A sister of the well-known author, Louisa M. Alcott. This artist studied
in the Boston School of Design, in Krug's Studio, Paris, and under
Müller. She made wonderful copies of Turner's pictures, both in oil and
water colors, which were greatly praised by Ruskin and were used in the
South Kensington Art Schools for the pupils to copy. Her still-life and
flower pictures are in private collections and much valued.
She exhibited at the Paris Salon and in the Dudley Gallery, London, and,
student as she still was, her works were approved by art critics on both
sides of the Atlantic, and a brilliant future as an artist was foretold
for her. Her married life was short, and her death sincerely mourned by a
large circle of friends, as well as by the members of her profession who
appreciated her artistic genius and her enthusiasm for her work.
<b>ALEXANDER, FRANCESCA.</b> Born in Florence, Italy. Daughter of the
portrait painter, Francis Alexander. Her pen-and-ink drawing is her best
work. The exquisite conceits in her illustrations were charmingly
rendered by the delicacy of her work. She thus illustrated an unpublished
Italian legend, writing the text also.
Mr. Ruskin edited her "Story of Ida" and brought out "Roadside Songs of
Tuscany," collected, translated, and illustrated by this artist. A larger
collection of these songs, with illustrations, was published by Houghton,
Mifflin & Co., entitled "Tuscan Songs."
<b>ALIPPI-FABRETTI, QUIRINA.</b> Silver medal at Perugia in 1879; honorary
member of the Royal Academy in Urbino and of the Academy of Fine Arts in
Perugia. Born in Urbino, 1849. She was the daughter of the jurisconsult
Luigi Alippi. She studied drawing and painting in Rome with Ortis and De
Sanctis. Following her father to Perugia in 1874, whither he had been
called to the Court of Appeals, she continued her study under Moretti.
She married Ferdinando Fabretti in 1877. She made admirable copies of
some of the best pictures in Perugia, notably Perugino's "Presepio" for a
church in Mount Lebanon, Syria. She was also commissioned to paint an
altar-piece, representing St. Stephen, for the same church. Her interiors
are admirable. She exhibited an "Interior of the Great Hall of the
Exchange of Perugia" in 1884, at Turin. She painted two interior views of
the church of San Giovanni del Cambio in Perugia, and an interior of the
vestibule of the Confraternity of St. Francis. Her other works, besides
portraits, include an "Odalisk," an "Old Woman Fortune-teller," and a
"St. Catherine."
<b>ALLINGHAM, HELEN.</b> Honorable mention at Paris Exhibition, 1900;
silver medal from Brussels Exhibition, 1901; bronze medal from the
Columbian Exhibition, Chicago. Member of the Royal Society of Painters in
Water Colors, London. Born near Burton-on-Trent, 1848. Began the study of
art at fourteen, in Birmingham School of Art, where she remained about
five years, when she entered the schools of the Royal Academy, where
instruction is given by the Royal Academicians in turn. In 1868 she went
to Italy.
Her first exhibition at the Royal Academy occurred in 1874, under the
name Helen Patterson; her pictures were "Wait for Me" and "The Milkmaid."
Since that time Mrs. Allingham has constantly exhibited at the Academy
and many other exhibitions.
Her pictures are of genre subjects, chiefly from English rural life and
landscapes. She has also been successful as an illustrator for the
_Graphic_, the _Cornhill Magazine_, and other publications. Her
water-color portraits of Carlyle in his later years are well known. She
introduced his cat "Tib" into a portrait taken in his Chelsea garden.
Among her most ambitious works are the "Young Customers," the "Old Men's
Garden, Chelsea Hospital," the "Lady of the Manor," "Confidences,"
"London Flowers," and others of kindred motives.
The "Young Customers," water-color, was exhibited at Paris in 1878. When
seen at the Academy in 1875, Ruskin wrote of it: "It happens curiously
that the only drawing of which the memory remains with me as a possession
out of the Old Water-Color Exhibition of this year--Mrs. Allingham's
'Young Customers'--should be not only by an accomplished designer of
woodcuts, but itself the illustration of a popular story. The drawing
with whatever temporary purpose executed, is forever lovely; a thing
which I believe Gainsborough would have given one of his own paintings
for--old-fashioned as red-tipped dresses are, and more precious than
rubies."--_Notes of the Academy_, 1875.
