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Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. by Clara Erskine Clement

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pictures are "Schurr-Meer," "The Village Coquette," "Sunday Afternoon,"
"At the Garden Gate," and "Harvest Day in Misdroy." In 1886 this artist
married Dr. Gunther, of Berlin.

GUYON, MAXIMILIENNE. Medal of third class, Paris salon, 1888;
honorable mention and medal of third class at Exposition Universelle,
1889; travelling purse, 1894--first woman to whom the purse was given;
bronze medal, Paris Exposition, 1900; gold medal at Exposition of Black
and White, Paris; medal in silver-gilt at Amiens. Mme. Guyon is hors
concours at Lyons, Versailles, Rouen, etc. Member of the Societe des
Artistes Francais, Societe des Aquarellistes Francais, and of the Societe
des Prix du Salon et Boursiers de Voyage. Born at Paris. Pupil of the
Julian Academy under Robert-Fleury, Jules Lefebvre, and Gustave

Mme. Guyon is a successful portrait painter, and her works are numerous.
Among her pictures of another sort are the "Violinist" and "The River."
In the Salon des Artistes Francais, 1902, she exhibited two portraits. In
1903 she exhibited "Mending of the Fish Nets, a scene in Brittany," and
"A Study." The net-menders are three peasant women, seated on the shore,
with a large net thrown across their laps, all looking down and working
busily. They wear the white Breton caps, and but for these--in the
reproduction that I have--it seems a gloomy picture; but one cannot judge
of color from the black and white. The net is well done, as are the
hands, and the whole work is true to the character of such a scene in the
country of these hard-working women.

Mme. Guyon is much esteemed as a teacher. She has been an instructor and
adviser to the Princess Mathilde, and has had many young ladies in her

In her portraits she succeeds in revealing the individual characteristics
of her subjects and bringing out that which is sometimes a revelation to
themselves in a pronounced manner. Is not this the key to the charm of
her works?

HAANEN, ELIZABETH ALIDA--MME. KIERS. Member of the Academy of
Amsterdam, 1838. Born in Utrecht. 1809-1845. Pupil of her brother, Georg
G. van Haanen. The genre pictures by this artist are admirable. "A Dutch
Peasant Woman" and "The Midday Prayer of an Aged Couple" are excellent
examples of her art and have been made familiar through reproductions.

HALE, ELLEN DAY. Medal at exhibition of Mechanics' Charitable
Association. Born in Worcester, Massachusetts. Pupil of William M. Hart
and of Dr. Rimmer, in Boston, and of the Julian Academy, Paris.

Her principal works are decorative. The "Nativity" is in the South
Congregational Church, Boston; "Military Music," decorative, is in
Philadelphia. She also paints figure subjects.


HALSE, EMMELINE. This artist, when in the Royal Academy Schools, was
awarded two silver medals and a prize of L30. Her works have been
accepted at the Academy Exhibitions since 1888, and occasionally she has
sent them to the Paris Salons. Born in London. Studied under Sir
Frederick Leighton, at Academy Schools, and in Paris under M. Bogino.

Miss Halse executed the reredos in St. John's Church, Notting Hill,
London; a terra-cotta relief called "Earthward Board" (?) is in St.
Bartholomew's Hospital, London; a relief, the "Pleiades," was purchased
by the Corporation of Glasgow for the Permanent Exhibition; her
restoration of the "Hermes" was placed in the British Museum beside the
cast from the original.

This artist has made many life-size studies of children, portraits in
marble, plaster, and wax, in all sizes, poetical reliefs, and tiny wax

HAMMOND, GERTRUDE DEMAIN. Several prizes at the School of the Royal
Academy, 1886, 1887, and in 1889 the prize for decorative design; bronze
medal at Paris Exposition in 1900. Member of Institute of Painters in
Water-Colors. Born at Brixton. After gaining the prize for decorative
design Miss Hammond was commissioned to execute her design, in a public
building. This was the third time that such a commission was given to a
prize student, and the first time it was accorded to a woman.

More recently Miss Hammond has illustrated books and magazines; in 1902
she illustrated the "Virginians" in a new American edition of Thackeray's
novels. At the Academy, 1903, she exhibited "A Reading from Plato."

HARDING, CHARLOTTE. George W. Childs gold medal at Philadelphia
School of Design for Women; silver medal at Women's Exposition, London,
1900. Born in Newark, New Jersey, 1873. Pupil of Philadelphia Academy of
Fine Arts and School of Design for Women. In the latter was awarded the
Horstman fellowship. Miss Harding is an illustrator whose works are seen
in a number of the principal magazines.

HART, LETITIA B. Dodge prize, National Academy of Design, 1898. Born
in New York, 1857. Pupil of her father, James M. Hart, and Edgar M. Ward.

Her principal works are "The Keepsake," "Unwinding the Skein," "In Silk
Attire," and "The Bride's Bouquet."

HAVENS, BELLE. Awarded third Hallgarten prize at National Academy of
Design, winter of 1903. Born in Franklin County, Ohio. Studied at Art
Students' League, New York, and at Colarossi Atelier, Paris. In New York
Miss Havens was directed by William Chase, and by Whistler in Paris. In
Holland she studied landscape under Hitchcock, and a picture called
"Going Home" was accepted at the Salon and later exhibited at the
Philadelphia Academy; it is owned by Mr. Caldwell, of Pittsburg.

Mr. Harrison N. Howard, in _Brush and Pencil_, writing of the exhibition
of the National Academy of Design, says: "'Belle Havens' the 'Last Load'
is part and parcel with her other cart-and-horse compositions,
commonplace and prosaic in subject, but rendered naturally and forcefully
and with no small measure of atmospheric effect. The picture is not one
of the winsome sort, and it doubtless makes less appeal to the spectator
than any other of the prize-winners."

HAZLETON, MARY BREWSTER. First Hallgarten prize, 1896; first prize
travelling scholarship, School of Museum of Fine Arts, Boston, 1899;
honorable mention, Buffalo, 1901.

[_No reply to circular_.]

HEDINGER, ELISE. Family name Neumann. Born in Berlin, 1854. Pupil of
Hoguet, Hertel, and Gussow in Berlin, and of Bracht in Paris. In recent
years she has exhibited in Berlin and other cities many exquisite
landscapes and admirable pictures of still-life, which have been
universally praised.

HEEREN, MINNA. Born in Hamburg; living in Duesseldorf. In the Gallery
at Hamburg is her "Ruth and Naomi," 1854; other important works are "The
Veteran of 1813 and His Grandson, Wounded in 1870," "The Little Boaster,"
"A Troubled Hour of Rest," etc.

HELENA. A Greek painter of the fourth century B. C. Daughter of
Timon, an Egyptian. She executed a picture of the "Battle of Issus,"
which was exhibited in the Temple of Peace, in the time of Vespasian, 333
B. C.

HERBELIN, MME. JEANNE MATHILDE. Third-class medal, Paris Salon,
1843; second class, 1844; and first class, 1847, 1848, and 1855. Born in
Brunoy, 1820. A painter of miniatures. One of these works by Mme.
Herbelin was the first miniature admitted to the Luxembourg Gallery.

HEREFORD, LAURA. 1831-1870. This artist is distinguished by the fact
that she was the first woman to whom the schools of the Royal Academy
were opened. She became a pupil there in 1861 or 1862, and in 1864 sent
to the Exhibition "A Quiet Corner"; in 1865, "Thoughtful"; in 1866,
"Brother and Sister"; and in 1867, "Margaret."

HERMAN, HERMINE VON. Born in Komorn, Hungary, 1857. Studied under
Darnaut in Vienna, where she made her home. She is a landscape painter
and is known through her "Evening Landscape," "Spring," "Eve," and a
picture of roses.

HEUSTIS, LOUISE LYONS. Member of Art Workers' Club for Women and the
Art Students' League. Born in Mobile, Alabama. Pupil of Art Students'
League, New York, under Kenyon Cox and W. M. Chase; at Julian Academy,
Paris, under Charles Lasar.

[Illustration: From a Copley Print.



A portrait painter. At a recent exhibition of the Society of American
Artists, Miss Heustis's genre portrait called "The Recitation" was most
attractive and well painted. She has painted portraits of Mr. Henry F.
Dimock; Mr. Edward L. Tinker, in riding clothes, of which a critic says,
"It is painted with distinction and charm"; the portrait of a little boy
in a Russian blouse is especially attractive; and a portrait of Miss
Soley in riding costume is well done. These are but a small number of the
portraits by this artist. She is clever in posing her sitters, manages
the effect of light with skill and judgement, and renders the various
kinds of textures to excellent advantage.

As an illustrator Miss Heustis has been employed by _St. Nicholas,
Scribner's_, and _Harper's Magazine_.

HILL, AMELIA R. A native of Dunfermline, she lived many years in
Edinburgh. A sister of Sir Noel and Walter H. Paton, she married D. O.
Hill, of the Royal Scottish Academy. Mrs. Hill made busts of Thomas
Carlyle, Sir David Brewster, Sir Noel Paton, Richard Irven, of New York,
and others. She also executed many ideal figures. She was the sculptor of
the memorial to the Regent Murray at Linlithgow, of the statue of Captain
Cook, and that of Dr. Livingstone; the latter was unveiled in Prince's
Gardens, Edinburgh, in 1876, and is said to be the first work of this
kind executed by a woman and erected in a public square in Great Britain.

"Mrs. Hill has mastered great difficulties in becoming a sculptor in
established practice."--_Mrs. Tytler's "Modern Painters."_

"Mrs. Hill's Captain Cook--R. Scottish Academy, 1874--is an interesting
figure and a perfectly faithful likeness, according to extant portraits
of the great circumnavigator."--_Art Journal_, April, 1874.

HILLS, LAURA COOMBS. Medal at Art Interchange, 1895; bronze medal,
Paris Exposition, 1900; silver medal, Pan-American Exposition, 1901;
second prize, Corcoran Art Gallery, Washington, D. C, 1901. Member of
Society of American Artists, Women's Art Club, New York, American Society
of Miniature Painters, and Water-Color Club, Boston. Born in Newburyport,
Massachusetts. Studied in Helen M. Knowlton's studio and at Cowles Art
School, Boston, and at Art Students' League, New York.



Miss Hills is a prominent and successful miniaturist, and her numerous
pictures are in the possession of her subjects. They are decidedly
individual in character. No matter how simple her arrangements, she gives
her pictures a cachet of distinction. It may be "a lady in a black gown
with a black aigrette in her hair and a background of delicate turquoise
blue, or the delicate profile of a red-haired beauty, outlined against
tapestry, the snowy head and shoulders rising out of dusky brown velvet;
but the effect is gem-like, a revelation of exquisite coloring that is
entirely artistic."

"An attractive work," reproduced here, "may be called a miniature
picture. It is a portrait of a little lady, apparently six or seven years
old, in an artistic old-fashioned gown, the bodice low in neck and cut in
sharp point at the waist line in front; elbow sleeves, slippers with
large rosettes, just peeping out from her dress, her feet not touching
the floor, so high is she seated. Her hair, curling about her face, is
held back by a ribbon bandeau in front; one long, heavy curl rests on the
left side of her neck, and is surmounted by a big butterfly bow. The
costume and pose are delightful and striking at first sight, but the more
the picture is studied the more the face attracts the attention it
merits. It is a sweet little girl's face, modest and sensible. She is
holding the arm of her seat with a sort of determination to sit that way
and be looked at so long as she must, but her expression shows that she
is thinking hard of something that she intends to do so soon as she can
jump down and run away to her more interesting occupations."


