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diff --git a/39000.txt b/39000.txt new file mode 100644 index 0000000..971b0bb --- /dev/null +++ b/39000.txt @@ -0,0 +1,5038 @@ +The Project Gutenberg eBook, Women Painters of the World, Edited by Walter +Shaw Sparrow + + +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 Painters of the World + From the Time of Caterina Vigri, 1413-1463, to Rosa Bonheur and the Present Day + + +Editor: Walter Shaw Sparrow + +Release Date: March 23, 2012 [eBook #39000] + +Language: English + +Character set encoding: ISO-646-US (US-ASCII) + + +***START OF THE PROJECT GUTENBERG EBOOK WOMEN PAINTERS OF THE WORLD*** + + +E-text prepared by Delphine Lettau, Matthew Wheaton, and the Online +Distributed Proofreading Team (http://www.pgdp.net) + + + +Note: Project Gutenberg also has an HTML version of this + file which includes the original illustrations. + See 39000-h.htm or 39000-h.zip: + (http://www.gutenberg.org/files/39000/39000-h/39000-h.htm) + or + (http://www.gutenberg.org/files/39000/39000-h.zip) + + + + + +The Art and Life Library + +Edited by + +WALTER SHAW SPARROW. + +VOLUME I. + +The British Home of To-day + +A BOOK OF MODERN DOMESTIC ARCHITECTURE AND THE APPLIED ARTS. + +(_Published June, 1904. Out of Print_). + + +VOLUME II. + +The Gospels in Art + +THE LIFE OF CHRIST BY GREAT PAINTERS FROM FRA ANGELICO TO HOLMAN +HUNT. + +(_Published November, 1904_). + + +VOLUME III. + +Women Painters of the World + +FROM THE TIME OF CATERINA VIGRI (1413-1463) TO ROSA BONHEUR AND +THE PRESENT DAY. + + DEDICATED TO HER MAJESTY QUEEN ALEXANDRA. + + + + + + + +(Published March, 1905). + +Hodder & Stoughton, 27, Paternoster Row, London. + + + [Illustration: BRITISH SCHOOL, 1901 + "JOY AND THE LABOURER." REPRODUCED FROM THE ORIGINAL PICTURE IN + THE COLLECTION OF W. A. CADBURY, ESQ. + Mrs. Mary Young Hunter, Painter] + + + + +Women Painters of the World _from the time of Caterina Vigri +1413-1463 to Rosa Bonheur and the Present Day_ + +_Edited by Walter Shaw Sparrow_ + +The Art and Life Library +H&S + + + + + + + +1905 +Hodder & Stoughton +27 Paternoster Row-London + + +DEDICATED BY GRACIOVS PERMISSION +TO +HER MAJESTY QVEEN ALEXANDRA +IN THIS YEAR OF OVR LORD ONE THOVSAND NINE HVNDRED & FIVE + + +Printed by +Percy Lund, Humphries & Co., Ltd. +The Country Press, Bradford. + + + [Illustration: BRITISH SCHOOL, 1874 + "MISSED!" REPRODUCED BY PERMISSION OF CHARLES CHESTON, ESQ., + FROM: THE ORIGINAL WATER-COLOUR DATED 1874, THE YEAR IN WHICH + THE PAINTER'S FAMOUS "ROLL-CALL" WAS PURCHASED BY QUEEN VICTORIA + AT THE ROYAL ACADEMY. + Lady Elizabeth Butler, Painter] + + + + +PREFACE + + +What is genius? Is it not both masculine and feminine? Are not some of +its qualities instinct with manhood, while others delight us with the +most winning graces of a perfect womanhood? Does not genius make its +appeal as a single creative agent with a two-fold sex? + +But if genius has its Mirandas and its Regans no less than its +infinite types of men, ranging from Prospero and Ferdinand to Caliban +and Trinculo, its union of the sexes does not remain always at peace +within the sphere of art. Sometimes, in the genius of men, the female +characteristics gain mastery over the male qualities; at other times +the male attributes of woman's genius win empire and precedence over +the female; and whenever these things happen, the works produced in +art soon recede from the world's sympathies, losing all their first +freshness. They may guide us, perhaps, as finger-posts in history, +pointing the way to some movement of interest; but their first +popularity as art is never renewed. Style is the man in the genius of +men, style is the woman in the genius of the fair. No male artist, +however gifted he may be, will ever be able to experience all the +emotional life to which women are subject; and no woman of abilities, +how much soever she may try, will be able to borrow from men anything +so invaluable to art as her own intuition and the prescient tenderness +and grace of her nursery-nature. Thus, then, the bisexuality of genius +has limits in art, and those limits should be determined by a worker's +sex. + +As examples in art of complete womanliness, mention may be made of two +exquisite portraits by Madame Le Brun, in which, whilst representing +her little daughter and herself, the painter discloses the inner +essence and the life of maternal love, and discloses them with a +caressing playfulness of passion unattainable by men, and sometimes +unappreciated by men. Here, indeed, we have the poetry of universal +motherhood, common to the household hearts of good women the wide +world over. Such pictures may not be the highest form of painting, but +highest they are in their own realm of human emotion; and they recall +to one's memory that truth in which Napoleon the Great ranked the +gentler sex as the most potent of all creative artists. "The future +destiny of children," said he, "is always the work of mothers." + +But some persons may answer: "Yes, but the achievements of women +painters have been second-rate. Where is there a woman artist equal to +any man among the greatest masters?" Persons who do not think are +constantly asking that question. The greatest geniuses were all +hustled and moulded into shape by the greatest epochs of ambition in +the lives of nations, just as the mountains of Switzerland were thrown +up to their towering heights by tremendous forces underground; and, as +the Alps do not repeat themselves, here and there, for the pleasure of +tourists, so the greatest geniuses do not reappear for the pleasure of +critics or of theorists. And this is not all. Why compare the +differing genius of women and men? There is room in the garden of art +for flowers of every kind and for butterflies and birds of every +species; and why should anyone complain because a daisy is not a rose, +or because nightingales and thrushes, despite their family +resemblance, have voices of their own, dissimilar in compass and in +quality? + +The present book, then, is a history of woman's garden in the art of +painting, and its three hundred pictures show what she has grown in +her garden during the last four centuries and a half. The Editor has +tried to free his mind of every bias, so that this book, within the +limits of 332 pages, might be as varied as the subject. The choice of +pictures has not been easy, and a few disappointments have attended +the many communications with the owners of copyrights; but only two +invited artists have declined to contribute. It is not often that so +much willing and generous help has come to an Editor from so many +countries; and it is with gratitude that I acknowledge the assistance +received from the contributors of to-day. Seven pictures are +reproduced in colour-facsimile, thanks to the courtesy of the +following artists and collectors: Mrs. Allingham, Miss Ann Macbeth, +Mr. James Orrock, R.I., Mr. W A. Cadbury, Mr. Charles Cheston, Mr. +Klackner, and Mr. Charles Dowdeswell. + +The Dedication Page, the Initials Letters, the End Papers, are all +designs by Miss Ethel Larcombe, while the Title Page and the Cover are +the work of Mr. David Veazey. The silhouettes by Mlle. Nelly +Bodenheim, used as tail-pieces, are published by permission of S. L. +van Looy, Amsterdam. + +This volume being the first illustrated history of the Women Painters +of the World, Her Majesty Queen Alexandra has honoured it by +graciously accepting the Dedication; and in this encouraging act is +revealed the untiring interest and solicitude with which Her Majesty +has ever followed the progress of women's work. + + THE EDITOR. + + [Illustration: SILHOUETTE BY NELLY BODENHEIM, HOLLAND.] + + [Illustration: SCHOOL OF BRITISH WATER-COLOUR, CONTEMPORARY + AN ENGLISH HEBE. + AFTER THE ORIGINAL DRAWING + H.R.H. The Princess Louise, Duchess of Argyll] + + + + +CONTENTS + + + Preface: "ON THE SCOPE OF THE PRESENT VOLUME." By the Editor. + + Chapter I: "WOMEN PAINTERS IN ITALY SINCE THE FIFTEENTH CENTURY." + By Walter Shaw Sparrow + + Chapter II: "EARLY BRITISH WOMEN PAINTERS." By the Editor. + + Chapter III: "MODERN BRITISH WOMEN PAINTERS." By Ralph Peacock. + + Chapter IV: "WOMEN PAINTERS IN THE UNITED STATES OF AMERICA." By + the Editor. + + Chapter V: "OF WOMEN PAINTERS IN FRANCE." By Leonce Benedite. + Translated into English by Edgar Preston. + + Chapter VI: "WOMEN PAINTERS IN BELGIUM AND IN HOLLAND." By N. + Jany. Translated into English by Edgar Preston. + + Chapter VII: "WOMEN PAINTERS IN GERMANY AND AUSTRIA, IN RUSSIA, + SWITZERLAND AND SPAIN." By Wilhelm Schoelermann. + Translated into English by Wilfrid Sparroy. + + Chapter VIII: "SOME FINNISH WOMEN PAINTERS." By Helena Westermarck. + + + + +FACSIMILE PLATES IN COLOUR + + + 1. Mrs. Mary Young Hunter. "JOY AND THE LABOURER" Frontispiece + + PAGE + 2. Lady Elizabeth Butler (Elizabeth Thompson). "MISSED!" 9 + + 3. H.I.M. The Empress Frederick of Germany (1840-1891). "THE + AKROPOLIS, ATHENS: FROM THE BALCONY OF THE CROWN PRINCE'S + HOUSE" 56 + + 4. Miss Eleanor Fortescue Brickdale, A.R.W.S. "YOUTH AND THE + LADY" 73 + + 5. Miss Ann Macbeth. "ELSPETH" 97 + + 6. Mrs. Helen Allingham, R.W.S. "A COTTAGE NEAR CROCKEN HILL" 109 + + 7. Helen Hyde. "DAY DREAMS" 145 + + + + +REMBRANDT PHOTOGRAVURES + + + 1. Rosalba Carriera. "PORTRAIT OF A LADY UNKNOWN" 20 + + 2. Madame Vigee Le Brun. "HERSELF AND HER DAUGHTER" 166 + + 3. Madame Adele Romany. "PORTRAIT OF GAETANO APOLLINO + BALDASSARE VESTRIS, DANCER" 171 + + 4. Mademoiselle Marie Amelie Cogniet. "PORTRAIT OF MADAME + ADELAIDE D'ORLEANS" 189 + + 5. Rosa Bonheur. "SHEPHERD WATCHING HIS SHEEP" 205 + + 6. Francine Charderon. "SLEEP" 229 + + + + +MONOCHROME PLATES + + + 1. H.R.H. the Princess Louise, Duchess of Argyll. + "AN ENGLISH HEBE." 13 + + 2. Sophonisba Anguisciola. "HER THREE SISTERS PLAYING AT CHESS" 25 + + 3. Artemisia Gentileschi. "MARY MAGDALENE" 31 + + 4. Rosalba Carriera. "CHARITY AND JUSTICE" 37 + + 5. Elisabetta Sirani. "THE DREAM OF ST. ANTHONY OF PADUA" 43 + + 6. Signorina Elisa Koch. "THE LITTLE SISTER" 49 + + 7. Catharine Read. "THE LADY GEORGIANA SPENCER" 61 + + 8. Angelica Kauffman, R.A. "THE SIBYL" 67 + + 9. Mrs. Stanhope Forbes, A.R.W.S. "THE FISHER WIFE" 85 + + 10. Mrs. William De Morgan (Evelyn Pickering). "FLORA" 91 + + 11. Miss Eleanor Fortescue Brickdale, A.R.W.S. "TO-DAY FOR ME" 103 + + 12. Miss Cecilia Beaux. "MOTHER AND CHILD" 121 + + 13. Miss Kate Greenaway. "A. FOR APPLE PIE: E. EAT IT" 127 + + 14. Mrs. Annie L. Swynnerton. "THE SENSE OF SIGHT" 133 + + 15. Mrs. Anna Lea Merritt, R.B.A. "LOVE LOCKED OUT" 139 + + 16. Miss Cornelia W. Conant. "THE END OF THE STORY" 151 + + 17. Mary Cassatt. "BABY'S TOILETTE" 157 + + 18. Helen Hyde. "THE BAMBOO FENCE" 163 + + 19. Madame Vigee Le Brun. "HERSELF AND HER DAUGHTER" 177 + + 20. Berthe Morisot. "PORTRAIT OF A YOUNG WOMAN SEATED" 211 + + 21. Madame Jacqueline Comerre-Paton. "MISTLETOE" 217 + + 22. Madame Eva Gonzales. "PORTRAIT OF A LADY" 223 + + 23. Madame Fanny Fleury. "THE PATHWAY TO THE VILLAGE CHURCH" 235 + + 24. Madame Vallet-Bisson. "THE DEPARTURE" 241 + + 25. Mlle. Consuelo Fould. "WILL YOU BUY?" 247 + + 26. Judith Leyster. "THE MERRY YOUNG MAN" 257 + + 27. Mevrouw Bilders van Bosse. "LANDSCAPE NEAR OOSTERBEEK" 267 + + 28. Mlle. Therese Schwartze. "THE CHILDREN OF MR. A. MAY, + AMSTERDAM" 273 + + 39. Madame Henriette Ronner. "THE LAST MOVE" 279 + + 30. Mlle. Marie Bashkirtseff. "A MEETING" 293 + + 31. Mlle. Ottilie Roederstein. "LE MOIS DE MARIE" 311 + + 32. Antonia de Banuelos. "THE LITTLE FISHERS" 321 + + 33. Mary Cassatt. "CHILDHOOD IN A GARDEN" 327 + + 34. Mary Cassatt. "MOTHER AND TWO CHILDREN" 327 + + + + +DUPLEX PLATES + + + 1. Mrs. Marianne Stokes. "THE QUEEN AND THE PAGE." Duplex Plate 79 + + 2. Miss Lucy Kemp-Welch, R.B.A. "LABOURERS OF THE NIGHT." + Duplex Plate 115 + + 3. Madame Benoits. "MARIE PAULINE, PRINCESSE BORGHESE." + Duplex Plate 183 + + 4. Rosa Bonheur. "STUDY OF A BULL." Duplex Plate 195 + + + + +Owing to various reasons, the work of several well-known painters +could not be obtained until this book had passed through the press, +and a supplement of pictures has therefore been placed between page +324 and page 325. It includes work by Lady Alma-Tadema, Mrs. Seymour +Lucas, Mrs. Marrable, Miss Maud Earl, Miss Julia B. Folkard, Miss +Maude Goodman, Miss Flora M. Reid, Miss Blanche Jenkins, and Madame +Arsene Darmesteter. + +It is hoped that the Women Painters of To-day may be studied again in +a second volume. In the present book, dealing with 450 years of work, +the living painters could not be fully represented, for there are +thousands of ladies who now win a place in the art exhibitions of +Europe and America. + + + + +WOMEN PAINTERS REPRESENTED + + + PAGE + Abbema, Mlle. Louise 237 + Abran, Madame 243 + Allingham, Mrs. Helen, R.W.S. 109, 137 + Alma-Tadema, Miss Anna 156 + Anderson, Mrs. Sophie 105 + Angell, Mrs. Coleman 102 + Anguisciola, Sophonisba 25, 36, 39 + Angus, Christine 64 + Art, Mlle. Berthe 276 + Bakhuyzen, Mme. C. J. van de Sande 266 + Banuelos, Antonia de 320, 321 + Barton, Miss Rose, A.R.W.S. 143 + Bashkirtseff, Mlle. Marie 293, 315 + Bauck, Jeanna 300, 301 + Bauerle, Miss A., A.R.E. 132 + Beale, Mary 81 + Beauclerk, Lady Diana 82 + Beaux, Miss Cecilia 121, 162 + Benoits, Madame 183 + Bilders van Bosse, Mme. 267, 269, 272 + Bisschop-Robertson, Mme. Suse 278 + Blatherwick, Lily (Mrs. A. S. Hartrick) 155 + Blau-Lang, Frau Tina 306, 308 + Bodenheim, Mlle. Nelly 12, 72, 292, 332 + Bonheur, Rosa 195, 205, 209, 210, 214, 215 + Bouillier, Mlle. 194 + Bourbon, de, Infante Paz 318, 320 + Bovi, Madame 90 + Boznauska, de, Olga 316 + Breslau, Mlle. Louise 304, 314 + Brickdale, Miss E. Fortescue, A.R.W.S. 73, 103, 114, + 126, 141, 142 + Brockmann, Dona Elena 319 + Brownscombe, Miss Jennie 161 + Butler, Lady Elizabeth 9, 154 + Byrne, Anne Frances 94 + Cameron, Miss Katharine 124 + Cameron, Miss Margaret 131, 155 + Capet, Marie Gabrielle 197 + Carpenter, Mrs. Margaret 96, 100 + Carpentier, Madeleine 244 + Carriera, Rosalba 20, 37, 48, 51 + Cassatt, Miss Mary 157, 327 + Cazin, Madame Marie 227, 239 + Charderon, Francine 229 + Chase, Miss Marian, R.I. 130 + Chatillon, de, Mme. Laure 219 + Chaudet, Elisabeth 202 + Cheviot, Miss Lilian 143 + Claudie, Mlle. 252 + Cogniet, Mlle. Marie Amelie 189 + Colin-Libour, Madame 325 + Comerre-Paton, Mme. J. 217 + Conant, Miss Cornelia 151 + Cool, de, Mme. Delphine 232 + Coomans, Mlle. Diana 228 + Cosway, Maria 96 + Curran, Miss A. 90 + Danse, Mlle. Louise 278 + Davids, Fraeulein 300 + Davin, Madame 207 + Dealy, Jane M. (Mrs. Lewis) 144 + Demont-Breton, Madame 226, 233 + De Morgan, Mrs. Evelyn 91, 117, 123 + Destree-Danse, Madame 282 + Dieksee, Miss Margaret Isabel 112 + Dolci, Agnese 47 + Dubos, Mlle. Angele 216 + Dubourg, Mme. Victoria 240 + Dufau, Mlle. 231, 240, 243 + Duffield, Mrs. William 118 + Ellenrieder, Anna Marie 298 + Empress Frederick of Germany 56 + Enault, Madame Alix 225 + Fanner, Miss Alice 135, 156 + Fanshawe, Catherine Maria 89 + Fautin-Latour, Mme. (Victoria Dubourg) 240 + Fichel, Mme. Jeanne 216 + Filleul, Madame 186, 187 + Fleury, Mme. Fanny 235 + Fontana, Lavinia 39, 40, 41 + Forbes, Mrs. Stanhope 85, 147, 149 + Fould, Mlle. Achille 250 + Fould, Mlle. Consuelo 247 + Frampton, Mrs. George 136 + Gardner, Elizabeth 234, 238 + Gentileschi, Artemisia 31, 42, 45 + Ghisi, Diana 39 + Gilsoni-Hoppe, Madame 266 + Godefroid, Mlle. Marie E. 203 + Gonzales, Eva 223, 231 + Gow, Miss Mary L., R.I. 107 + Granby, Marchioness of 142 + Greenaway, Miss Kate 119, 127 + Gutti, Rosina M. 53 + Guyard, Madame 185, 188 + Hammond, Miss G. Demain, R.I. 135 + Hart, Miss Emily 113 + Havers, Miss Alice 108 + Heitland, Miss Ivy 107 + Hemessen, Catharina van 263 + Heming, Mrs. Matilda 95 + Herford, Mrs. John 95 + Herland, Mlle. E. 249 + Hilda, Mlle. E. 245 + Hitz, Dora 302, 303 + Hobson, Miss A. M., R.I. 118 + Hogendorp, Baronne van 266 + Holroyd, Lady 150 + Hotham, Amelia 88 + Houdon, Mlle. M. J. A. 202 + Houssay, Mlle. Josephine 251 + Houten, Mme. Mesdag van 269 + Houten, Mlle. Barbara van 270, 275 + How, Miss Beatrice 142, 148 + Hunter, Mrs. Mary V., Frontispiece, 126, 130 + Hyde, Miss Helen 145, 163 + Jensen, Frau Marie 303 + Jopling, Mrs. Louisa, R.B.A. 120 + Kauffman, Angelica, R.A. 67, 83, 87 + Kemp-Welch, Miss L. E., R.B.A. 115, 125 + King, Miss Jessie M. 159 + Koch, Elisa 49 + Kollwitz, Fraeulein Kaethe 302 + Laucota, Fraeulein Herstine 307 + Larcombe, Miss Ethel, Dedication Page, + End-papers, + Initial Letters + Le Brun, Madame Vigee 166, 177, 191, 192, 193, + 198, 200, 201, 204 + Leleux, Madame Armand 220 + Le Roy, Madame 252 + Lescot, Madame Haudebourt 208 + Leyster, Judith 257, 264 + Longhi, Barbara 41 + Louise, H.R.H. Princess, Duchess of Argyll 13 + Lucas-Robiquet, Mme. 251 + Macbeth, Miss Ann 97 + Macdonald, Miss Biddie 123 + Macgregor, Miss Jessie 148 + Marcotte, Mlle. E. 272 + Martineau, Miss Edith, A.R.W.S. 111 + Maupeou, Caroline von 299 + Mayer, Constance 199 + Mee, Mrs. Anne 93 + Meen, Mrs. Margaret 94 + Merian, Maria S. 295, 296 + Merritt, Mrs. Anna Lea, R.B.A. 139 + Meunier, Mlle. Georgette 282 + Morin, Eulalie 187 + Morisot, Berthe 211, 213 + Moser, Mary, R.A. 94 + Nicolas, Mlle. Marie 222 + Normand, Mrs. (Henrietta Rae) 153 + Offor, B. (Mrs. F. Littler) 160 + Oppenheim, Mlle. A. 246 + Parlaghy, Frau Vilms 316 + Paymal-Amouroux, Mme. 232 + Petiet, Mlle. Marie 219 + Phillott, Miss Constance, A.R.W.S. 138 + Prestel, Maria C. 297 + Real del Sarte, Mme. 351 + Ragnoni, Barbara 35 + Read, Catharine 61, 84 + Reis, Maria G. Silva 301 + Robertson, Mrs. J. 93 + Roederstein, Mlle. Ottilie 305, 311 + Romani, Juana 54 + Romany, Mme. Adele 171 + Rongier, Mlle., Jeanne 320 + Ronner, Mme. Henriette 279, 281 + Rothschild, de, Baroness Lambert 277 + Rude, Mme. Sophie 207 + Ruysch, Rachel 265 + Salanson, Mlle. Eugenie 228 + Salles-Wagner, Adelaide 299 + Sawyer, Miss Amy 159 + Schjerfbeck, Helene 310, 313 + Schurman, Anna Maria 296 + Schneider, Mme. Felicie 222 + Schwartze, Therese 270, 271, 273, 275 + Sindici, Dona Stuart 317 + Sirani, Elisabetta 43, 46 + Sister A, Sienese Nun 34, 35 + Sister B, Sienese Nun 34 + Smythe, Miss Minnie, A.R.W.S. 150 + Sonrel, Elisabeth 237 + Spencer, Lavinia, Countess 90 + Staples, Mrs. (M. E. Edwards) 120 + Starr, Louisa (Mme. Canziana) 106 + Stokes, Mrs. Marianne 79, 129 + Strong, Mrs. Elizabeth 113 + Subleyras, Maria Tibaldi 52 + Swon, Mrs. J. M. 159 + Swynnerton, Mrs. A. L. 133 + Tavernier, de, Mme. E. 227 + Templetown, Viscountess 94 + Thesleff, Ellen 314 + Valory, de, Mme. Caroline 192 + Vallet-Bisson, Mme. 241 + Vanteuil, de, Mlle. 185 + Vigri, Caterina 33 + Waterford, Louisa Lady 99, 101 + Waternau, Mlle. Hermine 221 + Watson, Caroline 89 + Wentworth, Mrs. Cecilia 160 + Wesmael, Mlle. E. 283 + White, Miss Florence 124 + Wiik, Maria 309, 313 + Wolfthorn, Frau Julie 304 + Wytsman, Mme. Juliette 284 + Youngman, Miss A. M., R.I. 118, 119 + Zappi, Lavinia Fontana 39, 40, 41 + Zillhardt, Mlle. Jenny 221 + + [Illustration: VENETIAN SCHOOL. 1675-1757 + Portrait of a Lady unknown. After the pastel in the Musee de + Chantilly, from a Photograph + by Braun, Clement & Co., Paris + Rosalba Carriera, Pastellist + 1675-1757] + + + + +Women Painters in Italy since the Fifteenth Century + +By Walter Shaw Sparrow + + +Older than the authenticated history of Greek art is a tradition that +connects a girl's name with the discovery of a great craft, the craft +of modelling portraits in relief. Kora, known as the virgin of +Corinth, and daughter of a potter named Butades, sat one evening with +her betrothed in her father's house; a torch burned, a fire of wood +bickered in a brasier, throwing on the wall in shadow a clear +silhouette of the young man's profile; and Kora, moved by a sudden +impulse, took from the hearth a charred piece of wood and outlined the +shadow. When the girl's father, Butades, saw the sketch which she had +made, he filled in the outline with his potters' clay, forming the +first medallion. + +It is a pretty, chivalrous tradition, and it recalls to one's memory +the fact that the ancient Greeks had really some women artists of +note, like Aristarete, daughter and pupil of Nearchus, celebrated for +her picture of Aesculapius; or like Anaxandra (about B.C. 228), +daughter of the painter Nealces, or like Helena, who painted the +battle of Issus, about B.C. 333. + +Passing from Greece to ancient Rome, we find only one woman painter, +Lala by name, and she was a Greek by birth and education. Lala lived +and laboured in the first century before the birth of Christ. She went +to Rome during the last days of the republic, and won for herself a +great reputation by her miniature portraits of ladies. + +As the early Christians turned away from all luxury and adornment, the +influence of Christ's life was very slow in gaining its benign +ascendency in the arts; but among the civilisations which were founded +on the ruins of Rome's decline and fall, there were some women who +still deserve to be remembered for their patronage of art. +Amalasontha, daughter of Theodoric the Great, Theodelinda, Queen of +the Lombards, Hroswitha, in her convent at Gandershein, and Ava, the +first German poetess, these ladies, and many others, made colonising +names, names that visited distant lands and gave ambition to other +women. + +Briefly, the Renaissance was heralded by a long, troubled dawn; but it +came at last, and its effects on the destinies of women were immediate +and far-reaching. In Italy, one by one, the Universities were opened +to the fair, that of Bologna leading the way in the 13th century, when +Betisia Gozzadini studied there with success, dressed as a boy, like +Plato's pupil, Axiothea. And a line of girl graduates connects Betisia +Gozzadini with the women lecturers who became so famous at Bologna in +the 18th century: Anna Manzolini, Laura Bassi, Clotilde Tambroni, +Maria Agnesi, and Maria Dalle-Donne. + +It is not easy to explain why the Italian towns and universities gave +so much encouragement to the higher aspirations of girls. In poetry, +in art, in learning, that encouragement was equally remarkable, and I +am tempted to assign its origin to the martial temper of the Middle +Ages, which drew many young men from the universities to take part in +the exercises of the tilt-yard or in the perils of the battlefield, +leaving the fields of learning in need of zealous labourers. Women, on +the other hand, exposed their hearts, but not their lives, to the +hazards of duels, tournaments and wars; they lived longer than men, as +a rule, and hence it was worth while to encourage publicly those gifts +of the female mind and spirit which had long been cultivated privately +for the benefit of peaceful nunneries. + +Still, whatever the origin of it may have been, the pride taken by the +Italians in their gifted women is among the most important facts in +the history of their Renaissance. But for that pride, the scores of +ladies who became noted in the arts would have remained unknown in +their homes, and the story of those times would lack in its social +life a counterpart of that radiant chivalry that cast so much +tenderness and sanctity about the Motherhood of Mary and the Infancy +of Jesus Christ. + +As this chapter is nothing more than a brief introduction to the study +of a very important subject, I can say only a few words about the +different groups of painters into which the women artists of Italy are +divided, beginning with the early nuns, whose art was not so much a +craft as a confession of faith. + +Caterina Vigri was the earliest of these nuns, and the picture by +which she is represented on page 33, "St. Ursula and her Maidens," was +painted in the year 1456. Not only is it typical of the young +Bolognese school, but, despite the primitiveness of the drawing, it +has two qualities in which the swift temperaments of women, so +truth-telling in their emotions, commonly manifest themselves in art: +the first is a certain naturalness of gesture and of pose; the second +is an evident wish to impart life and liveliness to the faces, even +although that liveliness and life may not accord with the subject in +its higher spiritual significance. It is this natural wish of women to +be homely and attractive that so frequently brings their art nearer to +the people's sympathies than the work done by men; and if we study the +four illustrations on pages 34 and 35, representing pictures by the +Sienese nuns of Santa Marta, we shall see how motherly in tenderness +was the feminine ideal of Christ's infancy. I can gain no information +about Barbara Ragnoni and the two other sister nuns, whose names have +passed into Time's limbo of forgotten things, and whom I have ventured +to describe as Sister A. and Sister B. They were true artists, each +one having a sweet graciousness of her own, playful, yet devout and +reverent, devotional but not austere. In these pictures the maternal +instincts are at play; the painters are so happy in their subject that +their whole womanhood responds to it, making it a holy experience of +their own glad hearts. There is much to admire also in the way in +which the figures are grouped and co-ordinated; and how charming is +that glympse of country painted by Barbara Ragnoni in her "Adoration +of the Shepherds." + +These were not the only gifted and gracious nuns in the early history +of Italian art. There was Plautilla Nelli, who formed her style on +that of Fra Bartolommeo; she became prioress of a convent in Florence, +the convent of St. Catherine, and died in 1588, aged sixty-five. +Barbara Longhi of Ravenna, another painter of the same period, was not +a nun, but I mention her now in order that attention may be drawn to a +painter having a genuine sympathy and style (see page 41). + +We pass on to a little bevy of emigrants, women painters who visited +foreign courts where they met with great successes. Sophonisba +Anguisciola, born of a noble family in Cremona, was enriched by Philip +II. of Spain; Artemesia Gentileschi came to London with her father and +found a patron in Charles I.; Maria La Caffa (17th century), a flower +painter, came upon her Maecenas in the Court of Tyrol; it was in German +Courts that Isabella del Pozzo (17th century), like Felicita Sartori +(18th century), plucked bay leaves and laurels; and Violanta Beatrice +Siries, after making for herself a name in Paris, returned home to +Florence and painted many famous persons of the 18th century. Then we +have Rosalba Carriera, whose career ended in blindness and loss of +reason, and whose whole life is a touching story. As a child she made +Point of Venice lace; at the age of fourteen or fifteen she painted +snuff boxes with flowers and pretty faces; then miniatures of +well-known persons kept her brushes busy; but this minute art tried +her eyes so seriously that Rosalba adopted pastels instead, and soon +became the most famous pastellist of her period. She journeyed pretty +well all over the Continent, winning an extraordinary success wherever +she went, as well as a place in all the Academies of note, from the +Clementina at Bologna to the Royal Academy at Paris. Rosalba Carriera +arrived in Paris in April 1720; she kept a diary of her experiences, +and students of French history should read it in the edition annotated +by Alfred Sensier. But here we are concerned with the art alone of +Rosalba Carriera, an art rich in colour, swift and nervous in drawing, +full of character, and modelled always with vigour and with ease. + +Returning now to an earlier traveller, Sophonisba Anguisciola, we meet +with another portraitist of real merit, more self-contained than +Rosalba, less impetuous, but fresh, witty, sincere and charming. It is +probable that she was born in 1533. After studying for some time at +Cremona, under Bernardino Campi, Sophonisba Anguisciola began to make +fun of the little girls of the period. Vasari set the greatest store +by one of these satirical sketches, representing a boy with a lobster +clawed to his finger, and a small girl laughing at his nimbleness. The +subject of another skit was an old woman studying the Alphabet, much +to the amusement of a baby girl. + + [Illustration: SCHOOL OF CREMONA, XVI CENTURY + THREE SISTERS OF SOPHONISBA ANGUISCIOLA PLAYING AT CHESS. FROM A + PHOTOGRAPH BY HANFSTAENGL AFTER THE PAINTING IN THE RACZYNSKI + COLLECTION. VASARI SAW THIS PICTURE AND SAID THAT "THE FIGURES + WANTED ONLY VOICE TO BE ALIVE." + Sophonisba Anguisciola or Angussola, Painter + 1533(?)