Women Painters and Sculptors, the Duchesse d'Uzès exhibited a large
statue of the Virgin which is to be erected in the church of St.
Clothilde. It is correct anatomically and moulded with great delicacy.
<b>EARL, MAUD.</b> A painter of animals, whose "Early Morning" was
exhibited at the Royal Academy in 1885, and has been followed by "In the
Drifts," "Old Benchers," "A Cry for Help," etc. In 1900 she exhibited
"The Dogs of Death"; in 1901, "On Dian's Day."
Miss Earl has painted portraits of many dogs on the Continent and in
Great Britain, notably those belonging to Queen Victoria and to the
present King and Queen.
This artist exhibits in the United States as well as in the chief cities
of England, and has held private exhibitions in Graves' Galleries. In
1902 her principal work was "British Hounds and Gun-Dogs." Many of her
pictures have been engraved and published in both England and the United
States. Among them are the last-named picture, "Four by Honors," "The
Absent-Minded Beggar," and "What We Have We'll Hold."
[_No reply to circular_.]
<b>EGLOFFSTEIN, COUNTESS JULIA.</b> Born at Hildesheim. 1786-1868. This
painter of portraits and genre subjects belonged to a family of
distinction in the north of Germany. She was a maid of honor at the court
of Weimar. Her pictures were praised by Cornelius and other Munich
artists. Her portrait of Goethe, in his seventy-seventh year, is in the
Museum at Weimar. She also painted portraits of Queen Theresa Charlotte
of Bavaria and of the Grand Duchess of Saxe-Weimar. Her picture of "Hagar
and Ishmael in the Desert" is well known in Germany.
<b>EGNER, MARIE.</b> Pupil of Schindler in Vienna. She has exhibited her
pictures at the exhibitions of the Vienna Water-Color Club. In 1890 an
exquisite series of landscapes and flowers, in 1894 "A Mill in Upper
Austria," in gouache, and in 1895 other work in the same medium,
confirming previous impressions of her fine artistic ability.
<b>EISENSTEIN, ROSA VON.</b> Born in Vienna, 1844. This artist is one of
the few Austrian women artists who made all her studies in her native
city. She was a pupil of Mme. Wisinger-Florian, Schilcher, C. Probst, and
Rudolf Huber. Her pictures are of still-life. She is especially fond of
painting birds and is successful in this branch of her art.
<b>ELLENRIEDER, ANNA MARIE.</b> Born at Constance. 1791-1863. A pupil of
Einsle, a miniaturist, and later of Langer, in Munich. In Rome, where
this artist spent several years, she became a disciple of Overbeck.
Returning to Switzerland, she received the appointment of Court painter
at Baden in 1829.
Her works are portraits and pictures of historical subjects, many of the
latter being Biblical scenes. Among her best works are the "Martyrdom of
Saint Stephen," in the Catholic church at Carlsruhe; a "Saint Cecilia," a
"Madonna," and "Mary with the Christ-Child Leaving the Throne of Heaven"
are in the Carlsruhe Gallery. "Christ Blessing Little Children" is in the
church at Coburg. Among her other works are "John Writing his Revelation
at Patmos," "Peter Awaking Tabitha," and "Simeon in the Temple."
Her religious subjects sometimes verge on the sentimental, but are of
great sweetness, purity, and tenderness. She was happier in her figures
of women than in those of men. She also made etchings of portraits and
religious subjects in the manner of G. F. Schmidt.
<b>EMMET, LYDIA FIELD.</b> Medal at Columbian Exhibition, Chicago, 1893;
medal at Atlanta Exhibition, 1895; honorable mention at Pan-American
Exposition, Buffalo, 1901. Member of the Art Students' League and Art
Workers' Club for Women. Born at New Rochelle, New York. Studied at Art
Students' League under Chase, Mowbray, Cox, and Reid; at the Julian
Academy, Paris, under Robert-Fleury, Giacomotti, and Bouguereau; at the
Shinnecock School of Art under W. M. Chase; at Académie Vieté, Paris,
under Collin, and in a private studio under Mac Monnies.