[_No reply to circular_.]

HITZ, DORA. Born at Altdorf, near Nuremberg, 1856. During eight
years she worked under the direction of Lindenschmit, 1870-1878. She was
then invited to Bucharest by the Queen of Roumania, "Carmen Sylva." Here
the artist illustrated the Queen's poem, "Ada," with a series of
water-color sketches, and painted two landscapes from Roumanian scenery.
Between 1883 and 1886 she made sketches for the mural decoration of the
music-room at the castle of Sinoia. Later, in Brittany and Normandy, she
made illustrations for the fisher-romances of Pierre Loti. At Berlin, in
1891-1892, she painted portraits, and then retired to Charlottenburg. Her
exhibition of two beautiful pictures in gouache, at Dresden, in 1892,
brought her into notice, and her grasp of her subjects and her method of
execution were much commended.

Fraeulein Hitz could not stem the "classic" art creed of Berlin, where the
"new idealism" is spurned. She ventured to exhibit some portraits and
studies there in 1894, and was most unfavorably criticised. At Munich,
however, in 1895, her exhibition was much admired at the "Secession."
Again, in 1898, she exhibited, in Berlin, at the Union of Eleven, a
portrait of a young girl, which was received with no more favor than was
shown her previous works. In the same year, at the "Livre Esthetique," in
Brussels, her pictures were thought to combine a charming grace with a
sure sense of light effects, in which the predominating tone was a deep
silver gray. A portrait by this artist was exhibited at a Paris Salon in

HOFFMANN, FELICITAS. Born in Venice, she died in Dresden, 1760.
Pupil of Rosalba Camera. There are four pictures in the Dresden Gallery
attributed to her--"St. George," after Correggio; "Diana with an Italian
Greyhound," after Camera; "Winter," a half-length figure by herself; and
her own portrait. Her principal works were religious subjects and

HOFFMANN-TEDESCO, GIULIA. Prize at the Beatrice Exposition, Naples.
Born at Wurzburg, 1850. This artist has lived in Italy and made her
artistic success there, her works having been seen in many exhibitions.
Her prize picture at Naples was called "A Mother's Joy." In 1877 she
exhibited in the same city "Sappho" and "A Mother," which were much
admired; at Turin, 1880, "On the Water" and "The Dance" were seen; at
Milan, 1881, she exhibited "Timon of Athens" and a "Sunset"; at Rome,
1883, "A Gipsy Girl" and "Flowers." Her flower pictures are excellent;
they are represented with truth, spirit, and grace.

HOGARTH, MARY. Exhibits regularly at the New English Art Club, and
occasionally at the New Gallery. Born at Barton-on-Humber, Lincolnshire.
Pupil of the Slade School under Prof. Fred Brown and P. Wilson Steer.

Miss Hogarth's contribution to the exhibition of the New English Art
Club, 1902, was called "The Green Shutters," a very peculiar title for
what was, in fact, a picture of the Ponte Vecchio and its surroundings,
in Florence. It was interesting. It was scarcely a painting; a tinted
sketch would be a better name for it. It was an actual portrait of the
scene, and skilfully done.

HORMUTH-KOLLMORGEN, MARGARETHE. Born at Heidelberg, 1858. Pupil of
Ferdinand Keller at Carlsruhe. Married the artist Kollmorgen, 1882. This
painter of flowers and still-life has also devoted herself to decorative
work, mural designs, fire-screens, etc., in which she has been
successful. Her coloring is admirable and her execution careful and firm.

HOSMER, HARRIET G. Born in Watertown, Massachusetts, 1830. Pupil in
Boston of Stevenson, who taught her to model; pupil of her father, a
physician, in anatomy, taking a supplementary course at the St. Louis
Medical School.

Since 1852 she has resided in Rome, where she was a pupil of Gibson. Two
heads, "Daphne" and "Medusa," executed soon after she went to Rome, were
praised by critics of authority. "Will-o'-the-Wisp," "Puck," "Sleeping
Faun," "Waking Faun," and "Zenobia in Chains" followed each other

Miss Hosmer made a portrait statue of "Maria Sophia, Queen of the
Sicilies," and a monument to an English lady to be placed in a church in
Rome. Her "Beatrice Cenci" has been much admired; it is in the Public
Library at St. Louis, and her statue of Thomas H. Benton is in a square
of the same city.

For Lady Ashburton Miss Hosmer made her Triton and Mermaid Fountains, and
a Siren Fountain for Lady Marian Alford.


[_No reply to circular_.]

HOUSTON, FRANCES C. Bronze medal at Atlanta Exposition; honorable
mention at Paris Exposition, 1900. Member of the Water-Color Club,
Boston, and of the Society of Arts and Crafts. Born in Hudson, Michigan,
1851. Studied in Julian Academy under Lefebvre and Boulanger.

A portrait painter whose pictures are in private hands. They have been
exhibited in Paris, London, Naples, New York, Philadelphia, and Boston.

Mrs. Houston writes me: "I have not painted many pictures of late years,
but always something for exhibition every year." She first exhibited at
Paris Salon in 1889, in London Academy in 1890, and annually sends her
portraits to the Boston, New York, and Philadelphia Exhibitions.

HOXIE, VINNIE REAM. Born in Madison, Wisconsin, 1847. This sculptor
was but fifteen years old when she was commissioned to make a life-size
statue of Abraham Lincoln, who sat for his bust; her completed statue of
him is in the rotunda of the Capitol at Washington. Congress then gave
her the commission for the heroic statue of Admiral Farragut, now in
Farragut Square, Washington. These are the only two statues that the
United States Government has ordered of a woman.

This artist has executed ideal statues and several bust portraits of
distinguished men. Of these the bust of Ezra Cornell is at Cornell
University; that of Mayor Powell in the City Hall of Brooklyn, etc.

HUDSON, GRACE. Gold medal at Hopkins Institute, San Francisco;
silver medal at Preliminary World's Fair Exhibition of Pacific States;
and medals and honorable mention at several California State exhibitions.
Born in Potter Valley, California. Studied at Hopkins Art Institute, San
Francisco, under Virgil Williams and Oscar Kunath.

Paints genre subjects, some of which are "Captain John," in National
Museum; "Laughing Child," in C. P. Huntington Collection; "Who Comes?" in
private hands in Denver, etc.

Mrs. Hudson's pictures of Indians, the Pomas especially, are very
interesting, although when one sees the living article one wonders how a
picture of him, conscientiously painted and truthful in detail, can be so
little repulsive--or, in fact, not repulsive at all. At all events, Mrs.
Hudson has no worthy rival in painting California Indians. If we do not
sympathize with her choice of subjects, we are compelled to acknowledge
that her pictures are full of interest and emphasize the power of this
artist in keeping them above a wearisome commonplace.

Her Indian children are attractive, we must admit, and her "Poma Bride,"
seated in the midst of the baskets that are her dower, is a picture which
curiously attracts and holds the attention. Her compositions are simple,
and it can only be a rare skill in their treatment that gives them the
value that is generally accorded them by critics, who, while approving
them, are all the time conscious of surprise at themselves for doing so,
and of an unanswered Why? which persists in presenting itself to their
thought when seeing or thinking of these pictures.

HULBERT, MRS. KATHERINE ALLMOND. Born in Sacramento Valley,
California. Pupil of the San Francisco School of Design under Virgil
Williams; National Academy of Design, New York, under Charles Noel Flagg;
Artist Artisan Institute, New York, under John Ward Stimson.

This artist paints in water-colors and her works are much admired. Among
the most important are "The Stream, South Egremont," which is in a
private gallery in Denver; "In the Woods" belongs to Mr. Whiting, of
Great Barrington; and "Sunlight and Shadow" to Mr. Benedict, Albany, New

Mrs. Hulbert is also favorably known as an illustrator and decorative

HUNTER, MARY Y. Four silver medals at Royal Academy Schools
Exhibitions; diploma for silver medal, Woman's International Exhibition,
Earl's Court, London. Member of Society of Painters in Tempera. Born in
New Zealand. Studied at Royal Academy Schools.

The following list of the titles of Mrs. Hunter's works will give an idea
of the subjects she affects: "Dante and Beatrice," "Joy to the Laborer,"
"An Italian Garden," "Where shall Wisdom be Found?" and the
"Roadmenders," in Academy Exhibition, 1903.

The only work of Mrs. Hunter's that I have seen is the "Dante and
Beatrice," Academy, 1900, and the impression I received leads me to think
an article in the _Studio,_ June, 1903, a just estimate of her work. It
is by A. L. Baldry, who writes: "In the band of young artists who are at
the present time building up sound reputations which promise to be
permanent, places of much prominence must be assigned to Mr. J. Young
Hunter and his wife. Though neither of them has been before the public
for any considerable period, they have already, by a succession of
notable works, earned the right to an amount of attention which, as a
rule, can be claimed only by workers who have a large fund of experience
to draw upon. But though they have been more than ordinarily successful
in establishing themselves among the few contemporary painters whose
performances are worth watching, they have not sprung suddenly into
notice by some special achievement or by doing work so sensational that
it would not fail to set people talking. There has been no spasmodic
brilliancy in their progress, none of that strange alternation of
masterly accomplishment and hesitating effort which is apt at times to
mark the earlier stages of the life of an artist who may or may not
attain greatness in his later years. They have gone forward steadily year
by year, amplifying their methods and widening the range of their
convictions; and there has been no moment since they made their first
appeal to the public at which they can be said to have shown any
diminution in the earnestness of their artistic intentions.

"The school to which they belong is one which has latterly gathered to
itself a very large number of adherents among the younger painters--a
school that, for want of a better name, can be called that of the new
Pre-Raphaelites. It has grown up, apparently, as an expression of the
reaction which has recently set in against the realistic beliefs taught
so assiduously a quarter of a century ago. At the end of the seventies
there was a prevailing idea that the only mission of the artist was to
record with absolute fidelity the facts of nature.... To-day the fallacy
of that creed is properly recognized, and the artists on whom we have to
depend in the immediate future for memorable works have substituted for
it something much more reasonable.... There runs through this new school
a vein of romantic fantasy which all thinking people can appreciate,
because it leads to the production of pictures which appeal, not only to
the eye by their attractiveness of aspect, but also to the mind by their
charm of sentiment.... It is because Mr. Young Hunter and his wife have
carried out consistently the best principles of this school that they
have, in a career of some half-dozen years, established themselves as
painters of noteworthy prominence. Their romanticism has always been free
from exaggeration and from that morbidity of subject and treatment which
is occasionally a defect in the work of young artists. They have kept
their art wholesome and sincere, and they have cultivated judiciously
those tendencies in it which justify most completely the development of
the new Pre-Raphaelitism. They are, indeed, standing examples of the
value of this movement, which seems destined to make upon history a mark
almost as definite as that left by the original Brotherhood in the middle
of the nineteenth century. By their help, and that of the group to which
they belong, a new artistic fashion is being established, a fashion of a
novel sort, for its hold upon the public is a result not of some
irrational popular craze, but of the fascinating arguments which are put
into visible shape by the painters themselves."