-1626] + +That Sophonisba Anguisciola was very young when she first attracted +notice from the great, is proved by the fact that she sent a likeness +of herself--a likeness now at Vienna--to Pope Julius III., who died in +1555. It was in her twenty-seventh year that she made her way, with +ten attendants, to the Spanish Court, there to paint a history in +admired portraits of the great age of the _auto-da-fe_: a history +which _tempus edax_ has devoured, leaving us only those works which +Sophonisba turned out in her native country, far away from the dark +tragedies of the Escorial. Philip the Second married his protegee to a +wealthy Sicilian noble, Don Fabrizio de Moncada, giving her a huge +dowry of 12,000 ducats, a pension of 1,400 scudi, and a dress loaded +with pearls, besides other presents. + +Sophonisba retired with her husband to Palermo, where she soon became +a widow. Then Philip and his Queen wished her to return to Madrid; but +the artist pleaded an excuse, the excuse of homesickness, and set sail +for Italy. The captain of the galley of war, Orazio Lomellini, was a +handsome man of good family, a native of Genoa; his gallantry had +suffered a sea-change, was altogether breezy, sailor-like, delightful; +and Sophonisba not only fell in love with him, she took him at a +leap-year advantage, and soon changed her "weeds" for a bridal dress. + +When Van Dyck met her at Genoa (1622), and painted several members of +her husband's family, Sophonisba was upwards of eighty-seven years +old, and quite blind; but the blithe old lady still went on painting +so well in her familiar conversations that Van Dyck said he had learnt +more from her talk than from his other teachers. Had Steele an +inkling of this magnificent compliment when he said that to love the +Lady Elizabeth Hastings was a liberal education? Addison may have +heard of it in Italy, and in turning over his thoughts before Master +Richard, may have dropped it generously. But, however this may be, +Stirling gives too much point to Van Dyck's words; for he says boldly, +in _The Annals of the Artists of Spain_, that my painter's portraits +are little inferior to those by Titian. "Of this evidence is +afforded," says he, "by that beautiful portrait of her, which is now +no mean gem of the galleries and libraries of Althorp." + +Perhaps one may defy critics to name a single latter-day "realist" +among the fair who has attained to Artemisia Gentileschi's masterful +and singular ruthlessness, as in the several pictures of Judith that +she painted. One of these pictures will be found on page 45. It is the +least relentless of the series, but it shows clearly enough the grip +of Artemisia's hand in tragedy. Curiously, the suave Guido was +Artemisia's first teacher, but she learnt more from Domenichino, and +more still from the years she passed at Naples, then known as "the +sink of all iniquity." But Artemisia Gentileschi is sometimes kind in +her work, and gentle; she does not always remind us of that Artemisia +who fought so well at Salamis, causing Xerxes to cry: "Behold! the men +behave like women, and the women like men!" In her excellent +portraits, and in pictures like the "Mary Magdalene," on page 31, she +blends some graciousness of thought with vigour and variety of +technique. + +Lavinia Fontana and Elisabetta Sirani were the ablest women painters +whose travels did not extend beyond Italy. The first was a member of +the old Roman Academy, and Pope Gregory XIII. made her his portraitist +in ordinary. She was born of good family in Bologna, anno 1552. It was +her father that shaped the laggard talents of Lodovico Carracci, and +from him came the girl's first lessons in drawing. Lavinia spent most +of her life in Rome, where, for close on two generations, she held +society by the austere truth of her portraiture. Ladies of high rank +vied with one another to become her sitters, and a long red line of +cardinals sat to her. Pope Paul the Fifth was among Lavinia's models; +very high prices were paid readily for her work, and not a few +noblemen wished to marry her; but the artist remained true to the +young Count of Imola, Giovanni Paolo Zappi, a good, kind, +simple-hearted fellow, an aristocratic Barnaby Rudge. Him she married, +and it was her ill-hap to see his simplicity repeat itself in one of +their two sons, a lad who kept the Pope's antechamber merry. + +My artist's style, though modelled to some extent on that of the +Carracci, has a distinction of its own. Even the arid Kuegler gives +Lavinia his rare good word, reckoning her a better artist than her +father, and adding: "Her work is clever and bold, and in portraiture, +especially, she has left good things." + +Does Elisabetta Sirani take precedence of Lady Waterford? Perhaps they +may be regarded as two equal queens in the world of woman's art, each +with a beautiful artistic intellect. Even at the age of nineteen, as +old Bartsch admits, Elisabetta etched exquisite plates; and, before +she was twenty-three, her paintings were sought after by all the +patron-critics of her country. Yet her male rivals hinted that she was +dishonest, that she did not paint her own pictures, but had "ghosts" +to win fame and fortune for her--especially her father, a poor +"ghost," afflicted with inherited gout. Elisabetta happily soon turned +the sneer against her rivals. This she did by working before an +audience of distinguished persons, like Cosimo, Crown Prince of +Tuscany, who on May 13th, 1664, stood by whilst she painted a likeness +of his uncle, the Prince Leopold. + +Malvasia gives in his spirited monograph a list of 150 pictures by +Elisabetta Sirani; and Lanzi deemed it marvellous that one who died so +young should yet have brought to completion so many hopeful efforts of +real genius. The brilliant girl painted with great rapidity. One of +her finest achievements--the "Baptism of Christ"--is a very large +picture, and the story of its conception is noteworthy. Elisabetta was +little more than twenty at the time, and the clergy who had been sent +to order the work for the Church of the Certosini at Bologna, looked +on whilst she, radiant with inspiration, made her first impulsive +sketch in pen-and-ink. The beholders were enchanted, and the huge +picture, differing little in essentials from the sketch, was painted +almost as rapidly as Dumas repeopled the distant past. In brief, +Elisabetta Sirani, like all women of genius, worked under an intuitive +rather than technical guidance; and in her art, consequently, as in +Lady Waterford's, we find those blemishes and beauties which belong to +a native habit of spontaneous workmanship. + +As to her private life, it is full of heroic virtues. The noble girl +kept the whole family: her mother, who was stricken with paralysis; +her father, who suffered intolerably from the gout; and her two +sisters, whom she educated with a large class of girl art-students. +Then Cupid came, saw, and was overcome, and Elisabetta, by way of +celebrating this unkind victory, painted the little god in the act of +crowning his victor. But the pity of it all was this: the girl had so +many taut strings to her bow that the frail bow could not but break. +Elisabetta's health gave way, a painful disease of the stomach +assailed her; and yet to the last day but one of her short life--i.e., +August 27th, 1665--she remained true to her colours, and was one of +art's truest soldiers. "The best way not to feel pain is not to think +of it," said she, and then went slowly back to her studio. + +The present book contains adequate examples of the work of Elisabetta +Sirani, of Lavinia Fontana Zappi, of Artemisia Gentileschi, of +Sophonisba Anguisciola, of Rosalba Carriera; and there is a good +drawing by Diana Ghisi, the painter-engraver, an excellent copy by +Maria Tibaldi Subleyras, and two characteristic pictures by Agnese +Dolci, sister of Carlo Dolci and his equal in talent. These painters +and the early nuns, Caterina Vigri and the three sisters of Santa +Marta, Siena, are enough to represent the old Italian schools; while +three characteristic pictures by Elisa Koch, Juana Romani, and Rosina +Gutti, unite the present with the far-distant past, a past separated +from the present day by four hundred and fifty years. + + WALTER SHAW SPARROW. + + [Illustration: BOLOGNESE SCHOOL, XVII CENTURY + "MARY MAGDALENE." AFTER THE PAINTING IN THE PITTI GALLERY + FLORENCE. FROM A PHOTOGRAPH BY ANDERSON, ROME + Artemisia Lomi, called Artemisia Gentileschi, Painter + 1590-1642] + + [Illustration: BOLOGNESE SCHOOL, XV CENTURY + SAINT URSULA AND HER MAIDENS. FROM A PHOTOGRAPH BY ALINARI AFTER + THE ORIGINAL PICTURE IN THE ROYAL ACADEMY OF FINE ARTS, VENICE + Santa Caterina Vigri di Bologna, Painter + 1413-1463] + + [Illustration: SIENESE SCHOOL, XVI CENTURY + ADORATION OF THE SHEPHERDS. AFTER THE ORIGINAL PICTURE AT SIENA + IN THE PROVINCIAL INSTITUTE OF FINE ARTS + Sister A., Convent of Santa Marta, Siena, Painter] + + [Illustration: THE HOLY FAMILY WITH JOHN THE BAPTIST. AFTER THE + ORIGINAL PICTURE AT SIENA IN THE PROVINCIAL INSTITUTE OF FINE + ARTS Sister B., Convent of Santa Marta, Siena, Painter About + 1500] + + [Illustration: SIENESE SCHOOL, XVI CENTURY + THE ADORATION OF THE SHEPHERDS. AFTER THE ORIGINAL PICTURE AT + SIENA IN THE PROVINCIAL INSTITUTE OF FINE ARTS + Sister Barbara Ragnoni, Painter + About 1500] + + [Illustration: MADONNA AND CHILD, WITH ST CATHARINE AND OTHER + SAINTS. AFTER THE ORIGINAL PICTURE AT SIENA IN THE PROVINCIAL + INSTITUTE Sister A., Convent of Santa Marta, Siena, Painter + About 1500] + + [Illustration: SCHOOL OF CREMONA, XVI CENTURY + PORTRAIT (PAINTED BY HERSELF) OF SOPHONISBA ANGUISCIOLA OR + ANGUSSOLA, FAR-FAMED IN HER TIME AS ONE OF THE LEADING ITALIAN + ARTISTS; SHE DID MUCH WORK FOR PHILIP II. OF SPAIN. WHEN SHE WAS + VERY OLD AND BLIND, VAN DYCK MET HER AT GENOA, AND SAID THAT HE + HAD LEARNT MORE FROM HER TALK THAN FROM HIS OTHER TEACHERS. FROM + A PHOTOGRAPH BY ANDERSON, ROME, AFTER THE ORIGINAL PAINTING AT + MILAN IN THE POLDI-PEZZOLI COLLECTION + Sophonisba Auguisciola or Angussola, Painter + 1533(?)-1626] + + [Illustration: VENETIAN SCHOOL, XVIII CENTURY + CHARITY AND JUSTICE. AFTER THE PASTEL IN THE ROYAL GALLERY + DRESDEN. FROM A CARBON PRINT BY BRAUN, CLEMENT & CO., PARIS + Rosalba Carriera, Pastellist + 1675-1757] + + [Illustration: ITALIAN SCHOOL XVI CENTURY + MARRIAGE OF ST. CATHARINE, AFTER AN ETCHING BY N. MUXEL + Lavinia Fontana Zappi, Painter + 1552-1614(?)] + + [Illustration: PORTRAIT OF A LADY. AFTER AN ETCHING BY N. MUXEL + Sophonisba Anguisciola, Painter 1533-(?)1626] + + [Illustration: A VICTOR IN HIS TRIUMPHAL CHARIOT. AFTER THE + DRAWING IN THE PRINT ROOM OF THE BRITISH MUSEUM, FROM A + PHOTOGRAPH BY W. E. GRAY + Diana Ghisi, called Mantuana, Painter-Engraver + 1530-1590] + + [Illustration: BOLOGNESE SCHOOL, XVI CENTURY + PORTRAIT (EXECUTED BY HERSELF) OF LAVINIA FONTANA ZAPPI, PAINTER + IN ORDINARY TO POPE GREGORY XIII. FROM A CARBON PRINT BY BRAUN, + CLEMENT & CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE UFFIZI + GALLERY, FLORENCE + Lavinia Fontana Zappi, Painter + 1552-1614(?)] + + [Illustration: BOLOGNESE SCHOOL, XVI CENTURY + JESUS CHRIST TALKING WITH THE WOMAN OF SAMARIA. AFTER THE + ORIGINAL PAINTING IN THE NATIONAL MUSEUM, NAPLES. FROM A + PHOTOGRAPH BY ALINARI + Lavinia Fontana Zappi, Painter + 1552-1614(?)] + + [Illustration: MARY AND THE CHILD JESUS IN THE ACT OF CROWNING A + SAINT. AFTER THE ORIGINAL PAINTING IN THE LOUVRE, PARIS, FROM A + PHOTOGRAPH BY MESSRS. W. A. MANSELL & CO. Barbara Longhi, + Painter + End of 16th Century] + + [Illustration: BOLOGNESE SCHOOL, XVII CENTURY + PORTRAIT: (EXECUTED BY HERSELF) OF ARTEMISIA GENTILESCHI, WHO + LIVED FOR A TIME IN ENGLAND AND WORKED FOR CHARLES THE FIRST. + FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE ORIGINAL PAINTING IN + EARL SPENCER'S COLLECTION + Artemisia Lomi, called Artemisia Gentileschi, Painter + 1590-1642] + + [Illustration: BOLOGNESE SCHOOL, XVII CENTURY + "THE DREAM OF SAINT ANTHONY OF PADUA." FROM A PHOTOGRAPH BY + ANDERSON, ROME, AFTER THE PAINTING IN THE PINACOTECA IN BOLOGNA + Elisabetta Sirani, Painter + 1638-1665] + + [Illustration: BOLOGNESE SCHOOL, XVII CENTURY + JUDITH AND HER MAID WITH THE HEAD OF HOLOFERNES. FROM A + PHOTOGRAPH BY ALINARI AFTER THE ORIGINAL PAINTING IN THE PITTI + GALLERY, FLORENCE + Artemisia Lomi, called Artemisia Gentileschi, Painter + 1590-1642] + + [Illustration: BOLOGNESE SCHOOL, XVII CENTURY + THE MADONNA WEEPING. FROM AN ORIGINAL ETCHING DATED 1657, IN THE + BRITISH MUSEUM + Elisabetta Sirani, Painter-Etcher + 1638-1665] + + [Illustration: THE FLIGHT INTO EGYPT. FROM THE ORIGINAL ETCHING + IN THE BRITISH MUSEUM + Elisabetta Sirani, Painter-Etcher + 1638-1665] + + [Illustration: FLORENTINE SCHOOL, XVII CENTURY + MARY AND THE CHILD JESUS. FROM A PHOTOGRAPH BY BRAUN, CLEMENT & + CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE BESANCON MUSEUM + "JESUS TOOK BREAD AND BLESSED IT..." FROM A PHOTOGRAPH BY BRAUN + CLEMENT & CO., PARIS, AFTER THE ORIGINAL PAINTING IN THE LOUVRE + Agnese Dolci Painter + Died about 1686] + + [Illustration: VENETIAN SCHOOL, XVIII CENTURY + PORTRAIT STUDY OF A LADY WITH HER PET MONKEY. FROM A PHOTOGRAPH + BY LEVY & SONS AFTER THE ORIGINAL PASTEL IN THE LOUVRE, PARIS + PORTRAIT STUDY OF CARDINAL DE POLIGNAC. FROM A PHOTOGRAPH BY + ANDERSON AFTER THE ORIGINAL PASTEL IN VENICE + Rosalba Carriera, Pastellist + 1675-1757] + + [Illustration: ITALIAN SCHOOL, ABOUT 1889 + THE LITTLE SISTER. REPRODUCED FROM A PHOTOGRAPH BY PERMISSION OF + BRAUN, CLEMENT & CO., PARIS + Signorina Elisa Koch Painter] + + [Illustration: VENETIAN SCHOOL, XVIII CENTURY + PORTRAIT STUDY OF A GIRL. FROM A PHOTOGRAPH BY LEVY & SONS, + PARIS, AFTER THE ORIGINAL PASTEL IN THE LOUVRE + PORTRAIT OF ROSALBA CARRIERA, THE MOST FAMOUS PASTELLIST OF HER + TIME. FROM ANDERSON'S PHOTOGRAPH OF THE ORIGINAL PASTEL IN ROME + Rosalba Carriera, Pastellist + 1675-1757] + + [Illustration: ROMAN SCHOOL, XVIII CENTURY + MARY MAGDALENE AT THE FEET OF JESUS CHRIST IN THE HOUSE OF SIMON + THE PHARISEE. FROM A PHOTOGRAPH BY ALINARI AFTER THE PAINTING IN + ROME IN THE GALLERIA CAPITOLINA. IT IS A COPY AFTER A PICTURE BY + THE ARTIST'S HUSBAND, PIERRE SUBLEYRAS, A PICTURE NOW IN THE + LOUVRE, PARIS. MARIA TIBALDI SUBLEYRAS PRESENTED THIS COPY TO + POPE BENEDICT XIV, WHO SENT HER A THOUSAND SCUDI, AND PLACED HER + WORK IN HIS COLLECTION AT THE CAPITOL + Maria Tibaldi Subleyras, Painter + Born 1707] + + [Illustration: ITALIAN SCHOOL, CONTEMPORARY + THE PEACEMAKER. + REPRODUCED AFTER THE ORIGINAL DRAWING FROM A PHOTOGRAPH BY THE + AUTOTYPE CO., NEW OXFORD STREET, LONDON + Rosina Mantovani Gutti, Artist] + + [Illustration: ITALIAN SCHOOL, CONTEMPORARY + STUDY FROM A MODEL. AFTER THE ORIGINAL PAINTING FROM A + PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS + Juana Romani, Painter] + + [Illustration: SCHOOL OF ENGLISH WATER COLOUR, XIX. CENTURY + "THE AKROPOLIS, ATHENS: FROM THE BALCONY OF THE CROWN PRINCE'S + HOUSE." FROM THE WATER-COLOUR DRAWING IN THE COLLECTION OF JAMES + ORROCK, ESQ., R.I. + H.I.M. The Empress Frederick of Germany, R.I. + 1840-1901] + + + + +Early British Women Painters + + +Everybody knows that it has fallen to England's lot to gem the remote +seas with shining repetitions of herself. But everybody does not +remember that she has done this quite at haphazard, just as the winds +carry seeds from a garden to a waste ground. In herself, with fitful +moments of purposeful energy, England has been self-critical and +self-distrustful, disinclined to value her own doings or to take +precautions when in the midst of dangers. But for the individual +enterprise of her children, which she has often disowned and punished, +her colonies would have been the Isle of Man and the Isle of Wight. +And it is singular to note also that the history of England's genius +in art has followed the traditional character of her devious +makeshifts in commerce and in war. Despite all inherent weaknesses, +she has achieved at random a recognised greatness in art, and is so +surprised at it that she hesitates always to encourage the gifts of +her own craftsmen, preferring rather to have confidence in the work +which she can buy from men of genius in other countries. From the time +of Henry VIII. to the coming of the school of Reynolds, she allowed +her own painters to starve in order that she might employ strangers; +and to-day, as in the past, she butterflies from foreign school to +foreign school and treats her own native arts to side-glances and +half-friendly nods. + +Now, as this has ever been England's disposition, it is not surprising +to find that Englishwomen, as well as Englishmen, long hesitated to +follow the arts professionally. At a time when Italy and France had +scores of women painters, England had scarcely one. Perhaps the +earliest of any note, if we except Susannah Penelope Gibson, a +miniature painter, was Mrs. Mary Beale, daughter of a Suffolk +clergyman named Cradock. She lived between the years 1632 and 1697. +After modelling her style on that of Lely, she worked with great +courage, showing much real talent, particularly in quiet portraiture. +She painted broadly and well, drew with force and discrimination, and +although she told the truth plainly at a time when other painters +flattered and fawned, she yet achieved success, and was encouraged by +the highest in the land, from King Charles the Second to Archbishop +Tillotson. Time has robbed her colour of its first freshness, but the +character remains, and the portraits on page 81 represent Mary Beale +in a characteristic manner. + +The next English women painters in order of merit were Lady Diana +Beauclerk, an amateur with much untutored talent, and Catharine Read, +a distinguished professional artist of the Reynolds period. That she +was appreciated in her day is proved by the fact that her portraits +were engraved, side by side with those of Reynolds and Gainsborough. +To-day she is forgotten, and very little can be learnt about her life +or about the present owners of her pictures. Catharine Read lived near +St. James's and sent frequently to the exhibitions. In 1770 she went +to the East Indies, but in a few years returned to London, where she +died in or about the year 1786. + +Angelica Kauffman, R.A., though born at Coire, the capital of the +Grisons, belongs to the British school, and holds in the early history +of that school a position similar to that which has been assigned in +France to Madame Vigee Le Brun. The art of the two ladies differs +widely to be sure, that of Angelica Kauffman having less mirth, less +wit, less sprightliness and homeful sincerity; it is quite artificial +in spirit, with a strong bias towards the sentimental; but it has for +all that considerable charm and ability, qualities, let us remember, +that won the admiration of Reynolds and of Goethe. Turner, also, +possessed two of her drawings, as I am told by his descendant, Mr +Charles Mallord W. Turner. But in recent times Angelica Kauffman has +been remembered for the romance of her personal life and treated with +cool contempt in all that appertains to her work. Critics have +searched in her pictures for manly qualities, and finding there the +temperament of a sentimental woman, their judgment has failed them. +The very men who would be astonished beyond measure if a prima donna +sang to them in a voice like the leading tenor's, do not hesitate to +complain when the voice in a woman's painting is one filled with +womanhood. + +In England, at the close of the 18th century, quite a number of ladies +came to the front in art, like Caroline Watson, the admirable stipple +engraver (page 89), or like Catherine Maria Fanshawe, a painter-etcher +who could put a body into a peasant's smock and could show in a rustic +figure the mingled influences of Morland and Gainsborough, while +keeping a tender sympathy of her own (page 89). Amelia Hotham, too, in +the native art of water-colour, attained to a broad and vigorous style +in landscape, while taking far too many hints from the scenic pomp +that Francis Nicholson made popular in outdoor scenes (page 88). +Nevertheless, Amelia Hotham's work has interest in the history of +British water-colour, like that of three other ladies who followed +her, the Viscountess Templetown (page 94), Matilda Heming and Mrs. +John Herford, the grandmother of Mrs. Allingham. Matilda Heming's +picture on page 95, "Backwater, Weymouth, Dorset," is weak in the +drawing of the hills, but the rest of the design is quite admirable, +the boats particularly being very well drawn. We see, then, that +during the last decades of the 18th century, and at the beginning of +the nineteenth, a little band of Englishwomen studied landscape +painting seriously; and this fact is worth remembering, as women have +seldom been drawn in art to nature in the woods and fields. The +gentler sex, as a rule, has not appreciated landscapes. + +On the other hand, they have shown in art a great love for the +beauty of flowers, the colour and the forms of insects, and the +"other-naturalness" of many kinds of animals. Maria Sibylla Merian, +Rachel Ruysch, Rosa Bonheur, Fidelia Bridges, Mrs. Coleman Angell, +Madame Ronner, Mlle. E. Hilda, Miss Lucy Kemp-Welch--these ladies will +not be forgotten, let us hope, as long as there are students who take +delight in plants, flowers, birds and animals. + +Among the flower and fruit painters in England, during the 18th +century and the first few decades of the nineteenth, conspicuous +places must be assigned to Mary Moser, R.A., Mrs. Margaret Meen, and +Anne Frances Byrne, illustrations of whose pictures will be found on +page 94; and the reader will do well to compare this early work with +that of Mrs. Coleman Angell, the female counterpart of William Hunt +(page 102). + +Whilst these flower-painters were busy, another small group of ladies +won considerable popularity by their little figure-subjects, such as +the Countess Spencer's drawing on page 90, or again, like the fanciful +miniatures by Mrs. Mee or the sentimental portraits by Mrs. J. +Robertson, types of which are given on page 93. Miss Curran's portrait +of Shelley is a valuable portrait-sketch historically (page 