old Raymond had died. He had been for some time the director of the
Government School of Design for Girls, and, being freed from pecuniary
anxiety, he had worked with new courage and hope. After her father's
death Rosa Bonheur exhibited nothing for two years, but in 1853 she
brought out her "Horse Fair," which added to her fame.
She was perfectly at home in the mountains, and spent much time in the
huts of charcoal burners, huntsmen, or woodcutters, contented with the
food they could give her and happy in her study. Thus she made her
sketches for "Morning in the Highlands," "The Denizens of the Mountains,"
etc. She once lived six weeks with her party on the Spanish side of the
Pyrenees, where they saw no one save muleteers going and coming, with
their long lines of loaded mules. Their only food was frogs' legs, which
they prepared themselves, and the black bread and curdled milk which the
country afforded. At evening the muleteers would amuse the strangers by
dancing the national dances, and then repose in picturesque groups just
suited to artistic sketching. In Scotland and in Switzerland, as well as
in various portions of her own country, she had similar experiences, and
her "Hay-Making in Auvergne" proves that she was familiar with the more
usual phases of country life. At the Knowles sale in London, in 1865, her
picture of "Spanish Muleteers Crossing the Pyrenees," one of the results
of the above sojourn in these mountains, sold for two thousand guineas,
about ten thousand dollars. I believe that, in spite of the large sums of
money that she received, her habitual generosity and indifference to
wealth prevented her amassing a large fortune, but her fame as an artist
and her womanly virtues brought the rewards which she valued above
anything that wealth could bestow--such rewards as will endure through
centuries and surround the name of Rosa Bonheur with glory, rewards which
she untiringly labored to attain.
<b>BONSALL, ELIZABETH F.</b> First Toppan prize, and Mary Smith prize
twice, at Pennsylvania Academy of Fine Arts. Member of Plastic Club,
Philadelphia. Born at Philadelphia. Studied at the above-named Academy
and in Paris; also at the Drexel Institute, Philadelphia, under Eakins,
Courtois, Collin, and Howard Pyle.
Miss Bonsall is well known for her pictures of cats. She illustrated the
"Fireside Sphinx," by Agnes Repplier. Her picture of "Hot Milk" is in the
Pennsylvania Academy; her "Suspense," in a private gallery in New York.
An interesting chapter in Miss Winslow's book, "Concerning Cats," is
called "Concerning Cat Artists," in which she writes: "Elizabeth Bonsall
is a young American artist who has exhibited some good cat pictures, and
whose work promises to make her famous some day if she does not 'weary in
well-doing.'"
Miss Bonsall has prepared a "Cat Calendar" and a "Child's Book about
Cats," which were promised to appear in the autumn of 1903.
<b>BONSALL, MARY M.</b> First Toppan prize at Pennsylvania Academy of Fine
Arts. Member of the Plastic Club, Philadelphia. Studied at above academy
under Vonnoh, De Camp, William Chase, and Cecilia Beaux.
This artist paints portraits, which are in private hands.
<b>BONTE, PAULA.</b> Born in Magdeburg, 1840, and from 1862 to 1864 was a
pupil of Pape in Berlin. She travelled and studied in Northern Italy and
Switzerland, and from these regions, as well as from Northern Germany,
took her subjects. She has exhibited pictures at various exhibitions, and
among her best works should be mentioned: "The Beach at Clovelly in
Devonshire," "From the Bernese Oberland," "The Riemenstalden Valley,"
etc.
<b>BOOTT, ELIZABETH.</b> Born in Cambridge. Miss Boott was one of those
pupils of William M. Hunt to whom he imparted a wonderful artistic
enthusiasm, energy, and devotion. After studying in Boston she studied in
Paris under Duveneck--whom she afterward married--and under Couture. Her
subjects were genre, still-life, and flowers, and were well considered.
Among her genre pictures are "An Old Man Reading," an "Old Roman
Peasant," and a "Girl with a Cat." When in Italy she painted a number of
portraits, which were successful. Miss Brewster, who lived in Rome, was
an excellent critic, and she wrote: "I must say a few words about a
studio I have lately visited--Miss Boott's. I saw there three very fine
portraits, remarkable for strength and character, as well as rich
coloring: one of Mr. Boott, one of Bishop Say, and the third of T.
