work of the Royal Academician, Stanhope Forbes, in the _Studio_, July,
1901, pays the following tribute to the wife of the artist, whose maiden
name was Elizabeth Armstrong:
"Mrs. Stanhope Forbes's work does not ask you for any of that chivalrous
gentleness which is in itself so derogatory to the powers of women. As an
artist she stands shoulder to shoulder with the very best; she has taste
and fancy, without which she could not be an artist. But what strikes one
about her most is summed up in the word 'ability.' She is essentially
able. The work which that wonderful left hand of hers finds to do, it
does with a certainty that makes most other work look tentative beside
hers. The gestures and poses she chooses in her models show how little
she fears drawing, while the gistness of her criticism has a most solvent
effect in dissolving the doubts that hover round the making of pictures."
[_No reply to circular_.]
<b>FORTI, ENRICA.</b> Rome.
[_No reply to circular_.]
<b>FORTIN DE COOL, DELFINA.</b> Third-class medal, Madrid, 1864, for the
following works reproduced on porcelain: the "Conception" of Murillo,
the "Magdalen" of Antolinez, and the portrait of Alonso Cano by
Velazquez; also a portrait on ivory of a young girl.
This artist, who was French by birth, was a pupil of her father. For
paintings executed in the imperial works at Sèvres, she was awarded
prizes at Blois, Besançon, Rouen, Perigueux, and Paris.
<b>FOULQUES, ELISA.</b> Born in Pjatigorsk, in the Caucasus. She came under
Italian influence when but four years old, and was taken to Naples. At
the Institute of the Fine Arts she was a pupil of Antoriello, Mancinelli,
Perrisi, and Solari. She received a diploma when leaving the Institute.
Her picture, "Mendica," was exhibited in Naples, 1886; "Un ultimo
Squardo" and "Sogno," 1888. In London, in 1888, "Tipo Napoletano,"
"Studio dal vero," and "Ricordi" were exhibited. Since 1884 this artist
has taught drawing in the Municipal School for Girls in Naples, and has
executed many portraits in oil, as well as numerous pastels and
water-colors. Among her later works are "La Figlia del Corsaro," "Chiome
nere," "Una Carezza al Nonno," and "Di Soppiatto."
<b>FRACKLETON, SUSAN STUART.</b> Medal at Antwerp Exposition, 1894; at
Paris Exposition, 1900. Founder and first president of National League of
Mineral Painters; member of Park and Outdoor Association. Born at
Milwaukee, 1848. Pupil of private studios in Milwaukee and New York.
Mrs. Frackleton's gas-kilns for firing decorated china and glass are well
known; also her book, "Tried by Fire," a treatise on china painting. As a
ceramic artist she has exhibited in various countries, and has had
numerous prizes for her work. She declined the request of the Mexican
Government to be at the head of a National School of Ceramic Decoration,
etc. She is also a lecturer on topics connected with the so-called arts
and crafts.
<b>FREEMAN, FLORENCE.</b> Born in Boston. 1836-1883. Pupil of Richard S.
Greenough in Boston and of Hiram Powers in Florence, Italy. After a year
in Florence she went to Rome, where she made her home. Among her works
are a bust of "Sandalphon," which belonged to Mr. Longfellow, bas-reliefs
of Dante, and a statue of the "Sleeping Child."
She sent to the Exhibition in Philadelphia, 1876, a chimney-piece on
which were sculptured "Children and the Yule-Log and Fireside Spirits."
This was purchased by Mrs. Hemenway, of Boston.
"Her works are full of poetic fancy; her bas-reliefs of the seven days of
the week and of the hours are most lovely and original in conception. Her
sketches of Dante in bas-reliefs are equally fine. Her designs for
chimney-pieces are gems, and in less prosaic days than these, when people
were not satisfied with the work of mechanics, but demanded artistic
designs in the commonest household articles, they would have made her
famous."--_The Revolution_, May, 1871.