[Illustration: From a Copley Print.
DOROTHY
LYDIA FIELD EMMET]
Miss Emmet has painted many portraits, which are in private hands in New
York, Chicago, Boston, and elsewhere. She executed a decorative painting
for the Woman's Building at Chicago which is still in that city.
<b>EMMET, ROSINA--MRS. ARTHUR MURRAY SHERWOOD.</b> Silver medal, Paris
Exposition, 1889; the Art Department medal, Chicago, 1893; bronze medal,
Buffalo, 1901. Member of the Society of American Artists, American
Water-Color Society, New York Water-Color Club. Born in New York City.
Studied two years under William M. Chase and six months at Julian
Academy, Paris.
Miss Emmet exhibited at the National Academy of Design, in 1881, a
"Portrait of a Boy"; in 1882, a "Portrait of Alexander Stevens" and
"Waiting for the Doctor"; in 1883, "Red Rose Land" and "La Mesciana"; her
picture called "September" belongs to the Boston Art Club. The greater
number of her works are in private collections.
<b>ESCALLIER, MME. ÉLÉONORE.</b> Medal at Salon, 1868. A pupil of Ziegler.
A painter of still-life whose pictures of flowers and birds were much
admired. "Chrysanthemums," exhibited in 1869, was purchased by the
Government. "Peaches and Grapes," 1872, is in the Museum at Dijon; and in
1875 she executed decorative panels for the Palais de la Légion
d'Honneur.
<b>ESCH, MATHILDE.</b> Born at Kletten, Bohemia, 1820. Pupil of
Waldmüller in Vienna. She also studied a long time in Düsseldorf and
several years in Paris, finally settling in Vienna. She painted charming
scenes from German and Hungarian life, as well as flowers and still-life.
Most of her works are in private galleries.
<b>ESINGER, ADÈLE.</b> Born in Salzburg, 1846. In 1874 she became a student
at the Art School in Stuttgart, where she worked under the special
direction of Funk, and later entered the Art School at Carlsruhe, where
she was a pupil of Gude. She also received instruction from Hansch. Her
pictures are remarkable for their poetic feeling; especially is this true
of "A Quiet Sea," "The Gollinger Waterfall," and "A Country Party."
<b>EYCK, MARGARETHA VAN.</b> In Bruges, in the early decades of the
fifteenth century, the Van Eycks were inventing new methods in the
preparation of colors. Their discoveries in this regard assured them an
undying fame, second only to that of their marvellous pictures.
Here, in the quaint old city--a large part of which we still describe as
mediaeval--in an atmosphere totally unlike that of Italy, beside her
devout brothers, Hubert and Jan, was Margaretha. When we examine the
minute detail and delicate finish of the pictures of Jan van Eyck, we see
a reason why the sister should have been a miniaturist, and do not wonder
that with such an example before her she should have excelled in this
art. The fame of her miniatures extended even to Southern Italy, where
her name was honorably known.
We cannot now point to any pictures as exclusively hers, as she worked in
concert with her brothers. It is, however, positively known that a
portion of an exquisite Breviary, in the Imperial Library in Paris, was
painted by Margaretha, and that she illustrated other precious and costly
manuscripts.
She was held in high esteem in Bruges and was honored in Ghent by burial
in the Church of St. Bavo, where Hubert van Eyck had been interred. Karl
van Mander, an early writer on Flemish art, was poetically enthusiastic
in praise of Margaretha, calling her "a gifted Minerva, who spurned Hymen
and Lucina, and lived in single blessedness."
A Madonna in the National Gallery in London is attributed to Margaretha
van Eyck.
