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+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.
+
+
+
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