<b>FRENCH, JANE KATHLEEN.</b> Member of the Water-Color Society of Ireland.
Born in Dublin. Studied in Brussels under M. Bourson, and in Wiesbaden
under Herr Kögler. Miss French is a miniaturist and exhibited at the
Royal Academy, London, in 1901, a case of her works which she was later
specially invited to send to an exhibition in Liverpool, and several
other exhibits.
The last two years she has exhibited in Ireland only, as her commissions
employ her time so fully that she cannot prepare for foreign expositions.
<b>FREYBERG, BARONESS MARIE ELECTRINE.</b> Elected to the Academy of St.
Luke, 1822. Born in Strassburg. 1797-1847. Daughter and pupil of the
landscape painter, Stuntz. After travelling in France and Italy, making
special studies in Rome, she settled in Munich. She painted historical
and religious subjects, and a few portraits. "Zacharias Naming the Little
St. John" is in the New Picture Gallery, Munich; in the same gallery is
also a portrait called the "Boy Playing a Flute"; in the Leuchtenberg
Gallery, Petersburg, is her "Three Women at the Sepulchre." She painted a
picture called the "Glorification of Religion through Art" and a "Madonna
in Prayer." She also executed a number of lithographs and etchings.
<b>FRIEDLÄNDER, CAMILLA.</b> Born in Vienna, 1856. She was instructed by
her father, Friedrich Friedländer. Among her numerous paintings of house
furniture, antiquities, and dead animals should be especially mentioned
her picture in the Rudolfinum at Prague, which represents all sorts of
drinking-vessels, 1888. Some critics affirm that she has shown more
patience and industry than wealth of artistic ideas, but her still-life
pictures demanded those qualities and brought her success and artistic
recognition.
<b>FRIEDRICH, CAROLINE FRIEDERIKE.</b> Born in Dresden. 1749-1815. Honorary
member of Dresden Academy. In the Dresden Gallery is a picture by this
artist, "Pastry on a Plate with a Glass of Wine," signed 1799.
<b>FRIEDRICHSON, ERNESTINE.</b> Born in Dantzig, 1824. Pupil of Marie
Wiegmann in Düsseldorf, and later of Jordan and Wilhelm Sohn. While still
a student she visited Holland, Belgium, England, and Italy. Her favorite
subjects were scenes from the every-day life of Poles and Jews.
Her best pictures were sold to private collectors. Among these are
"Polish Raftsmen Resting in the Forest," 1867; "Polish Raftsmen before a
Crucifix," 1869; "A Jew Rag-picker," 1870; "The Jewish Quarter in
Amsterdam on Friday Evening," 1881; "A Goose Girl," 1891.
<b>FRIES, ANNA.</b> Silver medal at Berne, 1857; two silver medals from the
Academy of Urbino; silver medal at the National Exposition by Women in
Florence. Honorary member of the Academy Michael Angela, Florence, and of
the Academy of Urbino. Born in Zürich, 1827. She encountered much
opposition to her desire to study art, but her talent was so manifest
that at length she was permitted to study drawing in Zürich, and her
rapid progress was finally recognized and she was taken to Paris, where
the great works of the masters were an inspiration to her. She has great
individuality in her pictures, which have been immoderately praised. She
visited Italy, and in 1857 went to Holland, where she painted portraits
of Queen Sophia and the Prince of Orange. She returned to Zürich and was
urged to remain in Switzerland, but she was ambitious of further study,
and went again to Florence. She there painted a portrait of the Grand
Duchess Marie of Russia. She turned her attention to decorative painting,
and her success in this may be seen in the facades of the Schmitz villa,
the Schemboche establishment, and her own home. When we consider the
usual monotony of this art, the charming effects which Mme. Fries has
produced make her distinguished in this specialty.
<b>FRISHMUTH, HARRIET WHITNEY.</b>
[_No reply to circular_.]