Adolphus Trollope, the well-known writer and brother of the novelist,
Anthony Trollope. All are good likenesses and are painted with vigor and
skill, but the one of Mr. Trollope is especially clever. Trollope's head
and face, though a good study, are not easy to paint, but Miss Boott has
succeeded to perfection. His head and beard are very fine. The face in
nature, but for the melancholy, kindly look about the eyes and mouth,
would be stern; Miss Boott has caught this expression and yet retained
all the firm character of the countenance. It is remarkable that an
artist who paints male heads with such a vigorous character should also
give to flowers softness, transparency, and grace. Nothing can be more
lovely than Miss Boott's flower studies. She has some delicious poppies
among wheat, lilies, thistles. She gets a transparency into these works
that is not facile in oil. A bunch of roses in a vase was as tender and
round and soft-colored as in nature. Among all the many studios of Rome I
do not know a more attractive one than Miss Boott's."
<b>BORTOLAN, ROSA.</b> Born at Treviso. She was placed in the Academy at
Venice by her family, where she had the benefit of such masters as
Grigoletti, Lipparini, Schiavoni, and Zandomeneghi. She early showed much
originality, and after making thorough preliminary studies she began to
follow her own ideas. She was of a mystical and contemplative turn of
mind, and a great proportion of her work has been of a religious nature.
Her pictures began to attract attention about 1847, and she had many
commissions for altar-pieces and similar work. The church of
Valdobbiadene, at Venice, contains "San Venanziano Fortunatus, Bishop."
"Saint Louis" was painted as a commission of Brandolin da Pieve; "Comte
Justinian Replying to Bonaparte in Treviso" was a subscription picture
presented to Signor Zoccoletto. Portraits of the Countess
Canossa-Portalupi and her son, of Luigia Codemo, and of Luigi Giacomelli
are thought to possess great merit; while those of Dr. Pasquali (in the
Picture Gallery at Treviso) and Michelangelo Codemo have been judged
superior to those of Rosalba Carriera and Angelica Kauffmann. Her sacred
pictures, strong and good in color, are full of a mystical and spiritual
beauty. Her drawing is admirable and her treatment of detail highly
finished.
<b>BORZINO, LEOPOLDINA.</b> Milanese water-color painter. Has shown
excellent genre pictures at various exhibitions. "The Holiday" and the
"Return from Mass" were both exhibited and sold at Rome in 1883; "The Way
to Calvary" was seen at Venice in 1887. "The Rosary," "Anguish," and
"Going to the Fountain" are all distinguished by good color as well as by
grace and originality of composition.
<b>BOUGUEREAU, MME. ELIZABETH JANE.</b> See Gardner.
<b>BOULANGER, MME. MARIE ELIZABETH.</b> Medals at the Paris Salon in 1836
and 1839. Born in Paris, 1810. Her family name was Blavot, and after the
death of M. Boulanger she married M. Cavé, director of the Academy of the
Beaux-Arts. Her picture of "The Virgin in Tears" is in the Museum of
Rouen; and "The Children's Tournament," a triptych, was purchased by the
Government.
<b>BOURRILLON-TOURNAY, MME. JEANNE.</b> Medal of the second class at
Exposition Universelle at Lyons; silver medal at Versailles; honorable
mention at Paris Salon, 1896; the two prizes of the Union des Femmes
Peintres et Sculpteurs--les Palmes Académique, 1895; the Rosette of an
Officer of the Public Instruction in 1902. Member of the Société des
Artistes Français, of the Union des Femmes Peintres et Sculpteurs, and of
the Association de Baron Taylor. Born at Paris, 1870. Pupil of Ferdinand
Humbert and G. C. Saintpierre.
This artist paints portraits, and among them are those of a "Young Girl,"
which belongs to the general Council of the Seine; one of the Senator
Théophile Roussel, of the Institute, and a portrait of an "Aged Lady,"
both purchased by the Government; one of M. Auguste Boyer, councillor of
the Court of Cassation, and many others.
At the Salon des Artistes Français, 1902, Mme. Bourrillon-Tournay
exhibited two portraits, one being that of her mother; in 1903, that of
M. Boyer and one of Mme. B.
<b>BOWEN, LOTA.</b> Member of Society of Women Artists, London, the Tempera
Society, and the "91" Art Club. Born at Armley, Yorkshire. Studied in
Ludovici's studio, London; later in Rome under Santoro, and in the night
classes of the Circolo Artistico.
Her pictures are principally landscapes, and are chiefly in private
collections in England. Among the most important are "On the Venetian
Lagoons," "Old Stone Pines, Lido, Venice," "Evening on Lake Lugano,"
"Evening Glow on the Dolomites," "The Old Bird Fancier," "Moonrise on
Crowborough, Sussex." All these have been exhibited at the Academy.
"Miss Lota Bowen constantly receives most favorable notices of her works
in magazines and journals. She is devotedly fond of her art, and has
sought subjects for her brush in many European byways, as well as in
North Africa, Turkey, and Montenegro. She paints portraits and figure
subjects; has a broad, swinging brush and great love of 'tone.' Miss
Bowen has recently built a studio, in Kensington, after her own design.