Exposition in Atlanta, Georgia, 1895. Member of National Art Club, New
York. Born at Salem, Massachusetts. Studied at Cowles Art School and with
Ross Turner; later under H. H. Kitson and Ernest L. Major.

Among this artist's pictures are "Shouting above the Tide," "Primitive
Fishing," "The Choir Invisible," etc.

The plaster group called the "Boy with Great Dane" was the work of this
artist and her sister, Anna Vaughan Hyatt, and is at the Bureau of the
Society for the Prevention of Cruelty to Animals, in New York.

HYATT, ANNA VAUGHAN. Member of the Copley Society, Boston. Born in
Cambridge, Massachusetts. Studied nature at Bostock's Animal Arena,
Norumbega Park, and at Sportsman's Exhibition. Criticism from H. H.

The principal works of this artist are the "Boy with Great Dane," already
mentioned, made in conjunction with her sister; a "Bison," in a private
collection in Boston; and "Playing with Fire."

In November, 1902, Miss Hyatt held an exhibition of her works, in plaster
and bronze, at the Boston Art Club. There were many small studies taken
from life.

HYDE, HELEN. Member of the Art Association, San Francisco. Born in
Lima, New York, but has lived so much in California that she is
identified with that State, and especially with San Francisco. She made
her studies in San Francisco, Philadelphia, New York, and Paris, where
she was a pupil of Felix Regamy and Albert Sterner. She then went to
Holland, where she also studied. On her return to San Francisco she
became so enamoured of the Oriental life she saw there that she
determined to go to Japan to perfect herself in colored etching. Miss
Hyde devoted herself to the study she had chosen during three years. She
lived in an old temple at Tokio, made frequent excursions into the
country, was a pupil of the best Japanese teachers, adapted herself to
the customs of the country, worked on low tables, sitting on the floor,
and so gained the confidence of the natives that she easily obtained
models, and, in a word, this artist was soon accorded honors in Japanese
exhibitions, where her pictures were side by side with those of the best
native artists.

[Illustration: CHILD OF THE PEOPLE


Miss Hyde has made a visit to America and received many commissions which
decided her to return to Japan. A letter from a friend in Tokio, written
in October, 1903, says that she will soon return to California.

IGHINO, MARY. A sculptor residing in Genoa. Since 1884 she has
exhibited a number of busts, bas-reliefs, and statues. At Turin in the
above-named year she exhibited a group in plaster, "Love Dominating
Evil." She is especially successful in bas-relief portraits; one of these
is of the Genoese sculptor, Santo Varin. She has also made a bust of
Emanuele Filiberto; and in terra-cotta a bust of Oicetta Doria, the
fifteenth-century heroine of Mitylene. She has executed a number of
decorative and monumental works, and receives many commissions from both
Italians and foreigners.

INGLIS, HESTER. This artist lived in the last half of the sixteenth
and in the early decades of the seventeenth century. In the Library of
Christ Church College, Oxford, there is an example of the Psalms, in
French, written and decorated by her, which formerly belonged to Queen
Elizabeth. In the Royal Library of the British Museum there is also a
"Book of Emblems" from her hand.

ITASSE, JEANNE. Honorable mention, Paris Salon, 1888, and the purse
of the city of Paris; at Paris Exposition, honorable mention, 1889;
travelling purse, 1891; medal at Chicago Exposition, 1893; medal third
class, Salon, 1896; medal second class, 1899; silver medal, Paris
Exposition, 1900. Member of Societe des Artistes Francais, Societe Libre,
Societe des prix du Salon et boursiers de voyage. Born in Paris. Pupil of
her father.

Several works of this sculptor have been purchased by the Government and
are in the Bureaux of Ministers or in provincial museums. A "Bacchante"
is in the Museum at Agen; a portrait bust in the Museum of Alger. At
the Salon of 1902 Mlle Itasse exhibited a "Madonna"; in 1903, a portrait
of M, W.

Mlle Itasse knows her art thoroughly. When still a child, at the age when
little girls play with dolls, she was in her father's atelier, working in
clay with an irresistible fondness for this occupation, and without
relaxation making one little object after another, until she acquired
that admirable surety of execution that one admires in her work--a
quality sometimes lacking in the work of both men and women sculptors.

Since her debut at the Salon of 1886 she has annually exhibited important
works. In 1887 her bust of the danseuse, Marie Salles, was purchased by
the Government for the Opera; in 1888 she exhibited a plaster statue, the
"Young Scholar," and the following year the bust of her father; in 1890 a
"St. Sebastian" in high relief; in 1891 an "Egyptian Harpist," which
gained her a traveller's purse and an invitation from the Viceroy of
Egypt; in 1893 a Renaissance bas-relief; in 1894 the superb funeral
monument dedicated to her father; in 1896 she exhibited, in plaster, the
"Bacchante," which in marble was a brilliant success and gained for her a
second-class medal and the palmes academique, while the statue was
acquired by the Government. Mlle. Itasse has also gained official
recompenses in provincial exhibitions and has richly won the right to
esteem herself mistress of her art.

JACQUEMART, MLLE. NELIE. Medals at Paris Salon, 1868, 1869, and
1870. Born in Paris. A very successful portrait painter. Among the
portraits she has exhibited at the Paris Salon are those of Marshal
Canrobert, General d'Aurelle de Paladines, General de Palikao, Count de
Chambrun, M. Dufaure, and many others, both ladies and gentlemen. Her
portrait of Thiers in 1872 was greatly admired.

Paul d'Abrest wrote of Mlle. Jacquemart, in the _Zeitschrift fuer bildende
Kunst:_ "One feels that this artist does not take her inspirations alone
from the sittings of her subjects, but that she finds the best part of
her work in her knowledge of character and from her close study of the
personnelle of those whom she portrays."

JANDA, HERMINIE VON. Born at Klosterbruch, 1854. Pupil of Ludwig
Holanska and Hugo Darnaut. Since 1886 her landscapes have been seen in
various Austrian exhibitions. One of these was bought for the
"Franzens-Museum" at Bruenn, while several others were acquired by the
Imperial House of Austria.

JENKS, PHOEBE A. PICKERING. Born in Portsmouth, New Hampshire, 1849.
Mrs. Jenks writes that she has had no teachers.

Her works, being portraits, are mostly in the homes of their owners, but
that of the son of T. Jefferson Coolidge, Jr., has been exhibited in the
Museum of Fine Arts, Boston, and that of Mrs. William Slater and her son
is in the Slater Museum at Norwich.

[Illustration: MOTHER AND CHILD


Mrs. Jenks has been constantly busy in portrait painting for twenty-seven
years, and has had no time for clubs and societies. She esteems the fact
of her constant commissions the greatest honor that she could have. She
has probably painted a greater number of portraits than any other Boston
contemporary artist.

JERICHAU-BAUMANN, ELIZABETH. 1819-1881. Honorable mention, Paris
Salon, 1861. Member of the Academy of Copenhagen. Born in Warsaw. Pupil
of Karl Sohne and Stilke, in Duesseldorf. In Rome she married the Danish
sculptor Jerichau and afterward lived in Copenhagen. She travelled in
England, France, Russia, Greece, Turkey, and Egypt.

Her picture of a "Polish Woman and Children Leaving Their Home, which had
been Destroyed," is in the Raczynski Collection, Berlin; "Polish Peasants
Returning to the Ruins of a Burnt House," in the Lansdowne Collection,
London; "A Wounded Soldier Nursed by His Betrothed," in the Gallery at
Copenhagen, where is also her portrait of her husband; "An Icelandic
Maiden," in the Kunsthalle, Hamburg. Her picture, "Reading the Bible,"
was painted for Napoleon III. at his request. Mme. Jerichau painted a
portrait of the present Queen of England, in her wedding dress. A large
number of her works are in private houses in Copenhagen.

One of her most important pictures was a life-size representation of
"Christian Martyrs in the Catacombs." This picture was much talked of in
Rome, where it was painted, and the Pope desired to see it. Madame
Jerichau took the picture to the Vatican. On seeing it the Pope expressed
surprise that one who was not of his Church could paint this picture.
Mme. Jerichau, hearing this, replied: "Your Holiness, I am a Christian."

Hans Christian Andersen was an intimate friend in the Jerichau family. He
attended the wedding in Rome, and wrote the biographies of Professor and
Mme. Jerichau.

Theophile Gautier once said that but three women in Europe merited the
name of artists--Rosa Bonheur, Henrietta Brown, and Elizabeth Jerichau;
and Cornelius called her "the one woman in the Duesseldorf School,"
because of her virile manner of painting.

Among her important portraits are those of Frederick VII. of Denmark, the
brothers Grimm, and "Hans Christian Andersen Reading His Fairy Tales to a

Mme. Jerichau was also an author. In 1874 she published her "Memories of
Youth," and later, with her son, the illustrated "Pictures of Travel."

JOPLING-ROWE, LOUISE. Member of Royal Society of British Artists,
Society of Portrait Painters, Pastel Society, Society of Women Artists.
Born at Manchester, 1843. Pupil of Chaplin in Paris; also studied with
Alfred Stevens.

Since 1871 Mrs. Jopling has been a constant exhibitor at the Royal
Academy and other London exhibitions, and frequently also at the Paris



Her pictures are principally portraits and genre subjects. Her first
decided success was gained in 1874, when she exhibited at the Academy the
"Japanese Tea Party," and from that time she was recognized as an
accomplished artist and received as many commissions as she could
execute. The Baroness de Rothschild had been convinced of Mrs. Jopling's
talent before she became an artist, and had given her great encouragement
in the beginning of her career. The portrait of Lord Rothschild, painted
for Lord Beaconsfield, is thought to be her best work of this kind, but
its owner would not allow it to be exhibited. Her portrait of Ellen
Terry, which hangs in the Lyceum Theatre, was at the Academy in 1883. It
is in the costume of Portia. Mrs. Jopling's pastels are of an unusual
quality, delicate, strong, and brilliant. Her portraits are numerous, and
from time to time she has also executed figure subjects.

Of late years Mrs. Jopling has been much occupied with a School of
Painting. The large number of pupils who wished to study with her made a
school the best means of teaching them, and has been successful. From the
beginning they draw from life, and at the same time they also study from
the antique.

Many of her pupils receive good prices for their works, and also earn
large sums for their portraits in black and white.

Mrs. Jopling writes: "What I know I chiefly learned alone. Hard work and
the genius that comes from infinite pains, the eye to see nature, the
heart to feel nature, and the courage to follow nature--these are the
best qualifications for the artist who would succeed."

In the _Art Journal,_ July, 1874, I read: "'The Five-o'Clock Tea' is the
largest and most important design we have seen from Mrs. Jopling's hand,
and in the disposition of the various figures and the management of color
it certainly exhibits very remarkable technical gifts. Especially do we
notice in this lady's work a correct understanding of the laws of tone,
very rare to find in the works of English painters, giving the artist
power to bring different tints, even if they are not harmonious, into
right relations with one another."

The above-named picture was sold to the Messrs. Agnew, and was followed
by "The Modern Cinderella," which was seen at the Paris Exposition in
1878; at the Philadelphia Exposition in 1876 she exhibited "Five Sisters
of York."