<b>FRITZE, MARGARETHE AUGUSTE.</b> Born in Magdeburg, 1845. This genre
painter worked first in Bremen, and went in 1873 to Munich, where she
studied with Grützner and Liezen-Meyer. The most significant of her
pictures is "The Little Handorgan-Player with His Monkey." She has also
executed many strong portraits, and her painting is thought to show the
influence of A. von Kotzebue and Alexander Wagner. In 1880 she spent some
time in Stuttgart, and later settled in Berlin.
<b>FRORIEP, BERTHA.</b> Born in Berlin, 1833. Pupil of Martersteig and
Pauwels in Weimar. This artist's pictures were usually of genre subjects.
Her small game pictures with single figures are delightful. She also
painted an unusually fine portrait of Friedrich Rückert. At an exhibition
by the women artists of Berlin, 1892, a pen study by Fräulein Froriep
attracted attention and was admired for its spirit and its clear
execution.
<b>FRUMERIE, MME. DE.</b> Honorable mention at the Salon des Artistes
Français in 1893 and 1895. Born in Sweden, she studied in the School of
Fine Arts in Stockholm. There she gained a prize which entitled her to
study abroad during four years.
She has exhibited her works in Paris, and to the Salon of Les Femmes
Peintres et Sculpteurs, in February, 1903, she contributed a bust of
Strindberg which was a delightful example of life-like portraiture.
<b>FULLER, LUCIA FAIRCHILD.</b> Bronze medal, Paris Exposition, 1900;
silver medal, Buffalo Exposition, 1901. Member of the Society of American
Artists and of the American Society of Miniature Painters. Born in
Boston. Studied at the Cowles Art School, Boston, under Denis M. Bunker,
and at the Art Students' League, New York, under H. Siddons Mowbray and
William M. Chase.
Mrs. Fuller is a most successful miniature painter. Among her principal
works are "Mother and Child," in the collection of Mrs. David P. Kimball,
Boston; "Girl with a Hand-Glass," owned by Hearn; and "Girl Drying Her
Feet," for which the medal was given in Paris.
Mrs. Fuller's miniatures are portraits principally, and are in private
hands. Some of her sitters in New York are Mrs. J. Pierpont Morgan and
her children, Mrs. H. P. Whitney and children, J. J. Higginson, Esq., Dr.
Edwin A. Tucker, and many others.
<b>GAGGIOTTI-RICHARDS, EMMA.</b> Historical and portrait painter, of the
middle of the nineteenth century, is known by her portrait of Alexander
von Humboldt (in possession of the Emperor William II.) and by her
portrait of herself before her easel. Her historical paintings include
"The Crusader" and a "Madonna."
<b>GALLI, EMIRA.</b> Reproduces with great felicity the customs of the
lagoons, the boys and fishermen of which she represents with marvellous
fidelity. She depicts not only characteristics of features and dress, but
of movement. "Giovane veneziana" and "Ragazzo del Popolo" were exhibited
at Turin in 1880, and were much admired. "Il Falconiere" was exhibited at
both Turin and Milan. "Un Piccolo Accattone" has also been accorded warm
praise.
<b>GARDNER, ELIZABETH JANE.</b> Honorable mention, Paris Salon, 1879; gold
medal, 1889; hors concours. Born in Exeter, New Hampshire, 1851, her
professional life has been spent in Paris, where she was a pupil of
Hugues Merle, Lefebvre, and M. William A. Bouguereau, whom she married.
[_No reply to circular_.]
<b>GARRIDO Y AGUDO, MARIA DE LA SOLEDAD.</b> Born in Salamanca. Pupil of
Juan Peyró. She exhibited two works at the National Exposition, 1876--a
portrait and a youth studying a picture. In 1878 she sent to the same
exposition "The Sacrifice of the Saguntine Women." At the Philadelphia
Exposition, 1876, she exhibited her "Messenger of Love." Her "Santa
Lucia" is in the church of San Roque de Gardia.