90), and +it has something of the charm that distinguishes the able portraits +drawn to-day by the Marchioness of Granby. + +What can be said about Mrs. Margaret Carpenter? Is she not to be +placed among those quiet, unpretentious portrait-painters whose +thoughts are so wrapped up in their determination to be true that they +never think of striving after exhibition-room effects? Margaret +Carpenter gives us the character of her sitters, and not technical +displays of her own cleverness. Born at Salisbury, in 1793, the +daughter of Captain Geddes, this able painter came to London in 1814, +and married, in 1817, William Carpenter, who for many years was Keeper +of the Print Room in the British Museum. She exhibited often at the +Royal Academy until 1864, and made a great reputation by her +portraits. She died in 1872, leaving a son, William Carpenter +(1819-1899), to continue the art tradition which she had herself +carried on in her family. + + [Illustration: ENGLISH SCHOOL, XVIII CENTURY + PORTRAIT OF THE LADY GEORGIANA SPENCER. AFTER THE PAINTING IN THE + COLLECTION OF EARL SPENCER. FROM A PHOTOGRAPH BY HANFSTAENGL + Catharine Read, Painter + Died about 1786] + +Some may think that Margaret Carpenter began the modern history of +women painters in England; others may grant that distinction to the +intuitive and radiant work of Lady Waterford, that most gifted of all +amateurs. It seems truer to say that Margaret Carpenter is best +described as a connecting-link between the old and the new, and that +Lady Waterford is not only so faithful to herself but so spontaneous, +that her good gifts belong to no particular school or period. They +certainly owed much to the colour of the Venetian School, far more +to that old source of inspiration than to any influence of the 19th +century. But the main characteristics of Lady Waterford's appeal come +to us from the painter's own heart and beautiful aesthetic intellect. +The ease with which she composed, and the charming animation of all +her designs, these were natural qualities uninfluenced by any +teaching; and they won the ardent admiration of the late Mr. G. F. +Watts. It is the spirit alone of Lady Waterford's art that we should +admire; we must not look closely at the drawing, for Lady Waterford +neither tried nor wished to perfect her faulty technical equipment. +Most of her art-work was done after a day spent in other charities. It +was Lady Waterford's joy to dole out alms herself, and it never +occurred to her that she might do such good actions by proxy, just as +Queen Charlotte picked up five old books in the booths of Holywell +Street. The truth is that Lady Waterford valued practicalness more +than imagination, as do the great majority of women; she longed to +_see_ the good she did, and she could not realise to herself that art +has a permanent ethical influence. Closing her eyes to this truth, +Lady Waterford wrote as follows to one of her friends:-- + +"I could never attain to even one work that I see in my mind's eye, and +if I could it would be less than those of the great men of old, _whose +greatest works have not quelled evil or taught good_.... I could not +live for art--it would not be what I am put in the world to do. I do +not despise art, but I should feel that it was not given for that. Two +homes have been given me, and it is to try to do what I can in them +that they are given for brief life." + +Is not that pathetic? Is it not the very music of a woman's +rationalism? What has "quelled evil?" But if our hearts and minds rise +to an entire sympathy with Lady Waterford's sketches, we shall +certainly feel that a noble spirit in art does indeed "teach good," is +a spiritual almsgiving for all time, a charity that goes on +ministering, through long generations, to that which is best in human +nature. + + WALTER SHAW SPARROW. + + [Illustration: DESIGN BY CHRISTINE ANGUS.] + + + + +Modern British Women Painters + +By Ralph Peacock + + +It is the privilege of man, in his youth, to ignore his limitations. +For this ignorance he pays in failure the price of a possible success. +In his wiser middle age he does not repent, he finds that it is only +by some sort of an attack on his limitations that apparent results are +attained, and he learns to take on faith the difference there is in +fact between the attainment and the attempt. The experience of a woman +is, I take it, very similar. It follows in no way that, because her +limitations are different from, and in a physical sense greater than, +man's, the brutal laws which go to produce results are in her case +different. She is marching along the same road, and though she may +have other stopping places by the way and perhaps may take up more +modest quarters in the end, it is a journey and an arrival, an effort +and a result, and the things seen by the wayside become of +significance to her as the painted banners under which she seeks her +way. + +Englishwomen do not seem to have done much in painting before the +generation or two that are just past. Public opinion was against them. +The early Victorian conditions under which a woman like Charlotte +Bronte produced her great results in another art are more or less +familiar to all, and in the matter of painting the voice of prejudice +has had still more to say. By these days it has croaked itself into +the feeble hoarseness of a respectable and decent old age, and we can +already look back to a succession of women painters who seem to have +been conscious at first of their leading-strings, but who have shown a +development more than corresponding to that of the conditions under +which they worked. Kate Greenaway, who died only a few years ago, was +no doubt a good example of the charming results to be obtained in +leading-strings. To compare her with an artist who works in a similar +field to-day is to note an advance, not only of a generation, but of +the changing educational conditions within the generation. It is a far +cry from Kate Greenaway to Miss Alice Woodward, for instance, and it +is difficult to imagine that another age will say anything more, or +less, of Miss Woodward than that she was a most distinguished artist. +The leading-strings are gone. + +It will always be a special field for women, the production of work in +the first place for children, and it is unnecessary to spend time in +emphasising or over-emphasising its importance. Art itself reckons +little with motives and much with results. In a more general view it +would, perhaps, be better to start this small article with some notice +of the women painters of the seventeenth, eighteenth and early +nineteenth centuries. There is Mrs. Mary Beale, who was a child when +Cromwell was Lord Protector, and who later on painted a most excellent +portrait of Charles II. There is some work of hers in the National +Portrait Gallery, London, work of the quiet, genuine kind, and better +than most of the painting that came for some time afterwards. Then +there is Angelica Kauffman, R.A., who provides us with perhaps the +only well-known name of the early periods, and there are some +portrait-painters of interest, like Miss Catharine Read, of Reynolds' +time, or like Mrs. Anne Mee, of the early part of last century. But it +must be confessed that it would be a sorry list for a couple of +centuries if it were a fact that women had had the same opportunities +and no greater disabilities than the men of the period. It is not +indeed until we reach such painters as Margaret Carpenter, the +portrait painter, Mrs. Matilda Heming, the landscapist, and Lady +Waterford, that more than charming amateur who might have done so +much, that we begin to feel we have a reasonable genesis of the worker +of to-day. These painters show to us now rather the influences of +their time or the limitations of their opportunities, than +personalities which are outside such considerations, but they +nevertheless provide us with evidence of a very genuine and lively +activity. + + [Illustration: BRITISH SCHOOL, XVIII CENTURY + THE SIBYL. AFTER THE PICTURE IN THE ROYAL GALLERY, DRESDEN. FROM + A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS + Maria Angelica Kauffman, R.A., Painter + 1741-1807] + +The work of Mrs. Heming is interesting in a rather more special way. +It is distinctly rare to find the ordinary landscapist of her time +working with an eye to truth rather than to the making of a so-called +composition of the period, rare enough in fact to place her quite +above the ordinary. + +It is at first sight a curious thing that more women painters have not +even in these days been attracted by pure landscape. It is strange in +the sense that they have among them such painters as Lady Butler and +Miss Lucy Kemp-Welch. But no branch of art is more that of the +specialists than landscape. It developed later in history than any +other, and it calls to those who would tire of the didactic in human +thought and who might find in the study of any obviously human affair +something to remind them of a phase of experience they would, in +paint, avoid. No doubt the Empress Frederick turned to landscape as an +occupation of relief from the pressing human affairs in which her life +was involved, and it is just in such a way that the natural +landscapist turns from the human side of life to the more abstract +emotions he finds in the garden of the Great Spirit. + +Women, I believe, are more held by the personal than the abstract. +Mrs. Allingham may be one of the exceptions. In any case Mrs. +Allingham claims quite a special place for herself in any +sketch-survey of the work of English women painters. Few women have +shown a more definitely English sympathy in landscape than she has. +Her method is simple, obvious and plain for all to see. For that +reason it would fail to appeal in any way to the Eclectics, or to +those among them, at any rate, who, in the words of a subtle Eclectic, +confound the natural with the commonplace. A distinctly home-bred +feeling, such as Mrs. Allingham has among women, or, in the grand +manner, Fred Walker among men, is however a very rare thing and is +becoming rarer. How far it may, in individual cases, change to other +things may be seen in some of the more modern painters, in the +remarkably strong work of Miss Margaret Cameron, Miss Biddie +Macdonald, Miss Alice Fanner, and Miss Beatrice How. This latter +painter has not merely been affected in matters of technique, but +gives us, most delightfully, the very sentiment of the country people +she paints. It is quite a little miracle of transplanted adaptability. + +It has been said that every good woman has in her marching outfit a +supply of adaptability which, in sum total, accounts for most of the +happiness enjoyed by the human race at large. If so, it may be added +that in its superior manifestations the affair is sub-conscious, +artistic, most natural and not at all one of the commonplaces of life. +It perhaps explains, or rather is illustrated by, the number of +painters in the very first rank among women who have shown in their +work the influence of some near relative. In any case, Lady +Alma-Tadema for one has produced work so extraordinarily good in +itself that it is easy to believe the similarity of her technique to +that of Sir Laurence Alma-Tadema to be merely one of the happy chances +of her life. A very similar thought arises in connection with the work +of the late Miss Margaret Dicksee. It is easy to influence technique, +but first causes are not set in action by human hands. If one who did +not know her may say so, there is written on the canvases that Miss +Dicksee has left behind the evidence of a most lovable nature. + +Mrs. Stanhope Forbes, Miss Lucy Kemp-Welch and Lady Granby are +isolated examples whose work has no connection in itself and shows +very little affinity, beneath the surface, with the special influences +of their time. The strong brushwork of Mrs. Stanhope Forbes, it is +true, may be said to have arrived by way of Newlyn, but the fanciful +sentiment underlying her work has an arrival quite of its own. Miss +Lucy Kemp-Welch has made, and deserved, a place for herself the last +few years, and she stands alone among women as an animal painter of +power. Lady Granby, who is an amateur, is also an artist. Magna est +ars et prevalet. Ave! + +Miss Mary Gow, the late Alice Havers, Miss Jessie Macgregor, Miss Anna +Alma-Tadema, Miss Lily Blatherwick, Miss Amy Sawyer, and Louisa Starr +(Madame Canziana) also make a special appeal, each in her own way. + +Mrs. Swynnerton is a lady who has given us a great deal of work of a +very high order indeed. In the first place she has always something to +say that is worth saying. Her work is exuberant with the joy of life, +the joy of colour. Her very brush is surcharged with a high and lavish +spirit. Blue eyes look out, so blue, from happy sunburnt faces, so +sunburnt, that take their places on her canvases as in a drama to tell +us something of her thoughts and of themselves. Mrs. Swynnerton, plus +her faults, is genuine through and through. The work of another +painter, Mrs. De Morgan, naturally comes into consideration when we +turn to symbolism. More tenaciously in earnest and more austere in +every way than Mrs. Swynnerton, her work is as the poles apart. The +one romps, if the term be allowed, in a flower-spangled meadow, the +other's province is the study; and, as is the way with students, her +mind is often on the thought of the past rather than with affairs of +the present. Before one of Mrs. De Morgan's pictures one thinks +through, by way of Burne-Jones, to Botticelli and the great ancestors +of art, and it is saying a very great deal for Mrs. De Morgan that in +such case one can bless the passive hand that gives and the hand that +receives. + +Her work may very well lead us to a small band of artists, not +definitely connected in themselves, but allied with each other in the +sense that they work for somewhat similar ends: Mrs. Marianne Stokes, +Miss Eleanor Fortescue Brickdale and Mrs. Young Hunter. To these, +perhaps, may one day be added a name very little known at present, +Miss Milicent E. Gray. It is not unusual in speaking of the work of +either of these first three artists, and more especially of Miss +Eleanor Brickdale, to refer to the pre-Raphaelite influence in art. It +is, however, extremely probable that the influence takes direct effect +in these days more as a method than as a conviction. The great +conviction itself has leavened Art, and the individualities of these +painters are so strong that it becomes in their case a nearer interest +to ignore all potters and regard the clay. Mrs. Young Hunter has a +quaint flitting fancy that wanders over hill and dale and seizes from +life subtle little touches that are full of the elusiveness of tales +told after school hours. + +Mrs. Marianne Stokes is made of sterner stuff. She has worked of late +in that most stern and stubborn medium, tempera, and small things of +hers in various exhibitions attract one always with the desire to know +more of her most attractive work. Miss Eleanor Brickdale works, or +plays, always with an idea. And the idea she is not satisfied to leave +until it has taken on for other eyes a most cunning and beautiful +bodily shape, in line, in form, in colour--above all in line. She is +probably, without knowing it, as good an antithesis as may be found of +the Impressionist, so-called. The Impressionist is the incarnation of +the abstract in terms of paint, the Symbolist uses the material to +convey definite abstractions in thought. It is, by contrast with +music, the motive of symphony as compared to the motive of Oratorio or +opera, and the apposite methods may be equally well, or badly, used or +abused. Abuse may lead the militant Impressionist to an impasse of +assertive agnosticism as pedantic in its way as the lucubrations of +the most literary pedant in paint. On the other side of the lantern +you may have Watts, and the painted canvases of a Whistler. So be it. + +Art is a long lane with many turnings, and down each there may be +found a little house with a fireside and human hearts thereby. + + RALPH PEACOCK. + + [Illustration: SILHOUETTE BY NELLY BODENHEIM] + + [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1900. + YOUTH AND THE LADY. REPRODUCED FROM THE ORIGINAL WATER-COLOUR, + BY KIND PERMISSION OF CHARLES DOWDESWELL, ESQ., THE OWNER OF THE + PICTURE AND ITS COPYRIGHT. + Miss Eleanor Fortescue Brickdale, Painter] + + + + +Women Painters in the United States of America + + +During the 19th century, in the United States of America, there came +slowly into existence a new school of painting--new often in temper +rather than in manner, for its followers usually came to Europe for +their methods. Race, climate, religion, commerce, social life, +influence art, and the painters of the United States reveal in their +work all the characteristics for which their country has long been +famous: vivacity, invention, constant enterprise, a democratic +enthusiasm, a love of truth (truth often united with romance or else +with sensationalism), and last, but not least, a rare felicity in +transforming borrowed knowledge into something quite original. It is +not often that a civilisation embodies itself in the genius of one +man, giving an epitome of all its dominant qualities; but in Mr. John +S. Sargent, R.A., we recognise a painter of tremendous gifts who does +for the United States what the manly, swaggering Rubens did for +Flanders, symbolising a people and a civilisation. + +One sign of the democratic spirit in the progress of American Art is +to be noticed in the fact that women have participated largely in the +honours gained by the pioneers. It is noteworthy, for instance, that +the first book on Women Painters should have been written by an +American lady, Mrs Ellet, as far back as 1859. Mrs. Ellet showed great +industry, but following a custom rashly encouraged by writers on art, +she believed that she could teach painting and sculpture by the use of +words alone, in recording biographical facts, and in offering +criticisms on work that her readers could not see in illustrations. +Written history is the phonograph of all past centuries, but the +understanding of art owes little to its words. + +Still, the enthusiasm that fired Mrs. Ellet was shared by many of her +countrywomen, and to it we owe some truly clever artists, like the +four sculptors, Harriet Hosmer, Florence Freeman, Edmonia Lewis and +Emma Stebbins, or like the following painters: Emily Sartain +(portraits and genre), Sara M. Peale (portraits), Mrs. J. W. Dewing +(portraits, subject pictures, flowers and still-life), Annie C. Shaw +(cattle and landscapes), Mrs. Adele Fassett (portraits) Mrs. Elisa +Greatorex (landscapes), Mrs. Henry A. Loop (portraits), Ella A. Moss +(portraits), Jennie Brownscombe (subject pictures), May Alcott (copies +after J. M. W. Turner and still-life), Elizabeth Boott (figure +subjects), Charlotte B. Coman (landscapes in the manner of Corot), and +that delicate recorder of pleasant secrets learnt from nature in the +fields, Fidelia Bridges. The very titles of this lady's pictures have +the fragrance of field flowers or else they glow with the plumage of +birds. It has been said of Fidelia Bridges that her art sings little +pastoral lyrics, and her art is certainly very fresh and sweet, +charmed with much sympathetic appreciation of nature in some of her +unnumbered smiling moods. For Fidelia Bridges, like Birket Foster, +paints as though the year were all springtime, a series of twelve May +months, all full of gaiety and bounty. She seldom takes heed of that +eternal warfare which accompanies Nature's bountifulness, filling the +seed-carrying winds with the presence of death, and setting every +living thing to prey upon another. To this part of Nature's life +Fidelia Bridges usually shuts her eyes, unlike Miss E. M. Carpenter, +whose landscape art reveals at times the menacing suggestion of great +rivers and of high solitary mountains. + +It would serve no useful purpose to enumerate all the earlier women +painters of the United States. They worked bravely and well, and if +their doings are now forgotten or undervalued, it is only because the +harvest sowed by them is being reaped by the present generation. +To-day the names of at least two American women painters, Mary Cassatt +and Cecilia Beaux, are known in every country where good art is +studied. Mary Cassatt, the only pupil of Degas, is bracketed always +with Berthe Morisot, for both ladies became Impressionists at about +the same time, adding the charm of their personalities to a rugged +revolt in art. The work of each has great interest, but that of Mary +Cassatt is the more attractive and the more enduring. It is not +overburdened with a heavy adherence to methods originated by men; and +it is richer with the emotions of the painter's own heart. To Mary +Cassatt, Impressionism is a chosen dialect, a means by which she can +express herself in colour and form; to Berthe Morisot, on the other +hand, it was in itself the final word in painting. So, mistaking the +clay of art for the finished statue, she obeyed the methods of a +school with so much zeal and so much self-sacrifice that her own +nature became enslaved to the difficulties of technique. Compare +Berthe Morisot's able study (page 211) with the charming homeliness of +Mary Cassatt's picture (page 157), and you will see at a glance how +wide is the difference between the emotional and aesthetic value of the +subjects represented. Berthe Morisot remains a student, while Mary +Cassatt passes beyond technique to a universal delight in childhood. +She feels both the pathos and the humour of the beginnings of our +life, and she makes infancy welcome in art because she understands it +and shows no maudlin sentiment. + +Something of the same kind is done by Miss Cornelia Conant, in her +domestic picture called "The End of the Story" (page 151); and another +view of child-life, delightfully rendered by Helen Hyde, may be seen +in colour on page 145. + +The pictures by which Miss Cecilia Beaux is represented in this book +show very clearly that her genius has dramatic strength, sustention, +and flexibility. The portrait on page 182 is handled with a sculptural +vigour that responds admirably to the character of the sitter, while +the "Mother and Child" (page 121) has a quietness of tone, a reserved +simplicity of style, a permeating suggestion of pathos, having much in +common with Whistler's portrait of his mother. Miss Cecilia Beaux is a +dramatist in her studies of character, and her art is probably more +subtle and more various than that of any woman painter who has devoted +her life to portraiture. The reader will do well to contrast her style +with that of Mrs. Anna Lea Merritt, the first woman painter whose +work was purchased by the Chantrey Fund, London (page 139). + +It is fitting now that a list should be given of other leading artists +of the United States, though their work is not represented here, owing +to the adventures in delays that attend a despatch of letters from +London to America. + +1. Sarah C. Sears (Mrs. J. Montgomery Sears), pupil of Turner, Brush +and Tarbell; prizes at New York, 1893, Chicago, 1893, Paris, 1900, +Buffalo, 1901, Charleston, 1902. 2. Miss Mary L. Macomber, pupil of +Boston Museum; prizes at Boston, 1895, Atlanta, 1895, National Academy +of Design, 1897, Pittsburgh, 1901. 3. Miss Katherine Abbot, bronze +medal at Paris, 1900. 4. Miss Elizabeth F. Bonsall, pupil of Howard +Pyle, prize winner at Philadelphia, 1885, 1888, 1897. 5. Miss Matilda +Browne, pupil of Dewey and Bisbing, medals at Chicago, 1890, National +Academy of Design, 1899 and 1901. 6. Miss Maria Brooks, pupil of the +Royal Academy Schools, London. 7. Mrs. Brewster Sewell, pupil of Duran +in Paris, of Chase in New York; winner of several prizes, as at +Charleston in 1902. 8. Rosina Emmet Sherwood, pupil of Chase and of +Julian's School, Paris; prizes in Paris, 1889, Chicago, 1893, Buffalo, +1901. 9. Mrs. Emily M. Scott, prizes at Buffalo, 1901, New York, 1902. +10. Miss Rhoda H. Nicolls, born in England and studied in England; a +frequent prize-winner. 11. Edith M. Prellwitz, a frequent prize-winner +and a pupil of Brush, in New York, of Julian, in Paris. 12. Lydia +Field Emmet, pupil of Bouguereau, in Paris, of Chase, in New York; +prizes at Chicago, 1893, Atlanta, 1895, Buffalo, 1901. 13. Mrs. Kenyon +Cox, pupil of the National Academy of Design; prize-winner at Paris, +1900, at Buffalo, 1901. 14. Emma L. Cooper, Medals at Chicago, 1893, +Atlanta, 1895. 15. Mrs. Charlotte B. Comans, Medal at San Francisco, +1894. 