Mrs. Jopling is also known as the founder and president of the Society of
the Immortals. She has written several short tales, some poems, and a
book called "Hints to Amateurs."

At the Royal Academy, 1903, she exhibited "Hark! Hark! the Lark at
Heaven's Gate Sings," which is a picture of a poor girl beside a table,
on which she has thrown her work, and leaning back in her chair, with
hands clasped behind her head, is lost in thought.

JORIS, SIGNORINA AGNESE--pseudonym, Altissimi. Was accorded the
title of professor at the Institute of the Fine Arts, Rome, 1881. She was
successful in a competition for a position in the Scuole Tecniche, Rome,
1888. Honorable mention, Florence, 1890; same at Palermo, 1891 and 1892;
silver medal of first class and diploma of silver medal, Rome, 1899 and
1900. Member of the Societa Cooperativa, Rome. Born in the same city, and
pupil of the Institute of Fine Arts and of her brother, Cavaliere
Professore Pio Joris.

This artist writes that a list of her works would be too long and require
too much time to write it. They are in oils, pastel, and water-colors,
with various applications of these to tapestries, etc. She also gives
lessons in these different methods of painting. In a private collection
in New York is her "Spanish Scene in the Eighteenth Century."

She painted a "portrait of the late King Humbert, arranged in the form of
a triptych surrounded by a wreath of flowers, painted from some which had
lain on the King's bier." She sent this picture to Queen Margharita, "who
not only graciously accepted it, but sent the artist a beautiful letter
and a magnificent jewel on which was the Royal Cipher."

KAERLING, HENRIETTE. Born about 1832. Daughter of the artist, J. T.
Kaerling, who was her principal teacher. She practised her art as a
painter of portraits, genre subjects, and still-life in Budapest during
some years before her marriage to the pianist Pacher, with whom she went
to Vienna. She there copied some of the works of the great painters in
the Gallery, besides doing original work of acknowledged excellence. In
addition to her excellent portraits, she painted in 1851 "The
Grandmother"; in 1852, "A Garland with Religious Emblems"; in 1855, "A
Crucifix Wound with Flowers."

KALCKREUTH, COUNTESS MARIA. Medal at Chicago Exposition, 1893.
Member of the Society of Women Artists in Berlin. Born at Duesseldorf.
1857-1897. Much of her artistic life was passed in Munich. Her picture at
Chicago was later exhibited at Berlin and was purchased for the
Protestant Chapel at Dachau. It represented "Christ Raising a Repentant
Sinner"--a strong work, broadly painted. Among her important pictures are
"In the Sunshine," "Fainthearted," "Discontented," and several portraits,
all of which show the various aspects of her artistic talent.

KAUFFMAN, ANGELICA. An original member of the London Academy. She
was essentially an Italian artist, since from the age of eleven she lived
in Italy and there studied her art. Such different estimates have been
made of her works that one may quote a good authority in either praise or
blame of her artistic genius and attainment.

Kugler, a learned, unimpassioned critic, says: "An easy talent for
composition, though of no depth; a feeling for pretty forms, though they
were often monotonous and empty, and for graceful movement; a coloring
blooming and often warm, though occasionally crude; a superficial but
agreeable execution, and especially a vapid sentimentality in harmony
with the fashion of the time--all these causes sufficiently account for
her popularity."

[Illustration: Alinari, Photo.

In the Uffizi, Florence



Raphael Mengs, himself an artist, thus esteems her: "As an artist she is
the pride of the female sex in all times and all nations. Nothing is
wanting--composition, coloring, fancy--all are here."

Miss Kate Thompson writes: "Her works showed no originality nor any great
power of execution, and, while sometimes graceful, were generally weak
and insipid."

For myself I do not find her worthy of superlative praise or
condemnation; one cannot deny her grace in design, which was also
creditably correct; her poetical subjects were pleasing in arrangement;
her historical subjects lacked strength and variety in expression; her
color was as harmonious and mellow as that of the best Italian colorists,
always excepting a small number of the greatest masters, and in all her
pictures there is a something--it must have been the individuality of
the artist--that leads one to entertain a certain fondness for her, even
while her shortcomings are fully recognized.

The story of Angelica Kauffman's life is of unusual interest. She was
born at Coire, in the Grisons. 1742-1807. Her father, an artist, had gone
from Schwarzenburg to Coire to execute some frescoes in a church, and had
married there. When Angelica was a year old the family settled in
Morbegno, in Lombardy. Ten years later, when the child had already shown
her predilection for painting and music, a new home was made for her in
Como, where there were better advantages for her instruction.

Her progress in music was phenomenal, and for a time she loved her two
arts--one as well as the other--and could make no choice between them. In
one of her pictures she represented herself as a child, standing between
allegorical figures of Music and Painting.

The exquisite scenery about Como, the stately palaces, charming villas,
the lake with its fairy-like pleasure boats, and the romantic life which
there surrounded this girl of so impressionable a nature, rapidly
developed the poetic element born with her, which later found expression
through her varied talents. During her long life the recollections of the
two years she passed at Como were among the most precious memories
associated with her wandering girlhood.

From Como she was taken to Milan, where she had still better advantages
for study, and a world of art was opened to her which far exceeded her
most ardent imaginings. Leonardo had lived and taught in Milan, and his
influence with that of other Lombard masters stirred Angelica to her very

Her pictures soon attracted the attention of Robert d'Este, who became
her patron and placed her in the care of the Duchess of Carrara. This
early association with a circle of cultured and elegant men and women was
doubtless the origin of the self-possession and modest dignity which
characterized Angelica Kauffman through life and enabled her becomingly
to accept the honors that were showered upon her.

Her happy life at Milan ended all too soon. Her mother died, and her
father decided to return to his native Schwarzenburg to execute some
extensive decorative works in that vicinity. In the interior decoration
of a church Angelica painted in fresco the figures of the twelve apostles
after engravings from the works of Piazetta.

The coarse, homely life of Schwarzenburg was in extreme contrast to that
of Milan and was most uncongenial to a sensitive nature; but Angelica was
saved from melancholy by the companionship she felt in the grand pine
forests, which soothed her discontent, while her work left her little
time to pine for the happiness she had left or even to mourn the terrible
loss of her mother.

Her father's restlessness returned, and they were again in Milan for a
short time, and then in Florence. Here she studied assiduously awhile,
but again her father's discontent drove him on, and they went to Rome.

Angelica was now eighteen years old, and in a measure was prepared to
profit by the aid and advice of Winckelmann. He conceived an ardent
friendship for the young artist, and, though no longer young, and engaged
in most important and absorbing research, he found time to interest
himself in Angelica's welfare, and allowed her to paint his portrait, to
which she gave an expression which proved that she had comprehended the
spirit of this remarkable man of threescore years.

While at Rome Angelica received a commission to copy some pictures in
Naples. After completing these she returned to Rome, in 1764, and
continued her studies for a time, but her interests were again sacrificed
to her father's unreasonable capriciousness, and she was taken to Bologna
and then to Venice. This constant change was disheartening to Angelica
and of the greatest disadvantage to her study, and it was most fortunate
that she now met Lady Wentworth, who became her friend and afterward took
her to England.

Angelica had already executed commissions for English families of rank
whom she had met in various cities of Italy, and her friends hoped that
she would be able to earn more money in England than in Italy, where
there were numberless artists and copyists. After visiting Paris she went
to London, where a brilliant career awaited her, not only as an artist,
but in the social world as well.

De Rossi thus describes her at this time: "She was not very tall, but
slight, and her figure was well proportioned. She had a dark, clear
complexion, a gracious mouth, white and equal teeth, and well-marked
features;... above all, her azure eyes, so placid and so bright, charmed
you with an expression it is impossible to write; unless you had known
her you could not understand how eloquent were her looks."

Her English friends belonged to the most cultivated circles, many of them
being also of high rank. Artists united to do her honor--showing no
professional envy and making no opposition to her election to the
Academy. Many interesting incidents in her association with London
artists are related, and it is said that both Fuseli and Sir Joshua
Reynolds were unsuccessful suitors for her hand. Miss Thackeray, in her
novel, "Miss Angel," makes Angelica an attractive heroine.

The royal family were much interested in her, and the mother of the King
visited her--an honor never before accorded to an artist--and the
Princess of Brunswick gave her commissions for several pictures.

De Rossi says that her letters at this time were those of a person at the
summit of joy and tranquillity. She was able to save money and looked
hopefully forward to a time when she could make a home for her unthrifty
father. But this happy prosperity was suddenly cut short by her own

After refusing many eligible offers of marriage, she was secretly married
to an adventurer who personated the Count de Horn, and succeeded by
plausible falsehoods in convincing her that it was necessary, for good
reasons, to conceal their marriage. One day when painting a portrait of
Queen Charlotte, who was very friendly to the artist, Angelica was moved
to confide the secret of her marriage to the Queen. Until this time no
one save her father had known of it.

Her Majesty, who loved Angelica, expressed her surprise and interest and
desired that Count de Horn should appear at Court. By this means the
deceit which had been practised was discovered, and the Queen, as gently
as possible, told Angelica the truth. At first she felt that though her
husband was not the Count de Horn and had grossly deceived her, he was
the man she had married and the vows she had made were binding. But it
was soon discovered that the villain had a living wife when he made his
pretended marriage with Angelica, who was thus released from any
consideration for him. This was a time to prove the sincerity of friends,
and Angelica was comforted by the steadfastness of those who had devoted
themselves to her in her happier days. Sir Joshua Reynolds was untiring
in his friendly offices for her and for her helpless old father.

There were as many differing opinions in regard to Angelica Kauffman, the
woman, as in regard to the quality of her art. Some of her biographers
believed her to be perfectly sincere and uninfluenced by flattery.
Nollekens takes another view; he calls her a coquette, and, among other
stories, relates that when in Rome, "one evening she took her station in
one of the most conspicuous boxes in the theatre, accompanied by two
artists, both of whom, as well as many others, were desperately enamoured
of her. She had her place between her two adorers, and while her arms
were folded before her in front of the box, over which she leaned, she
managed to clasp a hand of both, so that each imagined himself the
cavalier of her choice."

When Angelica could rise above the unhappiness and mortification of her
infatuation for the so-called De Horn, she devoted herself to her art,
and during twelve years supported her father and herself and strengthened
the friendships she had gained in her adopted land. At length, in 1781,
her father's failing health demanded their return to Italy; and now, when
forty years old, she married Antonio Zucchi, an artist who had long loved
her and devoted himself to her and to her father with untiring affection.

The old Kauffman lived to visit his home in Schwarzenburg and to reach
Southern Italy, but died soon after.

Signor Zucchi made his home in Rome. He was a member of the Royal
Academy, London, and was in full sympathy with his wife in intellectual
and artistic pursuits and pleasures. De Rossi says: "It was interesting
to see Angelica and her husband before a picture. While Zucchi spoke with
enthusiasm Angelica remained silent, fixing her eloquent glance on the
finest portions of the work. In her countenance one could read her
emotions, while her observations were limited to a few brief words.
These, however, seldom expressed any blame--only the praises of that
which was worthy of praise. It belonged to her nature to recognize the
beauty alone--as the bee draws honey only out of every flower."