<b>GASSO Y VIDAL, LEOPOLDA.</b> Honorable mention, 1876. Prizes, 1876, for
two works sent to the Provincial Exposition of Leon. Member of the
Association of Authors and Artists, 1876. Born in the Province of Toledo.
Pupil of Manuel Martinez Ferrer and Isidoro Lozano. At Madrid, in 1881,
she exhibited "A Pensioner," "A Beggar," a portrait of Señorita M. J.,
and a landscape; in 1878, "A Coxcomb," "Street Venders of Ávila," and a
landscape; and in 1881, at an exhibition held by D. Ricardo Hernandez,
were seen a landscape and a portrait of D. Lucas Aguirre y Juarez.
<b>GEEFS, MME. FANNY ISABELLE MARIE.</b> Born at Brussels. 1814-1883. Wife
of the sculptor, Guillaume Geefs. A painter of portraits and genre
subjects which excel the historical pictures she also painted. Her
"Assumption of the Virgin" is in a church at Waterloo; "Christ Appearing
to His Disciples," in a church at Hauthem. "The Virgin Consoling the
Afflicted" was awarded a medal in Paris, and is in the Hospital of St.
John at Brussels. The "Virgin and Child" was purchased by the Belgian
Government. Her portraits are good, and among her genre subjects the
"Young Mother," the "Sailor's Daughter," and "Ophelia" are attractive and
artistic in design and execution.
<b>GELDER, LUCIA VAN.</b> Born in Wiesbaden. 1864-1899. This artist was the
daughter of an art dealer, and her constant association as a child with
good pictures stimulated her to study. In Berlin she had lessons in
drawing with Liezenmayer, and in color with Max Thedy. She was also a
constant student at the galleries. She began to work independently when
eighteen, and a number of her pictures achieved great popularity, being
reproduced in many art magazines. "The Little Doctor," especially, in
which a boy is feeling, with a grave expression of knowledge, the pulse
of his sister's pet kitten, has been widely copied in photographs,
wood-engravings, and in colors. She repeated the picture in varying
forms. She died in Munich, where she was favorably known through such
works as "The Village Barber," "Contraband," "The Wonderful Story," "At
the Sick Bed," and "The Violin Player," the last painted the year before
her death.
<b>GENTILESCHI, ARTEMISIA.</b> 1590-1642. A daughter of Orazio Gentileschi,
whom she accompanied to England when he was invited to the court of
Charles I. Artemisia has been called the pupil, and again the friend, of
Guido Reni. Whatever the relation may have been, there is no doubt that
the manner of her painting was influenced by Guido, and also by her study
of the works of Domenichino.
Wagner says that she excelled her father in portraits, and her own
likeness, in the gallery at Hampton Court, is a powerful and life-like
picture. King Charles had several pictures from her hand, one of which,
"David with the Head of Goliath," was much esteemed. Her "Mary Magdalene"
and "Judith with the Head of Holofernes" are in the Pitti Palace. The
latter work is a proof of her talent. Lanzi says: "It is a picture of
strong coloring, of a tone and intensity which inspires awe." Mrs.
Jameson praised its execution while she regretted its subject.
[Illustration: Alinari, Photo.
In the Pitti Gallery, Florence
JUDITH WITH THE HEAD OF HOLOFERNES
ARTEMISIA GENTILESCHI]
Her picture of the "Birth of John the Baptist," in the Gallery of the
Prado, is worthy of attention, even in that marvellous collection, where
is also her "Woman Caressing Pigeons." The Historical Society of New York
has her picture of "Christ among the Doctors."
After her return to Italy from England, this artist was married and
resided in Naples. Several of her letters are in existence. They tell of
the manner of her life and give an interesting picture of Neapolitan
society in her day.
<b>GESSLER DE LACROIX, ALEJANDRENA</b>--known in art circles as Madame
Anselma. Gold medal at Cadiz, 1880. Honorary member of the Academy of
Cadiz. She has spent some years in Paris, where her works are often seen
in exhibitions. Her medal picture at Cadiz was an "Adoration of the
Cross." One of her most successful works is called "The Choir Boys."