16. Miss Clara S. MacChesney; and last, but not least, Miss Mary +F. MacMonnies. + + W. S. S. + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + THE QUEEN AND THE PAGE. AFTER THE ORIGINAL PAINTING, FROM A + PHOTOGRAPH BY DIXON & SON, LONDON + Mrs. Marianne Stokes, Painter] + + [Illustration: BRITISH SCHOOL, XVII CENTURY + PORTRAIT OF THE ENGLISH POET, ABRAHAM COWLEY (1618-1667). FROM A + PHOTOGRAPH BY W. A. MANSELL & CO., AFTER THE ORIGINAL PAINTING + IN THE NATIONAL PORTRAIT GALLERY, LONDON + Mrs. Mary Beale, born Cradock, Painter + 1632-1697] + + [Illustration: PORTRAIT OF KING CHARLES II OF ENGLAND. FROM A + PHOTOGRAPH BY W. A. MANSELL & CO., AFTER THE ORIGINAL PAINTING + IN THE NATIONAL PORTRAIT GALLERY, LONDON Mrs. Mary Beale, born + Cradock, Painter + 1632-1697] + + [Illustration: BRITISH SCHOOL, XVIII CENTURY + CARICATURE OF EDWARD GIBBON, HISTORIAN. IN THE PRINT ROOM, THE + BRITISH MUSEUM + Lady Diana Beauclerk, Amateur + 1734-1808] + + [Illustration: CUPIDS. AFTER AN ENGRAVING BY F. BARTOLOZZI, R.A. + Lady Diana Beauclerk, Amateur 1734-1808] + + [Illustration: BRITISH SCHOOL, XVIII CENTURY + ARIADNE. AFTER THE ORIGINAL PAINTING IN THE DRESDEN GALLERY, + FROM A PHOTOGRAPH BY V. A. BRUCKMANN, MUNICH + Maria Angelica Kauffman. R.A., Painter + 1741-1807] + + [Illustration: BRITISH SCHOOL, XVIII CENTURY + PORTRAIT OF MISS HARRIOT POWELL. FROM A MEZZOTINT BY RICHARD + HOUSTON. THE PROOF LENT BY MR. ALFRED DAVIS + Miss Catharine Read, Painter + Died about 1786] + + [Illustration: PORTRAIT OF MISS JONES. FROM AN ENGRAVING BY J. + WATSON, DATED 1767. THE PRINT LENT BY MR. ALFRED DAVIS Miss + Catharine Read, Painter Died about 1786] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + "THE FISHER WIFE." AFTER THE DRAWING IN WATER-COLOUR AND CRAYON, + FROM A PHOTOGRAPH BY W. E. GRAY, LONDON + Mrs. Stanhope Forbes, A.R.W.S., Painter] + + [Illustration: BRITISH SCHOOL, XVIII CENTURY + PORTRAIT (PAINTED BY HERSELF) OF ANGELICA KAUFFMAN, R.A., AFTER + THE ORIGINAL PICTURE IN THE UFFIZI GALLERY. FROM A PHOTOGRAPH BY + ALINARI] + + [Illustration: THE VESTAL VIRGIN. AFTER THE ORIGINAL PICTURE IN + THE ROYAL GALLERY, DRESDEN, FROM A PHOTOGRAPH BY HANFSTAENGL + Maria Angelica Kauffman, R.A., Painter 1741-1807] + + [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1793 + RIVERSIDE LANDSCAPE WITH A CASTLE IN THE DISTANCE. PAINTED IN + 1793, WHEN TURNER AND GIRTIN WERE ONLY EIGHTEEN. THE BREADTH AND + MANNER OF THIS DRAWING ARE THEREFORE REMARKABLE, ESPECIALLY AS + COMING FROM A LADY OF THAT TIME. THE SCENIC POMP OF THE DESIGN + POINTS TO THE INFLUENCE OF FRANCIS NICHOLSON. AFTER THE ORIGINAL + WATER-COLOUR (19-5/8 INCHES BY 26-3/4 INCHES) IN THE PRINT ROOM + OF THE BRITISH MUSEUM, FROM A PHOTOGRAPH BY W. E. GRAY + Amelia Hotham, Painter + End of 18th Century] + + [Illustration: BRITISH SCHOOL, END OF XVIII CENTURY AND + BEGINNING OF XIX CENTURY + A COUNTRY BOY. REPRODUCED FROM AN ORIGINAL SOFT-GROUND ETCHING + THAT SHOWS THE MINGLED INFLUENCES OF GAINSBOROUGH AND MORLAND + Catherine Maria Fanshawe, Painter-Etcher + 1765-1834] + + [Illustration: PORTRAIT OF SARAH, COUNTESS OF KINNOULL, FROM A + STIPPLE ENGRAVING AFTER A MINIATURE BY SAMUEL SHELLEY Caroline + Watson, Engraver to Queen Caroline 1760(?)-1814] + + [Illustration: BRITISH SCHOOL, EARLY XIX CENTURY A PINCH OF + SNUFF. AFTER AN ENGRAVING BY MADAME BOVI, A PUPIL OF F. + BARTOLOZZI, R.A. THE PRINT LENT BY MR. ALFRED DAVIS + Lavinia Countess Spencer, Amateur + Died 1831] + + [Illustration: PORTRAIT OF PERCY BYSSHE SHELLEY (1792-1822). + AFTER THE ORIGINAL DRAWING IN THE NATIONAL PORTRAIT GALLERY, + LONDON. FROM A PHOTOGRAPH BY J. CASWALL SMITH Miss A. Curran, + Amateur + Died 1847] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + "FLORA." REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING + Miss Evelyn Pickering (Mrs. William De Morgan), Painter] + + [Illustration: BRITISH SCHOOL, EARLY XIX CENTURY + PORTRAIT OF MRS. STUART FROM A MEZZOTINT BY S. W. REYNOLDS, + KINDLY LENT BY MR. ALFRED DAVIS + Mrs. J. Robertson, Painter + Worked 1824 to 1844] + + [Illustration: PORTRAIT OF LADY DALRYMPLE HAMILTON, DAUGHTER OF + ADMIRAL LORD DUNCAN FROM AN ENGRAVING BY J. AGAR Mrs. Anne Mee, + born Foldsone, Painter Died very old in 1851] + + [Illustration: BRITISH SCHOOL 1764 TO 1826 VASE OF FLOWERS. + PAINTED IN 1764 AND FORMERLY IN THE COLLECTION OF QUEEN + CHARLOTTE. AFTER THE TEMPERA PAINTING AT SOUTH KENSINGTON + Mary Moser, R.A. (Mrs. Hugh Lloyd) + 1744-1819] + + [Illustration: GROUP OF FLOWERS IN A JAR. PAINTED IN 1806 FOR + PRINCESS ELIZABETH, DAUGHTER OF GEORGE III. AFTER THE + WATER-COLOUR AT SOUTH KENSINGTON Mrs. Margaret Meen, Painter + Worked 1775 to 1810] + + [Illustration: FLOWERS AND GRAPES. PAINTED IN 1826. AFTER THE + WATER-COLOUR AT SOUTH KENSINGTON + Miss Anne Frances Byrne, Painter + 1775-1837] + + [Illustration: WOOD SCENE. AFTER THE DRAWING IN INDIA INK ON A + WATER-COLOUR TINT AT SOUTH KENSINGTON + Viscountess Templetown, Amateur + Died 1824] + + [Illustration: SCHOOL OF BRITISH WATER-COLOUR, EARLY XIX. + CENTURY BACKWATER, WEYMOUTH, DORSET. AFTER THE ORIGINAL + WATER-COLOUR IN THE BRITISH MUSEUM FROM A PHOTOGRAPH BY W. E. + GRAY, LONDON Mrs. Matilda Heming, born Lowry, Painter + 1808-1855] + + [Illustration: LANDSCAPE AT KENILWORTH AFTER AN ORIGINAL + WATER-COLOUR BY THE GRANDMOTHER OF MRS. HELEN ALLINGHAM, R.W.S. + Mrs. John Herford, Amateur] + + [Illustration: BRITISH SCHOOL, EARLY XIX CENTURY + PORTRAIT OF HENRIETTA SHUCKBURGH, AFTER THE WATER-COLOUR IN THE + BRITISH MUSEUM + Mrs. Margaret Carpenter, born Geddes, Painter + 1793-1872] + + [Illustration: PORTRAIT OF MARGARET CARPENTER. AFTER THE + WATER-COLOUR IN THE BRITISH MUSEUM Mrs. Margaret Carpenter, born + Geddes, Painter 1793-1872] + + [Illustration: LODONA. FROM POPE'S "WINDSOR FOREST." + FROM THE ENGRAVING BY F. BARTOLOZZI, R.A. + Mrs. Maria Cosway, born Hadfield, Painter + 1759-1838] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + "ELSPETH." AFTER THE ORIGINAL PORTRAIT IN BODY-COLOUR, BY KIND + PERMISSION OF MRS. J. M. CURRIE, LONDON + Miss Ann Macbeth, Painter] + + [Illustration: SCHOOL OF BRITISH WATER-COLOUR, XIX CENTURY + PALM BRANCHES. AFTER THE ORIGINAL DRAWING FROM A PHOTOGRAPH BY + J. CASWALL SMITH, LONDON + Louisa Marchioness of Waterford, Painter + 1818-1891] + + [Illustration: SPRING. AFTER THE ORIGINAL DRAWING IN + WATER-COLOUR FROM A PHOTOGRAPH BY J. CASWALL SMITH Louisa + Marchioness of Waterford, Painter 1818-1891] + + [Illustration: BRITISH SCHOOL, XIX CENTURY + PORTRAIT OF JOHN GIBSON, R.A., SCULPTOR (1791-1866). AFTER THE + PAINTING IN THE NATIONAL PORTRAIT GALLERY, LONDON, FROM A + PHOTOGRAPH BY W. A. MANSELL & CO. + Mrs. Margaret Carpenter, born Geddes, Painter + 1793-1872] + + [Illustration: PORTRAIT OF R. P BONINGTON, PAINTER (1801-1828). + AFTER THE PAINTING IN THE NATIONAL PORTRAIT GALLERY, LONDON, + FROM A PHOTOGRAPH BY W. A. MANSELL & CO. Mrs. Margaret + Carpenter, born Geddes, Painter + 1793-1872] + + [Illustration: BRITISH SCHOOL, XIX CENTURY + JESUS CHRIST AMONG THE DOCTORS AFTER THE ORIGINAL WATER-COLOUR + FROM A PHOTOGRAPH BY J. CASWALL SMITH + Louisa Marchioness of Waterford, Painter + 1818-1891] + + [Illustration: SCHOOL OF BRITISH WATER-COLOUR, XIX CENTURY + STUDY OF A BIRD'S NEST. REPRODUCED FROM THE ORIGINAL DRAWING IN + WATER-COLOUR BY PERMISSION OF MESSRS. BROWN & PHILLIPS + Mrs. Helen Cordelia Angell, born Coleman, Painter + 1847-1884] + + [Illustration: BRITISH SCHOOL, 1901 + "TO-DAY FOR ME." FROM A PHOTOGRAPH BY H. DIXON & SON, AFTER THE + WATER-COLOUR IN THE COLLECTION OF MISS EVANS + Miss Eleanor Fortescue Brickdale, A.R.W.S., Painter] + + [Illustration: BRITISH SCHOOL, 1871 + ELAINE. REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY + PERMISSION OF THE ARTS COMMITTEE, THE WALKER ART GALLERY, + LIVERPOOL + Mrs. Sophie Anderson, Painter] + + [Illustration: BRITISH SCHOOL, 1873 + SINTRAM AND HIS MOTHER (VIDE DE LA MOTTE FOUQUE). REPRODUCED + FROM A PHOTOGRAPH BY PERMISSION OF THE ARTS COMMITTEE, THE + WALKER GALLERY, LIVERPOOL + Louisa Starr (Madame Canziana), Painter] + + [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1875-1895 + THROUGH THE WOOD. REPRODUCED FROM THE ORIGINAL WATER-COLOUR AT + SOUTH KENSINGTON + Miss Ivy Heitland, Painter + 1875-1895] + + [Illustration: MOTHER AND CHILD. DATED 1894. FROM THE + WATER-COLOUR IN THE IONIDES COLLECTION AT SOUTH KENSINGTON Miss + Mary L. Gow, R.I., Painter] + + [Illustration: BRITISH SCHOOL, 1880 + "BLANCHISSEUSES." REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL + PAINTING BY PERMISSION OF THE ARTS COMMITTEE, THE WALKER ART + GALLERY, LIVERPOOL + Miss Alice Havers, Painter + Died 1890] + + [Illustration: SCHOOL OF BRITISH WATER-COLOUR, CONTEMPORARY + A COTTAGE NEAR CROCKEN HILL + FROM THE ORIGINAL WATER-COLOUR + Mrs. Helen Allingham, R.W.S., Painter] + + [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1888 + THE POTATO HARVEST. AFTER THE ORIGINAL WATER-COLOUR, DATED 1888, + FROM A PHOTOGRAPH KINDLY LENT BY THE ARTIST + Miss Edith Martineau, A.R.W.S., Painter] + + [Illustration: BRITISH SCHOOL, 1890 + IN MEMORIAM. AFTER A PHOTOGRAPH BY HENRY DIXON & SON, BY KIND + PERMISSION OF MISS MARY A. DICKSEE AND FRANK DICKSEE, ESQ., R.A. + Miss Margaret Isabel Dicksee, Painter + 1858-1903] + + [Illustration: BRITISH SCHOOL, 1887 AND 1890 + GOOD FRIENDS. AFTER THE ORIGINAL PAINTING, DATED 1887, FROM A + PHOTOGRAPH BY NEWIDEIN, PARIS + Mrs. Elizabeth Strong, Painter] + + [Illustration: THE END OF A STORY. AFTER THE ORIGINAL PAINTING + FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS Miss Emily + Hart, Painter] + + [Illustration: BRITISH SCHOOL, 1900 + "SLEEP, THAT KNITS UP THE RAVELL'D SLEAVE OF CARE." FROM A + PHOTOGRAPH BY DIXON & SON, LONDON, AFTER THE ORIGINAL + WATER-COLOUR IN THE COLLECTION OF MISS EVANS + Miss Eleanor Fortescue Brickdale, Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + LABOURERS OF THE NIGHT. + FROM THE STUDY IN OIL-COLOUR ON DRAWING PAPER + Miss Lucy E. Kemp-Welch, Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + STUDY FROM THE LIFE. + AFTER THE ORIGINAL CHALK DRAWING + Evelyn Pickering (Mrs. William De Morgan), Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + YELLOW ROSES. AFTER THE ORIGINAL WATER-COLOUR + Mrs. William Duffield, R.I. + FROM A NEAPOLITAN VILLA. AFTER THE ORIGINAL WATER-COLOUR + Miss A. M. Youngman, R.I.] + + [Illustration: ROOM AT LEICESTER IN WHICH SHAKESPEARE IS SAID TO + HAVE ACTED BEFORE QUEEN ELIZABETH. AFTER THE ORIGINAL SKETCH IN + WATER-COLOUR DATED 1903 + Miss Alice M. Hobson, R.I., Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + "A FOR APPLE-PIE: E EAT IT." AFTER THE ORIGINAL + DRAWING IN THE COLLECTION OF JOHN GREENAWAY, ESQ. REPRODUCED BY + PERMISSION OF FREDERICK WARNE & CO. + Miss Kate Greenaway, Illustrator + 1846-1901] + + [Illustration: "WHO LOVES A GARDEN LOVES A GREENHOUSE TOO" AFTER + THE ORIGINAL PICTURE EXHIBITED AT THE ROYAL INSTITUTE OF + WATER-COLOUR IN 1904 + Miss A. M. Youngman, R.I.] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + ST. BRIDGET. FROM A PHOTOGRAPH BY R. J. W. HAINES + Mrs. Louise Jopling, R.B.A., Painter + WAIFS FROM THE GREAT CITY. COPYRIGHT RESERVED BY THE ARTIST + Mrs. Staples (M. Ellen Edwards), Illustrator] + + [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY + MOTHER AND CHILD + AFTER THE ORIGINAL PAINTING + Miss Cecilia Beaux, Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + DRAPERY STUDY. REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL + DRAWING + Evelyn Pickering (Mrs. William De Morgan)] + + [Illustration: PORTRAIT OF THE LADY ALIX. EGERTON, FROM A + PHOTOGRAPH OF THE ORIGINAL PAINTING Miss Biddie Macdonald, + Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + WHITE TREASURES AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY + THE AUTOTYPE CO. NEW OXFORD STREET, LONDON + Miss Florence White, Painter] + + [Illustration: "HUSH! REMIND NOT EROS OF HIS WINGS." AFTER THE + ORIGINAL WATER-COLOUR Miss Katharine Cameron, Painter] + + [Illustration: BRITISH SCHOOL, 1904 + AFTER WORK + A STUDY IN LEAD PENCIL + Miss Lucy Kemp-Welch, Artist] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + "OLIVIA." REPRODUCED FROM THE ORIGINAL DRAWING BY PERMISSION OF + MESSRS. BROWN & PHILLIPS, LONDON + Mrs. Mary Young Hunter, Illustrator] + + [Illustration: "HE MARRIED A WIFE." AFTER THE ORIGINAL + WATER-COLOUR IN THE COLLECTION OF MISS EVANS Miss Eleanor + Fortescue Brickdale, A.R.W.S., Painter] + + [Illustration: BRITISH SCHOOL, XIX CENTURY + "A. FOR APPLE PIE: C. CUT IT." AFTER THE WATER COLOUR DRAWING IN + THE COLLECTION OF JOHN GREENAWAY, ESQ., REPRODUCED BY PERMISSION + OF MESSRS. FREDERICK WARNE & CO., OWNERS OF THE COPYRIGHT + Miss Kate Greenaway, Designer + 1846-1901] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + PORTRAIT OF THE HON MRS. WALTER JAMES. AFTER THE ORIGINAL + PICTURE FROM A PHOTOGRAPH BY MESSRS. DIXON & SON, LONDON + Mrs. Marianne Stokes, Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + AN INTERESTING STORY + AFTER THE ORIGINAL WATER-COLOUR + Miss Marian Chase, Painter] + + [Illustration: "WHERE SHALL WISDOM BE FOUND?" AFTER AN ORIGINAL + PICTURE PAINTED IN 1902 Mrs. Mary Young Hunter, Painter] + + [Illustration: BRITISH SCHOOL, 1904 + PORTRAIT OF MRS. BLAIR WITH HER DOGS. AFTER AN ORIGINAL PAINTING + THAT GAINED A "MENTION HONORABLE" IN THE SALON OF 1904 + Miss Margaret Cameron, Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + A SONG OF THE SEA + FROM THE ORIGINAL ETCHING + Miss Amelia Bauerle, Painter-Etcher] + + [Illustration: FAUNS FROM THE ORIGINAL ETCHING Miss Amelia + Bauerle, Painter-Etcher] + + [Illustration: BRITISH SCHOOL, 1895 + THE SENSE OF SIGHT. REPRODUCED FROM THE PAINTING IN THE WALKER + GALLERY, LIVERPOOL, BY PERMISSION OF THE ARTS COMMITTEE + Mrs. Annie L. Swynnerton, Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + RIVERSIDE LANDSCAPE + AFTER THE ORIGINAL PAINTING + Miss Alice Fanner, Painter] + + [Illustration: MEMORIES. AFTER THE ORIGINAL WATER-COLOUR + EXHIBITED IN 1904 AT THE ROYAL INSTITUTE OF PAINTERS IN + WATER-COLOUR Miss Gertrude Demain Hammond, R.I., Painter] + + [Illustration: BRITISH SCHOOL, 1903 + BLUEBELLS + FROM THE ORIGINAL PAINTING + THE ROYAL ACADEMY, 1903 + Miss Christabel A. Cockerell (Mrs. Geo. Frampton), Painter] + + [Illustration: SCHOOL OF BRITISH WATER-COLOUR, 1904 + PONTE WIDMAN, VENICE. AFTER THE ORIGINAL OUT-DOOR SKETCH IN + WATER-COLOUR + Mrs. Helen Allingham, R.W.S., Painter] + + [Illustration: CAMPANILE SAN STEFANO, VENICE. AFTER THE ORIGINAL + OUT-DOOR SKETCH IN WATER-COLOUR Mrs. Helen Allingham, R.W.S., + Painter] + + [Illustration: BRITISH SCHOOL, 1904 + THE HERDSMAN OF ADMETUS AFTER THE ORIGINAL PICTURE EXHIBITED IN + 1904 AT THE ROYAL SOCIETY OF PAINTERS IN WATER-COLOURS. + COPYRIGHT RESERVED + Miss Constance Phillott, A.R.W.S., Painter] + + [Illustration: UNITED STATES OF AMERICA, 1890 + "LOVE LOCKED OUT." AFTER THE PAINTING IN THE CHANTREY COLLECTION + IN THE TATE GALLERY, LONDON, FROM A PHOTOGRAPH BY HANFSTAENGL + Mrs. Anna Lea Merritt, Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + Miss Eleanor Fortescue Brickdale, Illustrator] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + REPRODUCED FROM THE ORIGINAL DRAWING IN CRAYONS. + Miss E. Fortescue Brickdale, Illustrator + LE REPAS. EXHIBITED AT THE PARIS SALON IN 1903 + Miss Beatrice How, Painter] + + [Illustration: THE LATE CECIL RHODES. AFTER THE PENCIL DRAWING + THE LATE LORD SALISBURY. AFTER THE PENCIL DRAWING The + Marchioness of Granby, Portraitist] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + ON THE WAY TO THE HORSE FAIR. FROM A PHOTOGRAPH BY THE AUTOTYPE + CO., NEW OXFORD STREET LONDON + Miss Lilian Cheviot, Painter] + + [Illustration: ALMOND BLOSSOM IN LONDON AFTER THE ORIGINAL + WATER-COLOUR Miss Rose Barton, A.R.W.S., Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + DAY-DREAMS. AFTER THE ORIGINAL PICTURE IN WATER-COLOUR + Jane M. Dealy (Mrs. Lewis), R.I., Painter + BABY. AFTER THE ORIGINAL PORTRAIT IN WATER COLOUR + Jane M. Dealy (Mrs. Lewis), R.I., Painter] + + [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY + "DAY DREAMS." FROM THE COLOURED WOODCUT IN THE JAPANESE MANNER. + PRINTED IN JAPAN BY NATIVE WORKMEN UNDER THE SUPERVISION OF THE + ARTIST. REPRODUCED BY PERMISSION OF MR. C. KLACKER. 12, + HAYMARKET, LONDON. COPYRIGHT IN ALL COUNTRIES + Miss Helen Hyde, Designer and Painter] + + [Illustration: BRITISH SCHOOL OF WATER-COLOUR, CONTEMPORARY + "IN WITH YOU!" REPRODUCED FROM THE ORIGINAL PICTURE IN + BODY-COLOUR] + + [Illustration: "CUCKOO." REPRODUCED FROM THE ORIGINAL PICTURE IN + BODY-COLOUR Mrs. Stanhope Forbes, A.R.W.S., Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + IN THE REIGN OF TERROR. AFTER THE ORIGINAL PAINTING, DATED 1891, + IN THE WALKER GALLERY, LIVERPOOL + Miss Jessie Macgregor, Painter] + + [Illustration: IN A DUTCH COTTAGE. AFTER AN ORIGINAL PAINTING + EXHIBITED AT THE PARIS SALON IN 1904 Miss Beatrice How, + Painter] + + [Illustration: BRITISH SCHOOL OF WATER-COLOUR, 1904 + MAY EVENING + AFTER THE ORIGINAL PICTURE + Mrs. E. Stanhope Forbes, A.R.W.S., Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + A COTTAGE GIRL. REPRODUCED FROM THE ORIGINAL WATER-COLOUR + Miss Minnie Smythe, A.R.W.S., Painter] + + [Illustration: PORTRAIT OF SIR CHARLES HOLROYD. REPRODUCED FROM + THE ORIGINAL PAINTING Lady Holroyd, Painter] + + [Illustration: UNITED STATES OF AMERICA, 1880 + THE END OF THE STORY. REPRODUCED FROM A COPYRIGHT PHOTOGRAPH BY + PERMISSION OF BRAUN, CLEMENT & CO., PARIS + Cornelia W. Conant, Painter] + + [Illustration: BRITISH SCHOOL, 1890 + OPHELIA: "THERE'S RUE FOR YOU." REPRODUCED BY KIND PERMISSION OF + THE ARTS COMMITTEE, THE WALKER ART GALLERY, LIVERPOOL + Mrs. E. Normand (Henrietta Rae), Painter] + + [Illustration: BRITISH SCHOOL, 1897 + "STEADY THE DRUMS AND FIFES!" FROM A PHOTOGRAPH OF THE ORIGINAL + PICTURE, BY KIND PERMISSION OF LADY ELIZABETH BUTLER AND OF + MESSRS. GOUPIL & CO., LONDON AND PARIS, PUBLISHERS OF THE LARGE + REPRODUCTION RECENTLY ISSUED + Lady Elizabeth Butler, Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + AFTER THE BULL-FIGHT + FROM THE ORIGINAL PICTURE + Miss Margaret Cameron, Painter] + + [Illustration: WINTRY WEATHER AFTER THE ORIGINAL PICTURE Lily + Blatherwick (Mrs. A. S. Hartrick), Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + A YORKSHIRE TROUT STREAM. + AFTER THE ORIGINAL PICTURE + Miss Alice Fanner, Painter + PORTRAIT OF MISS ANNA ALMA-TADEMA. AFTER THE ORIGINAL PAINTING + Miss Anna Alma-Tadema, Painter] + + [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY + BABY'S TOILETTE. REPRODUCED FROM THE ORIGINAL PASTEL, BY + PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS THE OWNERS OF + THE COPYRIGHT. + Miss Mary Cassatt, Pastellist and Painter] + + [Illustration: BRITISH SCHOOL, CONTEMPORARY + FROM THE ORIGINAL PEN-DRAWING + Miss Jessie M. King, Illustrator] + + [Illustration: THE MUSIC LESSON Mrs. J. M. Swan, Painter PANEL + OF A SCREEN AFTER THE ORIGINAL PAINTING Miss Amy Sawyer, + Painter] + + [Illustration: BRITISH AND AMERICAN SCHOOLS, CONTEMPORARY. + OPHELIA. FROM A PHOTOGRAPH BY THE AUTOTYPE CO., NEW OXFORD + STREET, LONDON + Miss Offor (Mrs. F. Littler), Painter, England.] + + [Illustration: PRAYER. AFTER THE ORIGINAL PICTURE, FROM A + CARBON-PRINT PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS Mrs. + Cecilia Wentworth, Painter, U.S.A., America.] + + [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY + THE PEACE BALL AFTER THE DECLARATION OF INDEPENDENCE: THE FRENCH + OFFICERS, LAFAYETTE AND ROCHAMBEAU, BEING INTRODUCED TO + WASHINGTON'S MOTHER. REPRODUCED BY PERMISSION OF C. KLACKNER, + HAYMARKET, LONDON + Miss Jennie Brownscombe, Painter] + + [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY. + PORTRAIT. REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING + KINDLY LENT BY THE ARTIST. + Miss Cecilia Beaux, Painter.] + + [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY + THE BAMBOO FENCE. FROM A WOODCUT DESIGNED IN THE JAPANESE MANNER + AND PRINTED IN COLOURS BY JAPANESE WORKMEN. REPRODUCED BY + PERMISSION OF C. KLACKNER, NEW YORK, U.S.A., AND 12, HAYMARKET, + LONDON. DATE OF COPYRIGHT, 1904 + Miss Helen Hyde, Designer] + + [Illustration: FRENCH SCHOOL, 1755-1842 + Portrait of Madame Vigee Le Brun and her Daughter. After the + painting in the Louvre, from a Photograph by Braun, Clement & + Co., Paris + Madame Elisabeth Louise Vigee Le Brun, Painter + 1755-1842] + + + + +Of Women Painters in France + +By Leonce Benedite. Translated into English by Edgar Preston + + +Woman in Art is a fruitful subject. It is both psychological and +aesthetic, involving as it does a question of paramount interest. At +the same time it includes a special up-to-date character, by virtue of +the grave questions arising from the position of woman in our social +system of to-day. It is, indeed, the position of woman which has for +so long a period set limits to her production of creations of the +mind, and her position has had a distinct bearing on her inspiration. + +Thus it will be grasped, in these times of ours when the movement for +the total emancipation of woman has commenced, and when the first +franchises granted to her have already borne conclusive results, how +it is that our honoured colleague, the editor of this book, has been +led, both as an artist and as a writer on art, to conduct a sort of +historical examination enabling one to understand the position woman +has won in the realms of art in the past, and permitting one to +foresee the place she is called upon to occupy in the future. + +With regard to the productions of the mind, it becomes necessary to +establish a well-defined distinction, at least in so far as the past, +anterior to the 19th century, is concerned, between the position of +women artists and that of literary women. The literary woman, like the +man of letters, was not subjected to any special obligation beyond the +official sanction granting her the privilege of publication--a +sanction which bore only on the question of morals and religion. Every +woman was free to write without let or hindrance, without any +preliminary education, and even without going through the formalities +of publication or the necessities of printing, since a famous woman +like Madame de Sevigne owed her celebrity to letters which were not +destined to be made public. This explains the number of charming +writers among women who have added lustre to French literature by +their novels, stories, or simply by their letters, and enables one to +realise how these women authors are, in contradistinction to women +artists, persons of high standing. The chronicles of the Hotel de +Rambouillet constitute an interesting little chapter in the history of +letters in France, just as the "Precieuses Ridicules" or the "Femmes +Savantes" of Moliere reveal to us the defects and eccentricities into +which the literary pretensions of the feminine world had fallen in the +17th century. It cannot, however, be denied that the fair sex freely +infused into the literature of that period spontaneity, life and +spirit, piquancy, affectation, and the delicate sentiments inherent to +its nature, and that it had its share of influence on French taste at +that time. + +Altogether different is the position of their sisters, the +women-painters. Let us first look into that of the men. Painters +formerly were part of a Guild such as that of the Drapers, Bakers and +Butchers, and in their case it was a Guild which was far from +occupying the first place in the hierarchy of Guilds. The Butchers +were beyond doubt higher up in the scale than the painters. The +painters were subjected to narrow and despotic regulations; rigorous +conditions governed both apprenticeship and mastership, conditions +hardly encouraging to those who had a vocation, more especially in the +case of women, ill-protected by the weakness of their sex, by +prevalent custom, and ill-adapted for the struggle. The _regime_ of +the Academies, which followed that of the Guilds, did not bring in its +wake conditions in any degree profitable to womankind. The Academie de +Saint-Luc, while pretending to safeguard the professional interests of +artists, displayed such tyrannical pretensions that a certain number +of artists rose in revolt against it, and appealed to the Royal power, +which, approached by its chief painter, Charles Le Brun, came to their +rescue, by helping them to found the celebrated Academie Royale de +Peinture et de Sculpture (1666). The Academie Royale proved itself +somewhat more liberal. It set no limits to the reception of those who +seemed worthy of its suffrages; we know that it welcomed into its +bosom a number of strangers of merit, and that it opened its doors to +women. Therein lies a victory of appreciable importance, if one +considers the energy and the talent which women artists were compelled +to display, in order to conquer ancient prejudices in so signal a +fashion. Henceforth a place was assigned in art to women, a place +still hedged in with limitations, and which could be attained only by +the few privileged ones. For, in its turn, the Academie served the +purpose of a few, but not that of the many. The Academie reserved the +monopoly of exhibitions exclusively for its members; and artists who +did not, in one way or other, belong to this congregation, were +allowed to exhibit their works in public only once a year. It was on +the one day of the Octave of Corpus Christi, for a space of two hours, +in the open air, and within the circumference of the Place Dauphine. +All great artists had to submit to this treatment, ere they could +force the portals of the Academie. But times have changed! Our +contemporaries, so inconstant, so impatient, who wear out the +attention of the public by the excessive multiplicity of their +exhibitory manifestations, should occasionally think of the conditions +under which their forerunners laboured. + +Imagine a woman placed in the midst of these quarrels and struggles