popular; some of these have reached a sale of nearly half a million.
+
+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 Venetian Matron" and "A Violinist," are portraits,
+not studies from professional models.
+
+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.
+
+Her works are seen in the exhibitions of the Society of American Artists
+and of the American Water-Color Society.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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 high key and, as she writes, "in tender, opalescent color."
+
+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.
+
+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.
+
+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.
+
+Mrs. Swope's most ambitious work--five by three feet in size--represents
+an allegorical subject and is called "Revelation."
+
+
+
+<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'Athenee, Geneva. Born at Genoa and studied there under Professors
+Gillet, Poggy, and Castan.
+
+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 collections in several countries, and when exhibited have
+been praised in German and French as well as in Swiss publications.
+
+
+
+<b>SYAMOUR, MME. MARGUERITE.</b> Honorable mention, 1887; bronze medal at
+Exposition at Lyons. Born at Brery, 1861. Pupil of Mercie. 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
+Grevy, Flammarion, J. Claretie, etc.
+
+At the Salon, Artistes Francais, 1902, this artist exhibited a "Portrait
+of M. G. L.," and in 1904 "A Vision" and "La Dame aux Camelias."
+
+
+
+<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.
+
+This artist paints portraits in miniature and in life size. Her works are
+numerous and have been seen in many exhibitions.
+
+
+
+<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 _Studio_, December, 1903: "When the
+exhibition of bookbinding was held some time ago at the Musee Galliera,
+Madame Thaulow's showcase attracted attention by its variety and its
+grace. The charm of these bindings 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 _motifs_, go to make up a delicious symphony."
+
+
+
+<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 Abbe Jacquet," 1859; "Portrait of a
+Lady," 1861.
+
+
+
+<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.
+
+At the Salon, Artistes Francais, 1902, Mme. Thomas-Soyer exhibited "An
+Irish Setter and a Laverock," and in 1903 "Under the White Squall."
+
+
+
+<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.
+
+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."
+
+
+
+<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.
+
+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 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.
+
+Mrs. Thurber has painted portraits of many persons of distinction in
+Paris, among them one of Mlle. Ollivier, only daughter of Emile Ollivier,
+president of the Academie Francaise. 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.
+
+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.
+
+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 _Review of Reviews_; Mrs.
+A. A. F. Johnston, former Dean of Oberlin College; Augustus S. Miller,
+mayor of Providence; Hon. L. F. C. Garvin, governor of Rhode Island; and
+Judge Austin Adams, late of the Supreme Court of Iowa.
+
+
+
+<b>THURWANGER, FELICITE 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."
+
+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!
+
+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.
+
+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
+Nature; the outline is all; if the outline is good, no matter about the
+coloring, the picture will be good."
+
+This story would favor the color-blind theory, as Ingres apparently saw
+color neither in the original nor the copy.
+
+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!"
+
+In 1852 Mme. Thurwanger was in Philadelphia and remained more than two
+years. She exhibited her pictures, which were favorably noticed by the
+Philadelphia _Enquirer_. 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."
+
+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."
+
+
+
+<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 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.
+
+
+
+<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.
+
+
+
+<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.
+
+
+
+<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
+Duesseldorf. Her pictures are in the Galleries of Bamberg and Carlsruhe,
+and in the Darmstadt and Stuttgart Museums.
+
+
+
+<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, and after her marriage to Juan Jose 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.
+
+
+
+<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."
+
+
+
+<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.
+
+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 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.
+
+
+
+<b>VIGEE, 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 Vigee, 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."
+
+[Illustration: A FRENCH PRINCE
+
+MARIE VIGEE LE BRUN]
+
+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 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!
+
+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. Vigee 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.
+
+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.
+
+While still a young girl, Mlle. Vigee 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.
+
+When sixteen years old she presented two portraits to the French
+Academy, and was thus early brought to public notice.
+
+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!
+
+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.
+
+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.
+
+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," 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!
+
+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
+Grece," 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.
+
+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.