She is in London from Christmas time to August, when she makes an annual
journey for sketching."
<b>BOZZINO, CANDIDA LUIGIA.</b> Silver medal at Piacenza. Born at Piacenza,
1853. Pupil of her father. Her portrait of Alessandro Manzoni was her
prize picture. The "Madonna of the Sacred Heart of Jesus" was painted on
a commission from the Bishop of Piacenza, who presented it to Pope Pius
IX.; after being exhibited at the Vatican, it was sent to the Bishop of
Jesi, for the church of Castelplanio. Other celebrated works of hers are
a "Holy Family," the "Madonna of Lourdes," and several copies of the "Viâ
Crucis," by Viganoni.
In 1881 this artist entered the Ursuline Convent at Piacenza, where she
continues to paint religious pictures.
<b>BRACKEN, JULIA M.</b> First prize for sculpture, Chicago, 1898;
appointed on staff of sculptors for the St. Louis Exposition. Member of
Arts Club, Western Society of Artists, Municipal Art League, and Krayle
Workshop, Chicago. Born at Apple River, Ill., 1871. Pupil of Chicago Art
Institute. Acted as assistant to Lorado Taft, 1887-92. Was much occupied
with the decorations for the Columbian Exposition, and executed on an
independent commission the statue of "Illinois Welcoming the Nations."
There are to be five portrait statues placed in front of the Educational
Building at St. Louis, each to be executed by a well-known artist. One of
these is to be the work of Miss Bracken, who is the only woman among
them. Miss Bracken has modelled an heroic portrait statue of President
Monroe; beside the figure is a globe, on which he points out the junction
of the Mississippi and Missouri rivers.
[_No reply to circular_.]
<b>BRACQUEMOND, MME. MARIE.</b> Pupil of Ingres. A portrait painter, also
painter of genre subjects. At the Salon of 1875 she exhibited "The
Reading"; in 1874 "Marguerite." She has been much occupied in the
decoration of the Haviland faience, a branch of these works, at Auteuil,
being at one time in charge of her husband, Félix Bracquemond. In 1872 M.
Bracquemond was esteemed the first ceramic artist in France. An eminent
French critic said of M. and Mme. Bracquemond: "You cannot praise too
highly these two artists, who are as agreeable and as clever as they are
talented and esteemed."
Mme. Bracquemond had the faculty of employing the faience colors so well
that she produced a clearness and richness not attained by other artists.
The progress made in the Haviland faience in the seventies was very
largely due to Mme. Bracquemond, whose pieces were almost always sold
from the atelier before being fired, so great was her success.
<b>BRANDEIS, ANTOINETTA.</b> Many prizes at the Academy of Venice. Born of
Bohemian parents in Miscova, Galitza, 1849. Pupil of Iavurek, of Prague,
in the beginning of her studies, but her father dying and her mother
marrying again, she was taken to Venice, where she studied in the Academy
several years under Grigoletti, Moja, Bresolin, Nani, and Molmenti.
Although all her artistic training was received in Italy and she made
her first successes there, most of her works have been exhibited in
London, under the impression that she was better understood in England.
Annoyed by the commendation of her pictures "as the work of a woman," she
signed a number of her canvases Antonio Brandeis. Although she painted
religious subjects for churches, her special predilection is for views of
Venice, preferably those in which the gondola appears. She has studied
these in their every detail. "Il canale Traghetto de' San Geremia" is in
the Museum Rivoltella at Trieste. This and "Il canale dell' Abbazia della
Misericordia" have been much commended by foreign critics, especially the
English and Austrians. Other Venetian pictures are "La Chiese della
Salute," "Il canale de' Canalregio," and "La Pescaria."
<b>BRESLAU, LOUISA CATHERINE.</b> Gold medal at Paris Exposition, 1889;
gold medal at Paris Exposition, 1900. Chevalier of the Legion of Honor,
1901. Member of the Société Nationale des Beaux-Arts. A Swiss artist, who
made her studies at the Julian Academy under Robert-Fleury.
She has painted many portraits. Her picture "Under the Apple-Tree" is in
the Museum at Lausanne; the "Little Girls" or "The Sisters" and the
"Child Dreamer"--exhibited at Salon, 1902--are in the Gallery of the
Luxembourg; the "Gamins," in the Museum at Carpentras; the "Tea Party,"
at the Ministry of the Interior, Paris.