<b>GILES, MISS--MRS. BERNARD JENKIN.</b> This sculptor exhibited a
life-size marble group, called "In Memoriam," at the Royal Academy in
1900, which attracted much attention. It was graceful in design and of a
sympathetic quality. At an open competition in the London Art Union her
"Hero" won the prize. In 1901 she exhibited an ambitious group called
"After Nineteen Hundred Years, and still They Crucify." It was excellent
in modelling, admirable in sentiment, and displayed strength in
conception and execution.
<b>GINASSI, CATERINA.</b> Born in Rome, 1590. This artist was of noble
family, and one of her uncles, a Cardinal, founded the Church of Santa
Lucia, in which Caterina, after completing her studies under Lanfranco,
painted several large pictures. After the death of the Cardinal, with
money which he had given her for the purpose, Caterina founded a
cloister, with a seminary for the education of girls.
As Abbess of this community she proved herself to be of unusual ability.
In her youth she had been trained in practical affairs as well as in art,
and, although she felt that "the needle and distaff were enemies to the
brush and pencil," her varied knowledge served her well in the
responsibilities she had assumed, and at the head of the institution she
had founded she became as well known for her executive ability as for her
piety.
Little as the works of Lanfranco appeal to us, he was a notable artist of
the Carracci school; Caterina did him honor as her master, and, in the
esteem of her admirers, excelled him as a painter.
<b>GIRARDET, BERTHE.</b> Gold medal at the Paris Exposition, 1900;
honorable mention, Salon des Artistes Français, 1900; ten silver medals
from foreign exhibitions. Member of the Société des Artistes Français and
the Union des femmes peintres et sculpteurs. Born at Marseilles. Her
father was Swiss and her mother a Miss Rogers of Boston. She was a pupil
for three months of Antonin-Carlès, Paris. With this exception, Mme.
Girardet writes: "I studied mostly alone, looking to nature as the best
teacher, and with energetic perseverance trying to give out in a concrete
form all that filled my heart."
[Illustration: GIVE US THIS DAY OUR DAILY BREAD
BERTHE GIRARDET]
Among her works are: "L'Enfant Malade," bought by the city of Paris and
placed in the Petit Palais des Champs Élysées; a group called the
"Grandmother's Blessing," purchased by the Government and placed in a
public museum; the bust of an "Old Woman," acquired by the Swiss
Government and placed in the Museum of Neuchâtel; a group, the "Madonna
and Child," for which the artist received the gold medal; and two groups
illustrating the prayer, "Give us this day our daily bread." Also
portrait statues and busts belonging to private collections.
At the Salon des Artistes Français, 1902, Mme. Girardet exhibited the
"Grandmother's Blessing" and "L'Enfant Malade." At the same Salon, 1903,
the two groups illustrating the Lord's Prayer.
A writer, G. M., in the _Studio_ of December, 1902, writes: "Prominent
among the women artists of the day whose talents are attracting attention
is Mme. Berthe Girardet. She has a very delicate and very tender vision
of things, which stamps her work with genuine originality. She does not
seek her subjects far from the life around her; quite the reverse; and
therein lies the charm of her sculpture--a great, sincere, and simple
charm, which at once arouses one's emotion. What, for instance, could be
more poignantly sad than this 'Enfant Malade' group, with the father,
racked with anxiety, bending over the pillow of his fragile little son,
and the mother, already in an attitude of despair, at the foot of the
bed? The whole thing is great in its profound humanity.
"The 'Bénédiction de l'Aïeule' is less tragic. Behind the granddaughter,
delightful in her white veil and dress of a _première communicante_,
stands the old woman, her wrinkled face full of quiet joy. She is
thinking of the past, moved by the melancholy of the bells, and she is
happy with a happiness with which is mingled something of sorrow and
regret. It is really exquisite. By simple means Mme. Berthe Girardet
obtains broad emotional effects. She won a great and legitimate success
at the Salon of the Société des Artistes Français."