+
+As the guests arrived Mme. Le Brun added here and there an element of
+Grecian costume until their number was sufficient for an effective
+_tableau vivant_. Her daughter 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.
+
+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 _a la Grecque_, the enchantment was complete.
+The poet recited odes from Anacreon and all passed off delightfully.
+
+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 Cubieres, 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!"
+
+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 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.
+
+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, _con amore_. 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.
+
+"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."
+
+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 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."
+
+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.
+
+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.
+
+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 debut 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."
+
+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.
+
+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!"
+
+But the new regime 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.
+
+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.
+
+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 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."
+
+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 Vigee Le Brun, dying at the
+age of eighty-seven.
+
+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.
+
+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 _regard
+noye_ (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."
+
+
+
+<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.
+
+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.
+
+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 memorials 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.
+
+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.
+
+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 on a panel held by an
+angel. How few human beings are thus honored three centuries after death!
+
+
+
+<b>VINCENT, MME.</b> See Labille.
+
+
+
+<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.
+
+
+
+<b>VOLKMAR, ANTONIE ELIZABETH CAECILIA.</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."
+
+
+
+<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.
+
+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.
+
+In the _Century Magazine_, 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 naive in treatment, refined, 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."
+
+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."
+
+
+
+<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.
+
+
+
+<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 Muehlengrund," representing a valley with a brook and a mill, is in
+the Dresden Gallery.
+
+
+
+<b>WARD, MISS E.</b> This sculptor has a commission to make a statue of G.
+R. Clark for the St. Louis Exposition.
+
+[_No reply to circular_.]
+
+
+
+<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 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.
+
+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.
+
+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.
+
+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 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.
+
+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.
+
+Edward VII. has commissioned this artist to make two copies of the state
+portrait, painted by S. Luke Fildes, R.A.
+
+Mrs. Ward had two more votes for her admission to the Royal Academy than
+any other woman of her time has had.
+
+
+
+<b>WASSER, ANNA.</b> Born at Zuerich, 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 haste and constant labor her health gave way and
+she became melancholy.
+
+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.
+
+Fuseli valued a picture by Anna Wasser, which he owned, and praised her
+correctness of design and her feeling for color.
+
+
+
+<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.
+
+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.
+
+[Illustration: LA VIERGE AU ROSIER
+
+SADIE WATERS]
+
+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.
+
+Miss Waters' pictures were exhibited in the Salon Francais, Champs
+Elysees, from 1891 until her death. From the earliest days of childhood
+she was remarkable for her skill 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.
+
+"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."
+
+One of her pictures, called "La Chrysantheme," 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.
+
+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
+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.
+
+"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."--_Paul W. Bartlett_, Paris,
+1903.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<b>WIEGMANN, MARIE ELISABETH</b>; family name Hancke. Small gold medal,
+Berlin. Born 1826 at Solberberg, Silesia; died, 1893, at Duesseldorf. In
+1841 she began to study with Stilke in Duesseldorf; later with K. Sohn.
+She travelled extensively in Germany, England, Holland, and Italy, and
+settled with her husband, Rudolph Wiegmann, in Duesseldorf. 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.
+
+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.
+
+
+
+<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 Francais, 1903, Madame de Wentworth
+exhibited the "Portrait of Mlle. X.," and "Solitude."
+
+[_No reply to circular_.]
+
+
+
+<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, Philadelphia. Born in
+Detroit, Michigan. Pupil of Academy of Fine Arts, Philadelphia, and of
+the Julian Academy in Paris.
+
+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.
+
+
+
+<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.
+
+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.
+
+She has sent miniatures to the Academy exhibitions several years; that of
+Miss Lyall Wilson was exhibited in 1903.
+
+
+
+<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.
+
+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, Massachusetts, etc.
+An altar-piece by her is in All Saints' Church, Worcester.
+
+Her portrait of Senator Bayard is in the State Department, Washington.
+
+
+
+<b>WHITNEY, ANNE.</b> Born in Watertown, Massachusetts. Made her studies in
+Belmont and Boston, and later in Paris and Rome.
+
+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.