<b>FACIUS, ANGELIKA.</b> Born at Weimar. 1806-87. This artist was
distinguished as an engraver of medals and gems. Pupil of her father,
Friedrich Wilhelm Facius. Goethe recommended her to Rauch, and in 1827
she went to Berlin to study in his studio. Under her father's instruction
she engraved the medal for the celebration at Weimar, 1825, of the
jubilee of the Grand Duke Charles Augustus. Under Rauch's direction she
executed the medal to commemorate the duke's death. In 1841 she made the
medal for the convention of naturalists at Jena.
After Neher's designs, she modelled reliefs for the bronze doors at the
castle of Weimar.
<b>FARNCOMB, CAROLINE.</b> Several first prizes in exhibitions in London,
Toronto, Montreal, and Ottawa. Member of Women's Art Club, London,
Ontario. Born near Toronto, Canada. Pupil of Mr. Judson and Mlle. van
den Broeck in London, Canada, and later of William Chase in New York.
Now studying in Paris.
<b>FASSETT, CORNELIA ADÈLE.</b> 1831-1898. Member of the Chicago Academy of
Design and the Washington Art Club. Born in Owasco, New York. Studied
water-color painting in New York under an English artist, J. B.
Wandesforde. Pupil in Paris of Castiglione, La Tour, and Mathieu. Her
artistic life was spent in Chicago and Washington, D. C.
She painted numerous portraits in miniature and a large number in oils.
Among those painted from life were Presidents Grant, Hayes, and Garfield;
Vice-President Henry Wilson; Charles Foster, when Governor of Ohio, now
in the State House at Columbus, Ohio; Dr. Rankin, president of Howard
University, Washington; and many other prominent people of Chicago and
Washington.
Her chief work and that by which she is best remembered hangs in the
Senate wing of the United States Capitol. No picture in the Capitol
attracts more attention, and large numbers of people view it daily. It is
the "Electoral Commission in Open Session." It represents the old Senate
Chamber, now the Supreme Court Room, with William M. Evarts making the
opening argument. There are two hundred and fifty-eight portraits of
notable men and women, prominent in political, literary, scientific, and
social circles. Many of these were painted from life.
The _Arcadian_, New York, December 15, 1876, in speaking of this picture,
says: "Mr. Evarts is addressing the court, and the large number of people
present are naturally and easily grouped. There is no stiffness nor
awkwardness in the positions, nothing forced in the whole work. There
are, in the crowd, ladies in bright colors to relieve the sombreness of
the black-coated men, and the effect of the whole picture is pleasing and
artistic, aside from its great value as an historical work."
The _Washington Capital_, March 17, 1878: "Mrs. Fassett's 'Electoral
Commission' gives evidence of great merit, and this illustration in oil
of an historical event in the presidential annals of the country, by the
preservation of the likenesses in groups of some of the principal actors,
and a few leading correspondents of the press, will be valuable. This
picture we safely predict will be a landmark in the history of the nation
that will never be erased. It memorizes a most remarkable crisis in our
life, and perpetuates, both by reason of its intrinsic value as a chapter
of history and its intrinsic worth as an art production, the incident it
represents and the name of the artist."
In the _Washington Star_, October, 1903, an article appeared from which I
quote as follows: "On the walls of the beautiful tessellated corridor of
the eastern gallery floor of the Senate wing of the Capitol at
Washington, just opposite the door of the caucus room of the Senate
Democrats, hangs a large oil painting that never fails to attract the
keenest curiosity of sightseers and legislators alike. And for good
reason: that painting depicts in glowing colors a scene of momentous
import, a chapter of American political history of graver consequence and
more far-reaching results than any other since the Civil War. The printed
legend on the frame of the picture reads:
"'The Florida case before the electoral commission, February 5, 1877.
Painted from life sittings in the United States Supreme Court room by
Cornelia Adèle Fassett.'"
