years she worked under the direction of Lindenschmit, 1870-1878. She was
then invited to Bucharest by the Queen of Roumania, "Carmen Sylva." Here
the artist illustrated the Queen's poem, "Ada," with a series of
water-color sketches, and painted two landscapes from Roumanian scenery.
Between 1883 and 1886 she made sketches for the mural decoration of the
music-room at the castle of Sinoia. Later, in Brittany and Normandy, she
made illustrations for the fisher-romances of Pierre Loti. At Berlin, in
1891-1892, she painted portraits, and then retired to Charlottenburg. Her
exhibition of two beautiful pictures in gouache, at Dresden, in 1892,
brought her into notice, and her grasp of her subjects and her method of
execution were much commended.
Fräulein Hitz could not stem the "classic" art creed of Berlin, where the
"new idealism" is spurned. She ventured to exhibit some portraits and
studies there in 1894, and was most unfavorably criticised. At Munich,
however, in 1895, her exhibition was much admired at the "Secession."
Again, in 1898, she exhibited, in Berlin, at the Union of Eleven, a
portrait of a young girl, which was received with no more favor than was
shown her previous works. In the same year, at the "Livre Esthetique," in
Brussels, her pictures were thought to combine a charming grace with a
sure sense of light effects, in which the predominating tone was a deep
silver gray. A portrait by this artist was exhibited at a Paris Salon in
1895.
<b>HOFFMANN, FELICITAS.</b> Born in Venice, she died in Dresden, 1760.
Pupil of Rosalba Camera. There are four pictures in the Dresden Gallery
attributed to her--"St. George," after Correggio; "Diana with an Italian
Greyhound," after Camera; "Winter," a half-length figure by herself; and
her own portrait. Her principal works were religious subjects and
portraits.
<b>HOFFMANN-TEDESCO, GIULIA.</b> Prize at the Beatrice Exposition, Naples.
Born at Wurzburg, 1850. This artist has lived in Italy and made her
artistic success there, her works having been seen in many exhibitions.
Her prize picture at Naples was called "A Mother's Joy." In 1877 she
exhibited in the same city "Sappho" and "A Mother," which were much
admired; at Turin, 1880, "On the Water" and "The Dance" were seen; at
Milan, 1881, she exhibited "Timon of Athens" and a "Sunset"; at Rome,
1883, "A Gipsy Girl" and "Flowers." Her flower pictures are excellent;
they are represented with truth, spirit, and grace.
<b>HOGARTH, MARY.</b> Exhibits regularly at the New English Art Club, and
occasionally at the New Gallery. Born at Barton-on-Humber, Lincolnshire.
Pupil of the Slade School under Prof. Fred Brown and P. Wilson Steer.
Miss Hogarth's contribution to the exhibition of the New English Art
Club, 1902, was called "The Green Shutters," a very peculiar title for
what was, in fact, a picture of the Ponte Vecchio and its surroundings,
in Florence. It was interesting. It was scarcely a painting; a tinted
sketch would be a better name for it. It was an actual portrait of the
scene, and skilfully done.
<b>HORMUTH-KOLLMORGEN, MARGARETHE.</b> Born at Heidelberg, 1858. Pupil of
Ferdinand Keller at Carlsruhe. Married the artist Kollmorgen, 1882. This
painter of flowers and still-life has also devoted herself to decorative
work, mural designs, fire-screens, etc., in which she has been
successful. Her coloring is admirable and her execution careful and firm.
<b>HOSMER, HARRIET G.</b> Born in Watertown, Massachusetts, 1830. Pupil in
Boston of Stevenson, who taught her to model; pupil of her father, a
physician, in anatomy, taking a supplementary course at the St. Louis
Medical School.
Since 1852 she has resided in Rome, where she was a pupil of Gibson. Two
heads, "Daphne" and "Medusa," executed soon after she went to Rome, were
praised by critics of authority. "Will-o'-the-Wisp," "Puck," "Sleeping
Faun," "Waking Faun," and "Zenobia in Chains" followed each other
rapidly.
Miss Hosmer made a portrait statue of "Maria Sophia, Queen of the
Sicilies," and a monument to an English lady to be placed in a church in
Rome. Her "Beatrice Cenci" has been much admired; it is in the Public
Library at St. Louis, and her statue of Thomas H. Benton is in a square
of the same city.