Her home in Rome was a centre of attraction to the artistic and literary
society of the city, and few persons of note passed any time there
without being presented to her. Goethe and Herder were her friends, and
the former wrote: "The good Angelica has a most remarkable, and for a
woman really unheard-of, talent; one must see and value what she does and
not what she leaves undone. There is much to learn from her, particularly
as to work, for what she effects is really marvellous." In his work
called "Winckelmann and His Century," Goethe again said of her: "The
light and pleasing in form and color, in design and execution,
distinguish the numerous works of our artist. _No living painter_ excels
her in dignity or in the delicate taste with which she handles the

In the midst of the social demands on her time in Rome, she continued to
devote herself to her art, and Signor Zucchi, hoping to beguile her into
idleness, purchased a charming villa at Castel Gondolfo; but in spite of
its attractions she was never content to be long away from Rome and her

Thus in her maturer years her life flowed on in a full stream of
prosperity until, in 1795, Signor Zucchi died. Angelica survived him
twelve years--years of deep sadness. Not only was her personal sorrow
heavy to bear, but the French invasion of her beloved Italy disquieted
her. Hoping to regain her usual spirits, she revisited the scenes of her
youth and remained some time in Venice with the family of Signor Zucchi.
Returning to Rome she resumed her accustomed work, so far as her health

She held fast to the German spirit through all the changes in her life,
with the same determination which made it possible, in her strenuous
labors, to retain her gentle womanliness. Just before she died she
desired to hear one of Gellert's spiritual odes.

She was buried in Sant' Andrea dei Frati, beside her husband. All the
members of the Academy of St. Luke attended her obsequies, and her latest
pictures were borne in the funeral procession. Her bust was placed in the
Pantheon, and every proper tribute and honor were paid to her memory in
Rome, where she was sincerely mourned.

Although Angelica lived and worked so long in London and was one of the
thirty-six original members of the Royal Academy, I do not think her best
pictures are in the public galleries there. Of course many of the
portraits painted in London are in private collections. Her pictures are
seen in all the important galleries of Europe. Her etchings, executed
with grace and spirit, are much esteemed and sell for large prices.
Engravings after her works by Bartolozzi are most attractive; numerous as
they were, good prints of them are now rare and costly.

She painted several portraits of herself; one is in the National Portrait
Gallery, London, one at Munich, and a third in the Uffizi, Florence. The
last is near that of Madame Le Brun, and the contrast between the two is
striking. Angelica is still young, but the expression of her face is so
grave as to be almost melancholy; she is sitting on a stone in the midst
of a lonely landscape; she has a portfolio in one hand and a pencil in
the other, and so unstudied is her pose, and so lacking in any attempt to
look her best, that one feels that she is entirely absorbed in her work.
The Frenchwoman could not forget to be interesting; Angelica was
interesting with no thought of being so.

I regard three works by this artist, which are in the Dresden Gallery, as
excellent examples of her work; they are "A Young Vestal," "A Young
Sibyl," and "Ariadne Abandoned by Theseus."

On the margin of one of her pictures she wrote: "I will not attempt to
express supernatural things by human inspiration, but wait for that till
I reach heaven, if there is painting done there."

In 1784 Angelica Kauffman painted "Servius Tullius as a Child" for the
Czar of Russia; in 1786 "Hermann and Thusnelda" and "The Funeral of
Pallas" for Joseph II. These are now in the Vienna Gallery. Three
pictures, "Virgil Reading the Aeneid to the Empress Octavia," "Augustus
Reading Verses on the Death of Marcellus," and "Achilles Discovered by
Ulysses, in Female Attire," were painted for Catherine II. of Russia.
"Religion Surrounded by Virtues," 1798, is in the National Gallery,
London. A "Madonna" and a "Scene from the Songs of Ossian" are in the
Aschaffenburg Gallery. A "Madonna in Glory" and the "Women of Samaria,"
1799, are in the New Pinakothek, Munich, where is also the portrait of
Louis I. of Bavaria, as Crown Prince, 1805. The "Farewell of Abelard and
Heloise," together with other works of this artist, are in the Hermitage,
St. Petersburg. A "Holy Family," and others, in the Museo Civico, Venice.
"Prudence Warning Virtue against Folly," in the Pennsylvania Academy,
Philadelphia. Portraits of Winckelmann in the Staedel Institute,
Frankfort, and in the Zuerich Gallery. Portrait of a Lady, Stuttgart
Museum; the Duchess of Brunswick, Hampton Court Palace; the architect
Novosielski, National Gallery, Edinburgh. In addition to the portraits of
herself mentioned above, there are others in Berlin Museum, the Old
Pinakothek, Munich, the Ferdinandeum, Innsbruck, and in the Philadelphia

KAULA, MRS. LEE LUFKIN. Member of the Woman's Art Club, New York.
Born in Erie, Pennsylvania. Pupil in New York of Charles Melville Dewey
and the Metropolitan Art Schools; in Paris, during three years, pupil of
Girardot, Courtois, the Colarossi Academy, and of Aman-Jean.

Mrs. Kaula is essentially a portrait painter, although she occasionally
paints figure subjects. Her portraits are in private hands in various
cities, and her works have been exhibited in Paris, New York,
Philadelphia, Chicago, Boston, etc. She paints in both oil and

KAYSER, EBBA. Medals in Vienna, Dresden, and Cologne for landscapes
and flower pieces. Born in Stockholm, 1846. When twenty years old she
went to Vienna, where she studied under Rieser, Geyling, and Karl
Hannold. She did not exhibit her works until 1881, since when she has
been favorably known, especially in Austria. A water-color of a "Mill
near Ischl" and several other pictures by this artist have been purchased
for the Imperial Collections.


[_No reply to circular_.]

KEMP-WELCH, LUCY ELIZABETH. Fellow and Associate of Herkomer School,
and member of the Royal Society of British Artists. Born at Bournemouth,
1869. Has exhibited annually at the Royal Academy since 1894. In 1897 her
picture of "Colt Hunting in the New Forest" was purchased by the trustees
of the Chantrey Bequest; in 1900 that of "Horses Bathing in the Sea" was
bought for the National Gallery at Victoria. In 1901 she exhibited "Lord
Dundonald's Dash on Lady-smith."

In July, 1903, in his article on the Royal Academy Exhibition, the editor
of the _Magazine of Art_, in enumerating good pictures, mentions: "Miss
Lucy Kemp-Welch's well-studied 'Village Street' at dusk, and her clever
'Incoming Tide,' with its waves and rocks and its dipping, wheeling sea

Mr. Frederick Wetmore, in writing of the Spring Exhibition of the Royal
Painter Etchers, says: "Miss Kemp-Welch, whose best work, so delicate
that it could only lose by the reduction of a process block, shows the
ordinary English country, the sign-post of the crossways, and the sheep
along the lane."

[_No reply to circular_.]

KENDELL, MARIE VON. Born in Lannicken, 1838. Pupil of Pape, Otto von
Kameke, and Dressier. She travelled in England, Italy, and Switzerland,
and many of her works represent scenes in these countries. In 1882 she
painted the Cadinen Peaks near Schluderbach, in the Ampezzo Valley. At
the exhibition of the Women Artists in Berlin, 1892, she exhibited two
mountain landscapes and a view of "Clovelly in Devonshire." The last was
purchased by the Emperor. To the same exhibition in 1894 she contributed
two Swiss landscapes, which were well considered.

KIELLAND, KITTY. Sister of the famous Norwegian novelist, Alexander
Kielland. Her pictures of the forests and fjords of Norway are the best
of her works and painted _con amore._ Recently she exhibited a portrait
which was much praised and said to be so fresh and life-like in
treatment, so flexible and vivacious in color, that one is involuntarily
attracted by it, without any knowledge of the original.

KILLEGREW, ANNE. Was a daughter of Dr. Henry Killegrew, a prebendary
of Westminster Cathedral. Anne was born in 1660, and when still quite
young was maid of honor to the Duchess of York, whose portrait she
painted as well as that of the future King James II. She also painted
historical subjects and still-life.

One of her admirers wrote of her as "A grace for beauty and a muse for
wit." A biographer records her death from smallpox when twenty-five years
old, "to the unspeakable reluctancy of her relatives." She was buried in
the Savoy Chapel, now a "Royal Peculiar," and a mural tablet set forth
her beauty, accomplishments, graces, and piety in a Latin inscription.

Anne Killigrew was notable for her poetry as well as for her painting.
Dryden wrote an ode in her memory which Dr. Johnson called "the noblest
our language has produced." It begins: "Thou youngest virgin daughter of
the skies." After praising her poetry Dryden wrote:

"Her pencil drew whate'er her soul designed,
And oft the happy draught surpassed the image of her mind."

Of her portrait of James II. he says:

"For, not content to express his outward part,
Her hand called out the image of his heart;
His warlike mind--his soul devoid of fear--
His high designing thoughts were figured there."

Having repeated these panegyrics, it is but just to add that two opinions
existed concerning the merit of Mistress Killigrew's art and of Dryden's
ode, which another critic called "a harmonious hyperbole, composed of the
Fall of Adam--Arethusa--Vestal Virgins--Dian--Cupid--Noah's Ark--the
Pleiades--the fall of Jehoshaphat--and the last Assizes."

Anthony Wood, however, says: "There is nothing spoken of her which she
was not equal to, if not superior, and if there had not been more true
history in her praises than compliment, her father never would have
suffered them to pass the press."

KINDT, ADELE. This painter of history and of genre subjects won her
first prize at Ghent when less than twenty-two, and received medals at
Douai, Cambrai, Ghent, and Brussels before she was thirty-two. Was made a
member of the Brussels, Ghent, and Lisbon Academies. Born in Brussels,
1805. Pupil of Sophie Fremiet and of Navez. Her picture of the "Last
Moments of Egmont" is in the Ghent Museum; among her other historical
pictures are "Melancthon Predicting Prince Willem's Future" and
"Elizabeth Sentencing Mary Stuart," which is in the Hague Museum. The
"Obstinate Scholar" and "Happier than a King" are two of her best genre

KING, JESSIE M. A most successful illustrator and designer of
book-covers, who was educated as an artist in the Glasgow School of
Decorative Art. In this school and at that of South Kensington she was
considered a failure, by reason of her utterly unacademic manner. She did
not see things by rule and she persistently represented them as she saw
them. Her love of nature is intense, and when she illustrated the "Jungle
Book" she could more easily imagine that the animals could speak a
language that Mowgli could understand, than an academic artist could
bring himself to fancy for a moment. Her work is full of poetic
imagination, of symbolism, and of the spirit of her subject.

Walter P. Watson, in a comprehensive critique of her work, says: "Her
imaginations are more perfect and more minutely organized than what is
seen by the bodily eye, and she does not permit the outward creation to
be a hindrance to the expression of her artistic creed. The force of
representation plants her imagined figures before her; she treats them as
real, and talks to them as if they were bodily there; puts words in their
mouths such as they should have spoken, and is affected by them as by
persons. Such creation is poetry in the literal sense of the term, and
Miss King's dreamy and poetical nature enables her to create the persons
of the drama, to invest them with appropriate figures, faces, costumes,
and surroundings; to make them speak after their own characters."