of +rival Academies, with men in strong and often fierce antagonism on all +sides of her; picture not only these general difficulties, but those +of a more particular sort which arise from the disabilities of her +sex, her subordinate state; think of the drawbacks--the prejudices, +the _convenances_ to be considered, and then the embarrassing +promiscuity of life in studio and school, particularly as regards the +study from the living model--and one can realise how brave, how +energetic, or how ambitious must be the woman who would win the title +of Artist. + +It is clear that the Royal Academy's liberal measure in opening its +doors to women of talent was an event of some importance, from the +moral point of view at any rate. It was the public recognition of +woman's capacity in matters of art, the official consecration of merit +which might come to light; also it afforded a goal to strive for--a +goal hard to reach and very remote, doubtless, but still a goal +possible of attainment to the most courageous and the most hopeful +among women. The real, as distinct from the moral, advantages were, +however, rather limited. From 1663, the date which marks the admission +of the first woman artist, to 1783, when the last was admitted--that +is to say during a period of eighty years--exactly fifteen women +painters were elected, and among them were three foreigners. In 1770, +indeed, on the nomination of Mlle. Giroust, wife of Roslin, the +painter, it was decided that, as there were already in the company two +other women previously elected, there must not be more than four women +in all within the Academy. This measure of restriction was renewed in +1783 and ratified by Royal ordinance on the election of Mme. Vigee Le +Brun. + +Nevertheless there was an appreciable number of women artists in +France throughout the course of the 18th century. Their social rank +was strictly confined. There were no "women of quality," such as were +to be found in the world of letters, no representatives of the +_bourgeoisie_ even. The women artists, with very rare exceptions, all +belonged to artist families. They were the wives, the daughters, the +sisters or the nieces of artists, and this tradition, as we shall see, +even continued long into the 19th century. Catherine Duchemin, the +first woman elected to the Academy, was the wife of the sculptor, +Girardon, while Genevieve and Madelaine Boulogne, both academicians, +were related to distinguished painters of that name. Mlle. Reboul was +Mme. Vien, and Mme. Labille des Vertus became Mme. Vincent on her +second marriage. Then we have Mlle. Natoire, sister of the director of +the Academy of France, Catherine van Loo, one of the innumerable +family of Van Loo, Mme. de Valsaureaux, _nee_ Parrocel, of the no less +numerous family of Parrocel, Mme. Therbouch, _nee_ Liscewska, all this +family, father, mother, and daughters alike, being painters; and Mme. +Vigee herself, who married the picture dealer Le Brun, was the +daughter of a portrait painter. + +During the 17th and 18th centuries these great artist families +intermarried to such an extent as to form a series of veritable +dynasties--for instance, those of the Coypels, the Coustous, the Van +Loos, the Boulognes, the Parrocels, and the Vernets, to name but a few +of the most renowned. Artist families became allied just as do those +of lawyers and merchants. Thus their social life grew more limited, +each category more and more distinct and apart, for these artist +families rarely strayed beyond their own _milieu_. And those very +circumstances which tended to retard the development of the artistic +calling in woman exerted their influence over the inspiration of the +female artist. The impossibility of pursuing very far the study of +anatomical drawing, owing to the nudity of the model, diverted them +almost entirely to the studies of observation and of imitation, to +portrait work, and flowers and animals and still-life. Later, when +they obtained greater liberty, they devoted themselves to _genre_ of a +size and kind demanding less substantial preparation. But as for +composition, they never touched "history," as it was termed--that is, +lofty, heroic or allegorical subjects--and if there should chance to +have been any exception to this rule, it was simply in the direction +of religious _motifs_. + + [Illustration: FRENCH SCHOOL, ABOUT 1793-1824 + Portrait of Gaetano Apollino Baldassare Vestris, Dancer + (1729-1808). Reproduced from a Photograph by permission of + Braun, Clement & Co., Paris + Madame Adele Romany, nee de Romance, Painter + exhibited from 1793 to 1824] + +Further, they long affected what may be called medium processes: +pastel, water-colour, miniature, all kinds of work offering +opportunity of finish and _eclat_. They showed a partiality for oil +painting after the manner of the smaller Dutch masters, who had no +more faithful imitators in all France. Mme. Vien, Mme. de Valsaureaux, +_nee_ Parrocel, and particularly Mme. Vallayer Coster--"_femme qui fut +un habile homme_," according to the verses written in her +honour--excelled in this style. + +Some of the "_Academistes_"--to use the old French expression--won +real celebrity, but few there were who achieved lasting glory. In the +reign of Louis XIV, the woman artist whose reputation shone with the +clearest lustre was Elisabeth Sophie Cheron, who excelled in all the +arts--for she was a clever painter, a consummate musician, a poet of +merit and _femme d'esprit_ into the bargain. Following the general +rule she belonged to one of the numerous artist families. Daughter of +a painter (Louis Cheron), she was also sister of a painter. This +latter, who was her junior, had talent, but not to the extent of the +elder. Elisabeth Sophie Cheron was of Huguenot family, as was +frequently the case among the Academicians, although, from what absurd +prejudice I know not, the _reformes_ were regarded as less artistic +than other folk. But in 1668,--she was twenty then--terrified no doubt +by the ever-increasing persecution of the Protestants--a persecution +which was soon to result in the Edict of Nantes--she, like her sister, +abjured her faith, whereas her brother, remaining true to the family +faith, was forced to take refuge in London, where he died.[1] + +[1] Several Academiciens of the reformed religion were excluded, or +obliged to submit to the Catholic religion. + +Sophie translated into French the Psalms of David, which her brother +illustrated admirably, and she has left at least one important +engraved work, but above all, she has left a number of portraits of +well-known people of her time, portraits that the sitters made her +copy four and even five times. + +Among other "_Academistes_," interesting if not so well known, was +that sister of the "_Visitandine_" order, Anne Marie Tresor, who +decorated with religious subjects the church of the monastery of the +"Dames de Ste. Marie de Chaillot." She was received by the Academy in +1676, and the choice of the Academy showed, as its accepted members +were of such different views, that the body was after all somewhat +broad in character. Another proof of this liberal spirit is to be +found in the fact that the Academy received foreign artists within its +body. There were three of them; the first was Mlle. Haverman, of Dutch +origin, who was, however, excluded shortly after her election--she +attempted to justify her election by sending in a painting which was +not her own, but the work of her master, Van Huysum. The second +foreign "_Academiste_" was specially illustrious and worthy of the +honour conferred on her. She was Rosalba Carriera, a Venetian, a woman +who was really original, and whose reputation has lived through the +centuries, but about whom, in this chapter devoted to France, I must +not speak at length. The last of the three was Mme. Terbouche, or, +more exactly, Therbousch, who, although born in 1728 at Berlin, was +numbered by our old museum catalogues in the ranks of the French +School. + +May 31st, 1783, was an exceptionally important date for the Academy, +in respect of women artists. On that day were received Mme. Vigee Le +Brun and Mme. Adelaide Labille Guyard (or Guiard). One may say that at +that very hour began officially the rivalry which constantly existed +between the two women, both of real merit, throughout their careers--a +rivalry which has been maintained in the preference shown for one or +the other, after death, by their historians. Mme. Vigee Le Brun was +the more celebrated of the two, and rightly so, for one might say that +of all the women painters of her time she had a personality quite her +own, quite feminine, rich in grace, ease, variety of attitude, gesture +and composition, discreet and delicate affectedness, freshness and +brightness. Mme. Vigee Le Brun was the daughter of a somewhat mediocre +painter, and the wife of a well-known picture dealer, whom she married +when quite young. She had lessons from Doyen, Greuze and Joseph +Vernet, and her success was quickly achieved. Mlle. Adelaide Labille +des Vertus, the daughter of a mercer, was married to a certain Guyard, +a neighbour. She did not live long with him, and had lessons from an +old friend, the painter Vincent (the father), and afterwards from La +Tour. While Mme. Le Brun, whose work was admired by Marie Antoinette, +was supported by the Court, Mme. Guyard secretly made friends in the +body of the Academy itself, painting the portraits of first one member +and then another. On the day of the election, she seemed to be +overcoming her rival, whom her friends succeeded in putting on one +side because the rules of the Academy forbade the traffic in pictures. +Mme. Le Brun was received only by order of the King. Her own +autobiography, as well as the pamphlets of the time, depict for us the +powerful rivalry which existed, and also the many calumnies with which +the three women painters were attacked (there was a third candidate, +Mme. Vallayer Coster), even in their private life, the persecution of +offensive insinuations, and the existence of the accusation so often +levelled against women painters, that their work is not their own. +Posterity has reconciled the rivals on the walls of our galleries. If +Mme. Vigee Le Brun certainly holds pride of place, Mme. Guyard, by her +more solid talent, perhaps more characteristic, has an enviable +position at her side. + +By the side of these celebrated women there are a few others of whom +the recollection is not quite so keen, but who were not without a +touching grace, though they lived their life within the sphere of +their masters' influence, illuminated by the renown of these masters +and breathing their atmosphere. It would not be right to say that +these women artists copied their masters, or slavishly imitated them, +but they transposed their qualities, elevated them by feminising them. +Of these, I may mention Mlle. Ledoux, who followed in the wake of +Greuze; Mlle. Marguerite Gerard, who lived under the shadow of +Fragonard; and that exquisite and sorrowful figure, Mlle. Constance +Mayer, whose devotion for her master Prudhon found its supreme +expression in her tragic end. Less brilliant, rather hidden in the +twilight of history, these women yet exercise on our thoughts an +influence more subtle and delicate, and more penetrating. + +The approach of the great national crisis, and even the worst days of +that period, at the same time glorious yet barbaric, did not +extinguish the zeal of the women painters. It seems rather as though +they shut themselves up in the study of their art so as to secure a +refuge for their hopes and their dreams. In the first "Salons" of the +century, one is surprised to find works by a comparatively large +number of women painters. In 1800, of 180 exhibitors they number 25; +eight years later, in the "Salon" of 1808, they are 46 out of 311. The +difficulties set up by the Academy were overcome, the liberty to +exhibit was a fresh encouragement, even an exceptional stimulus. The +figures, therefore, rise still further in the first quarter of the +century, so that in 1831 the women number 149 out of 873 exhibitors. +The "staff," so to speak, of the women artists of that day, +surrounding Mme. Vigee Le Brun, whose glorious and somewhat +chequered career did not close till 1842, included a number of +distinguished women, such as Mlle. Bevic and Mlle. Capet, pupils of +Mme. Guyard; Mme. Chaudet, the wife of the sculptor; Mlle. Eulalie +Morin; Mme. Adele Romance, who also signed Romany, or Romany de +Romance; the "good" Mlle. Godefroid, pupil of Baron Gerard, who helped +him in so many of the portraits of contemporary cosmopolitan people of +distinction, commissions for which rained in the master's studio, +after the entry of the allied forces into Paris. Later on, we have +Mlle. Cogniet; Mme. Filleul; Mme. Rude, the wife of the great +sculptor, who had a severe yet confident talent. Lastly, there was the +woman artist who benefited by all the advantages of fashion, Mme. +Haudebourt-Lescot. + + [Illustration: FRENCH SCHOOL, 1755-1842 + MADAME VIGEE LE BRUN AND HER DAUGHTER. AFTER THE PAINTING IN THE + LOUVRE, FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS + Madame Elisabeth Louise Vigee Le Brun, Painter + 1755-1842] + +Mlle. Lescot, wife of Haudebourt, the architect, and pupil of +Lethiere--mischievous tongues, of course, declared that he painted her +pictures--was a strange creature, who, at the start, owed the +popularity she obtained as much to her personal charm as to her real +talent. Her first success was in the drawing-room, where people +admired her dances. "She was," says a writer, "ugly and captivating, +with crooked eyes and a charming expression, her mouth ill-shaped, but +tender and inviting," such as Ingres represented her in one of his +finest pencil drawings. + +Hitherto, women had certainly banished themselves into the domain of +portrait or still-life painting, that is to say, they had done little +that was not sheer copying. But, little by little, under the influence +of the lesser Dutch masters, who had been passionately appreciated +since the close of the previous reign, and thanks to the opening of +the Royal Collections at the Luxembourg Palace, where they could be +studied and copied, the women-painters, following the example of the +masters who gained inspiration therefrom, began to devote themselves +to landscape and to _genre_. They sought out little touching subjects, +which very frequently bordered on the ridiculous. For example, "the +child's bed catches fire through the carelessness of the nurse who has +fallen asleep, and the dog attempts to waken her." + +Mlle. Lescot cut herself adrift from all these insipidities. The +opportunity came for her to spend several years in Rome. She was +struck by the popular customs of the country, by its colour and that +singular and picturesque charm which Granet had been the first to +discover--the charm which, after her own time, was to be made further +known by the paintings of the well-known Leopold Robert. As a matter +of fact, she was practically the creator of the type of exotic +subjects borrowed from Italy, to which numerous artists in France +devoted themselves--Hebert, Bonnat and Jules Lefebvre, to name but a +few of the most important of them. In choosing her _motifs_ she +displayed wit and inventiveness, and at times a delicate grace, +notably in her first pictures, before the desire to satisfy a daily +increasing connection had driven her into unduly hurried work. Her +technique, too, was brisk, yet careful, as it should be in small works +such as hers. Her lightly-touched lithographs, together with those +which she did "after" her own pictures, contributed to popularise her +special subjects and her name. + +The novelty of these paintings, devoted to the cult of "local colour," +caused them to be adopted as "romantic." It was the same with Schnetz +and Leopold Robert, who shared the popularity. But the real "Young +romantic" among artists was Mlle. de Fauveau. What one discovers with +regard to her is that she is not a painter but a sculptor. The Royal +Academy of the 17th century had already boasted certain wood carvings +by _la demoiselle_ Masse. Also, there was Mme. Falconet. But the great +and austere art was cultivated only as a rare exception by woman. +Mlle. Felicie de Fauveau was the first pre-Raphaelite, although the +return to the primitive Italian masters of the 16th century dates +further back, but with cropped head under a velvet toque, after the +style of Raphael himself, she unceasingly uttered curses against that +noble personality, whose brush produced the highest incarnation of the +art of painting. + +But the naturalist movement it was that witnessed the development of +the greatest artistic personality in the feminine world of +to-day--Rosa Bonheur. The _role_ played by Rosa Bonheur is important +from the feminine point of view, for the reason that she broke away +from ancient traditions. She revealed what woman was capable of in the +matter of energy, of continuity of purpose, of method, of scientific +direction, in a word, in the indispensable impetus of inspiration. +Before her day, the woman-painter had always been looked upon rather +as a phenomenon, or her place in the domain of art was conceded to her +on the grounds that she was indulging in an elevating and tasteful +pastime, coming under the category of "accomplishments." Rosa Bonheur +gave to woman a position equal to that of man. She won for herself +unanimous admiration, based, not on the singularity of her life, not +on looseness of morals, not on social triumphs, not on friends at +Court, but on her robust, virile, observant and well-considered +talent, which in its turn was based on a primary study of anatomy and +osteology, developed by a continuous observation of the constitution +and the life of the animal world. Her long life was crowned with +glory. She held an exceptional place in art, akin to that of George +Sand in the world of letters. + +From that day forth, there appeared a new phase in the artistic life +of woman. Art became for her, not merely an intellectual pastime, but +a vocation and a career. Rosa Bonheur lived nearly to the close of the +nineteenth century, seeing many revolutions both in French life and in +French art, but remaining always quite true to herself. Perhaps the +most uncertain period of all, historically, so far as women were +concerned, was that period of wave-like fluctuation in French art that +occurred in the seventies and eighties, reflecting itself in the work +of such women painters as Angele Dubos, Jeanne Fichel, Marie Petiet, +Laure de Chatillon, Felicie Schneider, Eva Gonzales, Marie Nicolas, +and Rosa Bonheur's successor--her heiress, so to speak--Madame +Virginie Demont-Breton, the daughter, wife and niece of a family of +distinguished artists. She has achieved a well-deserved popularity +with her subjects of popular and rustic life, and, like Rosa Bonheur, +has attained the rank of officer of the Legion of Honour. Two other +feminine personalities have attracted the attention of both public +and artists, the one, the sister-in-law of Manet, the delightful +Mademoiselle Morisot, who has, so to speak, improved on the refinement +of her master; the other, that strange and alluring young Russian +girl, who adopted France as her Fatherland, and whom France adopted as +artist. Marie Bashkirtseff, struck down by a cruel and premature +death, at the age of twenty-three, revealed something far more than +mere happy gifts. One is surprised at the amount of studies produced +by the unfortunate and beautiful creature in the short space allotted +to her for her life-work. + +We now enter upon the present period of woman's artistic life, the +active period, let us call it. We no longer trouble about her place at +our exhibitions, since she has nowadays her own exhibition, or rather +exhibitions proper to herself. Among the many youthful _amateurs_ who +constitute the bulk of feminine artists, one finds a number of true +artists. To name a few: Mademoiselle Louise Abbema, Madame Madeleine +Lemaire, Madame Nanny Adam, Mlle. Fierard, Mme. Vallet-Bisson, Madame +Chatrousse, Madame Darmesteter, Mme. Delacroix-Garnier, Mme. +Baury-Saurel, and many others, as this book proves. + +Several women-artists have won their place in the National Museum, +wherein first rank is held, after Rosa Bonheur and Mme. Demont-Breton, +by Madame Marie Cazin, painter and sculptor, Madame Victoria Dubourg +(widow of Fantin-Latour), Mlle. Dufau, who has just been commissioned +to execute some important decorations for the Sorbonne, Mlle. +Delasalle, Mlle. Marie Gautier, Senora Eva Gonzales, and a couple of +semi-naturalised foreigners, Miss Mary Cassatt, an American, and Mlle. +Breslau, a Swiss--both dames of the Legion of Honour. + +To conclude, women are proving just now not only that the domain of +art should be open to them as freely as it is to men, on the grounds +of right and reason, but also that they are specially gifted by their +delicate sensitiveness, their quickness of comprehension, their +initiative faculty, and lastly, by all the phases of their natural +temperament, and by their intelligence to endow art with the elements +of expression and beauty proper to womankind. + + LEONCE BENEDITE. + + [Illustration: FRENCH SCHOOL, 1768-1826 + PORTRAIT OF MARIE PAULINE, PRINCESSE BORGHESE. AFTER THE + PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS + Madame Marie Guilhelmine Benoits, Painter + 1768-1826] + + [Illustration: FRENCH SCHOOL, XVII AND XVIII CENTURIES + PORTRAIT OF MADAME VICTOIRE DE FRANCE. AFTER THE ORIGINAL + PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY BRAUN CLEMENT AND + CO., PARIS + Madame Guyard, nee Labille des Vertus, Painter + 1749-1803] + + [Illustration: PORTRAIT OF MARIE DE RABUTIN-CHANTAL, MARQUISE DE + SEVIGNE (1626-1696) AFTER THE ORIGINAL PAINTING AT VERSAILLES, + FROM A COPYRIGHT PHOTOGRAPH BY NEWIDEIN, PARIS Mademoiselle de + Vanteuil, Painter + 17th Century] + + [Illustration: FRENCH SCHOOL, XVIII CENTURY + THE SONS OF CHARLES X. OF FRANCE. AFTER AN ORIGINAL PICTURE IN + THE MUSEE DE VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS + Madame Anna Rosalie Filleul, nee Bocquet, Painter + Died 1794] + + [Illustration: FRENCH SCHOOL, XVIII CENTURY + PORTRAIT OF THE DUC D'ANGOULEME, SON OF CHARLES X FROM A + PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS, AFTER AN ORIGINAL + PASTEL AT VERSAILLES + Madame Filleul, nee Bocquet, Pastellist + Died 1794] + + [Illustration: PORTRAIT OF MADAME RECAMIER IN THE YEAR 1799. + FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., AFTER AN ORIGINAL + PAINTING AT VERSAILLES Madame Eulalie Morin, Painter Late 18th + Century] + + [Illustration: FRENCH SCHOOL, XVIII CENTURY + PORTRAIT OF ELISABETH OF FRANCE, DUCHESS OF PARMA. AFTER THE + ORIGINAL PAINTING AT VERSAILLES FROM A PHOTOGRAPH BY NEWIDEIN, + PARIS + Madame Adelaide Guyard, nee Labille des Vertus, Painter + In second marriage Mme. F. A. Vincent + 1749-1803] + + [Illustration: FRENCH SCHOOL, XIX CENTURY + Portrait of Madame Adelaide D'Orleans (1777-1847). After the + painting at Chantilly, from a Photograph by Braun, Clement & + Co., Paris + Mademoiselle Marie Amelie Cogniet, Painter + 1798-1869] + + [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES + PORTRAIT OF QUEEN MARIE ANTOINETTE AND HER CHILDREN. AFTER THE + ORIGINAL PAINTING AT VERSAILLES, FROM A CARBON PRINT BY BRAUN, + CLEMENT & CO., PARIS + Madame Elisabeth Louise Vigee Le Brun, Painter + 1755-1842] + + [Illustration: FRENCH SCHOOL, BETWEEN 1792 AND 1820 + PORTRAIT IN THE PINACOTECA AT TURIN DATED 1792. FROM A + PHOTOGRAPH BY ALINARI + Madame Elisabeth Louise Vigee Le Brun, Painter + 1755-1842] + + [Illustration: "THE MINIATURE." FROM THE PAINTING IN THE GLASGOW + GALLERY AFTER A PHOTOGRAPH BY HANFSTAENGL Madame Caroline de + Valory, Pupil of Greuze, Painter Early 19th Century] + + [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES + PORTRAIT OF MADAME LE BRUN, AFTER THE ORIGINAL PAINTING IN THE + NATIONAL GALLERY, LONDON, FROM A PHOTOGRAPH BY HANFSTAENGL + PORTRAIT OF LOUISE MARIE ADELAIDE DE BOURBON (1753-1821). AFTER + THE ORIGINAL PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY + NEWIDEIN, PARIS + Madame Elisabeth Louise Vigee Le Brun, Painter + 1755-1842] + + [Illustration: FRENCH SCHOOL, EARLY XIX CENTURY + PORTRAIT OF AN ACTRESS, PROBABLY MLLE. BELIER. REPRODUCED FROM A + PHOTOGRAPH OF THE ORIGINAL PAINTING BY PERMISSION OF BRAUN, + CLEMENT & CO., PARIS + Mademoiselle Bouilliar, Painter + Early 19th Century] + + [Illustration: FRENCH SCHOOL, XIX CENTURY + STUDY OF A BULL REPRODUCED FROM A PHOTOGRAPH, BY PERMISSION OF + BRAUN, CLEMENT & CO., PARIS, OWNERS OF THE COPYRIGHT + Mademoiselle Rosa Bonheur, Painter + 1822-1899] + + [Illustration: FRENCH SCHOOL, EARLY XIX CENTURY + PORTRAIT OF DAME DE LONGROIS (1763-1826). AFTER THE PASTEL IN + THE TROCADERO FROM A CARBON PRINT BY BRAUN, CLEMENT & CO., PARIS + Mlle. Marie Gabrielle Capet, Pupil of Madame Guyard, Painter + 1761-1818] + + [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES + MADAME VIGEE LE BRUN AT HER EASEL. AFTER THE ORIGINAL PAINTING + IN THE UFFIZI, FLORENCE, FROM A PHOTOGRAPH BY W. A. MANSELL & + CO. + Madame Elisabeth Louise Vigee Le Brun, Painter + 1755-1842] + + [Illustration: FRENCH SCHOOL, 1778-1821 + THE HAPPY MOTHER. AFTER THE ORIGINAL PAINTING IN THE LOUVRE, + PARIS, FROM A COPYRIGHT PHOTOGRAPH BY BRAUN, CLEMENT & CO. + Mademoiselle Marie Francoise Constance Mayer, Painter + 1778-(committed suicide)1821] + + [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES + PORTRAIT OF MARIE ANTOINETTE, QUEEN OF FRANCE (1755-1793). AFTER + THE ORIGINAL PAINTING AT VERSAILLES FROM A PHOTOGRAPH BY BRAUN, + CLEMENT & CO., PARIS + Madame Elisabeth Louise Vigee Le Brun, Painter + 1755-1842] + + [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES + PORTRAIT OF THE DUCHESS OF POLIGNAC. FROM A PHOTOGRAPH BY BRAUN, + CLEMENT & CO., PARIS + Madame Elisabeth Louise Vigee Le Brun, Painter + 1755-1842] + + [Illustration: FRENCH SCHOOL, 1767 TO 1830 + PORTRAIT OF MADAME VILLOT, NEE BARBIER. FROM A CARBON PRINT BY + BRAUN, CLEMENT & CO., PARIS + Mme. Jeanne Elisabeth Chaudet, nee Gabiou, Painter + 1767-1830] + + [Illustration: PORTRAIT OF MARGUERITE J. A. HOUDON, FIRST COUSIN + OF HOUDON THE SCULPTOR. PHOTOGRAPH BY BRAUN CLEMENT & CO. Mlle. + Marguerite J. A. Houdon, Painter 1771-1795] + + [Illustration: FRENCH SCHOOL, 1778-1849 + PORTRAIT OF MADAME DE STAEL (1766-1817). AFTER THE ORIGINAL + PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN + PORTRAIT OF CHARLES MAURICE, PRINCE OF TALLEYRAND-PERIGORD + (1754-1838). FROM A PHOTOGRAPH BY NEWIDEIN, AFTER THE PAINTING + AT VERSAILLES + Mademoiselle Marie Eleonore Godefroid, Painter + 1778-1849] + + [Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES + PORTRAIT OF MADAME MOLE-RAYMOND, ACTRESS OF THE + COMEDIE-FRANCAISE. AFTER THE ORIGINAL PAINTING IN THE LOUVRE, + FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO. + Madame Elisabeth Louise Vigee Le Brun, Painter + 1755-1842] + + [Illustration: FRENCH SCHOOL, XIX CENTURY + "Shepherd Watching his Sheep." After the picture in the Musee de + Chantilly, from a Copyright Photograph by Braun, Clement & Co., + Paris + Rosa Bonheur, Painter + 1822-1899] + + [Illustration: FRENCH SCHOOL, XIX CENTURY + PORTRAIT OF MARSHAL LEFEVRE, DUKE OF DANTZIC. FROM A PHOTOGRAPH + BY NEWIDEIN AFTER THE PAINTING AT VERSAILLES + Madame C. H. F. Davin, nee Mirvault, Painter + 1773-1844] + + [Illustration: PORTRAIT (PAINTED BY HERSELF) OF MADAME RUDE, + PUPIL OF DAVID. FROM A PHOTOGRAPH BY NEWIDEIN, PARIS, AFTER THE + ORIGINAL PAINTING AT DIJON Madame Sophie Rude, nee Fremiet, + Painter + 1797-1867] + + [Illustration: FRENCH SCHOOL, EARLY XIX CENTURY + A GOOD DAUGHTER. REPRODUCED AFTER THE ORIGINAL PICTURE, FROM AN + ENGRAVING BY S. W. REYNOLDS + Madame Antoinette Cecile Haudebourt Lescot, Painter + 1784-1845] + + [Illustration: FRENCH SCHOOL, 1847 + PLOUGHING IN THE NIVERNAIS. DATED 1847. AFTER THE ORIGINAL + PAINTING IN THE MUSEE DU LUXEMBOURG, FROM A CARBON PRINT BY + BRAUN, CLEMENT & CO. + Mademoiselle Rosa Bonheur, Painter + 1822-1899] + + [Illustration: FRENCH SCHOOL, XIX CENTURY + THE HORSE FAIR. AFTER THE ORIGINAL PICTURE IN THE TATE GALLERY, + LONDON, FROM A PHOTOGRAPH BY THE AUTOTYPE COMPANY, NEW OXFORD + STREET, LONDON + Mademoiselle Rosa Bonheur, Painter + 1822-1899] + + [Illustration: FRENCH IMPRESSIONIST SCHOOL, XIX CENTURY + PORTRAIT OF A YOUNG WOMAN SEATED. REPRODUCED FROM THE ORIGINAL + PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND + NEW YORK + Berthe Morisot, Painter + 1840-1895] + + [Illustration: FRENCH IMPRESSIONIST SCHOOL, XIX CENTURY + THE JETTY.