<b>GLEICHEN, COUNTESS.</b> Bronze medal at Paris Exposition, 1900.
Honorable member of Royal Institute of Painters in Water-Colors, of Royal
Society of Painter Etchers. Sculptor. Pupil of her father, Prince Victor
of Hohenlohe, and of the Slade School, London; also of Professor Legros.
She has exhibited regularly at the Royal Academy since 1893.
In 1895 she completed a life-size statue of Queen Victoria for the
Victoria Hospital, Montreal. The Queen is represented in royal robes,
with one child asleep on her knee, while another, with its arm in a
sling, stands on the steps of the throne. Shortly before the Queen's
death she gave sittings to Countess Gleichen, who then executed a bust of
her majesty, now at the Cheltenham Ladies' College. The Constitutional
Club, London, has her bust of Queen Alexandra, which was seen at the
Academy in 1895. Her "Satan" attracted much attention when exhibited in
1894. He is represented as seated on a throne composed of snakes, while
he has scales and wings and is armed like a knight. In 1899 her statue of
"Peace" was more pleasing, while a hand-mirror of jade and bronze was
much admired both in London and Paris, where it was seen in the
Exposition of 1900. In 1901 she executed a fountain with a figure of a
nymph for a garden in Paris; a year later, a second fountain for W.
Palmer, Esq., Ascot. She has made a half-length figure of Kubelik. Her
sculptured portraits include those of Sir Henry Ponsonby, Mme. Calvé,
Mrs. Walter Palmer, and a bust of the late Queen, in ivory, which she
exhibited in 1903.
<b>GLEICHEN, COUNTESS HELENA.</b>
[_No reply to circular_.]
<b>GLOAG, ISOBEL LILIAN.</b> Born in London, the daughter of Scotch
parents. Her early studies were made at St. John's Wood Art School,
preparatory to entering the School of the Royal Academy, but the
conservative and academic training of these institutions so displeased
her that she went to the Slade School. Ill health compelled her to put
aside all plans for regular study, and she entered Ridley's studio for
private instruction, following this with work at the South Kensington
Museum. After still further study with Raphael Collin in Paris, she
returned to London and soon had her work accepted at the Royal Academy.
Miss Gloag is reported as saying that women have little sense of
composition, a failing which she does not seem to share; in this respect
and as a colorist she is especially strong. "Rosamond," in which the
charming girl in a purple robe, sitting before an embroidery frame, is
startled by the shadow of Queen Eleanor bearing the poisoned cup,
displays these qualities to great advantage. The leafy bower, the hanging
mantle, show great skill in arrangement and a true instinct for color.
"The Magic Mantle," "Rapunzel," and the "Miracle of the Roses" have
all--especially, the first named--made an impression; another and
strikingly original picture, called the "Quick and the Dead," represents
a poorhouse, in the ward of which is a group of old women surrounded by
the ghosts of men and children. Miss Gloag has also made some admirable
designs for stained-glass windows. She has been seriously hampered by
ill health, and her achievements in the face of such a drawback are all
the more remarkable.
<b>GODEWYCK, MARGARETTA.</b> Born at Dort, 1627. A pupil of the celebrated
painter, Nicholas Maas. She excelled as a painter of flowers, and was
proficient in both ancient and modern languages. She was called by
authors of her time, "the lovely flower of Art and Literature of the
Merwestrom," which is a poetical way of saying Dordrecht!
<b>GOLAY, MARY--MME. SPEICH GOLAY.</b> Silver medal at Geneva Exposition,
1896; eighteen medals and rewards gained in the Art Schools of Geneva,
and the highest recompense for excellence in composition and decoration.
Member of the Amis des Beaux-Arts, Geneva; Société vaudoise des Beaux
Arts, Lausanne. Born in Geneva and studied there under Mittey for flower
painting, composition, and ceramic decoration; under Gillet for figure
painting.