Her important works are in part the illustrations of "The Little
Princess," "The Magic Grammar," "La Belle Dame sans Merci," "L'Evangile
de l'Enfance," "The Romance of the Swan's Nest," etc.

She also makes exquisite designs for book-covers, which have the spirit
of the book for which they are made so clearly indicated that they add to
the meaning as well as to the beauty of the book.

[_No reply to circular_.]

KIRCHSBERG, ERNESTINE VON. Medal at Chicago Exposition, 1893. Born
in Verona, 1857. Pupil of Schaeffer and Darnaut. This artist has exhibited
in Vienna since 1881, and some of her works have been purchased for the
royal collection. Her landscapes, both in oil and water-colors, have
established her reputation as an excellent artist, and she gains the same
happy effects in both mediums. Her picture shown at Chicago was "A
Peasant Home in Southern Austria."

KIRSCHNER, MARIE. Born at Prague, 1852. Pupil of Adolf Lier in
Munich, and Jules Dupre and Alfred Stevens in Paris. In 1883 she
travelled in Italy, and has had her studio in Berlin and in Prague. The
Rudolfinum at Prague contains her "Village Tulleschitz in Bohemia." She
is also, known by many flower pieces and by the "Storm on the Downs of
Heyst," "Spring Morning," and a "Scene on the Moldau."

KITSON, MRS. H. H. Honorable mention, Paris Exposition, 1889; and
the same at Paris Salon, 1890; two medals from Massachusetts Charitable
Association; and has exhibited in all the principal exhibitions of the
United States. Born in Brookline. Pupil of her husband, Henry H. Kitson,
and of Dagnan-Bouveret in Paris.

The women of Michigan commissioned Mrs. Kitson to make two bronze statues
representing the woods of their State for the Columbian Exhibition at
Chicago. Her principal works are the statue of a volunteer for the
Soldiers' Monument at Newburyport; Soldiers' Monument at Ashburnham;
Massachusetts State Monument to 29th, 35th, and 36th Massachusetts
Volunteer Infantry at National Military Park at Vicksburg; also medallion
portraits of Generals Dodge, Ransom, Logan, Blair, Howard, A. J. Smith,
Grierson, and McPherson, for the Sherman Monument at Washington.

[_No reply to circular_.]

KLUMPKE, ANNA ELIZABETH. Honorable mention, Paris Salon, 1885;
silver medal, Versailles, 1886; grand prize, Julian Academy, 1889; Temple
gold medal, Pennsylvania Academy of Fine Arts, 1889; bronze medal, Paris
Exposition, 1889. Member of the Copley Society, Boston; of the Society of
Baron Taylor, Paris; and of the Paris Astronomical Society. Born in San
Francisco. Pupil of the Julian Academy, under Robert-Fleury, and Jules
Lefebvre, where she received, in 1888, the prize of the silver medal and
one hundred francs--the highest award given at the annual Portrait
Concours, between the men and women students of the above Academy.



Among Miss Klumpke's principal works are: "In the Wash-house," owned by
the Pennsylvania Academy of Fine Arts; portrait of Mrs. Nancy Foster, at
the Chicago University; "Maternal Instruction," in the collection of Mr.
Randolph Jefferson Coolidge, Boston; many portraits, among which are
those of Madame Klumpke, Rosa Bonheur, Mrs. Thorp, Mrs. Sargent, Count
Kergaradec, etc.

In writing me of her own life-work and that of her family, she says, what
we may well believe: "Longfellow's thought, 'Your purpose in life must be
to accomplish well your task,' has been our motto from childhood."

Anna Klumpke, being the eldest of the four daughters of her mother, had a
double duty: her own studies and profession and the loving aid and care
of her sisters. In the beginning of her art studies it was only when her
home duties were discharged that she could hasten to the Luxembourg,
where, curiously enough, her time was devoted to copying "Le Labourage
Nivernais," by Rosa Bonheur, whose beloved and devoted friend she later

Meantime Anna Klumpke had visited Boston and other cities of her native
land, and made a success, not only as an artist, but as a woman, whose
intelligence, cheerfulness, and broad interests in life made her a
delightful companion. Sailing from Antwerp one autumn, I was told by a
friend that a lady on board had a letter of introduction to me from
Madame Bouguereau. It proved to be Miss Klumpke, and the acquaintance
thus begun, as time went on, disclosed to me a remarkable character,
founded on a remarkable experience, and it was no surprise to me that the
great and good Rosa Bonheur found in Anna Klumpke a sympathetic and
reliable friend and companion for her last days.

The history of this friendship and its results are too well known to
require more than a passing mention. Miss Klumpke is now established in
Paris, and writes me that, in addition to her painting, she is writing of
Rosa Bonheur. She says: "This biography consists of reminiscences of Rosa
Bonheur's life, her impressions of Nature, God, and Art, with perhaps a
short sketch of how I became acquainted with the illustrious woman whose
precious maternal tenderness will remain forever the most glorious event
of my life."

At the Salon des Artistes Francais, 1903, Miss Klumpke exhibited a
picture called "Maternal Affection."

KNOBLOCH, GERTRUDE. Born at Breslau, 1867. Pupil of Skirbina in
Berlin. Her studio is in Brussels. She paints in oil and water-colors.
Among her best pictures are "In the Children's Shoes," "The Forester's
Leisure Hours," and a "Madonna with the Christ Child."

Two of her works in gouache are worthy of mention: "An Effeminate" and
"Children Returning from School."

KOLLOCK, MARY. Born at Norfolk, Virginia, 1840. Studied at the
Pennsylvania Academy under Robert Wylie, and in New York under J. B.
Bristol and A. H. Wynant. Her landscapes have been exhibited at the
National Academy, New York. Several of these were scenes about Lake
George and the Adirondack regions. "Morning in the Mountains" and "On the
Road to Mt. Marcy" were exhibited in 1877; "A November Day" and an
"Evening Walk," in 1878; "A House in East Hampton, Two Hundred and Twenty
Years Old," in 1880; "On Rondout Creek," in 1881; and "The Brook," in

KOKER, ANNA MARIA DE. A Dutch etcher and engraver of the seventeenth
century, who pursued her art from pure love of it, never trying to make
her works popular or to sell them. A few of her landscapes fell into the
hands of collectors and are much valued for their rarity and excellence.
Three examples are the "Landscape with a View of a Village," "The Square
Tower," and "Huts by the Water."

KOMLOSI, IRMA. Born in Prague, 1850. Pupil of Friederich Sturm. This
flower painter resides in Vienna, where her pictures are much appreciated
and are seen in good collections. They have been purchased for the Art
Associations of Bruenn, Prague, and Budapest.

KONDELKA, BARONESS PAULINE VON--Frau von Schmerling. Born at Vienna.
1806-1840. She inherited from her father a strong inclination for art,
and was placed by him under the instruction of Franz Potter. In the Royal
Gallery, Vienna, is her picture called "Silence," 1834. It represents the
Virgin with her finger on her lip to warn against disturbing the sleep of
the Infant Jesus. The picture is surrounded by a beautiful arrangement of
flowers. In 1836 she painted a charming picture called "A Bunch of
Flowers." Her favorite subjects were floral, and her works of this sort
are much admired.

KONEK, IDA. Born at Budapest, 1856. Her early art studies were under
G. Vastagh, C. von Telepy, W. Lindenschmit, and Munkacsy; later she was a
pupil at the Julian Academy in Paris and the Scuola libera in Florence.
In the Parish Church at Koeboelkut are three of her pictures of sacred
subjects, and in the Hungarian National Museum a picture of still-life.
Her "Old Woman," 1885, is mentioned as attracting favorable notice.

KORA OR CALLIRHOE. It is a well-authenticated fact that in the Greek
city of Sicyonia, about the middle of the seventh century before Christ,
there lived the first woman artist of whom we have a reliable account.

Her story has been often told, and runs in this wise: Kora, or Callirhoe,
was much admired by the young men of Sicyonia for her grace and beauty,
of which they caught but fleeting glimpses through her veil when they met
her in the flower-market. By reason of Kora's attraction the studio of
her father, Dibutades, was frequented by many young Greeks, who watched
for a sight of his daughter, while they praised his models in clay.

At length one of these youths begged the modeller to receive him as an
apprentice, and, his request being granted, he became the daily companion
of both Kora and her father. As the apprentice was skilled in letters, it
soon came about that he was the teacher and ere long the lover of the
charming maiden, who was duly betrothed to him.

The time for the apprentice to leave his master came all too soon. As he
sat with Kora the evening before his departure, she was seized by an
ardent wish for a portrait of her lover, and, with a coal from the
brazier, she traced upon the wall the outline of the face so dear to her.
This likeness her father instantly recognized, and, hastening to bring
his clay, he filled in the sketch and thus produced the first portrait in
bas-relief! It is a charming thought that from the inspiration of a pure
affection so beautiful an art originated, and doubtless Kora's influence
contributed much to the artistic fame which her husband later achieved in

In the latter city the portrait was preserved two hundred years, and
Dibutades became so famous for the excellence of his work that at his
death several cities claimed the honor of having been his birthplace.

KRAFFT, ANNA BARBARA. Member of the Vienna Academy. She was born at
Igto in 1764, and died at Bamberg in 1825. She received instruction from
her father, J. N. Steiner, of which she later made good use. Having
married an apothecary, she went for a time to Salsburg, and again, after
nine years in Prague, spent eighteen years in Salsburg, retiring finally
to Bamberg. In the Gallery at Bamberg may be seen her portrait of the
founder, J. Hemmerlein; in the Nostitz Gallery, Prague, a portrait of the
Archduke Charles; in Strahow Abbey, Prague, a "Madonna"; and in the
church at Owencez, near Prague, an altar-piece.

KUNTZE, MARTHA. Born in Heinrichsdorf, Prussia, 1849. Pupil of
Steffeck and Gussow in Berlin. In 1881 she went to Paris and studied
under Carolus Duran and Henner, and later travelled in Italy, pursuing
her art in Florence, Rome, and Southern Italy. She has an excellent
reputation as a portrait painter, and occasionally paints subjects of

KUeSSNER, AMALIA. See Coudert, Amalia Kuessner.

LABILLE, ADELAIDE VERTUS. Was born in Paris in 1749. She early
developed a taste for art and a desire to study it. J. E. Vincent was her
master in miniature painting, while Latour instructed her in the use of
pastels. She was successful as a portrait painter and as a teacher,
having some members of the royal family as pupils, who so esteemed her
that they became her friends. She is known as Madame Vincent, having
married the son of her first master in painting.

Her portrait of the sculptor Gois gained a prize at the Academy, and in
1781 she was made a member of that institution. We know the subjects of
some large, ambitious works by Madame Vincent, on which she relied for
her future fame, but unhappily they were destroyed in the time of the
French Revolution, and she never again had the courage to attempt to
replace them. One of these represented the "Reception of a Member to the
Order of St. Lazare," the Grand Master being the brother of the King, who
had appointed Madame Vincent Painter to the Court. Another of these works
was a portrait of the artist before her easel, surrounded by her pupils,
among whom was the Duchesse d'Angouleme and other noble ladies.

As Madame Vincent and her husband were staunch royalists, they suffered
serious losses during the Revolution; the loss of her pictures was
irreparable. She was so disheartened by the destruction of the result of
the labors of years that she never again took up her brush with her
old-time ambition and devotion.