<b>ALMA-TADEMA, LADY LAURA THERESE.</b> Gold medal at International Art
Exhibition, Berlin, 1876; medal at Chicago, 1893; second-class medal at
Paris Exhibition, 1900. Born in London. From early childhood this artist
was fond of drawing and had the usual drawing-class lessons at school and
also drew from the antique in the British Museum. Her serious study,
however, began at the age of eighteen, under the direction of Laurenz
Alma-Tadema.
Her pictures are principally of domestic scenes, child-life, and other
genre subjects. "Battledore and Shuttlecock" is an interior, with a
graceful girl playing the game, to the amusement of a young child sitting
on a nurse's lap. The room is attractive, the accessories well painted,
and a second girl just coming through the door and turning her eyes up to
the shuttlecock is an interesting figure.
Of quite a different character is the picture called "In Winter." The
landscape is very attractive. In a sled, well wrapped up, is a little
girl, with a doll on her lap; the older boy--brother?--who pushes the
sled from behind, leaning over the child, does his part with a will, and
the dignified and serious expression on the face of the little girl in
the sled indicates her sense of responsibility in the care of the doll as
well as a feeling of deep satisfaction in her enjoyable outing.
Among the more important pictures by Lady Alma-Tadema are "Hush-a-Bye,"
"Parting," in the Art Gallery at Adelaide, New South Wales, "Silent
Persuasion," "The Carol," and "Satisfaction." Her picture in the Academy
Exhibition, 1903, a Dutch interior with a young mother nursing "The
Firstborn," was much admired and was in harmony with the verse,
Lie on mother's knee, my own,
Dance your heels about me!
Apples leave the tree, my own.
Soon you'll live without me."
<b>AMEN, MADAME J.</b> Honorable mention, Paris, 1901.
[_No reply to circular_.]
<b>ANGUISCIOLA, LUCIA.</b> A pupil of her sister Sofonisba, painted a
life-size portrait of Piermaria, a physician of Cremona. It is in the
gallery of the Prado, Madrid, and is signed, "Lucia Angvisola Amilcares.
F. Adolescens."
Lucia's portrait of her sister Europa is at Brescia. Some authorities
believe that the small portrait in the Borghese Gallery is by Lucia,
although it has been attributed to Sofonisba.
Vasari relates that Europa and a younger sister, Anna Maria, were
artists. A picture of the Holy Family, inscribed with Europa's name, was
formerly in the possession of a vicar of the church of San Pietro; it was
of far less merit than the works of her sisters.
<b>ANGUISCIOLA, SOFONISBA.</b> Born in Cremona, about 1539. Daughter of the
patrician, Amilcare Anguisciola, whose only fame rests on the fact that
he was the father of six daughters, all of whom were distinguished by
unusual talents in music and painting. Dear old Vasari was so charmed by
his visit to their palace that he pronounced it "the very home of
painting and of all other accomplishments."
Sofonisba was the second daughter. The actual date of her birth is
unknown, but from various other dates that we have concerning her, that
given above is generally adopted. She was educated with great care and
began her study of drawing and painting when but seven years old, under
the care of Bernardino Campi, the best artist of the five Campi of
Cremona. Later she was a pupil of Bernardino Gatti, "il Sojaro," and in
turn she superintended the artistic studies of her sisters.
Sofonisba excelled in portraits, and when twenty-four years old was known
all over Italy as a good artist. Her extraordinary proficiency at an
early age is proved by a picture in the Yarborough collection, London--a
portrait of a man, signed, and dated 1551, when she was not more than
twelve years old.
When presented at the court of Milan, then under Spanish rule, Sofonisba
was brought to the notice of Philip II., who, through his ambassador,
invited her to fill the office of court painter at Madrid. Flattering as
this invitation must have been to the artist and her family, it is not
surprising that she hesitated and required time for consideration of this
honorable proposal.
The reputation of the ceremonious Spanish court, under its gloomy and
exacting sovereign, was not attractive to a young woman already
surrounded by devoted admirers, to one of whom she had given her heart.
The separation from her family, too, and the long, fatiguing journey to
Spain, were objections not easily overcome, and her final acceptance of
the proposal was a proof of her energy and strength of purpose.
Her journey was made in 1560 and was conducted with all possible care for
her comfort. She was attended by two noble ladies as maids of honor, two
chamberlains, and six servants in livery--in truth, her mode of
travelling differed but little from that of the young ladies of the royal
family. As she entered Madrid she was received by the king and queen, and
by them conducted to the royal palace.
We can imagine Sofonisba's pleasure in painting the portrait of the
lovely Isabella, and her pictures of Philip and his family soon raised
her to the very summit of popularity. All the grandees of Madrid desired
to have their portraits from her hand, and rich jewels and large sums of
money were showered upon her.