At the Salon of 1902 Mlle. Breslau exhibited six pictures, among which
were landscapes, two representing September and October at Saint-Cloud;
two of fruit and flowers; all of which were admired, while the "Dreamer"
was honored with a place in the Luxembourg. In the same Salon she
exhibited six pictures in pastel: four portraits, and heads of a gamin
and of a little girl. The portrait of Margot is an ideal picture of a
happy child, seated at a table, resting her head on her left hand while
with the right she turns the leaves of a book. A toy chicken and a doll
are on the table beside her. In the Salon of 1903 she exhibited five
pictures of flowers and another called the "Child with Long Hair."
I was first interested in this artist by the frequent references to her
and her work in the journal of Marie Bashkirtseff. They were
fellow-pupils in the Julian Academy. Soon after she began her studies
there Marie Bashkirtseff writes: "Breslau has been working at the studio
two years, and she is twenty; I am seventeen, but Breslau had taken
lessons for a long time before coming here.... How well that Breslau
draws!"
"That miserable Breslau has composed a picture, 'Monday Morning, or the
Choice of a Model.' Every one belonging to the studio is in it--Julian
standing between Amalie and me. It is correctly done, the perspective is
good, the likenesses--everything. When one can do a thing like that, one
cannot fail to become a great artist. You have guessed it, have you not?
I am jealous. That is well, for it will serve as a stimulus to me."
"I am jealous of Breslau. She does not draw at all like a woman."
"I am terrified when I think of the future that awaits Breslau; it fills
me with wonder and sadness. In her compositions there is nothing
womanish, commonplace, or disproportioned. She will attract attention at
the Salon, for, in addition to her treatment of it, the subject itself
will not be a common one."
The above prophecy has been generously fulfilled. Mlle. Breslau is indeed
a poet in her ability to picture youth and its sweet intimacies, and she
does this so easily. With a touch she reveals the grace of one and the
affectations of another subject of her brush, and skilfully renders the
varying emotions in the faces of her pictures. Pleasure and suffering,
the fleeting thought of the child, the agitation of the young girl are
all depicted with rare truthfulness.
<b>BREWSTER, ADA AUGUSTA.</b>
[_No reply to circular_.]
<b>BRICKDALE, MISS ELEANOR FORTESCUE.</b>
[_No reply to circular_.]
<b>BRICCI OR BRIZIO, PLAUTILLA.</b> Very little is known of this Roman
artist of the seventeenth century, but that little marks her as an
unusually gifted woman, since she was a practical architect and a painter
of pictures. She was associated with her brother in some architectural
works in and near Rome, and was the only woman of her time in this
profession.
She is believed to have erected a small palace near the Porta San
Pancrazio, unaided by her brother, and is credited with having designed
in the Church of San Luigi de' Francesi the third chapel on the left
aisle, dedicated to St. Louis, and with having also painted the
altar-piece in this chapel.
<b>BRIDGES, FIDELIA.</b> Associate of the National Academy of Design in
1878, when but three other women were thus honored. Born in Salem,
Massachusetts. Studied with W. T. Richards in Philadelphia, and later in
Europe during one year. She exhibited her pictures from 1869 in
Philadelphia, New York, and Boston. Her subjects were landscapes and
flowers. In 1871 she first painted in water-colors, which suited many of
her pictures better than oils. She was elected a member of the
Water-Color Society in 1875. To the Philadelphia Exposition, 1876, she
sent a "Kingfisher and Catkins," a "Flock of Snow Birds," and the "Corner
of a Rye-Field." Of the last a writer in the _Art Journal_ said: "Miss
Bridges' 'Edge of a Rye-Field,' with a foreground of roses and weeds, is
a close study, and shows that she is as happy in the handling of oil
colors as in those mixed with water."
Another critic wrote: "Her works are like little lyric poems, and she
dwells with loving touches on each of her buds, 'like blossoms atilt'
among the leaves."
Her pictures are in private collections, and are much valued by their
owners.
<b>BROOKS, MARIA.</b>
[_No reply to circular_.]
<b>BROWNSCOMBE, JENNIE.</b> Pupil of the National Academy and the Art
Students' League, New York, and of Henry Mosler in Paris.
Paints genre subjects, among which are: "Love's Young Dream," "Colonial
Minuet," "Sir Roger de Coverly at Carvel Hall," "Battle of Roses," etc.
The works of this artist have been reproduced in engravings and etchings,
and are well known in black and white. Her water-colors, too, have been
published in photogravure.
Miss Brownscombe exhibits at many American exhibitions and has had her
work accepted at the Royal Academy, London.