She died in 1803, at the age of fifty-four, having received many honors
as an artist, while she was beloved by her friends and esteemed by all as
a woman of noble character.

LAING, MRS. J. G. Principal studies made in Glasgow under Mr. F. H.
Newbery; also in Paris under Jean-Paul Laurens and Aman-Jean.

This artist is especially occupied with portraits of children and their
mothers. She has, however, exhibited works of another sort. Her "Sweet
Repose" and "Masquerading" were sold from the exhibitions in London and
Glasgow, where they were shown. "Bruges Lace-Makers" was exhibited in
Munich in 1903.

The Ladies' Club of Glasgow is enterprising and its exhibitions are
interesting, but Mrs. Laing is not a member of any club, and sends her
pictures by invitation to exhibitions on the Continent as well as in
Great Britain, and sometimes has a private exhibition in Glasgow.

Her study at Aman-Jean's and Colarossi's gave a certain daintiness and
grace to her work, which is more Parisian than British in style. There is
great freedom in her brush and a delicacy well suited to the painting of
children's portraits; her children and their mothers really smile, not
grin, and are altogether attractive. I cannot say whether the portraits I
have seen are good likenesses, but they have an air of individuality
which favors that idea.

LAMB, ELLA CONDIE--Mrs. Charles R. Lamb. Dodge prize, National
Academy, New York; medal at Columbian Exposition, Chicago, 1893; gold
medal, Atlanta Exposition; medal at Pan-American Exposition, 1901. Member
of Art Students' League, Woman's Art Club, National Art Club. Born in New
York City. Pupil of National Academy of Design and of Art Students'
League, New York, under C. Y. Turner, William M. Chase, and Walter
Shirlaw; in Paris, pupil of R. Collin and R. Courtois; in England, of
Hubert Herkomer, R.A.

Among Mrs. Lamb's works are "The Advent Angel"; "The Christ Child," a
life-size painting, copied in mosaic for the Conrad memorial, St. Mary's
Church, Wayne, Pennsylvania; "The Arts" and "The Sciences," executed in
association with Charles R. Lamb, for the Sage Memorial Apse designed by
him for Cornell University.

Of recent years Mrs. Lamb is much occupied in collaborating with her
husband in decorative designs for public edifices. One of the works thus
executed is a memorial window to Mrs. Stella Goodrich Russell in Wells
College at Aurora. It represents three female figures against a landscape
background. Literature is seated in the centre, while Science and Art
stand in the side panels. It has the effect of a triptych.

LAMB, ROSE. Two bronze medals in Boston exhibitions, 1878 and 1879.
Member of the Copley Society. Born in Boston, where her studies have been
made, chiefly under William M. Hunt.

Miss Lamb has painted portraits principally, a large number of which are
in Boston in the homes of the families to which they belong. Among them
are Mrs. Robert C. Winthrop, Jr., and her children; Mr. J. Ingersoll
Bowditch, Mr. Horace Lamb, the three sons of the late Governor Roger
Wolcott, the daughters of Mrs. Shepherd Brooks, the children of Mrs.
Walter C. Baylies, etc.

In 1887 Miss Lamb painted an admirable portrait of Mohini Mohun
Chatterji, a Brahmin, who spent some months in Boston.

LANCIANI, MARCELLA. Born in Rome, where her studies were made under
Professor Giuseppe Ferrari in figure drawing, and under Signor Onorato
Carlandi--the great water-color artist of the Roman Campagna--in
landscape and coloring.

At the annual spring exhibition in the Palazzo delle Belle Arti, Rome,
1903, this artist exhibited four works: a life-size "Study of the Head of
an old Roman Peasant"; a "Sketch near the Mouth of the Tiber at
Finniscino"; "An Old Stairway in the Villa d'Este, at Tivoli"; "A View
from the Villa Colonna, Rome."

Two of her sketches, one of the "Tiber" and one of the "Villa Medici,"
are in the collection of Mrs. Pierpont Morgan; two similar sketches are
in the collection of Mrs. James Leavitt, New York; a copy of a "Madonna"
in an old Umbrian church is in a private gallery in Rome; a "Winter Scene
in the Villa Borghese" and two other sketches are owned in Edinburgh; the
"Lake in the Villa Borghese" is in the collection of Mr. Richard Corbin,
Paris; and several other pictures are in private collections in New York.

LANDER, LOUISA. Born in Salem, 1826. Manifested a taste for
sculpture when quite young, and modelled likenesses of the members of her
family. In 1855 she became the pupil of Thomas Crawford in Rome. Among
her earlier works are figures in marble of "To-day" and "Galatea," the
first being emblematic of America.

She executed many portrait busts, one of them being of Nathaniel
Hawthorne. "The Captive Pioneer" is a large group. Among her ideal works
are a statue of Virginia Dare--the first child born in America of English
parents; "Undine," "Evangeline," "Virginia," etc.

LAUKOTA, HERMINIE. Born in Prague, 1853. After having studied in
Prague, Amsterdam, and Munich, she was a pupil of Doris Raab in etching.
She paints portraits, genre and still-life subjects with artistic taste
and delicacy. Her studio is in Prague. Among her best pictures are
"Battle for Truth," "Sentinels of Peace," "A Contented Old Woman"; and
among her etchings may be named "The Veiled Picture of Sais,"
"Prometheus," "The Microscopist," "Before the Bar of Reason," etc. The
latter was reproduced in _Zeitschrift fuer bildende Kunst_ in 1893, and
was said to show a powerful fancy.

In 1875 and 1876 she exhibited her etchings in Vienna. The "Going to
Baptism" in the second exhibition was much admired and aroused unusual

LA VILLETTE, MME. ELODIE. Third-class medal, Paris Salon, 1875;
bronze medal, Paris Exposition, 1889; second-class medal, Melbourne
Exposition; numerous diplomas and medals from provincial exhibitions in
France; also from Vienna, Brussels, Antwerp, Amsterdam, London,
Copenhagen, Barcelona, Munich, and Chicago. Officer of the Academy. Born
at Strasbourg. Educated at Lorient. She began to study drawing and
painting under Coroller, a professor in the school she attended. She then
studied six months in the Atelier School at Strasbourg, and finally
became a pupil of Dubois at Arras. She has exhibited since 1870.

Her picture of the "Strand at Lohic," 1876, is in the Luxembourg Gallery;
the "Cliffs of Yport" is in the Museum of Lille; "A Calm at Villers," in
the Museum at Lorient; "Coming Tide at Kervillaine," in the museum of
Morlaix, etc. Her marine views are numerous and are much admired.

At the Salon of the Artistes Francais, 1902, Mme. La Villette exhibited
"Twilight, Quiberon, Morbihan"; in 1903, "Fort Penthievre, Quiberon," and
"A Foaming Wave."

LE BRUN, MME. See Vigee.

LEHMANN, CHARLOTTE. Born in Vienna, 1860. Daughter of an artist,
Katharine Lehmann. Pupil of Schilcher and Pitner. Her works are
principally portraits and studies of heads, in which she is successful.
Her "Styrian Maiden" belongs to the Austrian Emperor, and is in Goedoelloe

Her portraits are seen at many exhibitions, and art critics mention her
with respect.

[_No reply to circular_.]

LEMAIRE, MME. JEANNE-MADELEINE. Honorable mention, 1877; silver
medal, Paris Exposition, 1900. Born at Sainte Rosseline. Pupil of an
aunt, who was a miniaturist, and later of Chaplin. She first exhibited
at the Salon of 1864, a "Portrait of Madame, the Baroness." She has
painted many portraits, and is extremely successful in her pictures of
flowers and fruit.

Among her principal works are "Diana and Her Dog," "Going out of Church,"
"Ophelia," "Sleep," "The Fall of the Leaves," and "Manon."

She has also painted many pictures in water-colors. Since 1890 she has
exhibited at the Champ-de-Mars. Her illustrations in water-colors for
"L'Abbe Constantin" and for an edition of "Flirt" are very attractive.

Her "Roses" at the Salon of 1903 were especially fine, so fresh and
brilliant that they seemed to be actual blossoms.

This artist, not many months ago, called to mind the celebrated Greek
supper of Mme. Lebrun, which was so famous in the time of that artist.
The following is an account of the entertainment given by Mme. Lemaire:

"A most fascinating banquet was given in Paris quite recently by
Madeleine Lemaire, in her studio, and Parisians pronounce it the most
artistic fete that has occurred for many a moon. Athens was reconstructed
for a night. A Greek feast, gathering at the same board the most
aristocratic moderns, garbed in the antique peplum, as the caprice of a
great artist. The invitation cards, on which the hostess had drawn the
graceful figure of an Athenian beauty, were worded: 'A Soiree in Athens
in the Time of Pericles. Madeleine Lemaire begs you to honor with your
presence the Greek fete which she will give in her humble abode on
Tuesday. Banquet, dances, games, and cavalcade. Ancient Greek costume de
rigueur.' Every one invited responded yes, and from the Duchess d'Uzes,
in a superb robe of cloth of gold and long veil surmounted by a circlet
of diamonds, to that classic beauty Mme. Barrachin, in white draperies
with a crown of pink laurel, the costumes were beautiful. One graceful
woman went as Tanagra. The men were some of them splendid in the garb of
old Greek warriors, wearing cuirass and helmet of gold. At dessert a bevy
of pretty girls in classic costume distributed flowers and fruits to the
guests, while Greek choruses sung by female choristers alternated with
verses admirably recited by Bartel and Reichenberg. After the banquet
Emma Calve and Mme. Litoinne sang passages from 'Philemon et Bacus,' and
then there were Greek dances executed by the leading dancers of the
Opera. After supper and much gayety, the evening came to a close by an
animated farandole danced by all present. It takes an artist like
Madeleine Lemaire to design and execute such a fete, and beside it how
commonplace appear the costly functions given by society in Newport and
New York."

[_No reply to circular_.]

LEVICK, RUBY WINIFRED. At the South Kensington Royal College of Art
this artist gained the prize for figure design; the medal for a study of
a head from life, besides medals and other awards in the National
Competition; British Institution scholarship for modelling, 1896; gold
medal and the Princess of Wales scholarship, 1897; gold medal in national
competition, 1898. Member of the Ridley Art Club. Born in Llandaff,

This sculptor has exhibited regularly at the Royal Academy since 1898.
Among her works are "Boys Wrestling," group in the round; "Study of a
Boy," a statuette; "Fishermen Hauling in a Net," "Boys Fishing," "The
Hammer Thrower," "Rugby Football," and the "Sea Urchin," a statuette.

Miss Levick has executed a panel for the reredos in St. Brelade's Church,
Jersey; and another for St. Gabriel's Church, Poplar. She exhibited at
the Academy, 1903, "Sledgehammers: Portion of a Frieze in Relief."

LEWIS, EDMONIA. Born in the State of New York. This artist descended
from both Indian and African ancestors. She had comparatively no
instruction, when, in 1865, she exhibited in Boston a portrait bust of
Colonel Shaw, which at once attracted much attention. In 1867 she
exhibited a statue called the "Freedwoman." Soon after this she took up
her residence in Rome and very few of her works were seen in the United
States. She sent to the Philadelphia exhibition, in 1876, the "Death of
Cleopatra," in marble. The Marquis of Bute bought her "Madonna with the
Infant Christ," an altar-piece. Her "Marriage of Hiawatha" was purchased
by a New York lady.