Gratifying as was her artistic success, the affection of the queen, which
she speedily won, was more precious to her. She was soon made a
lady-in-waiting to her Majesty, and a little later was promoted to the
distinguished position of governess to the Infanta Clara Eugenia.
That Sofonisba fully appreciated her gentle mistress is shown in her
letter to Pope Pius IV., who had requested her to send him a portrait of
the queen. She wrote that no picture could worthily figure the royal
lady, and added: "If it were possible to represent to your Holiness the
beauty of the Queen's soul, you could behold nothing more wonderful."
The Pope bestowed rich gifts on Sofonisba, among which were sacred
relics, set with gems. He also wrote an autograph letter, still in
existence, in which he assured her that much as he admired her skill in
painting, he had been led to believe this the least of her many gifts.
Sofonisba soon gained the approval of the serious and solemn King, for
while Philip was jealous of the French ladies of the court and desired
Isabella to be wholly under Spanish influence, he proposed to the artist
a marriage with one of his nobles, by which means she would remain
permanently in the Queen's household. When Philip learned that Sofonisba
was already betrothed to Don Fabrizio de Monçada--a Sicilian nobleman--in
spite of his disappointment he joined Isabella in giving her a dowry of
twelve thousand crowns and a pension of one thousand.
It would seem that one who could so soften the heart and manners of
Philip II. as did Queen Isabella, must have had a charm of person and
character that no ordinary mortal could resist. One is compelled to a
kindly feeling for this much-hated man, who daily visited the Queen when
she was suffering from smallpox. In her many illnesses he was tenderly
devoted to her, and when we remember the miseries of royal ladies whose
children are girls, we almost love Philip for comforting Isabella when
her first baby was not a son. Philip declared himself better pleased
that she had given him a daughter, and made the declaration good by
devotion to this child so long as he lived.
Isabella, in a letter to her mother, wrote: "But for the happiness I have
of seeing the King every day I should find this court the dullest in the
world. I assure you, however, madame, that I have so kind a husband that
even did I deem this place a hundredfold more wearisome I should not
complain."
While Sofonisba was overwhelmed with commissions in Spain, her sisters
were far from idle in Cremona. Europa sent pictures to Madrid which were
purchased for private collections, and a picture by Lucia is now in the
Gallery of the Queen at Madrid.
When the time for Sofonisba's marriage came she was sorry to leave her
"second home," as she called Madrid, and as Don Fabrizio lived but a
short time, the King urged her return to Spain; but her desire to be once
more with her family impelled her to return to Italy.
The ship on which she sailed from Sicily was commanded by one of the
Lomellini, a noble family of Genoa, with whom Sofonisba fell so
desperately in love that she offered him her hand--which, says her
biographer, "he accepted like a generous man." Does this mean that she
had been ungenerous in depriving him of the privilege of asking for what
she so freely bestowed?
In Genoa she devotedly pursued her art and won new honors, while she was
not forgotten in Madrid. Presents were sent her on her second marriage,
and later the Infanta Clara Eugenia and other Spaniards of exalted rank
visited her in Genoa. Her palace became a centre of attraction to
Genoese artists and men of letters, while many strangers of note sought
her acquaintance. She contributed largely to the restoration of art and
literature to the importance that had been accorded them in the most
brilliant days of Genoese power.
We have not space to recount all the honors conferred on Sofonisba, both
as a woman and an artist. She lived to an extreme old age, and, although
she lost her sight, her intellect was undimmed by time or blindness.
Vandyck, who was frequently her guest, more than once declared that he
"was more benefited by the counsels of the blind Sofonisba than by all
his studies of the masters of his art!" From a pupil of Rubens this was
praise indeed!
The chief characteristics of Sofonisba's painting were grace and spirit.
Her portrait of herself when at her best is in possession of the
Lomellini. A second is the splendid picture at Althorpe, in which she is
represented as playing the harpsichord. One can scarcely imagine a place
in which a portrait would be more severely tested than in the gallery of
the Earl of Spencer, beside portraits of lovely women and famous men,
painted by master artists. Yet this work of Sofonisba's is praised by
discerning critics and connoisseurs. Of the other portraits of herself,
that in the Uffizi is signed by her as "of Cremona," which suggests that
it was painted before she went to Spain. That in the Vienna Gallery is
dated 1551, and inscribed Sophonisba Anguissola. Virgo. Sc. Ipsam Fecit.