--AN OUTDOOR IMPRESSION. REPRODUCED FROM THE ORIGINAL + PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND + NEW YORK + Berthe Morisot, Painter + 1840-1895] + + [Illustration: FRENCH SCHOOL, 1879 + THE KING OF THE DESERT. FROM AN ORIGINAL PAINTING IN THE PRADO, + MADRID, DATED 1879. AFTER A PHOTOGRAPH BY J. LAURENT & CO., + MADRID + Mademoiselle Rosa Bonheur, Painter + 1822-1899] + + [Illustration: FRENCH SCHOOL, ABOUT 1879 + 'BRISCO,' A SHEPHERD'S DOG. AFTER THE ORIGINAL PAINTING IN THE + WALLACE COLLECTION, LONDON, FROM A PHOTOGRAPH BY W. A. MANSELL & + CO. + Mademoiselle Rosa Bonheur, Painter + 1822-1899] + + [Illustration: FRENCH SCHOOL, 1878 AND 1879 + A NEW SONG. FROM THE ORIGINAL PAINTING, DATED 1879, AFTER A + PHOTOGRAPH BY BRAUN, CLEMENT & CO. + Mademoiselle Angele Dubos, Painter] + + [Illustration: THE BOUQUET. FROM THE ORIGINAL PAINTING, DATED + 1878, AFTER A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS Madame + Jeanne Fichel, nee Samson, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + MISTLETOE. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY + MESSRS. BRAUN, CLEMENT & CO., PARIS + Madame Jacqueline Comerre-Paton, Painter] + + [Illustration: FRENCH SCHOOL, 1878 AND 1881 + THE KNITTER ASLEEP. AFTER THE ORIGINAL PICTURE, DATED 1881, FROM + A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS + Mademoiselle Marie Petiet, Painter] + + [Illustration: A YOUNG ADOLESCENT. FROM A PICTURE EXHIBITED AT + THE SALON IN 1878, AFTER A PHOTOGRAPH BY BRAUN, CLEMENT & CO. + Madame Laure de Chatillon, Painter] + + [Illustration: FRENCH SCHOOL, 1880 + PRIVATE AND CONFIDENTIAL. AFTER AN ORIGINAL PICTURE EXHIBITED AT + THE PARIS SALON IN 1880 + Madame Armand Emilie Leleux, Painter] + + [Illustration: SITTING FOR A PORTRAIT IN 1806. AFTER THE + ORIGINAL PICTURE FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., + PARIS Mademoiselle Jeanne Rongier, Painter] + + [Illustration: FRENCH SCHOOL, ABOUT 1881 + "REGALEZ-VOUS, MESDAMES!" AFTER THE ORIGINAL PAINTING, DATED + 1881, FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO. + Mlle. Jenny Zillhardt, Painter + BY THE BANK OF A STREAM. FROM A PHOTOGRAPH BY BRAUN, CLEMENT & + CO., PARIS + Mlle. Hermine Waternau. Painter] + + [Illustration: FRENCH SCHOOL, 1882 + FATHER RICARD. AFTER A PAINTING EXHIBITED AT THE SALON IN 1882, + FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO. + Mlle. Marie Nicolas, Painter] + + [Illustration: THE LAST SURVIVORS OF A FAMILY. FROM A PHOTOGRAPH + OF THE ORIGINAL PAINTING BY BRAUN, CLEMENT & CO., PARIS Madame + Felicie Schneider, Painter] + + [Illustration: FRENCH SCHOOL, XIX CENTURY + PORTRAIT OF A LADY SEATED. AFTER THE PASTEL IN THE MUSEE DU + LUXEMBOURG, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS + Madame Eva Gonzales, Pastellist + 1849-1883] + + [Illustration: FRENCH SCHOOL, BETWEEN 1882 AND 1898 + CHARITY. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY BRAUN, + CLEMENT & CO., PARIS + Madame Uranie Colin-Libour, Painter] + + [Illustration: "FLEURS DE SERRE." FROM A PHOTOGRAPH OF THE + ORIGINAL PAINTING BY BRAUN, CLEMENT & CO., PARIS Madame Alix + Enault, Painter] + + [Illustration: FRENCH SCHOOL, 1883 + ON THE SEA-SHORE. AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG, + PARIS, DATED 1883, FROM A PHOTOGRAPH BY MESSRS. LEVY & SONS, + PARIS + Madame Virginie Demont-Breton, Painter] + + [Illustration: FRENCH SCHOOL, 1887 TO ABOUT 1892 + BEFORE THE DANCE. AFTER AN ORIGINAL PAINTING DATED 1887, FROM A + PHOTOGRAPH BY NEWIDEIN, PARIS + Madame E. de Tavernier, Painter] + + [Illustration: DESOLATION. AFTER THE ORIGINAL STUDY FROM A + PHOTOGRAPH LENT BY THE ARTIST Madame Marie Cazin, Painter] + + [Illustration: FRENCH SCHOOL, 1885 AND 1890 + IN THE GYNAECEUM. DATED 1885. FROM A PHOTOGRAPH OF THE ORIGINAL + PAINTING BY BRAUN, CLEMENT & CO., PARIS + Mlle. Diana Coomans, Painter] + + [Illustration: AT LOW TIDE. AFTER THE ORIGINAL PICTURE, DATED + 1890. FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO. Mlle. Eugenie + Salanson, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + "Sleep." Reproduced from a Photograph by permission of Braun, + Clement & Co., the Owners of the Copyright. + Francine Charderon, Painter] + + [Illustration: FRENCH SCHOOL, FROM 1880 TO THE PRESENT DAY + THE FRUIT GIRL. AFTER THE ORIGINAL PICTURE BY PERMISSION OF + MESSRS. DURAND-RUEL & SONS, PARIS + Madame Eva Gonzales, Painter + 1849-1883] + + [Illustration: STUDY FROM A MODEL. AFTER THE ORIGINAL PAINTING + FROM A PHOTOGRAPH LENT BY THE ARTIST Mademoiselle Dufau, + Painter] + + [Illustration: FRENCH SCHOOL, 1880 AND 1894 + A GOOD CIGARETTE. AFTER THE ORIGINAL PAINTING, DATED 1880, FROM + A PHOTOGRAPH BY BRAUN, CLEMENT & CO. + Madame Delphine de Cool, nee Fortin, Painter] + + [Illustration: A HOLIDAY AT SOSTHENE. AFTER THE ORIGINAL + PAINTING, DATED 1894, FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO. + Madame Blanche Paymal-Amouroux, Painter] + + [Illustration: FRENCH SCHOOL, 1894 + "STELLA MARIS." AFTER THE ORIGINAL PAINTING, DATED 1894, AND + EXHIBITED AT THE SALON IN 1895, FROM A PHOTOGRAPH BY NEWIDEIN, + PARIS + Madame Virginie Demont-Breton, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + MATERNAL LOVE. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY + BRAUN, CLEMENT & CO., PARIS + Elizabeth Gardner (Madame W. A. Bouguereau), Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + "THE PATHWAY TO THE VILLAGE CHURCH." AFTER THE ORIGINAL PAINTING + FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS + Madame Fanny Fleury, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + THE GODDESSES BEFORE PARIS. + FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO. + Elisabeth Sonrel, Painter] + + [Illustration: WINTER. AFTER THE ORIGINAL PAINTING FROM A + PHOTOGRAPH BY BRAUN, CLEMENT & CO. Mlle. Louise Abbema, + Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + THE JUDGMENT OF PARIS. AFTER THE ORIGINAL PICTURE FROM A + PHOTOGRAPH BY BRAUN, CLEMENT & CO. + Elizabeth Gardner (Madame W. A. Bouguereau), Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + MOTHER AND CHILD + AFTER THE ORIGINAL PICTURE + Madame Marie Cazin, Painter] + + [Illustration: THE SHEPHERD AFTER THE ORIGINAL PAINTING Madame + Marie Cazin, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + IMPRESSION OF A CITY. + AFTER THE ORIGINAL PAINTING + Mademoiselle Dufau, Painter] + + [Illustration: A BASKET OF FLOWERS. AFTER THE ORIGINAL PAINTING + Madame Victoria Dubourg (Fantin-Latour), Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + "THE DEPARTURE." REPRODUCED BY PERMISSION AFTER A PHOTOGRAPH BY + BRAUN, CLEMENT & CO., PARIS + Madame Vallet-Bisson, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + CHARACTER IN SPAIN + AFTER THE ORIGINAL STUDY + Mademoiselle Dufau, Painter] + + [Illustration: STUDY OF TIGERS. AFTER THE ORIGINAL PAINTING + Madame Abran, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + "LES CHANDELLES." AFTER AN ORIGINAL PAINTING EXHIBITED AT THE + SALON IN 1896, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS + Madeleine Carpentier, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + IN SEARCH OF PREY. AFTER AN ORIGINAL PICTURE EXHIBITED AT THE + PARIS SALON IN 1900, FROM A PHOTOGRAPH BY NEWIDEIN + Mademoiselle E. Hilda, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + ROMEO AND JULIET. AFTER AN ORIGINAL PAINTING EXHIBITED AT THE + PARIS SALON IN 1900, FROM A PHOTOGRAPH BY NEWIDEIN + Mademoiselle A. Oppenheim, Painter] + + [Illustration: FRENCH SCHOOL, ABOUT 1892. + WILL YOU BUY? AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY + MESSRS. BRAUN, CLEMENT & CO., PARIS + Mademoiselle Consuelo Fould, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + CHILDREN EATING SOUP IN A CHARITY SCHOOL. FROM AN ORIGINAL + PICTURE EXHIBITED AT THE PARIS SALON IN 1901. FROM A PHOTOGRAPH + BY NEWIDEIN + Mademoiselle E. Herland, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + COURTSHIP FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY BRAUN, + CLEMENT & CO., PARIS + Mdlle. Achille-Fould, Painter] + + [Illustration: FRENCH SCHOOL, CONTEMPORARY + "BEBE ET ZIZON." REPRODUCED FROM A PHOTOGRAPH BY NEWIDEIN + Madame Lucas-Robiquet, Painter + "DO YOU WANT A MODEL?" FROM A PHOTOGRAPH BY NEWIDEIN + Madame Real del Sarte, Painter] + + [Illustration: THE LESSON. AFTER THE ORIGINAL PAINTING FROM A + PHOTOGRAPH BY BRAUN CLEMENT & CO. Mlle. Josephine Houssay, + Painter] + + [Illustration: FRENCH SCHOOL, 1903 AND 1904 + PORTRAIT. AFTER THE ORIGINAL PAINTING, FROM A PHOTOGRAPH BY + BRAUN, CLEMENT & CO., PARIS + Madame Le Roy, Painter] + + [Illustration: FLORA. AFTER THE ORIGINAL PAINTING, FROM A + PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS Mademoiselle Claudie, + Painter] + + + + +Women Painters in Belgium and in Holland + +By N. Jany. Translated by Edgar Preston + + +As far as we are able to ascertain, the history of the present subject +takes us back to the time of Hubert and Jean Van Eyck, whose sister +Marguerite made a name for herself in art. In the important volume by +M. J. du Jardin, "L'Art Flamand," there is reproduced a drawing +"after" a miniature by Marguerite Van Eyck, representing St. Catherine +and St. Agnes, but we read elsewhere that "no work can with certainty +be attributed to her." + +Among women workers a century later, we find: Clara de Keyzer, Suzanne +Horebout and Anna Smyters, all three of Ghent. Clara de Keyzer, who +flourished about 1530, visited Germany, Italy, France and Spain. +Suzanne Horebout (1503-1545) was the daughter of Gerard Horebout, a +painter of Ghent, who betook himself to England, and became painter to +Henry VIII. Duerer knew him at Antwerp, in 1521, and there paid homage +to the skill of his daughter, who was then barely 18 years of age. She +accompanied her father to England, and was there received with the +utmost favour; she made a rich marriage with John Parcker (or Parker), +one of the King's archers, and died full of honours in her adopted +country. + +Anne Smyters who flourished about 1540, is named in words of praise by +Van Mander, Vaernewyck and Guicciardini. She married the celebrated +sculptor, Jean de Heere, and was the mother of Luc de Heere, the +painter, who made a long stay in England, where, among other works of +importance, he did a series of decorative paintings for the Earl of +Lincoln. + +Siret's "Dictionnaire" tells us that "in 1868, M. Lescart, a barrister +of Mons, was the possessor of the only known picture by Catherine van +Hemessen. This is a half-length study of the Virgin fondling the +infant Christ, with a background of landscape wherein one perceives +snow. It is painted on wood, and bears the signature: 'Caterina de +Hemessen pingebat.'" But there is in London an interesting portrait of +a man, by her, dated 1552, and an illustration of it will be found on +page 263. + +Then comes a series of daughters (and a sister) of famous painters, +viz: Justine van Dyck; Gertrude van Veen; Catherine Pepyn; Catherine +Peeters; Anne-Marie, Francoise-Catherine and Marie-Therese van +Thielen; and Laurence-Catherine Ykens. The daughter of Antony van Dyck +was born in London, in 1641. "She was wedded at the age of 12," says +Siret's "Dictionnaire," "to Sir John Stepney de Prendergast, and +abjured Protestantism at Antwerp on the 19th of August, 1660. Left a +widow, she made a second marriage with Martin de Carbonell. Van Dyck's +daughter was unfortunate, for she found herself compelled to ask the +King for a pension, which she obtained." + +The daughter of Otto van Veen, known as Venius, the teacher of Rubens, +was born at Antwerp in 1602. She was a pupil of her father, and +married Louis Malo. The Brussels gallery contains a portrait of her +father, from her brush. She died in 1643. The daughter of Martin Pepyn +lived in Antwerp about 1619. She specialised in portrait work, and was +received into the Corporation of St. Luke, of that city, in 1650, by +virtue of being a daughter of the master. + +The success obtained by the flower-paintings of Seghers and Breughel +suddenly caused a great development of this special branch of art, to +which, moreover, the celebrated Dutchman Jean-David de Heem, then +domiciled in Antwerp, was a notable contributor. Among the women who +became inspired by their example and followed their technique may be +mentioned: Catherine Peeters, and the three daughters, pupils of the +painter, Jean-Philippe van Thielen (himself a direct disciple of +Seghers), and Laurence-Catherine Ykens. + +The registers of the Antwerp Academy for 1784 contain the name of +Marie Baesten, _nee_ Ommeganck. Siret's "Dictionnaire" also mentions +(at Bruges), the daughter of Louis de Deyster, the painter. Anne de +Deyster (1690-1747) attracted notice by the perfection with which she +copied her father's pictures. Gertrude de Pelichy, of Utrecht +(1743-1825), was appointed an honorary member of the Imperial and +Royal Academy of Painting in Vienna, and at Bruges she painted the +portrait of the Emperor Joseph II., and that of the Empress +Maria-Theresa. + +At the opening of the 19th Century, the Art of the Miniature was +cultivated--as they expressed it in those days--by Marie-Josephe +Dargent of Liege, a daughter and pupil of Michel Dargent, the elder, +Hortense van Baerlen, and Amelie van Assche, whose sister, Isabelle +Catherine, a pupil of her uncle, Henry van Assche, had devoted herself +to landscape painting. + +Siret's dictionary then notices a large number of women painters both +historical and _genre_. + +Marie-Adelaide Kindt of Brussels, who was a pupil of David and of +Navez, and visited Germany and France; Julie-Anne-Marie Noel, +wife of the painter, J. B. van Eycken, of Brussels; Mme. +Isabelle-Marie-Francoise Geefs, _nee_ Corr, of Brussels, a pupil of +Navez; Mme. de Keyzer, _nee_ Marie Isabelle Telghuis, wife of the +former director of the Antwerp Academy, Nicaise de Keyzer. As to Mme. +O'Connel, _nee_ Frederique Miethe, of Berlin, a pupil of Begas and of +Gallait, "there is (writes C. Lemonnier in his 'Histoire des Beaux +Arts en Belgique'), in her wild paintings, as it were, a reflection of +Rubens." + +Mlle. C. de Vrient, of Ghent, sister of the painters Albert and +Julien, was a flower painter of distinction, like Mlle. Renoz, Mlle. +de Franchimont, Mlle. F. Capesius and Mlle. E. de Vigne. Marie +Ommeganck, a sister of the renowned Balthazar Ommeganck, surnamed the +"Racine des Moutons," painted several landscapes in the manner of her +brother; Mlle. Euphrosine Beernaert, of Ostend, a pupil of L. Kuhnen, +painted landscapes characteristic of Zeeland and the Campine. The +Brussels Gallery has several of her works, including _Les Vieux +Chenes, ile de Walcheren_, and a _Lisiere de Bois en Hollande_. + +Before citing the names of the professional women painters who +continue to contribute to the fame of the Belgian School, let me say a +word in admiration of the talent of sundry "amateurs" (as they are +called, to distinguish them from the others), chief among whom is +H.R.H. the Comtesse de Flandre. The small-sized portraits in oils +painted by the Duchesse d'Ursel are restrained in manner and full of +charm. + +Furthermore, the pastel portraits by the Baroness Lambert de +Rothschild attract attention by the richness of their colouring and +their firm drawing, while those of the Comtesse Ghislaine de Caraman +impress one by their distinction and their style. Madame Philippson, +who is at present devoting herself specially to sculpture, has +exhibited oil paintings, boldly handled and decorative in effect, and +Madame Rolin-Jacquemyns has engraved in most skilful fashion several +etchings representing "The Desolate Spots of the Campine." + +The most notable of the women-painters of the Belgian School to-day is +certainly Madame Marie Collart, who with rare skill, has chosen a path +to herself whereon she walks alone with an admirable instinct for +intimate rusticity, showing much deep feeling. The painting of Mlle. +Anna Boch, on the other hand, is bright and gay. She formed one of the +famous group of the XX., and following the example of several of its +members, she has now turned her attention to the special study of +light in the open air. Mlle. Louise Heger, after painting the lonely +_dunes_ of Flanders, and the Campine, has been studying and skilfully +representing the slaty tints of the high plateau of the Ardennes. + +The most interesting of the "Menages d'artistes" existing at present +in the Belgian School is that of the Wytsmans. While Rodolph Wytsman +seeks out the characteristic aspects of the landscapes of Brabant and +the silent spots among the Flemish towns, Mme. Juliette Wytsman, for +her part represents, so to speak, the floral life of the sites chosen +by her husband. She has indeed created a _genre_ in which she is +without a rival. + +The daughters of the German engraver, Hoppe, one of whom has married +Bernier, the animal painter, and the other the landscapist, Gilsoul, +have likewise attained celebrity. + + [Illustration: DUTCH SCHOOL, XVII CENTURY + THE MERRY YOUNG MAN. FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE + PAINTING IN THE RIJKSMUSEUM AMSTERDAM. + Judith Leyster, Painter + 1600(?)-1660] + +The daughters and granddaughters of famous artists form yet another +section. Mlle. Alice Ronner, of Brussels, daughter of Mme. Henriette +Ronner, is beyond dispute the foremost painter of still-life in +Belgium to-day. Her technical qualities are of the highest order, her +_mise-en-page_, her draughtsmanship and her colour are in the grand +style, and her works one and all have a really masterly air. Mlle. +Marguerite Verboeckhoven, the granddaughter of the famous animal +painter, has set herself to study the delicate gradations of colour +seen on the Belgian littoral. Mlle. Verwee, daughter of the painter of +the _Beau Pays de Flandre_, exhibits portraits, which display the +wealth of her palette; and the still-life subjects by Mlle. Georgette +Meunier, daughter of the engraver, Jean Baptiste, and niece of the +great Constantin Meunier, are delicate both in design and in +colouring. She is a pupil of Alfred Stevens. + +Mme. Destree-Danse and Mlle. Louise Danse, daughters of Auguste Danse, +the engraver, have revealed themselves worthy of their father's high +gifts. Mlle. Wesmael, in some remarkable landscapes, and Mme. Marie +Durand, who has done some interesting heads, both prove that in +Auguste Danse the teacher is fully worthy of the artist. + +With regard to Mlle. Alix d'Anethan, C. Lemonnier, in his "History of +Belgian Fine Art," writes in the following terms:--"In the Antwerp +Salon of 1882 were two canvases by Mlle. d'Anethan, _L'affiche_ and +_L'Enfant malade_, which had the freshness and the limpidity of +Chardin, with a grace, a delicacy of touch, a feminine sense revealing +the teaching of that most imperious of masters, Alfred Stevens." Mlle. +Berthe Art, too, followed this prodigious master painter. She has made +her position by means of pastels which, while preserving their natural +charm, have all the solidity of oil-paintings. + +Mlle. Marie Antoinette Marcotte at first devoted herself to the +representation of the life of the poor. Since then, however, she has +created an altogether original _genre_, which has won for her many a +success--the painting of glass-house interiors. She was "coached" by +Emile Claus, the landscapist, among whose pupils were Mme. de Weert +and Mlle. Montigny. + +The number of women painters is ever on the increase. There were as +many as thirty-nine represented at the Brussels Salon of 1848, while +at the last Brussels Salon in 1903, they were more than a hundred; and +to close this rapid survey of feminine art in Belgium, I may record a +success of another kind. In 1904, Mlle. L. Brohee, after the various +eliminating trials, found herself among the half-dozen artists +permitted to take part in the final examination for the Prix de Rome. + +Machteld van Lichtenberg, wife of Egbert van Boecop, is the first name +of a Dutch woman painter given in Siret's "Historical Dictionary." She +was born at Utrecht, of noble family, and made a speciality in +portrait painting. Her name is mentioned by J. van Beverwyck. Her +daughter Cornelie also took up painting, and died at a great age in +1629. + +Marguerite Godewyck, of Dordrecht (1627-1677), was styled a "second +Anne Schurman." She was one of the most learned women of her time, and +was further surnamed "La Perle de la Jeunesse de Dordrecht," and "La +Fleur du Paradis des Arts et des Sciences." She specialised in +portrait painting. Judith Leyster, of Haarlem, likewise enjoyed great +fame. From the year 1613 she was a member of the Guild of St. Luke, +of Haarlem. In 1635 she had a pupil, Guillaume Wauters by name, who on +leaving her entered the studio of Franz Hals. She was married at +Heemstede on the 1st of June, 1636, to the painter Jean Molenaer, also +a native of Haarlem. She is eulogistically mentioned by Th. +Schrevelius, the historian of Haarlem, who describes her as a famous +woman, justly, as he remarks, called "the true guide in the +arts"--(_de Ware Leyster in de Konst_), her name Leyster signifying +'Guide.' She died in 1660. + +The most celebrated of the Dutch women painters of the 18th century +was Rachel Ruysch, of Haarlem. Her flowers and fruit, painted with +keen spirit and with extraordinary firmness, are extremely rich and +varied in their arrangement. She was a pupil of Guillaume Aelst. In +1695 she married Jurian Pool, and was admitted into the Hague +Corporation of Painters in 1701, the same year as her husband. Without +neglecting her duties as a mother (she had ten children) she was +constantly devoted to her art. In 1708 she was appointed Court Painter +of the Elector Palatine. Poets have sung the virtues and the gifts of +this renowned woman. + +Agathe and Cornelie van der Myn, sister and daughter of Herman van der +Myn, accompanied the latter when he settled in London. Notable work +was produced by three miniaturists: Henriette van Pee, wife of Herman +Wolters, was born at Amsterdam, in 1692, and became her father's +pupil. Peter the Great and the King of Prussia visited her studio, +which had a high reputation, and the customary poets wrote the +customary verses in her honour. Caroline-Petronille van Cuyck was made +an honorary member of the _Pictura_ of the Hague, in 1777. Anne +Folkema, who lived between 1695 and 1768, was an active assistant of +her brother, Jacques, in his numerous works. Nor must one forget Alida +Carre, who confined herself, for the most part, to painting fans; +Mlle. Van Kooten, whose name was inscribed in 1765 on the registers of +the Confrerie de St. Luc, at Utrecht; Marguerite Wulfraat, of Arnhem +(1678-1738), and Elisabeth Gertrude Wassenberg, of Groningue, +(1726-1782), who painted _genre_ and portraits. + +At the opening of the 19th century the women painters of still-life, +flowers and fruit, were still in large numbers. + +An interesting figure who has left a poetical memory is Cornelie +Lamme, of Dordrecht, who married J. B. Scheffer, and was the mother of +the celebrated painters Henry and Ary, who belong to the French +School. After the death of her husband she settled in Paris, and there +ended her days. Her attainments, her wit, her eminent merits, made her +one of the most remarkable women of her day. She was a draughtsman and +an engraver. + +The name of Henriette Ronner is one of great popularity. This +indefatigable artist is known as "the painter of cats," and she has +charmingly "hit off" both the heavy laziness of the mature animal, and +the frolicsomeness of the kitten. + +The flower pictures by Mme. van de Sande-Bakhuyzen, of the Hague, so +well known, tempted that excellent engraver, Philippe Zilcken, who has +"translated" with marvellous success their freshness and their +_eclat_. Mme. Bilders van Bosse, of the Hague, is well known by her +skilfully drawn and powerfully painted landscapes, and Mlle. Therese +Schwartze, of Amsterdam, a painter of high merit, has the art of +giving character to a portrait; and knows how to group her figures and +paint them in strong and sombre tones. Mme. Mesdag van Houten, of the +Hague, wife of the famous marine painter, affects the landscape at +dark, and realises fully the melancholy tenderness of the hour. + +It may be interesting now to name a truly remarkable artist who never +exhibits--Mlle. Barbara van Houten, niece of Mme. Mesdag van Houten. +She is an excellent painter of figure pictures and still-life; her +etchings are of the highest quality, and embrace a large number of +subjects--interiors with lamp effects, children's heads, landscapes, +dead birds, bouquets of enormous sunflowers and gaudy tulips. Further, +she has interpreted in masterly fashion, Eugene Delacroix, Jules +Dupre, Gustave Courbet and other great masters of the French School. + +Mention must be made of Mme. Bisschop-Robertson, who paints popular +subjects with astounding vigour; Mme. Marie Heyermans, whose pictures +deal with the life and surroundings of the poor; Mlles. Anna Abrahams +and Anna Kerling, whose charming still-life pieces are coloured now in +bright, now in sombre, tones; Mme. la baronne Hogendorp S' Jacob, of +the Hague, who has turned her attention to flower painting; Mlle. +Nelly Bodenheim, who does some very clever comic scenes, for the +benefit of children; and Mlle. Wally Moes, of Amsterdam, a painter of +portraits and peasant subjects. + +Last we come to Mlle. Marius, whose fair-tinted and most distinguished +still-life works have been seen and admired. She is an excellent art +critic, and is now publishing an important work on Dutch painting of +the 19th century. + + N. JANY. + + [Illustration: FLEMISH SCHOOL, 1552 + PORTRAIT OF A FLEMISH GENTLEMAN. AFTER THE ORIGINAL PAINTING IN + THE NATIONAL GALLERY, LONDON, FROM A CARBON PRINT BY BRAUN, + CLEMENT & CO., PARIS + Catharina van Hemessen, Painter + 16th Century] + + [Illustration: DUTCH SCHOOL, XVII CENTURY + YOUNG MAN ENCOURAGING A GIRL TO SMOKE AND DRINK. FROM A + PHOTOGRAPH BY W. A. MANSELL & CO., AFTER THE ORIGINAL PICTURE IN + A PRIVATE COLLECTION + Judith Leyster, Painter + 1600(?)-1660] + + [Illustration: DUTCH SCHOOL, XVII AND XVIII CENTURIES + PICTURE OF FRUIT WITH INSECTS AND LIZARDS. FROM A PHOTOGRAPH BY + ANDERSON AFTER THE ORIGINAL MASTERPIECE IN THE PITTI GALLERY, + FLORENCE + Rachel Ruysch, Painter + 1664-1750] + + [Illustration: DUTCH AND FLEMISH SCHOOLS, LATE XIX CENTURY + AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING. + Mme. Gilsoul-Hoppe, Painter + Belgium] + + [Illustration: AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING + Baronne van Hogendorp, Painter Holland] + + [Illustration: STUDY OF STILL LIFE: ROSES IN A BASKET. FROM A + TRANSLATOR'S-ETCHING BY P. ZILCKEN Madame G. J. van de Sande + Bakhuyzen, Painter Holland, 1826-1895] + + [Illustration: DUTCH SCHOOL, BETWEEN 1880-1890 + LANDSCAPE NEAR OOSTERBEEK + FROM THE ORIGINAL CHALK DRAWING + Mevrouw Marie Philippine Bilders van Bosse, Painter + 1837-1900] + + [Illustration: DUTCH SCHOOL, LATE XIX CENTURY + A BLEAK PASTORAL SCENE + AFTER THE ORIGINAL WATER-COLOUR + Madame Mesdag van Houten, Painter] + + [Illustration: WINDMILL AT HEELSUM AFTER THE ORIGINAL OIL + PAINTING Madame Marie Philippine Bilders van Bosse, Painter + 1837-1900] + + [Illustration: DUTCH SCHOOL, CONTEMPORARY + PORTRAIT STUDY OF A GIRL AFTER THE ORIGINAL PICTURE + Mlle. Barbara van Houten, Painter] + + [Illustration: ORPHANS. FROM A PHOTOGRAVURE OF THE ORIGINAL + PICTURE PAINTED IN 1887 Mlle. Therese Schwartze, Painter] + + [Illustration: DUTCH SCHOOL, CONTEMPORARY + PORTRAIT OF MLLE. THERESE SCHWARTZE. PAINTED BY HERSELF FOR THE + UFFIZI GALLERY, FLORENCE, BY REQUEST OF THE ITALIAN GOVERNMENT. + REPRODUCED FROM A PHOTOGRAPH BY BROGI + Mlle. Therese Schwartze, Painter] + + [Illustration: DUTCH AND FLEMISH SCHOOLS, CONTEMPORARY + A POOL NEAR OOSTERBEEK. AFTER THE ORIGINAL PAINTING + Madame Bilders van Bosse, Painter + 1837-1900] + + [Illustration: WITH THE POOR AT HOME. REPRODUCED FROM A + PHOTOGRAPH OF THE ORIGINAL PAINTING Mademoiselle E. Marcotte, + Painter Belgium] + + [Illustration: DUTCH SCHOOL, CONTEMPORARY + PORTRAITS OF THE CHILDREN OF MR A. MAY, AMSTERDAM. REPRODUCED + FROM A PHOTOGRAPH OF THE ORIGINAL PASTEL + Mademoiselle Therese Schwartze, Painter and Pastellist] + + [Illustration: DUTCH SCHOOL, CONTEMPORARY + "LOUTJE." + FROM A SKETCH + Mlle. Barbara van Houten, Painter] + + [Illustration: PORTRAIT OF A. G. C. VAN DUYL, AUTHOR. FROM A + PHOTOGRAPH OF THE ORIGINAL PASTEL Mlle. Therese Schwartze, + Pastellist and Painter] + + [Illustration: FLEMISH SCHOOL, CONTEMPORARY + STUDY OF STILL LIFE: GRAPES AND PARTRIDGES. + AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING + Mademoiselle Berthe Art, Painter] + + [Illustration: FLEMISH SCHOOL, CONTEMPORARY + PORTRAIT STUDY OF THE COUNTESS FLORENCE FABBRICOTTI + Baroness Lambert de Rothschild, Painter] + + [Illustration: PORTRAIT OF MONSIEUR GEVAERT. REPRODUCED FROM THE + ORIGINAL PAINTING Baroness Lambert de Rothschild, Painter] + + [Illustration: FLEMISH AND DUTCH SCHOOLS, CONTEMPORARY + PORTRAIT OF MLLE. DETHIER. AFTER A PROOF OF THE ORIGINAL ETCHING + Mlle. Louise Danse, Painter-Etcher + Belgium] + + [Illustration: A DUTCH PEASANT WOMAN. FROM A PHOTOGRAPH OF THE + ORIGINAL PAINTING Madame Suse Bisschop-Robertson, Painter + Holland] + + [Illustration: FLEMISH SCHOOL, CONTEMPORARY + "THE LAST MOVE." REPRODUCED FROM THE ORIGINAL PAINTING BY + PERMISSION OF MESSRS. BRAUN, CLEMENT & CO., PARIS, OWNERS OF THE + COPYRIGHT + Madame Henriette Ronner, Painter] + + [Illustration: FLEMISH SCHOOL, CONTEMPORARY + NEW TENANTS--NOUVEAUX LOCATAIRES. AFTER THE ORIGINAL PICTURE, + FROM A CARBON PRINT BY BRAUN, CLEMENT & CO., PARIS, OWNERS OF + THE COPYRIGHT + Madame Henriette Ronner, Painter] + + [Illustration: FLEMISH SCHOOL, CONTEMPORARY + STUDY OF A HERON. FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING + Mlle. Georgette Meunier, Painter] + + [Illustration: THE MASSACRE OF THE INNOCENTS. AFTER MATTEO DI + GIOVANNI DA SIENA Madame Marie Destree-Danse, Etcher] + + [Illustration: FLEMISH SCHOOL, CONTEMPORARY + A SUNSET IN THE CAMPINE. REPRODUCED BY PERMISSION FROM AN + ETCHING AFTER THE PAINTING BY JOSEPH COOSEMANS IN THE BRUSSELS + MUSEUM + Mademoiselle E. Wesmael, Etcher] + + [Illustration: FLEMISH SCHOOL, CONTEMPORARY + LILIES IN THE COURTYARD OF A HOUSE OF REST AT BRUGES. + AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING + Madame Juliette Wytsman, Painter] + + + + +In Germany and Austria, in Russia, Switzerland and Spain + +By Wilhelm Schoelermann. Translated into English by Wilfrid Sparroy + + +When we look into the past history of the present subject, the first +German name we come upon is that of the Nun of Nuremberg, Sister +Margareta, who worked from 1459 to 1470, and who copied many religious +works. A century later, at Udina, in Italy, Irene von Spilimberg was +born, descending from a noble German family; and although Irene died +at the age of nineteen, she yet lived long enough to win the hearty +admiration of her great master, Titian. As a picture by Irene von +Spilimberg could not be obtained for this book, the editor has begun +the German section with Anna Maria Schurman and with Maria Sibylla +Merian. The first was a clever painter-etcher as well as the most +learned lady of her time; the second was the daughter of Matthew +Merian, and the exquisite studies she made, in water-colour, of +insects and of plants and flowers, have never been excelled in their +own line. + +From Maria Sibylla Merian (1647-1717) we pass on to an admirable +mezzotint, after Morland, by Maria Prestel, who died in 1794; and then +we are brought into the heart of the 19th century by the searching +industry and skill of Anna Maria Ellenrieder, a very capable +painter-etcher, who lived between the years 1791 and 1863. Ellenrieder +looked to the past for her inspiration, going to the art of the early +Dutch masters. She has little or nothing in common with the other +German women artists of her time. How different is her ideal, for +instance, from that of the well-known painter of historical subjects, +the Baroness Hermione von Preuschen, whose dramatic and sensational +spirit appeals so strongly to the great public, as in that canvas in +which is represented the Corpse of Irene von Spilimberg, young and +beautiful, lying in state in her Venetian gondola, draped with black +and covered with flowers. Artists do not often care for pictures of +this romantic type; and they find higher and more subtle qualities in +the quiet wisdom of Julie Wolfthorn, a Berlin painter of note, and a +follower of the modern school of psychological portraiture. Julie +Wolfthorn combines depth of feeling and refinement of taste with +keenness of penetration into the mystery of individual character. Her +portrait of a young sculptor, given in the illustration on page 304, +is a good example of the painter's methods. + +Another Berlin artist of note is Fraeulein Kaethe Kollwitz, whose +principal field of artistic expression has hitherto been restricted to +the burin and copper plate. She has studied etching almost entirely by +herself, and by dint of persistent courage and skill has developed her +gifts in a direction all her own. The subjects that appeal most +forcibly to her mind are taken with scarcely an exception from the +darkest and most painful sides of social life and social unrest. Take +a glance at the father, mother, and child, reproduced on page 302, and +entitled "Destitution and Despair." Are you not inclined to marvel, +almost, how a woman had the courage to depict, without flinching, the +sad truths of such bitter poverty? Can you not fancy that you hear the +moan of misery, the shrill scream of starvation, the cries of +rebellion and death, as when, on the outbreak of the strike, the bulk +of the working classes casts itself upon the streets? Such masses in +motion have been made real to us in her series of plates from the +"Peasants' War." + +An artist of considerable versatility and intuition is Dora Hitz, of +Berlin. Born at Altdorf, near Nuernberg, she began her studies at +Munich, afterwards continuing them at intervals in Paris. In 1878 she +acted upon the invitation of Carmen Silva, the Poet-Queen of Roumania, +and executed a series of decorative panels for the royal castle of +Petes, at Sinaivo, the pictorial subjects of which were chosen from +the literary works of her Majesty. Four years later she settled in +Paris, and there she remained till 1891. During all that time her +industry never flagged, and she was much indebted to the friendly +interest which Eugene Carriere took in her work. The portrait of a +little girl which may be seen here on page 303, belongs to the modern +collection in the Berlin National Gallery. + +Our next lady painter, though of German descent, her grandfather being +a native of Hamburg, was herself born in Sweden. Her name is Jeanna +Bauck. When she was twenty-three years of age she saw the fulfilment +of her life-long yearning to go to Germany for the purpose of studying +painting, and there, with a few short breaks, she has remained ever +since, first in Dresden and Duesseldorf, and then at Munich, where she +has now taken up her abode. She was also in Paris for a while, for the +sake of study. At first exclusively a landscapist, she afterwards +turned to portrait painting, an example of which may be found on page +300. For seven years (1897-1904) she lived in Berlin, and painted +landscapes and portraits alternately, whilst superintending a +flourishing school of art for ladies. In drawing your attention to her +landscape on page 301, I should like to add that Jeanna Bauck takes +rank among the most serious women painters of to-day. + +There is yet another portrait painter who deserves a memory for the +sake of her refinement and sensibility. I refer to the wife of Wilhelm +Jensen, the historical novelist and poet of Schleswig-Holstein. Now, +Frau Marie Jensen (Munich), once a pupil of the late Emil Lugo, +devotes herself to her art in private. Most of her portraits, too, +give proof of this same love of retirement, originating as they do in +the family circle (see page 303). + +The portrait of a lady, on page 300, is the work of that very gifted +portrait painter, Fraeulein Maria Davids. This capable artist has +produced some excellent likenesses; among others those of the poet +Gustav Frenssen, of Professor Weber, of Freiburg, of Fraeulein von +Sydow, a daughter of the Minister of State, and of Frau Vermehren of +Luebeck. Another portrait painter of fame and much power of expression, +is Frau Vilma Parlaghy, her draughtsmanship being particularly good. +Hungarian by birth, she lives and works for the most part in the +German capital. Her handling of the brush is vigorous, yet sober, her +colouring is warm and harmoniously balanced, and her insight into +character quite strikingly true and convincing. The finest and most +successful efforts, in my opinion, are the portrait of the aged +Field-marshal Count von Moltke, taken in his eighty-ninth year, +shortly before his death, and that of Windhorst, the German statesman. + +In Austria, in the dominions of the Emperor Francis Joseph, women +painters are numerous, but those of more than average gifts are not +perhaps so plentiful as elsewhere. In the Bohemian capital of Prague, +Fraeulein Hermine Laucota has worked her way up to a position of +distinction quite on her own grounds. Leading a most retired life, +devoted chiefly to the pursuit of natural history and art, she studied +first in Prague, and then partly at Antwerp and in Munich, but since +the year 1888 she has resided altogether in her native town. It is not +in colours so much as in etching on the copper plate that she has +found her medium of artistic expression, and the subjects she has +chosen are for the most part of a symbolical character, as in the +distinguished etching on page 307. + +To come to Vienna, a couple of names of good repute occur to me: Frau +Olga Wisinger-Florian and Frau Tina Blau-Lang, the latter a refined +landscapist (see pages 306 and 308). The two views of the Prater will +speak for themselves. With their charming freshness and their genial +breadth of handling, they tell us as plain as words that "all's right +with the world" in the springtime. Every touch is so bracing that it +needs no praise. Frau Blau-Lang is an optimist beyond a doubt, and +that as much by temperament as by choice of motive. + +And when we look beyond Austria and Germany, we find everywhere among +women the same enthusiasm for art, and the same unflagging courage in +mastering the difficulties that thwart their every effort. That their +persistence has been crowned with much success is shown in a very +remarkable manner by this present book. How admirable, for instance, +is the work done in Finland by Maria Wiik and Helene Schjerfbeck! In +Switzerland, too, if we take a glance at the country where Anna +Wasser, at the beginning of the 18th century, achieved fame by her +paintings--there, too, we are welcomed by a particularly interesting +painter's painter, Mdlle. Louise Breslau, who, with her thorough +knowledge of modern realism, never truckles to the taste of the +general public; and there, also, we find another woman painter whose +art has been inspired on several occasions by the life of Christ: a +woman painter so much occupied with the conception of her pictures +that her technique has a tendency to lag behind the almost literary +eloquence of her design. But Mdlle. Ottilie Roederstein is +nevertheless an artist of real ability. + +From Switzerland we must turn to Spain if we would do for ourselves +what the accompanying illustrations will do for us in the pleasantest +of pleasant ways. Take, for example, the airy, fresh, excellent +landscape, a "Scene at Comillas," painted in water-colour by the +Infante Dona Paz de Bourbon. Then, again, the "Carriage Race at +Naples," by Dona Stuart Sindici, with its splendid dash and dexterity +of composition, and the court outside a "Roman Hostelry," by Elena +Brockmann, likewise a sunny scene, simply teem with warmth and colour, +and with life and beauty. Not quite so strong and independent are the +"Fisher Boys," by Antonia de Banuelos, the conception and the +execution alike being apparently inspired by that mild and noble +master of Spanish painting, Esteban Murillo. Again, in Russia, we meet +with a portrait-painter, Olga de Boznanska (page 316), whose work +unites a certain independent character of its own with the influences +of her Parisian training: qualities that marked in a much higher and +more perfect degree the pictorial appeals of that young and +marvellously spirited genius whose premature death cut short a career +of infinite promise: Marie Bashkirtseff, the friend of Bastien Lepage, +and a realist full of subtlety and of penetration. + + WILHELM SCHOELERMANN. + + + + +Some Finnish Women Painters + +By Helena Westermarck, Critic and Painter + + +Art in Finland, pictorial art, like much else in that country, is a +young growth. It is in the nineteenth century that we are first able +to verify its existence, and it is only in the year 1840, or +thereabouts, that we find any traces of women who seriously devoted +themselves to the study of painting. The pioneers in this may be said +to be Mathilda Rotkirch and Victoria Abey. + +Somewhat later, in or about 1870, Fanny Churberg, after working in +Duesseldorf and Paris, evinced much independent and original talent in +landscape painting, her art having also an inaugural character, in +that she was the first who applied herself to the decoration of +textile fabrics, adapting to her purpose the old national Finnish +patterns, a practice which has since then had a large following in the +field of applied design. Her career, unfortunately, was soon ended by +illness and an early death. After her came the generation of women +artists who are at present carrying forward a young school of +enthusiastic workers. + +In the sphere of painting, the women artists of Finland study under +much the same circumstances as their male comrades. The Schools of Art +subsidized by the State are open both to male and to female pupils, +and this applies also to all prizes and rewards of merit. Some account +of the principal women painters may be of interest. + +Maria Wiik (1853), after an apprenticeship in the Finnish Schools of +Art and in Professor Becker's Private Academy, spent several years of +study in Paris--occasionally moving her easel in the summers to +Brittany, to Normandy, or even to St. Ives, in England. She has +further developed her art in later years by visits to Holland and to +Italy. Her talent lies in the direction of portrait and genre painting +and she has now the name of being among the best Finnish portrait +painters. She has executed many public commissions, such as the +portrait of the Professor at the Rein University in Helsingfors, for +the Finnish Literary Society, and that of the poet, Z. Topelius, for a +large public school for girls. Many will remember her portrait of the +School Inspector, Ohberg, which now hangs in the Helsingfors Board +School. Maria Wiik has exhibited at the Paris Salons, and at picture +exhibitions in Moscow, Copenhagen, and Dresden, and besides the prizes +awarded her in her own country, she has received a bronze medal in +Paris (1900) for a picture painted in St. Ives, called, "Out into the +World." + +Helene Schjerfbeck (1863), also a pupil of the Finnish Schools of Art +and of Prof. Becker's Private Academy, continued her studies in Paris +and afterwards visited Brittany, England, Austria and Italy. She has +painted some important historical pictures, taking her subjects from +Finnish and Swedish history, as in her two admirable paintings, +"Liukoeping's Prison in 1600" and "The Death of W. v. Schwerin." She +has also painted a few landscapes and a number of genre pictures, many +of them with subjects taken from French and English life. Helene +Schjerfbeck has exhibited both at home and at the Paris Salons, has +twice been awarded the lesser money prize given yearly by the Finnish +State (for the two historical pictures mentioned above), while at the +Exhibition in Paris in 1889, she received a bronze medal. She has also +held an appointment as teacher in the Finnish Academy of Art, in the +department of painting and in the drawing class from the living model. +Her many pictures have been among the best that our women artists have +produced. + +Venny Soldan-Brofeldt (1860) is another pupil of the Finnish Schools +of Art and of Prof. Becker's Academy, and has studied later in Paris, +and in Spain and Italy. Her best work is in the genre style, many of +her pictures being very characteristic and true scenes of Finnish +peasant life, such as "Meal time in a Peasant's Hut" and "Pietists." +Her landscapes, too, are remarkable for a sensitive conception of +Nature; especially is this true of her pictures of our coast scenery, +with its low granite rocks, washed over by the sea waves. Mrs. +Soldan-Brofeldt has illustrated also some books for children, among +others a part of a large Scandinavian edition of Topelius' Saga tales +for children. At the Paris Exhibition of 1889, she received a "Mention +Honorable," and in 1900, a bronze medal. She is the wife of the +author, Juhani Aho. Brofeldt. Mrs. Soldan-Brofeldt's work is not +illustrated in this book, as a photograph of her most important +picture was broken into fragments in its journey from Finland to +London. + +It is characteristic of all these painters that their artistic bias +was determined by their study in Paris of the French naturalists, who +inspired them with a stern respect for drawing, and taught them to +study Nature seriously. Starting from this common standpoint, they +have, whilst working in their own way, developed along their own +individual lines. + +Many another woman artist deserves mention, but the limited space at +my disposal permits me to give only a list of their names. + +There is Ellen Thesleff, a figure painter; there is Elin +Danielson-Gambogi (wife of the Italian painter, R. Gambogi), +well-known for her portraits and landscapes; there is Julia Stigzelius +de Cock (wife of the Belgian artist, Cesare de Cock), a clever +landscape painter; there is Amelie Lundahl, figure painter; and Ada +Thilen, with her landscapes; and Hanna Roennberg, with her subject +pictures and outdoor scenes; and Anna Sahlsten, a figure painter; and +last, but not least, I name Annie Torselles-Schybergson, a good +painter of animals. + + HELENA WESTERMARCK. + + [Illustration: SILHOUETTE BY NELLY BODENHEIM.] + + [Illustration: RUSSIAN SCHOOL, 1884 + "A MEETING." AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG, + PARIS, FROM A PHOTOGRAPH BY LEVY & SONS, PARIS + Mademoiselle Marie Bashkirtseff, Painter + 1860-1884] + + [Illustration: GERMAN SCHOOL, XVII CENTURY + PLANT STUDY PAINTED IN WATER-COLOUR ON VELLUM. AFTER ONE OF THE + MANY DRAWINGS BY THE SAME ARTIST IN THE BRITISH MUSEUM. THEY + ONCE BELONGED TO SIR HANS SLOANE, WHO PURCHASED THEM AT A HIGH + PRICE. + Maria Sibylla Merian (Frau Graff), Painter + 1647-1717] + + [Illustration: GERMAN SCHOOL, XVII CENTURY + PORTRAIT ETCHED BY HERSELF OF ANNA MARIA SCHURMAN PERHAPS THE + MOST FAMOUS LINGUIST OF HER TIME IN EUROPE + Anna Maria Schurman, Painter-Etcher + 1607-1678] + + [Illustration: PLANT STUDY PAINTED IN WATER-COLOUR ON VELLUM. + REPRODUCED FROM THE ORIGINAL DRAWING IN THE BRITISH MUSEUM Maria + Sibylla Merian (Frau Graff), Painter 1647-1717] + + [Illustration: GERMAN SCHOOL, END OF XVIII CENTURY + GYPSIES ON A COMMON + AFTER GEORGE MORLAND + Frau Maria Catharina Prestel, Engraver + Died 1794] + + [Illustration: GERMAN SCHOOL, 1817 AND 1820 + PORTRAIT OF A WOMAN. FROM THE ORIGINAL ETCHING IN THE BRITISH + MUSEUM] + + [Illustration: PORTRAIT OF A MAN. REPRODUCED FROM THE ORIGINAL + ETCHING IN BRITISH MUSEUM Anna Marie Ellenrieder, Painter-Etcher + 1791-1863] + + [Illustration: GERMAN SCHOOL, LATE XIX CENTURY + A GIRL OF BOHEMIA. FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., + PARIS + Caroline von Maupeou, Painter] + + [Illustration: BRETON GIRL PRAYING. FROM A PHOTOGRAPH BY BRAUN, + CLEMENT & CO., PARIS Frau Adelaide Salles-Wagner, Painter] + + [Illustration: GERMAN SCHOOL, CONTEMPORARY + PORTRAIT OF FRAEULEIN VON SYDOW. FROM THE ORIGINAL PAINTING + Fraeulein Maria Davids, Painter + PORTRAIT. FROM A PHOTOGRAPH BY HANFSTAENGL KINDLY LENT BY THE + ARTIST + Jeanna Bauck, Painter] + + [Illustration: GERMAN AND SPANISH SCHOOLS, CONTEMPORARY + A WOODLAND LAKE. + AFTER THE ORIGINAL PICTURE + Jeanna Bauck, Painter, Germany] + + [Illustration: THE CASTLE AND PALACE OF PENA IN CINTRA. AFTER + THE ORIGINAL PICTURE FROM A PHOTOGRAPH BY J. LAURENT & CO., + MADRID Maria G. Silva Reis, Painter, Spain] + + [Illustration: GERMAN SCHOOL, CONTEMPORARY + MOTHERHOOD. FROM A PHOTOGRAPH LENT BY THE ARTIST + Dora Hitz, Painter] + + [Illustration: DESOLATION AND DESPAIR AFTER THE ORIGINAL ETCHING + Fraeulein Kaethe Kollwitz, Painter-Etcher] + + [Illustration: GERMAN SCHOOL, CONTEMPORARY + PORTRAIT OF A LITTLE GIRL. AFTER THE ORIGINAL PICTURE FROM A + PHOTOGRAPH BY FRANZ KULLRICH, BERLIN, LENT BY THE ARTIST + Dora Hitz, Painter] + + [Illustration: PORTRAIT OF WILHELM JENSEN, POET AND HISTORICAL + NOVELIST. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH LENT BY + THE ARTIST + Frau Marie Jensen, Painter] + + [Illustration: GERMAN AND SWISS SCHOOLS, CONTEMPORARY + PORTRAIT OF A SCULPTOR. FROM A PHOTOGRAPH BY FRANZ KULLRICH + KINDLY LENT BY THE ARTIST + Frau Julie Wolfthorn, Painter + Germany] + + [Illustration: "ANAIS." AFTER THE ORIGINAL PAINTING FROM A + PHOTOGRAPH BY BRAUN, CLEMENT & CO. Mlle. + Louise Breslau, Painter + Switzerland] + + [Illustration: SWISS SCHOOL, CONTEMPORARY + THEIR DAILY BREAD. AFTER THE ORIGINAL PAINTING, REPRODUCED BY + PERMISSION FROM A CARBON PRINT BY BRAUN, CLEMENT & CO. + Mademoiselle Ottilie Roederstein, Painter] + + [Illustration: AUSTRIAN SCHOOL, CONTEMPORARY + SPRINGTIME IN THE PRATER, VIENNA. AFTER THE ORIGINAL PAINTING + FROM A PHOTOGRAPH BY J. LOEWY, VIENNA, KINDLY LENT BY THE ARTIST + Frau Tina Blau-Lang, Painter] + + [Illustration: AUSTRIAN SCHOOL, CONTEMPORARY + BY THE SHORE OF LETHE LAKE + AFTER A PROOF OF THE ORIGINAL ETCHING + Fraeulein Hermine Laucota, Painter-Etcher] + + [Illustration: AUSTRIAN SCHOOL, CONTEMPORARY + VIEW IN THE PRATER, VIENNA. AFTER THE ORIGINAL PICTURE FROM A + PHOTOGRAPH BY J. LOEWY, VIENNA, KINDLY LENT BY THE ARTIST + Frau Tina Blau-Lang, Painter] + + [Illustration: FINNISH SCHOOL, CONTEMPORARY + PORTRAIT OF A LADY. + AFTER THE ORIGINAL PICTURE + Maria Wiik, Painter] + + [Illustration: FINNISH SCHOOL, 1887 + THE CONVALESCENT + AFTER THE ORIGINAL PAINTING + Helene Schjerfbeck, Painter] + + [Illustration: SWISS SCHOOL, CONTEMPORARY + "LE MOIS DE MARIE." REPRODUCED AFTER THE ORIGINAL PAINTING FROM + A PHOTOGRAPH BY BRAUN, CLEMENT & CO. + Mademoiselle Ottilie Roederstein, Painter] + + [Illustration: FINNISH SCHOOL, FROM 1887 TO ABOUT 1895 + PREPARING TO LEAVE HOME. FROM A PHOTOGRAPH OF THE ORIGINAL + PAINTING, DATED 1887 + Maria Wiik, Painter] + + [Illustration: AT WORK. REPRODUCED FROM A CARBON-PRINT + PHOTOGRAPH OF THE ORIGINAL PAINTING Helene Schjerfbeck, + Painter] + + [Illustration: FINNISH AND SWISS SCHOOLS, ABOUT 1904 + A FINNISH PEASANT GIRL + FROM THE ORIGINAL DRAWING + Ellen Thesleff, Painter + Finland] + + [Illustration: A PORTRAIT-GROUP OF FRIENDS. AFTER THE ORIGINAL + PICTURE FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO Mlle. Louise + Breslau, Painter Switzerland] + + [Illustration: RUSSIAN SCHOOL, XIX CENTURY + PORTRAIT OF MARIE BASHKIRTSEFF. AFTER THE ORIGINAL PASTEL IN THE + MUSEE DU LUXEMBOURG, FROM A PHOTOGRAPH BY LEVY & SONS, PARIS + Mlle. Marie Bashkirtseff, Pastellist + 1860-1884] + + [Illustration: PORTRAIT OF THE COMTESSE DE TOULOUSE. AFTER THE + ORIGINAL PASTEL IN THE MUSEE DU LUXEMBOURG, FROM A PHOTOGRAPH BY + NEWIDEIN Mlle. Marie Bashkirtseff, Pastellist 1860-1884] + + [Illustration: GERMAN AND RUSSIAN SCHOOLS, 1870 AND 1903 + PORTRAIT (DATED 1870) OF THE LATE LUDWIG WINDHORST, GERMAN + STATESMAN FROM A PHOTOGRAPH BY V. A. BRUCKMANN, MUNICH + Frau Vilma Parlaghy, Painter + Germany] + + [Illustration: PORTRAIT OF A LADY (DATED 1903), RECENTLY + PURCHASED FOR THE LUXEMBOURG, PARIS Mlle. Olga de Boznanska, + Painter Russia] + + [Illustration: SPANISH SCHOOL, 1875 + A CARRIAGE RACE AT NAPLES + FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID + Dona Stuart Sindici, Painter] + + [Illustration: SPANISH SCHOOL, 1881 + A SCENE AT COMILLAS. REPRODUCED AFTER THE ORIGINAL WATER-COLOUR, + DATED 1881, FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID + Infante Dona Paz de Bourbon, Painter] + + [Illustration: SPANISH SCHOOL, 1887 + OUTSIDE A ROMAN HOSTELRY + FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID + Dona Elena Brockmann, Painter] + + [Illustration: SPANISH SCHOOL, 1881 AND 1890 + MY MODEL. AFTER THE ORIGINAL WATER-COLOUR, FROM A PHOTOGRAPH BY + LAURENT, MADRID + Infante Dona Paz de Bourbon, Painter] + + [Illustration: STUDY OF A BABY LAUGHING. AFTER THE ORIGINAL + PICTURE, FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID Antonia + de Banuelos, Painter] + + [Illustration: SPANISH SCHOOL, 1883 + "THE LITTLE FISHERS." AFTER THE ORIGINAL PAINTING, FROM A + PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS + Antonia de Banuelos, Painter] + + + + +INDEX + + + ABBEMA, MLLE. LOUISE: "Winter," 237. + + ABRAN, MADAME: "Study of Tigers," 243. + + ALLINGHAM, MRS. HELEN, R.W.S.: "A Cottage near Crocken Hill," 109; + "Ponte Widman, Venice," 137; + "Campanile San Stefano, Venice," 137. + + ALMA-TADEMA, MISS ANNA: "Portrait of Miss Anna Alma-Tadema," 156. + + ANDERSON, MRS. SOPHIE: "Elaine," 105. + + ANGELL, MRS. HELEN CORDELIA: "Study of a Bird's Nest," 102. + + ANGUISCIOLA, SOPHONISBA: "Three Sisters of Sophonisba Anguisciola + Playing at Chess," 25; + "Portrait of Sophonisba Anguisciola," 36; + "Portrait of a Lady," 39. + + ANGUS, CHRISTINE: Design, 64. + + ART, MLLE. BERTHE: "Study of Still Life: Grapes and Partridges," + 276. + + + BAKHUYZEN, MME. G. J. VAN DE SANDE: "Study of Still Life: Roses in a + Basket," 266. + + BANUELOS, ANTONIA DE: "Study of a Baby Laughing," 320; + "The Little Fishers," 321. + + BARTON, MISS ROSE, A.R.W.S.: "Almond Blossom in London," 143. + + BASHKIRTSEFF, MLLE. MARIE: "A Meeting," 293; + "Portrait of Marie Bashkirtseff," 315; + "Portrait of the Comtesse de Toulouse," 315. + + BAUCK, JEANNA, "Portrait," 300; + "A Woodland Lake," 301. + + BAUERLE, MISS A., A.R.E.: "A Song of the Sea," 132; + "Fauns," 132. + + BEALE, MARY: "Portrait of the English Poet, Abraham Cowley," 81; + "Portrait of King Charles II. of England," 81. + + BEAUCLERK, LADY DIANA: "Caricature of Edward Gibbon," 82; + "Cupids," 82. + + BEAUX, MISS CECILIA: "Mother and Child," 121; + "Portrait," 162. + + BENOITS, MADAME: "Portrait of Marie Pauline, Princesse Borghese," + 183. + + BILDERS VAN BOSSE, MME.: "Landscape near Oosterbeek," 267; + "Windmill at Heelsum," 269; + "A Pool near Oosterbeek," 272. + + BISSCHOP-ROBERTSON, MME. SUSE: "A Dutch Peasant Woman," 278. + + BLATHERWICK, LILY (MRS. A. S. HARTRICK): "Wintry Weather," 155. + + BLAU-LANG, FRAU TINA: "Springtime in the Prater, Vienna," 306; + "View in the Prater, Vienna," 308. + + BODENHEIM, MLLE. NELLY: Silhouettes, 12, 72, 292, 332. + + BONHEUR, ROSA: "Study of a Bull," 195; + "Shepherd Watching His Sheep," 205; + "Ploughing in the Nivernais," 209; + "The Horse Fair," 210; + "The King of the Desert," 214; + "Brisco," 215. + + BOUILLIAR, MLLE.: "Portrait of an Actress," 194. + + BOURBON, DE, INFANTE PAZ: "A Scene at Comillas," 318; + "My Model," 320. + + BOVI, MADAME: 90. + + BOZNANSKA, DE, OLGA: "Portrait of a Lady," 316. + + BRESLAU, MLLE. LOUISE: "Anais," 304; + "A Portrait-Group of Friends," 314. + + BRICKDALE, MISS ELEANOR FORTESCUE, A.R.W.S.: "Youth and the Lady," + 73; + "To-day for Me," 103; + "Sleep, that knits up the Ravell'd Sleave of Care," 114; + "He Married a Wife," 126; + "Designs," 141; + "Iseult of Brittany," 142. + + BROCKMANN, DONA ELENA: "Outside a Roman Hostelry," 319. + + BROWNSCOMBE, MISS JENNIE: "The Peace Ball After the Declaration of + Independence," 161. + + BUTLER, LADY ELIZABETH: "Missed," 9; + "Steady the Drums and Fifes!" 154. + + BYRNE, ANNE FRANCES: "Flowers and Grapes," 94. + + + CAMERON, MISS KATHARINE: "Hush! Remind not Eros of His Wings," 124. + + CAMERON, MISS MARGARET: "Portrait of Mrs. Blair with her Dogs," 131; + "After the Bull-Fight," 155. + + CAPET, MARIE GABRIELLE: "Portrait of Dame de Longrois," 197. + + CARPENTER, MRS. MARGARET: "Portrait of Henrietta Shuckburgh," 96; + "Portrait of Margaret Carpenter," 96; + "Portrait of John Gibson, R.A., Sculptor," 100; + "Portrait of R. P. Bonington, Painter," 100. + + CARPENTIER, MADELEINE: "Les Chandelles," 244. + + CARRIERA, ROSALBA: "Portrait of a Lady Unknown," 20; + "Charity and Justice," 37; + "Portrait Study of a Lady with her Pet Monkey," 48; + "Portrait Study of Cardinal de Polignac," 48; + "Portrait Study of a Girl," 51; + "Portrait of Rosalba Carriera," 51. + + CASSATT, MISS MARY: "Baby's Toilette," 157; + "Childhood in a Garden," 327; + "Mother and Two Children," 327. + + CAZIN, MADAME MARIE: "Desolation," 227; + "Mother and Child," 239; + "The Shepherd," 239. + + CHARDERON, FRANCINE: "Sleep," 229. + + CHASE, MISS MARIAN, R.I.: "An Interesting Story," 130. + + CHATILLON, DE, MME. LAURE: "A Young Adolescent," 219. + + CHAUDET, MME JEANNE ELISABETH: "Portrait of Madame Villot, nee + Barbier," 202. + + CHEVIOT, MISS LILIAN: "On the Way to the Horse Fair," 143. + + CLAUDIE, MLLE.: "Flora," 252. + + COGNIET, MLLE. MARIE AMELIE: "Portrait of Madame Adelaide + d'Orleans," 189. + + COLIN-LIBOUR, MADAME: "Charity," 225. + + COMERRE-PATON, MME. J.: "Mistletoe," 217. + + CONANT, MISS CORNELIA W.: "The End of the Story," 151. + + * * * * * + + [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY + "WE ARE BUT LITTLE CHILDREN WEAK, NOR BORN TO ANY HIGH ESTATE." + FROM A LARGE PHOTOGRAVURE OF THE ORIGINAL PICTURE BY PERMISSION + OF THE BERLIN PHOTOGRAPHIC COMPANY, LONDON, W. + Mrs. Marie Seymour Lucas, Painter] + + [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY + "HER MORNING RIDE" + AFTER THE ORIGINAL PICTURE + Miss Blanche Jenkins, Painter] + + [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY + "FAITH" + FROM THE ORIGINAL PICTURE + Miss Flora M. Reid, Painter] + + [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY + "HUSH!" FROM A PHOTOGRAPH OF THE ORIGINAL PICTURE BY PERMISSION + OF THE BERLIN PHOTOGRAPHIC CO., LONDON, W. + Miss Maude Goodman, Painter] + + [Illustration: THE CHILD HANDEL. FROM A PHOTOGRAPH OF THE + ORIGINAL PICTURE BY PERMISSION OF THE BERLIN PHOTOGRAPHIC CO., + LONDON, W. + Miss Margaret Isabel Dicksee, Painter + 1858-1903] + + [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY + "NOTHING VENTURE, NOTHING HAVE." FROM A LARGE PHOTOGRAVURE OF + THE ORIGINAL PICTURE BY PERMISSION OF THE BERLIN PHOTOGRAPHIC + COMPANY, LONDON, W. + Lady Alma-Tadema, Painter] + + [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY + ISOLA BELLA LAGO MAGGIORE + FROM THE ORIGINAL WATER-COLOUR + Mrs. Marrable, Painter] + + [Illustration: "I SHOWED HER THE RING AND IMPLORED HER TO MARRY" + FROM THE ORIGINAL PICTURE + Miss Julia B. Falkard, Painter] + + [Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY + SKIRMISHERS: COCKER SPANIELS. FROM "BRITISH HOUNDS AND + GUN-DOGS"] + + [Illustration: BULL TERRIER: POSITION OF TRUST. FROM THE SERIES + ON "TERRIERS AND TOYS" PUBLISHED BY THE BERLIN PHOTOGRAPHIC + COMPANY, LONDON, W.] + + [Illustration: FOXHOUNDS: A BURNING SCENT. FROM "BRITISH HOUNDS + AND GUN-DOGS" + Miss Maud Earl, Painter] + + [Illustration: SUPPLEMENT. FRENCH SCHOOL, CONTEMPORARY + PORTRAIT (PAINTED BY HERSELF) OF MADAME ARSENE DARMESTETER + Madame Arsene Darmesteter, Painter] + + [Illustration: SUPPLEMENT. FRENCH SCHOOL, CONTEMPORARY + STUDY + FROM THE ORIGINAL PICTURE + Madame Arsene Darmesteter, Painter] + + * * * * * + + COOL, DE, MME. DELPHINE: "A Good Cigarette," 232. + + COOMANS, MLLE. DIANA: "In the Gynaeceum," 228. + + COSWAY, MRS. MARIA: "Lodona," 96. + + CURRAN, MISS A.: "Portrait of Percy Bysshe Shelley," 90. + + + DANSE, MLLE. LOUISE: "Portrait of Mlle. Dethier," 278. + + DAVIDS, FRAEULEIN: "Portrait of Fraeulein von Sydow," 300. + + DAVIN, MADAME C. H. F.: "Portrait of Marshal Lefevre, Duke of + Dantzic," 207. + + DEALY, JANE M. (LADY LEWIS), R.I.: "Day-Dreams," 144; + "Baby," 144. + + DEMONT-BRETON, MADAME: "On the Sea-Shore," 226; + "Stella Maris," 233. + + DE MORGAN, MRS. EVELYN: "Flora," 91; + "Study from the Life," 117; + "Drapery Study," 123. + + DESTREE-DANSE, MADAME: "The Massacre of the Innocents," 282. + + DICKSEE, MISS MARGARET ISABEL: "In Memoriam," 112. + + DOLCI, AGNESE: "Mary and the Child Jesus," 47; + "Jesus Took Bread and Blessed It," 47. + + DUBOS, MLLE. ANGELE: "A New Song," 216. + + DUBOURG, MME. VICTORIA: "A Basket of Flowers," 240. + + DUFAU, MLLE.: "Study from a Model," 231; + "Impression of a City," 240; + "Character in Spain," 243. + + DUFFIELD, MRS. WILLIAM, R.I.: "Yellow Roses," 118. + + + ELLENRIEDER, ANNA MARIE: "Portrait of a Woman," 298; + "Portrait of a Man," 298. + + EMPRESS FREDERICK OF GERMANY, THE: "The Akropolis, Athens," 56. + + ENAULT, MADAME ALIX: "Fleurs de Serre," 225. + + + FANNER, MISS ALICE: "Riverside Landscape," 135; + "A Yorkshire Trout Stream," 156. + + FANSHAWE, CATHERINE MARIA: "A Country Boy," 89. + + FANTIN-LATOUR, MME. (VICTORIA DUBOURG): "A Basket of Flowers," 240. + + FICHEL, MME. JEANNE: "The Bouquet," 216. + + FILLEUL, MADAME: "The Sons of Charles X. of France," 186; + "Portrait of the Duc d'Angouleme," 187. + + FLEURY, MME. FANNY: "The Pathway to the Village Church," 235. + + FONTANA, LAVINIA: "Marriage of St. Catharine," 39; + "Portrait of Lavinia Fontana Zappi," 40; + "Jesus Christ Talking with the Women of Samaria," 41. + + FORBES, MRS. STANHOPE, A.R.W.S.: "The Fisher Wife," 85; + "In With You!" 147; + "Cuckoo," 147; + "May Evening," 149. + + FOULD, MLLE. ACHILLE: "Courtship," 250. + + FOULD, MLLE. CONSUELO: "Will You Buy?" 247. + + FRAMPTON, MRS. GEORGE (CHRISTABEL A. COCKERELL): "Bluebells," 136. + + + GARDNER, ELIZABETH: "Maternal Love," 234; + "The Judgment of Paris," 238. + + GENTILESCHI, ARTEMISIA: "Mary Magdalene," 31; + "Portrait of Artemisia Gentileschi," 42; + "Judith and her Maid with the Head of Holofernes," 45. + + GHISI, DIANA: "A Victor in his Triumphal Chariot," 39. + + GILSOUL-HOPPE, MADAME: "Interior," 266. + + GODEFROID, MLLE. MARIE E.: "Portrait of Madame de Stael," 203; + "Portrait of Charles Maurice, Prince of Talleyrand-Perigord," 203. + + GONZALES, EVA: "Portrait of a Lady Seated," 223; + "The Fruit Girl," 231. + + GOW, MISS MARY L., R.I.: "Mother and Child," 107. + + GRANBY, MARCHIONESS OF: "The Late Cecil Rhodes," 142; + "The Late Lord Salisbury," 142. + + GREENAWAY, MISS KATE: "A. for Apple Pie: E. Eat it," 119; + "A. for Apple Pie: C. Cut it," 127. + + GUTTI, ROSINA M.: "The Peacemaker," 53. + + GUYARD, MADAME: "Portrait of Madame Victoire de France," 185; + "Portrait of Elisabeth of France, Duchess of Parma," 188. + + + HAMMOND, MISS G. DEMAIN, R.I.: "Memories," 135. + + HART, MISS EMILY: "The End of a Story," 113. + + HAVERS, MISS ALICE: "Blanchisseuses," 108. + + HEITLAND, MISS IVY: "Through the Wood," 107. + + HEMESSEN, CATHARINA VAN: "Portrait of a Flemish Gentleman," 263. + + HEMING, MRS. MATILDA: "Backwater, Weymouth, Dorset," 95. + + HERFORD, MRS. JOHN: "Landscape at Kenilworth," 95. + + HERLAND, MLLE. E.: "Children Eating Soup in a Charity School," 249. + + HILDA, MLLE. E.: "In Search of Prey," 245. + + HITZ, DORA: "Motherhood," 302; + "Portrait of a Little Girl," 303. + + HOBSON, MISS A. M., R.I.: "Room at Leicester in which Shakespeare is + said to have Acted before Queen Elizabeth," 118. + + HOGENDORP, BARONNE VAN: "Flowers," 266. + + HOLROYD, LADY: "Portrait of Sir Charles Holroyd," 150. + + HOTHAM, AMELIA: "Riverside Landscape," 88. + + HOUDON, MLLE. M. J. A.: "Portrait of Marguerite J. A. Houdon," 202. + + HOUSSAY, MLLE. JOSEPHINE: "The Lesson," 251. + + HOUTEN, MME. MESDAG VAN: "A Bleak Pastoral Scene," 269. + + * * * * * + + [Illustration: UNITED STATES OF AMERICA, CONTEMPORARY + CHILDHOOD IN A GARDEN. REPRODUCED FROM THE ORIGINAL PAINTING BY + PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND NEW YORK + Miss Mary Cassatt, Painter] + + [Illustration: MOTHER AND TWO CHILDREN. REPRODUCED FROM THE + ORIGINAL PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, + PARIS AND NEW YORK + Miss Mary Cassatt, Painter] + + * * * * * + + HOUTEN, MLLE. BARBARA VAN: "Portrait Study of a Girl," 270; + "Loutje," 275. + + HOW, MISS BEATRICE: "Le Repas," 142; + "In a Dutch Cottage," 148. + + HUNTER, MRS. MARY Y.: "Joy and the Labourer," Frontispiece; + "Olivia," 126; + "Where Shall Wisdom be Found?" 130. + + HYDE, MISS HELEN: "Day Dreams," 145; + "The Bamboo Fence," 163. + + + JENSEN, FRAU MARIE: "Portrait of Wilhelm Jensen," 303. + + JOPLING, MRS. LOUISE, R.B.A.: "St. Bridget," 120. + + + KAUFFMAN, ANGELICA, R.A. "The Sibyl," 67; + "Ariadne," 83; + "Portrait of Angelica Kauffman, R.A.," 87; + "The Vestal Virgin," 87. + + KEMP-WELCH, MISS L. E., R.B.A.: "Labourers of the Night," 115; + "After Work," 125. + + KING, MISS JESSIE M.: "The Court-Yard," 159. + + KOCH, ELISA: "The Little Sister," 49. + + KOLLWITZ, FRAEULEIN KAETHE: "Desolation and Despair," 302. + + + LAUCOTA, FRAEULEIN HERMINE: "By the Shore of Lethe Lake," 307. + + LARCOMBE, MISS ETHEL: Dedication Page; + End-Papers; + Initial Letters. + + LE BRUN, MADAME VIGEE: "Portrait of Madame Vigee Le Brun and her + Daughter," 166; + "Madame Vigee Le Brun and her Daughter," 177; + "Portrait of Queen Marie Antoinette and her Children," 191; + "Portrait in the Pinacoteca at Turin," 192; + "Portrait of Madame Le Brun," 193; + "Portrait of Louise Marie Adelaide de Bourbon," 193; + "Madame Vigee Le Brun at her Easel," 198; + "Portrait of Marie Antoinette, Queen of France," 200; + "Portrait of the Duchess of Polignac," 201; + "Portrait of Madame Mole-Raymond," 204. + + LELEUX, MADAME ARMAND: "Private and Confidential," 220. + + LE ROY, MADAME: "Portrait," 252. + + LESCOT, MADAME HAUDEBOURT: "A Good Daughter," 208. + + LEYSTER, JUDITH: "The Merry Young Man," 257; + "Young Man Encouraging a Girl to Smoke and Drink," 264. + + LONGHI, BARBARA: "Mary and the Child Jesus in the Act of Crowning a + Saint," 41. + + LOUISE, H.R.H. PRINCESS, DUCHESS OF ARGYLL: "An English Hebe," 13. + + LUCAS-ROBIQUET, MME.: "Bebe et Zizon," 251. + + + MACBETH, MISS ANN: "Elspeth." 97. + + MACDONALD, MISS BIDDIE: "Portrait of the Lady Alix Egerton," 123. + + MACGREGOR, MISS JESSIE: "In the Reign of Terror," 148. + + MARCOTTE, MLLE. E.: "With the Poor at Home," 272. + + MARTINEAU, MISS EDITH, A.R.W.S.: "The Potato Harvest," 111. + + MAUPEOU, CAROLINE VON: "A Girl of Bohemia," 299. + + MAYER, CONSTANCE: "The Happy Mother," 199. + + MEE, MRS. ANNE: "Portrait of Lady Dalrymple Hamilton," 93. + + MEEN, MRS. MARGARET: "Group of Flowers in a Jar," 94. + + MERIAN, MARIA S.: "Plant Study," 295; "Plant Study," 296. + + MERRITT, MRS. ANNA LEA, R.B.A.: "Love Locked Out," 139. + + MEUNIER, MLLE. GEORGETTE: "Study of a Heron," 282. + + MORIN, EULALIE: "Portrait of Madame Recamier," 187. + + MORISOT, BERTHE: "Portrait of a Young Woman Seated," 211; + "The Jetty," 213. + + MOSER, MARY, R.A.: "Vase of Flowers," 94. + + + NICOLAS, MLLE. MARIE: "Father Ricard," 222. + + NORMAND, MRS. (HENRIETTA RAE): "Ophelia: 'There's Rue for you,'" + 153. + + + OFFOR, B. (MRS. F. LITTLER): "Ophelia," 160. + + OPPENHEIM, MLLE. A.: "Romeo and Juliet," 246. + + + PARLAGHY, FRAU VILMA: "Portrait of the late Ludwig Windhorst," 316. + + PAYMAL-AMOUROUX, MME.: "A Holiday at Sosthene," 232. + + PETIET, MLLE. MARIE: "The Knitter Asleep," 219. + + PHILLOTT, MISS CONSTANCE, A.R.W.S.: "The Herdsman of Admetus," 138. + + PRESTEL, MARIA C.: "Gypsies on a Common," 297. + + + REAL DEL SARTE, MME.: "Do you want a Model?" 251. + + RAGNONI, BARBARA: "The Adoration of the Shepherds," 35. + + READ, CATHARINE: "Portrait of the Lady Georgiana Spencer," 61; + "Portrait of Miss Harriot Powell," 84; + "Portrait of Miss Jones," 84. + + REIS, MARIA G. SILVA: "The Castle and Palace of Pena in Cintra," + 301. + + ROBERTSON, MRS. J.: "Portrait of Mrs. Stuart," 93. + + ROEDERSTEIN, MLLE. OTTILIE: "Their Daily Bread," 305; + "Le Mois de Marie," 311. + + ROMANI, JUANA: "Study from a Model," 54. + + ROMANY, MME. ADELE: "Portrait of Gaetano Apollino Baldassare + Vestris, Dancer," 171. + + RONGIER, MLLE. JEANNE: "Sitting for a Portrait," 220. + + RONNER, MME. HENRIETTE: "The Last Move," 279; + "New Tenants," 281. + + ROTHSCHILD, DE, BARONESS LAMBERT: "Portrait Study of the Countess + Florence Fabbricotti," 277; + "Portrait of Monsieur Gevaert," 277. + + RUDE, MME. SOPHIE: "Portrait of Madame Rude," 207. + + RUYSCH, RACHEL: "Picture of Fruit with Insects and Lizards," 265. + + + SALANSON, MLLE. EUGENIE: "At Low Tide," 228. + + SALLES-WAGNER, ADELAIDE: "Breton Girl Praying," 299. + + SAWYER, MISS AMY: "Panel of a Screen," 159. + + SCHJERFBECK, HELENE: "The Convalescent," 310; + "At Work," 313. + + SCHURMAN, ANNA MARIA: "Portrait of Anna Maria Schurman," 296. + + SCHNEIDER, MME. FELICIE: "The Last Survivors of a Family," 222. + + SCHWARTZE, THERESE: "Orphans," 270; + "Portrait of Mlle. Therese Schwartze," 271; + "Portraits of the Children of Mr. A. May," 273; + "Portrait of A. G. C. van Duyl," 275. + + SINDICI, DONA STUART: "A Carriage Race at Naples," 317. + + SIRANI, ELISABETTA: "The Dream of Saint Anthony of Padua," 43; + "The Madonna Weeping," 46; + "The Flight into Egypt," 46. + + SISTER A., SIENESE NUN: "Adoration of the Shepherds," 34; + "Madonna and Child with St. Catharine and other Saints," 35. + + SISTER B., SIENESE NUN: "The Holy Family with John the Baptist," 34. + + SMYTHE, MISS MINNIE, A.R.W.S.: "A Cottage Girl," 150. + + SONREL, ELISABETH: "The Goddesses before Paris," 237. + + SPENCER, LAVINIA, COUNTESS: "A Pinch of Snuff," 90. + + STAPLES, MRS. (M. E. EDWARDS): "Waifs from the Great City," 120. + + STARR, LOUISA (MME. CANZIANA): "Sintram and his Mother," 106. + + STOKES, MRS. MARIANNE: "The Queen and the Page," 79; + "Portrait of the Hon. Mrs. Walter James," 129. + + STRONG, MRS. ELIZABETH: "Good Friends," 113. + + SUBLEYRAS, MARIA TIBALDI: "Mary Magdalene at the Feet of Jesus + Christ," 52. + + SWAN, MRS. J. M.: "The Music Lesson," 159. + + SWYNNERTON, MRS. A. L.: "The Sense of Sight," 133. + + + TAVERNIER, DE, MME. E.: "Before the Dance," 227. + + TEMPLETOWN, VISCOUNTESS: "Wood Scene," 94. + + THESLEFF, ELLEN: "A Finnish Peasant Girl," 314. + + + VALORY, DE, MME. CAROLINE: "The Miniature," 192. + + VALLET-BISSON, MME.: "The Departure," 241. + + VANTEUIL, DE, MLLE.: "Portrait of Marie de Rabutin-Chantal, Marquise + de Sevigne," 185. + + VIGRI, CATERINA: "Saint Ursula and her Maidens," 33. + + + WATERFORD, LOUISA MARCHIONESS OF: "Palm Branches," 99; + "Spring," 99; + "Jesus Christ among the Doctors," 101. + + WATERNAU, MLLE. HERMINE: "By the Bank of a Stream," 221. + + WATSON, CAROLINE: "Portrait of Sarah, Countess of Kinnoull," 89. + + WENTWORTH, MRS. CECILIA: "Prayer," 160. + + WESMAEL, MLLE. E.: "A Sunset in the Campine," 283. + + WHITE, MISS FLORENCE: "White Treasures," 124. + + WIIK, MARIA: "Portrait of a Lady," 309; + "Preparing to Leave Home," 313. + + WOLFTHORN, FRAU JULIE: "Portrait of a Sculptor," 304. + + WYTSMAN, MME. JULIETTE: "Lilies in the Courtyard of a House of Rest + at Bruges," 284. + + + YOUNGMAN, MISS A. M., R.I.: "In a Neapolitan Villa," 118; + "Who Loves a Garden loves a Greenhouse too," 119. + + + ZAPPI, LAVINIA FONTANA: "Marriage of St. Catharine," 39; + "Portrait of Lavinia Fontana Zappi," 40; + "Jesus Christ Talking with the Woman of Samaria," 41. + + ZILLHARDT, MLLE. JENNY: "Regalez-vous, Mesdames!" 221. + + [Illustration: SILHOUETTE BY NELLY BODENHEIM.] + + + + + * * * * * + + + + +Transcriber's note: + +Archaic and inconsistent punctuation, spelling and syntax were retained. + +The original had illustrations imbedded in the index. + + + +***END OF THE PROJECT GUTENBERG EBOOK WOMEN PAINTERS OF THE WORLD*** + + +******* This file should be named 39000.txt or 39000.zip ******* + + +This and all associated files of various formats will be found in: +http://www.gutenberg.org/dirs/3/9/0/0/39000 + + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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