<b>BROWNE, MATILDA.</b> Honorable mention at Chicago, 1893; Dodge prize at
National Academy of Design, 1899; Hallgarten prize, 1901. Born in Newark,
New Jersey. Pupil of Miss Kate Greatorex; of Carleton Wiggins, New York;
of the Julian Academy, Paris; of H. S. Birbing in Holland, and of Jules
Dupré on the coast of France. When a child this artist lived very near
Thomas Moran and was allowed to spend much time in his studio, where she
learned the use of colors.
She exhibited her first picture at the National Academy of Design when
twelve years old, and has been a constant contributor to its exhibitions
since that time; also to the exhibitions of the American Water-Color
Society.
Her earliest pictures were of flowers, and during several years she had
no teacher. At length she decided to study battle painting, and, after a
summer under Carleton Wiggins, she went abroad, in 1890, and remained two
years, painting in the schools in winter and out of doors in summer. Miss
Browne exhibited at the Salon des Beaux-Arts in 1890, and many of her
works have been seen in exhibits in this country. The Dodge prize was
awarded to a picture called "The Last Load," and the Hallgarten prize to
"Repose," a moonlight scene with cattle. Her pictures are in private
collections.
<b>BROWN, MRS. AGNES--MRS. JOHN APPLETON BROWN.</b> Born in Newburyport.
This artist paints in oils. Her subjects are landscapes, flowers, and
still life. She has also painted cats successfully.
I have a winter landscape by Mrs. Brown which is unusually attractive and
is often admired. She sends her works to the exhibitions of the Boston
Art Club and to some exhibitions in New York.
<b>BROWNE, MME. HENRIETTE.</b> Born at Paris; 1829-1901. Pupil of Chaplin.
The family name of this artist was Bouteiller, and she married M. Jules
de Saux, but as an artist used the name of an ancestress. Her pictures of
genre subjects very early attracted attention, especially in 1855, when
she sent to the Salon "A Brother of the Christian School," "School for
the Poor at Aix," "Mutual Instruction," and "Rabbits." Her works were
popular and brought good prices. In 1868 "The Sisters of Charity" sold
for £1,320.
In 1878 she exhibited "A Grandmother" and "Convalescence." Her Oriental
scenes were much admired. Among these were "A Court in Damascus," "Nubian
Dancing Girls," and a "Harem in Constantinople." Mme. Browne was also
skilful as an engraver.
T. Chasrel wrote in _L'Art_: "Her touch without over-minuteness has the
delicacy and security of a fine work of the needle. The accent is just
without that seeking for virile energy which too often spoils the most
charming qualities. The sentiment is discreet without losing its
intensity in order to attract public notice. The painting of Mme.
Henriette Browne is at an equal distance from grandeur and insipidity,
from power and affectation, and gathers from the just balance of her
nature some effects of taste and charm of which a parvenu in art would be
incapable."
The late Rev. Charles Kingsley wrote of the picture of the "Sisters of
Charity," of the sale of which I have spoken, as follows: "The picture
which is the best modern instance of this happy hitting of this golden
mean, whereby beauty and homely fact are perfectly combined, is in my
eyes Henrietta Browne's picture of the 'Sick Child and the Sisters of
Charity.' I know not how better to show that it is easy to be at once
beautiful and true, if one only knows how, than by describing that
picture. Criticise it, I dare not; for I believe that it will surely be
ranked hereafter among the very highest works of modern art. If I find no
fault in it, it is because I have none to find; because the first sight
of the picture produced in me instantaneous content and confidence. There
was nothing left to wish for, nothing to argue about. The thing was what
it ought to be, and neither more nor less, and I could look on it, not as
a critic, but as a learner only."
This is praise indeed from an Englishman writing of a Frenchwoman's
picture--an Englishman with no temptation to say what he did not think;
and we may accept his words as the exact expression of the effect the
picture made on him.
<b>BRUNE, MME. AIMÉE PAGÈS.</b> Medal of second class at Salon of 1831;
first class in 1841. Born in Paris. 1803-66. Pupil of Charles Meynier.
Painted historical and genre subjects. In 1831 she exhibited "Undine,"
the "Elopement," "Sleep," and "Awakening." In 1841 a picture of "Moses."
She painted several Bible scenes, among which were the "Daughter of
Jairus" and "Jephthah's Daughter."
<b>BUECHMANN, FRAU HELENE.</b> Her pictures have been seen at some annual
exhibitions in Germany, but she is best known by her portraits of
celebrated persons. Born in Berlin, 1849. Pupil of Steffeck and Gussow.
Among her portraits are those of Princess Carolath-Beuthen, Countess
Brühl, Prince and Princess Biron von Kurland, and the youngest son of
Prince Radziwill. She resides in Brussels.