"The painting belongs to Congress, having been purchased from the artist
for $15,000. As you face the picture the portraits of two hundred and
fifty-eight men and women, who, twenty-six years ago, were part and
parcel of the legislative, executive, judicial, social, and journalistic
life of Washington, look straight at you as if they were still living and
breathing things, as, indeed, many of them are. As a work of art the
picture is unique, for each face is so turned that the features can
easily be studied, and the likenesses of nearly all are so faithful as to
be a source of constant wonder and delight."--_David S. Barry_, in
_Pearson's Magazine_.
<b>FAUVEAU, FÉLICIE DE.</b> Second-class medal at Florence in 1827, when
she made her début by exhibiting a statue, "The Abbot," and a group,
"Queen Christine and Monaldeschi." Born in Florence, of French parents,
about 1802. For political reasons she was forced to leave Florence about
1834, when she went to Belgium, but later returned to her native city.
Among her best works are "St. George and the Dragon," bronze; the
"Martyrdom of St. Dorothea," "Judith with the Head of Holofernes," "St.
Genoveva," marble, and a monument to Dante.
Her works display a wonderful skill in the use of drapery and a purity of
taste in composition. She handled successfully the exceedingly difficult
subject, a "Scene between Paolo and Francesca da Rimini."
<b>FAUX-FROIDURE, MME. EUGÉNIE JULIETTE.</b> Honorable mention at Salon,
1898; the same at the Paris Exposition, 1900; third-class medal at Salon,
1903; first prize of the Union of Women Painters and Sculptors, 1902;
chevalier of the Order Nichan Iftikar; Officer of Public Instruction.
Member of the Association of Baron Taylor, of the Société des Artistes
Français, of the Union of Women Painters and Sculptors, and of the
Association of Professors of Design of the City of Paris. Born at Noyen
(Sarthe). Pupil of P. V. Galland, Albert Maignan, and G. Saintpierre.
Mme. Faux-Froidure's pictures are principally of fruit and flowers, and
three have been purchased by the Government. One, "Raisins" (Grapes), is
in the Museum at Commerey; a second, "Hortensias" (Hydrangeas), is in the
Museum of Mans; the third, which was in the Salon of 1903, has not yet
been placed. In 1899 she exhibited a large water-color called "La Barque
fleurie," which was much admired and was reproduced in "L'Illustration."
Her water-color of "Clematis and Virginia Creeper" is in the Museum at
Tunis. In the summer exhibition of 1903, at Évreux, this artist's
"Peonies" and "Iris" were delightfully painted--full of freshness and
brilliancy, such as would be the despair of a less skilful hand.
At the Limoges Exposition, May to November, 1903, Mme. Faux-Froidure was
announced as hors concours in water-colors.
La Société Français des Amis des Arts purchased from the Salon, 1903, two
water-colors by Mme. Faux-Froidure--"Roses" and "Loose Flowers," or
"Jonchée fleurie."
Her pictures at the Exposition at Toulouse, spring of 1903, were much
admired. In one she had most skilfully arranged "Peaches and Grapes." The
color was truthful and delicate. The result was a most artistic picture,
in which the art was concealed and nature alone was manifest. A second
picture of "Zinnias" was equally admirable in the painting of the
flowers, while that of the table on which they were placed was not quite
true in its perspective.
Of a triptych, called the "Life of Roses," exhibited at the Salon des
Artistes Français, 1903, Jules de Saint Hilaire writes: "Mme.
Faux-Froidure was inspired when she painted her charming triptych of
'Rose Life.' In the compartment on the left the roses are twined in a
crown resembling those worn in processions; in the centre, in all its
dazzling beauty, the red rose, the rose of love, is enthroned; while the
panel on the right is consecrated to the faded rose--the souvenir rose,
shrivelled, and lying beside the little casket which it still perfumes
with its old-time sweetness."
<b>FISCHER, CLARA ELIZABETH.</b> Born in Berlin, 1856. Studied under
Biermann six years, and later under Julius Jacob. Her pictures are
portraits and genre subjects. Among the latter are "What Will Become of
the Child?" 1886; "Orphaned," "In the Punishment Corner," and "Morning
Devotion."