+
+
+
+<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,
+under Louis T. Rebisso and Thomas Noble; in Paris, of Rodin and Vincent
+Norrottny.
+
+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.
+
+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.
+
+
+
+<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 "precieuses ridicules," the
+languishing gallants and the pedant, and often succeeds in
+individualizing all these with the sharpness of a Chodowiecki, though at
+times she is merely good-natured, and therefore weak.
+
+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.
+
+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.
+
+One of her best pictures will be seen at the St. Louis Exposition.
+
+
+
+<b>WISINGER-FLORIAN, OLGA.</b> Bavarian Ludwig medal, 1891; medal at
+Chicago, 1893. Born in Vienna, 1844. Pupil of Schaeffer 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.
+
+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.
+
+Among her works are some excellent Venetian subjects: "On the Rialto";
+"Morning on the Shore"; and "In Venice."
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+She has been commissioned by the State of Missouri to make a statue to
+represent "The Spirit of the State of Missouri," for the Louisiana
+Purchase Exposition.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+
+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."
+
+She has painted many portraits, and her work has often 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.
+
+
+
+<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.
+
+[_No reply to circular_.]
+
+
+
+<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.
+
+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.
+
+Very soon after Mrs. Wright reached London she was 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.
+
+[Illustration: From a Copley Print.
+
+THE SONG OF AGES
+
+ETHEL WRIGHT]
+
+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.
+
+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.
+
+She corresponded with Franklin, in Paris, and new appointments, or other
+important movements in the British army, were speedily known to him.
+
+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 any trouble and expense, and add my mite to the
+honor due to Adams, Jefferson, and others."
+
+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.
+
+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.
+
+
+
+<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.
+
+
+
+<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.
+
+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.
+
+Richard Ladegast, in January, 1902, wrote a sketch of Miss Yandell's life
+and works for the _Outlook_, 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.
+
+[Illustration: STATUE OF DANIEL BOONE
+
+ENID YANDELL
+
+Made for St. Louis Exposition]
+
+"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."
+
+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 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.
+
+"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."
+
+At Buffalo, where this fountain was exhibited, it received honorable
+mention.
+
+Miss Yandell has been commissioned to execute a symbolical figure of
+victory and a statue of Daniel Boone for the St. Louis Exposition.
+
+
+
+<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."
+
+
+
+<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.
+
+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.
+
+
+
+
+SUPPLEMENT
+
+Containing names previously omitted and additions. The asterisk (*)
+denotes preceding mention of the artist.
+
+
+
+*<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.
+
+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.
+
+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.
+
+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.
+
+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":
+
+"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 _they_ 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 _they_ and _they_ alone were suited to this silent,
+forsaken spot."
+
+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.
+
+The life of the town was wearisome to her, but she 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.
+
+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."
+
+
+
+<b>BOZNANSKA, OLGA.</b> Born in Cracow, where she was a pupil of Matejko.
+Later, in Munich, she studied with Kricheldorf and Duerr. Her mother was a
+French woman, and critics trace both Polish and French characteristics in
+her work.
+
+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.
+
+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.
+
+
+
+*<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."
+
+    "Then set I lips to hers, and felt,--
+    Ah, God,--the hard pain fade and melt."
+
+
+
+<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.
+
+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.
+
+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.
+
+One of her most important pictures is inscribed with these lines:
+
+    "Dark is the valley of shadows,
+    Empty the power of kings;
+    Blind is the favor of fortune,
+    Hungry the caverns of death.
+    Dim is the light from beyond,
+    Unanswered the riddle of life."
+
+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
+depths; a kneeling woman, praying for light, sees brilliant figures
+soaring upward, their beauty charming roses from the thorn bushes.
+
+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."
+
+The myth of "Boreas and Orithyia," though faulty perhaps in technique, is
+good in conception and arrangement.
+
+Mrs. De Morgan has produced some impressive works in sculpture. Among
+these are "Medusa," a bronze bust; and a "Mater Dolorosa," in
+terra-cotta.
+
+
+
+<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. Carriere.