Still another, in which a man stands beside her, is in the Sienna
Gallery. He holds a brush in his hand, and is probably one of her
masters.
Her portrait of her sisters playing chess, while an old duenna looks on,
was in the collection of Lucien Bonaparte and is said to be now in a
private gallery in England. Her religious pictures are rare; a "Marriage
of St. Catherine" is in the gallery at Wilton House.
She painted several pictures of three of her sisters on one canvas; one
is in the National Museum of Berlin, and a second, formerly in the
Leuchtenberg Gallery, is in the Hermitage at Petersburg. A small Holy
Family, signed and dated 1559, belonged to the art critic and author,
Morelli.
One regrets that so remarkable a woman left no record of her unusual
experiences. How valuable would be the story of Don Carlos from so
disinterested a person. How interesting had she told us of the _bal
masqué_, given by Isabella in the fashion of her own country, when Philip
condescended to open the ball with the Queen; or of the sylvan fêtes at
Aranjuez, and of the gardens made under the direction of Isabella. Of all
this she has told us nothing. We glean the story of her life from the
works of various authors, while her fame rests securely on her
superiority in the art to which she was devoted.
<b>ANCHER, ANNA KRISTINE.</b> Genre painter, won high praise at Berlin in
1900 for two pictures: "Tischgebet," which was masterly in its smoothness
and depth of expression, and "Eine blinde Frau in ihrer Stube," in which
the full sunlight streaming through the open window produced an affecting
contrast. She was born at Skagen, 1859, the daughter of Erik Brondum,
and early showed her artistic tendencies. Michael Ancher (whom she
married in 1880) noticed and encouraged her talent, which was first
displayed in small crayons treating pathetic or humorous subjects. From
1875-78 she studied with Khyn, and later more or less under the direction
of her husband. She has painted exclusively small pictures, dealing with
simple and natural things, and each picture, as a rule, contains but a
single figure. She believes that a dilapidated Skagen hovel may meet
every demand of beauty. "Maageplukkerne"--"Gull plucking"--exhibited in
1883, has been called one of the most sympathetic and unaffected pieces
of genre painting ever produced by a Danish artist.
An "Old Woman of Skagen," "A Mother and Child," and "Coffee is Ready"
were among the most attractive of her pictures of homely, familiar Danish
life. The last represents an old fisher, who has fallen asleep on the
bench by the stove, and a young woman is waking him with the above
announcement.
"A Funeral Scene" is in the Copenhagen Gallery. The coffin is hung with
green wreaths; the walls of the room are red; the people stand around
with a serious air. The whole story is told in a simple, homely way.
In the "History of Modern Painters" we read: "All her pictures are softly
tender and full of fresh light. But the execution is downright and
virile. It is only in little touches, in fine and delicate traits of
observation which would probably have escaped a man, that these paintings
are recognized as the work of a feminine artist."
<b>ANTIGNA, MME. HÉLÈNE MARIE.</b> Born at Melun. Pupil of her husband,
Jean Pierre Antigna, and of Delacroix. Her best works are small genre
subjects, which are excellent and much admired by other artists.
In 1877 she exhibited at the Paris Salon "On n'entre pas!" and the "New
Cider"; in 1876, an "Interior at Saint Brieuc" and "A Stable"; in 1875,
"Tant va la cruche à l'eau," etc.
<b>APPIA, MME. THÉRÈSE.</b> Member of the Society of the Permanente
Exposition of the Athénée, Geneva. Born at Lausanne. Pupil of Mercié and
Rodin at Paris.
Mme. Appia, before her marriage, exhibited at the Paris Salon several
years continuously. Since then she has exhibited at Turin and Geneva.
She has executed many portrait busts; among them are those of M.
Guillaume Monod, Paris, Commander Paul Meiller, and a medallion portrait
of Père Hyacinthe, etc.
<b>ARGYLL, HER ROYAL HIGHNESS, THE PRINCESS LOUISE, DUCHESS OF.</b> This
artist has exhibited her work since, 1868. Although her sketches in
water-color are clever and attractive, it is as a sculptor that her best
work has been done. Pupil of Sir J. E. Boehne, R.A., her unusual natural
talent was carefully developed under his advice, and her unflagging
industry and devotion to her work have enabled her to rival sculptors who
live by their art.
Her busts and lesser subjects are refined and delicate, while possessing
a certain individuality which this lady is known to exercise in her
direction of the assistant she is forced to employ. Her chief attainment,
the large seated figure of Queen Victoria in Kensington Gardens, is a
work of which she may well be proud.