<b>FISCHER, HELENE VON.</b> Born in Bremen, 1843. She first studied under a
woman portrait painter in Berlin; later she was a pupil of Frische in
Düsseldorf, of Robie in Brussels, and of Hertel and Skarbina in Berlin.
She makes a specialty of flowers, fruit, and still-life; her fruit and
flower pieces are beautiful, and her pictures of the victims of the chase
are excellent.
<b>FLESCH-BRUNNENGEN, LUMA VON.</b> Born in Brünn in 1856. In Vienna she
worked under Schöner, the interpreter of Venetian and Oriental life, and
later in Munich she acquired technical facility under Frithjof Smith.
Travels in Italy, France, and Northern Africa furnished many of her
themes--mostly interiors with figures, in which the entering light is
skilfully managed. "The Embroiderers," showing three characteristic
figures, who watch the first attempt of their seriously earnest pupil, is
full of humor. In sharp contrast to this is a "Madonna under the Cross,"
exhibited at Berlin in 1895, in which the mother's anguish is most
sympathetically rendered. "Devotion," "Shelterless," and the "Kitchen
Garden" are among the paintings which have won her an excellent
reputation as a genre painter.
<b>FLEURY, MME. FANNY.</b>
[_No reply to circular_.]
<b>FOCCA, SIGNORA ITALIA ZANARDELLI.</b> Silver medal at Munich, 1893;
diploma of gold medal at Women's Exhibition, London, 1900. Member of
Società Amatorie Pittori di Belle Arti, of the Unione degli Artisti, and
of the Società Cooperativa, all in Rome.
Born in Padua, 1872. Pupil of Ottin in Paris, and of the Academy of Fine
Arts in Rome.
The principal works of this sculptor are a "Bacchante," now in St.
Petersburg; "Najade," sold in London; "The Virgin Mother," purchased by
Cavaliere Alinari of Florence; portrait of the Minister Merlo, which was
ordered by the Ministry of Public Instruction. Many other less important
works are in various Italian and foreign cities.
Signora Focca is a professor of drawing in the Normal Schools of Rome.
<b>FOLEY, MARGARET E.</b> A native of New Hampshire. Died in 1877. Without
a master, in the quiet of a country village, Miss Foley modelled busts in
chalk and carved small figures in wood. At length she made some
reputation in Boston, where she cut portraits and ideal heads in cameo.
She went to Rome and remained there. She became an intimate friend of Mr.
and Mrs. Howitt, and died at their summer home in the Austrian Tyrol.
Among her works are busts of Theodore Parker, Charles Sumner, and others;
medallions of William and Mary Howitt, Longfellow, and Bryant; and
several ideal statues and bas-reliefs.
In a critical estimate of Miss Foley we read: "Her head of the somewhat
impracticable but always earnest senator from Massachusetts--Sumner--is
unsurpassable and beyond praise. It is simple, absolute truth, embodied
in marble."--_Tuckerman's Book of the Artists._
"Miss Foley's exquisite medallions and sculptures ought to be reproduced
in photograph. Certainly she was a most devoted artist, and America has
not had so many sculptors among women that she can afford to forget any
one of them."--_Boston Advertiser,_ January, 1878.
<b>FONTAINE, JENNY.</b> Silver medal, Julian Academy, 1889; silver medal at
Amiens Exposition, 1890 and 1894; honorable mention, Paris Salon, 1892;
gold medal at Rouen Exposition, 1893; third-class medal, Salon, 1896;
bronze medal, Paris Exposition, 1900. Officer of the Academy, 1896;
Officer of Public Instruction, 1902. Member of the Société des Artistes
Français, Paris; Société de l'Union Artistique, du Pas-de-Calais, at
Arras; corresponding member of the Academy of Arras. Pupil of Jules
Lefebvre and Benjamin-Constant.
Mlle. Fontaine paints portraits only--of these she has exhibited
regularly at the Salons for sixteen years. Among her sitters have been
many persons of distinction, both men and women.