Among her other works are "An Old Arrow-Maker and His Daughter,"
"Asleep," and terra-cotta busts of Charles Sumner, Longfellow, John
Brown, and others.

"Among Miss Lewis's works are two small groups illustrating Longfellow's
poem of Hiawatha. Her first, 'Hiawatha's Wooing,' represents Minnehaha
seated, making a pair of moccasins, and Hiawatha by her side with a world
of love and longing in his eyes. In the 'Marriage' they stand side by
side with clasped hands. In both the Indian type of feature is carefully
preserved, and every detail of dress, etc., is true to nature. The
sentiment equals the execution. They are charming bits, poetic, simple,
and natural, and no happier illustrations of Longfellow's most original
poem were ever made than these by the Indian sculptor."--_Revolution_,
April, 1871.

"This was not a beautiful work--'Cleopatra'--but it was very original and
very striking, and it merits particular comment, as its ideal was so
radically different from those adopted by Story and Gould in their
statues of the Egyptian Queen.... The effects of death are represented
with such skill as to be absolutely repellent. Apart from all questions
of taste, however, the striking qualities of the work are undeniable, and
it could only have been produced by a sculptor of very genuine
endowments."--_Great American Sculptors._

LEY, SOPHIE. Third-class medal at Melbourne; honor diplomas,
Karlsruhe. Member of the Kuenstlerbund, Karlsruhe. Born at Bodman am
Bodensee, 1859. Pupil of the Art School in Stuttgart, where she received
several prizes; and of Gude and Bracht in Karlsruhe.

Some flower pieces by this artist are in the collection of the Grand Duke
of Baden; others belong to the Hereditary Grand Duke and to the Queen of
Saxony; still others are in various private galleries.

A recently published design for the wall decoration of a school,
"Fingerhut im Walde," was awarded a prize. Fraeulein Ley receives young
women students in her atelier in Karlsruhe.

LICATA-FACCIOLI, ORSOLA. A first-class and several other medals as a
student of the Academy at Venice. Member of the Academies of Venice and
Perugia, 1864. Born in Venice, 1826. In 1848 she married and made a
journey with her husband through Italy. Three pictures which she
exhibited at Perugia, in 1864, won her election to the Academy; the
Marquis Ala-Ponzoni purchased these. The Gallery at Vicenza has several
of her views of Venice and Rome, and there are others in the municipal
palace at Naples. Her pictures have usually sold immediately upon their
exhibition, and are scattered through many European cities. At Hamburg is
a view of Capodimonte; at Venice a large picture showing a view of San
Marcellino; and at Capodimonte the "Choir of the Capuchins at Rome."
Private collectors have also bought many of her landscapes. Since 1867
she has taught drawing in the Royal Institute at Naples. Two of the
Signora's later pictures are "Arum Italicum," exhibited at Milan in 1881,
and a "Park at Capodimonte," shown at the International Exposition in
Rome--the latter is a brilliant piece of work. Her style is vigorous and
robust, and her touch sure. Family cares seem never to have interrupted
her art activity, for her work has been constant and of an especially
high order.

LINDEGREN, AMALIA. Member of the Academy of Stockholm. Honorary
member of the London Society of Women Artists. Born in Stockholm.
1814-1891. A student in the above-named Academy, she was later a pupil
of Cogniet and Tissier, in Paris, and afterward visited Rome and Munich.
Her pictures are portraits and genre subjects. In the Gallery at
Christiania are her "Mother and Child" and "Grandfather and
Granddaughter." "The Dance in a Peasant Cottage" is in the Museum of
Stockholm, where are also her portraits of Queen Louise and the Crown
Princess of Denmark, 1873.

"With her unpretentious representations of the joy of children, the
smiling happiness of parents, sorrow resigned, and childish stubbornness,
Amalia Lindegren attained great national popularity, for without being a
connoisseur it is possible to take pleasure in the fresh children's faces
in her pictures."--_History of Modern Painters._

LIPPINCOTT, MARGARETTE. Honorable mention and Mary Smith Prize at
Pennsylvania Academy of Fine Arts. Member of Philadelphia Water-Color
Club and Plastic Club. New York Water-Color Club. Born in Philadelphia.
Pupil of Pennsylvania Academy of Fine Arts and Art Students' League, New

This artist has painted flowers especially, but of late has taken up
genre subjects and landscapes. Among her pictures is one of "Roses," in
the Academy of Fine Arts, and "White Roses," in the Art Club of
Philadelphia. "Sunset in the Hills" is in a private collection, and "The
West Window" is owned in Detroit.

LISZEWSKA, ANNA DOROTHEA. Married name was Therbusch. Member of the
Academies of Paris and Vienna and of the Institute of Bologna. Born in
Berlin. 1722-1782. Was court painter at Stuttgart, and later held the
same office under Frederick the Great, whose portrait she painted, 1772.
Her picture of "Diana's Return from the Chase" was also painted for
Frederick. Her early studies were conducted by her father. After leaving
the court of Stuttgart she studied four years in Paris. In the Louvre is
her picture of "A Man Holding a Glass of Water"; in the Brunswick Gallery
is her portrait of herself; and several of her works are in the Schwerin
Gallery. Her pictures of "A Repentant Maiden," 1781, and of "Ariadne at
Naxos" attracted much attention.

LISZEWSKA, ANNA ROSINA. Member of the Dresden Academy. Born in
Berlin. 1716-1783. Pupil of her father. She executed forty portraits of
women for the "Hall of Beauty" at Zerbst. One of her portraits, painted
in 1770, is in the Gallery at Brunswick. She travelled in Holland in
1766, but was too much occupied with commissions to find time for foreign
journeys. She painted a picture called "Artemisia" and a second of
"Monime Pulling Down Her Diadem," which were interesting and excellent
examples of her style of painting.

She studied under Pasinelli, and in the Church of St. Columba in Bologna
are two pictures by her--a "St. Anthony" and a "St. Theresa."

LOEWENTHAL, BARONESS ANKA. Born at Ogulin, Croatia, 1853. Pupil of
Karl von Blaas and Julius von Payer. Some portraits by this artist are in
the Academy of Arts and Sciences at Agram. But religious subjects were
most frequently treated by her, and a number of these are in the
Croatian churches. The "Madonna Immaculata" is in the Gymnasial Kirche,
Meran, and a "Mater Dolorosa" in the Klosterkirche, Bruck a. d. Meer.

LONGHI, BARBARA. Born in Ravenna. 1552-1619(?). Daughter of Luca
Longhi. She was an excellent artist and her works were sought for good
collections. A portrait by her is in the Castellani Collection, dated
1589; "St. Monica," "Judith," and the "Healing of St. Agatha" are in the
Ravenna Academy; a "Virgin and Child" is in the Louvre, and "Mary with
the Children" in the Dresden Gallery.

LONGMAN, E. B. This sculptor has a commission to execute a statue of
Victory for a dome at the St. Louis Exposition.

[_No reply to circular_.]

LOOP, MRS. HENRY A. Elected an associate of the National Academy of
Design in 1875. Born in New Haven, 1840. Pupil of Professor Louis Bail in
New Haven, of Henry A. Loop in New York, later spending two years in
study in Paris, Venice, and Rome.

Mrs. Loop is essentially a portrait painter, but occasionally has painted
figure pictures, such as "Baby Belle," "A Little Runaway," "A Bouquet for
Mama," etc. Her portraits of Professors Low and Hadley of New Haven were
much admired; those of Mrs. Joseph Lee, Miss Alexander, and other ladies
were exhibited at the Academy.

"Mrs. Loop's picture is an honest, unpretending work, well drawn,
naturally posed, and clearly, solidly colored. There is not a trace of
affectation about it. The artistic effects are produced in the most
straightforward way."--_Clarence Cook, in New York Tribune._

"Mrs. Loop is certainly the leading portrait painter among our lady
artists. She is vigorous, conscientious, and perceptive."--_Chicago
Times,_ 1875.

LOTZ, MATILDA. Gold medal at School of Design, California. Born in
Franklin, Tennessee. This artist is sometimes called "the Rosa Bonheur of
America." She began to draw pictures of animals when seven years old.
Later she studied under Virgil Williams in San Francisco and under M.
Barrios and Van Marcke in Paris.

She has travelled extensively in the East, painting camels, dromedaries,
etc. Her work has a vigor and breadth well suited to her subjects, while
she gives such attention to details as make her pictures true to life.
One critic writes: "Her oxen and camels, like Rosa Bonheur's horses,
stand out from canvas as living things. They have been the admiration of
art lovers at the Salon in Paris, the Royal Academy in London, and at
picture exhibitions in Austria-Hungary and Germany."

[Illustration: A FAMILY OF DOGS


Among her works are "Oxen at Rest," "The Artist's Friends," "Hounds in
the Woods," painted in California. "Mourning for Their Master," "The Sick
Donkey," and other less important pictures are in private collections in
Hungary. "The Early Breakfast" is in a gallery in Washington, D. C. She
has painted portraits of famous horses owned by the Duke of Portland,
which are in England, as is her picture called "By the Fireside."

LOUD, MAY HALLOWELL. Member of the Copley Society and Boston
Water-Color Club. Born in West Medford, Massachusetts, 1860. Pupil of the
School of Museum of Fine Arts, Boston; Julian Academy, Paris; Cowles Art
School, Boston. In Paris, under Tony Robert-Fleury, Giacomotti, and Louis
Deschamps. Later under Abbott Thayer and Denman W. Ross.

Mrs. Loud's works are principally portraits, and are in private hands.
Her picture called "The Singer" was purchased by the Atlanta Exposition,
and is in a collection in that city. She works mostly in oils, but has
been successful in portraits in pastel; two admirable examples were
exhibited in Boston recently, and were favorably noticed for their color
and "temperance in the use of high relief."



[_No reply to circular_.]

LUTMER, EMMY. Medal at Munich, 1888. Born at Elberfeld, 1859. Pupil
of the School of Art Industries at Munich and of the Museums of Berlin
and Vienna. This skilled enamel painter has her studio in Berlin, where
she executes fine and beautiful work.

MACCHESNEY, CLARA TAGGART. Two medals at Chicago Exposition, 1893;
Dodge prize, National Academy, New York, 1894; gold medal, Philadelphia
Art Club, 1900; Hallgarten prize, National Academy, 1901; bronze medal,
Buffalo Exposition, 1901. Three medals at Colarossi School, Paris. Member
of National Art Club, Barnard Club, and Water-Color Club, all of New
York. Born in Brownsville, California. Pupil of Virgil Williams in San
Francisco Art School; of H. C. Mowbray, J. C. Beckwith, and William Chase
in Gotham Art School; and of G. Courtois, A. Girardot, and R. X. Prinet
in Colarossi School, Paris. Exhibited at Paris Salon, Beaux Arts, in
1896, 1898, and at the Exposition in 1900.

[Illustration: From a Copley Print.



This artist paints figure subjects. Among these are "Retrospection,"
Boston Art Club; "Tired," Erie Art Club; "A Good Story," National Arts

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