Of this statue Mr. M. H. Spielmann writes: "The setting up of the figure,
the arrangement of the drapery, the modelling, the design of the
pedestal--all the parts, in fact--are such that the statue must be added
to the short list of those which are genuine embellishments to the city
of London."
The Duchess of Argyll has been commissioned to design a statue of heroic
size, to be executed in bronze and placed in Westminster Abbey, to
commemorate the colonial troops who gave up their lives in South Africa
in the Boer war.
<b>ARNOLD, ANNIE R. MERRYLEES.</b> Born at Birkenhead. A Scotch miniature
painter. Studied in Edinburgh, first in the School of Art, under Mr.
Hodder, and later in the life class of Robert Macgregor; afterward in
Paris under Benjamin-Constant.
Mrs. Arnold writes me that she thinks it important for miniature painters
to do work in a more realistic medium occasionally, and something of a
bolder character than can be done in their specialty. She never studied
miniature painting, but took it up at the request of a patroness who,
before the present fashion for this art had come about, complained that
she could find no one who painted miniatures. This lady gave the artist a
number of the _Girls' Own Journal,_ containing directions for miniature
painting, after which Mrs. Arnold began to work in this specialty. She
has painted a miniature of Lady Evelyn Cavendish, owned by the Marquis of
Lansdowne; others of the Earl and Countess of Mar and Kellie, the first
of which belongs to the Royal Scottish Academy; one of Lady Helen
Vincent, one of the daughter of Lionel Phillips, Esquire, and several for
prominent families in Baltimore and Washington. Her work is seen in the
exhibitions of the Royal Academy, London.
In 1903 she exhibited miniatures of Miss M. L. Fenton, the late Mrs.
Cameron Corbett, and the Hon. Thomas Erskine, younger son of the Earl of
Mar and Kellie.
[_No reply to circular_.]
<b>ASSCHE, AMÉLIE VAN.</b> Portrait painter and court painter to Queen
Louise Marie of Belgium. She was born in 1804, and was the daughter of
Henri Jean van Assche. Her first teachers were Mlle. F. Lagarenine and D'
Antissier; she later went to Paris, where she spent some time as a pupil
of Millet. She made her début at Ghent in 1820, and in Brussels in 1821,
with water-colors and pastels, and some of her miniatures figured in the
various exhibitions at Brussels between 1830 and 1848, and in Ghent
between 1835 and 1838. Her portraits, which are thought to be very good
likenesses, are also admirable in color, drawing, and modelling; and her
portrait of Leopold I., which she painted in 1839, won for her the
appointment at court.
<b>ASSCHE, ISABEL CATHERINE VAN.</b> She was born at Brussels, 1794.
Landscape painter. She took a first prize at Ghent in 1829, and became a
pupil of her uncle, Henri van Assche, who was often called the painter of
waterfalls. As early as 1812 and 1813 two of her water-colors were
displayed in Ghent and Brussels respectively, and she was represented in
the exhibitions at Ghent in 1826, 1829, and 1835; at Brussels in 1827 and
1842; at Antwerp in 1834, 1837, and 1840; and at Lüttich in 1836. Her
subjects were all taken from the neighborhood of Brussels, and one of
them belongs to the royal collection in the Pavilion at Haarlem. In 1828
she married Charles Léon Kindt.
<b>ATHES-PERRELET, LOUISE.</b> First prize and honorable mention, class
Gillet and Hébert, 1888; class Bovy, first prize, 1889; Academy class,
special mention, 1890; School of Arts, special mention, hors concours,
1891; also, same year, first prize for sculpture, offered by the Society
of Arts; first prize offered by the Secretary of the Theatre, 1902.
Member of the Union des Femmes and Cercle Artistique. Born at Neuchâtel.
Studies made at Geneva under Mme. Carteret and Mme. Gillet and Professors
Hébert and B. Penn, in drawing and painting; M. Bovy, in sculpture; and
of various masters in decorative work and engraving. Has executed
statues, busts, medallion portraits; has painted costumes, according to
an invention of her own, for the Theatre of Geneva, and has also made
tapestries in New York. All her works have been commended in the journals
of Geneva and New York.
<b>AUSTEN, WINIFRED.</b> Member of Society of Women Artists, London. Born
at Ramsgate. Pupil of Mrs. Jopling-Rowe and Mr. C. E. Swan. Miss Austen
exhibits in the Royal Academy exhibitions; her works are well hung--one
on the line.