At the Salon of 1902 she exhibited her own portrait; in 1903, portraits
of MM. Rene et Georges D. The _Journal des Arts_, giving an account of
the exhibition at Rheims, summer, 1903, says: "The portraits here are not
so numerous as one might expect, but they are too fine to be overlooked.
Mlle. Jenny Fontaine has, for a long time, held a distinguished place as
a _portraitiste_ in our Salons, and two of her works are here: a portrait
of a young girl and one of General Jeanningros."
<b>FONTANA, LAVINIA.</b> Born in Bologna, 1552. Her father was a
distinguished portrait painter in Rome in the time of Pope Julius III.,
but the work of his daughter was preferred before his own. She was
elected to the Academy of Rome, while her charms were extolled in poetry
and prose.
Pope Gregory XIII. made her his painter-in-ordinary. Patrician ladies,
cardinals, and Roman nobles contended for the privilege of having their
portraits from her hand. Men of rank and scholars paid court to her,
but, with a waywardness not altogether uncommon, she married a man who
was even thought to be lacking in sense.
One of her two daughters was blind of one eye, and her only son was so
simple that the loungers in the antechamber of the Pope were accustomed
to amuse themselves with his want of wit. She is said to have died of a
broken heart after the death of this son, and her portrait of him is
considered her masterpiece.
Her own portrait was one of her most distinguished works, and though it
is in possession of her husband's family, the Zappi, of Imola, it may be
judged by an engraving after it in Rossini's "History of Italian
Painting."
Many portraits by Lavinia Fontana are in the private collections of
Italian families for whom they were painted. In the Gallery of Bologna
there is a night-scene, the "Nativity of the Virgin," by her, and in the
Escorial is a Madonna lifting a veil to regard the sleeping Jesus, while
SS. Joseph and John stand near by.
In the churches of San Giacomo Maggiore and of the Madonna del Baracano,
both in Bologna, are Fontana's pictures of the "Madonna with Saints." In
Pieve di Cento are two of her works--a "Madonna" and an "Ascension." It
is said that several pictures by this artist are in England, but I have
failed to find to what collections they belong.
Lavinia Fontana was a distinguished woman in a notable age, and if, in
translating the tributes that were paid her by the authors of her day, we
should faithfully render their superlatives, these writings would seem
absurd in their exaggerations, and our comparatively cold adjectives
would be taxed beyond their power of expression.
<b>FONTANA, VERONICA.</b> Born in 1576. A pupil of Elisabetta Sirani, who
devoted herself to etching and wood-engraving. She is known from her
exceedingly fine, delicate portraits on wood and etchings of scenes from
the life of the Madonna.
<b>FOORD, MISS J.</b> A painter of plants and flowers, which are much
praised. An article in the _Studio_, July, 1901, says: "Miss Foord, by
patient and observant study from nature, has given us a very pleasing,
new form of useful work, that has traits in common; with the
illustrations to be found in the excellent botanical books of the
beginning of the nineteenth century." After praising the works of this
artist, attention is called to her valuable book, "Decorative Flower
Studies," illustrated with forty plates printed in colors.
[_No reply to circular_.]
<b>FOOTE, MARY HALLOCK.</b> Born in Milton, New York. At New York School of
Design for Women this artist studied anatomy and composition under
William Rimmer, and drawing on wood and black and white under William J.
Linton. Mrs. Foote is a member of the Alumni of the School of Design.
Her illustrations have been exhibited by the publishers for whom they
were made. In the beginning her work was suited to the taste and custom
of the time. She illustrated the so-called "Gift Books" and poems in the
elaborate fashion of the period. Later she was occupied principally in
illustrations for the Century Company and Houghton, Mifflin & Co. Mrs.
Foote writes that Miss Regina Armstrong--now Mrs. Niehaus--in a series of
articles on "Women Illustrators of America," whom she divided into
classes, placed her with the "Story-Tellers."