+
+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-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.
+
+
+
+<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.
+
+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.
+
+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.
+
+
+
+<b>GOEBELER, ELISE.</b> This artist studied drawing under Steffeck and
+color under Duerr, 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 conceals 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.
+
+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.
+
+
+
+*<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."
+
+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 had prevailed. When eighteen years old, she went to
+Italy, where she made copies from the masters and did much original work
+as well.
+
+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."
+
+
+
+<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.
+
+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.
+
+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.
+
+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 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.
+
+
+
+<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."
+
+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.
+
+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.
+
+
+
+<b>KROENER, MAGDA.</b> The pictures of flowers which this artist paints
+prove her to be a devoted lover of nature. She exhibited at Duesseldorf,
+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.
+
+One of her most delightful pictures, "A Quiet Corner," represents a
+retired nook in a garden, overgrown with foliage and flowers, so well
+painted that one feels that they must be fragrant.
+
+
+
+<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.
+
+The portrait of her little daughter, painted in a manner which suggests
+Van Dyck, is one of the works which entitle her to consideration.
+
+
+
+<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.
+
+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 _Times_, concerned a picture known as "The Fiddlers,"
+which had been sold as a work of Frans Hals for L4,500. The purchasers
+found that this claim was not well founded, and sought to recover their
+money.
+
+A searching investigation traced the ownership of the 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 "_Jahrbuch fuer
+Koeniglich-preussischen Kunst-Sammlungen_" for 1893, it seems evident that
+the signature is J. L. and not F. H.
+
+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.
+
+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.
+
+
+
+<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.
+
+Fraeulein 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
+mysterious charm and the possible dangers which the deep woods present
+to the childish mind.
+
+
+
+<b>MAYER, MARIE FRANCOISE 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 Suvee,
+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.
+
+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.
+
+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.
+
+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.
+
+Mlle. Mayer had made her debut 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.
+
+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.
+
+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 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.
+
+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.
+
+
+
+<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.
+
+She built a studio in the woods of Scheveningen, and there developed her
+characteristics--close observation and careful reproduction of details.
+
+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."
+
+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.
+
+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.
+
+
+
+<b>MOeLLER, AGNES SLOTT, OR SLOTT-MOeLLER, AGNES.</b> This artist follows the
+young romantic movement in Denmark. She has embodied in her work a modern
+comprehension 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.
+
+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.
+
+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-Moeller revives, and by which she is widely known.
+
+
+
+<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 Eugene Manet she came under the influence of his famous
+brother, Edouard. This artist signed her pictures with her maiden name,
+being too modest to use that which she felt belonged only to Edouard
+Manet, in the world of art.
+
+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."
+
+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.
+
+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.
+
+After the death of Edouard 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.
+
+Among her most characteristic works are: "The Memories of the Oise,"
+1864; "Ros-Bras," "Finistere," 1868; "A Young Girl at a Window," 1870; a
+pastel, "Blanche," 1873; "The Toilet," and "A Young Woman at the Ball."
+
+
+
+*<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.
+
+
+
+<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.
+
+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."
+
+
+
+<b>ROMANI, JUANA, H. C.</b> Born at Velletri, 1869. Pupil of Henner and
+Roybet, in Paris, where she lives. This artist is, _sui generis_, 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.
+
+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.
+
+Some critics feel that, despite much that is desirable in her work, the
+soul is lacking in the women she paints. 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.
+
+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.
+
+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; "Dona 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.
+
+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
+Muelhausen.
+
+
+
+<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.
+
+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.
+
+
+
+<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.
+
+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 Mueller.
+
+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.
+
+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.
+
+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.
+
+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.
+
+Her pictures are in the Museums of Amsterdam and Rotterdam.
+
+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.
+
+
+
+<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."
+
+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.
+
+
+
+<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 was strengthened by
+travel in Russia, the Netherlands, Belgium, and Germany.
+
+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.
+
+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.
+
+Occasionally this artist has painted genre subjects, but her real success
+has not been in this direction.
+
+
+
+
+
+
+End of 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
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