For Lady Ashburton Miss Hosmer made her Triton and Mermaid Fountains, and
a Siren Fountain for Lady Marian Alford.
<b>HOUSTON, CAROLINE A.</b>
[_No reply to circular_.]
<b>HOUSTON, FRANCES C.</b> Bronze medal at Atlanta Exposition; honorable
mention at Paris Exposition, 1900. Member of the Water-Color Club,
Boston, and of the Society of Arts and Crafts. Born in Hudson, Michigan,
1851. Studied in Julian Academy under Lefebvre and Boulanger.
A portrait painter whose pictures are in private hands. They have been
exhibited in Paris, London, Naples, New York, Philadelphia, and Boston.
Mrs. Houston writes me: "I have not painted many pictures of late years,
but always something for exhibition every year." She first exhibited at
Paris Salon in 1889, in London Academy in 1890, and annually sends her
portraits to the Boston, New York, and Philadelphia Exhibitions.
<b>HOXIE, VINNIE REAM.</b> Born in Madison, Wisconsin, 1847. This sculptor
was but fifteen years old when she was commissioned to make a life-size
statue of Abraham Lincoln, who sat for his bust; her completed statue of
him is in the rotunda of the Capitol at Washington. Congress then gave
her the commission for the heroic statue of Admiral Farragut, now in
Farragut Square, Washington. These are the only two statues that the
United States Government has ordered of a woman.
This artist has executed ideal statues and several bust portraits of
distinguished men. Of these the bust of Ezra Cornell is at Cornell
University; that of Mayor Powell in the City Hall of Brooklyn, etc.
<b>HUDSON, GRACE.</b> Gold medal at Hopkins Institute, San Francisco;
silver medal at Preliminary World's Fair Exhibition of Pacific States;
and medals and honorable mention at several California State exhibitions.
Born in Potter Valley, California. Studied at Hopkins Art Institute, San
Francisco, under Virgil Williams and Oscar Kunath.
Paints genre subjects, some of which are "Captain John," in National
Museum; "Laughing Child," in C. P. Huntington Collection; "Who Comes?" in
private hands in Denver, etc.
Mrs. Hudson's pictures of Indians, the Pomas especially, are very
interesting, although when one sees the living article one wonders how a
picture of him, conscientiously painted and truthful in detail, can be so
little repulsive--or, in fact, not repulsive at all. At all events, Mrs.
Hudson has no worthy rival in painting California Indians. If we do not
sympathize with her choice of subjects, we are compelled to acknowledge
that her pictures are full of interest and emphasize the power of this
artist in keeping them above a wearisome commonplace.
Her Indian children are attractive, we must admit, and her "Poma Bride,"
seated in the midst of the baskets that are her dower, is a picture which
curiously attracts and holds the attention. Her compositions are simple,
and it can only be a rare skill in their treatment that gives them the
value that is generally accorded them by critics, who, while approving
them, are all the time conscious of surprise at themselves for doing so,
and of an unanswered Why? which persists in presenting itself to their
thought when seeing or thinking of these pictures.
<b>HULBERT, MRS. KATHERINE ALLMOND.</b> Born in Sacramento Valley,
California. Pupil of the San Francisco School of Design under Virgil
Williams; National Academy of Design, New York, under Charles Noel Flagg;
Artist Artisan Institute, New York, under John Ward Stimson.
This artist paints in water-colors and her works are much admired. Among
the most important are "The Stream, South Egremont," which is in a
private gallery in Denver; "In the Woods" belongs to Mr. Whiting, of
Great Barrington; and "Sunlight and Shadow" to Mr. Benedict, Albany, New
York.
Mrs. Hulbert is also favorably known as an illustrator and decorative
designer.
<b>HUNTER, MARY Y.</b> Four silver medals at Royal Academy Schools
Exhibitions; diploma for silver medal, Woman's International Exhibition,
Earl's Court, London. Member of Society of Painters in Tempera. Born in
New Zealand. Studied at Royal Academy Schools.
The following list of the titles of Mrs. Hunter's works will give an idea
of the subjects she affects: "Dante and Beatrice," "Joy to the Laborer,"
"An Italian Garden," "Where shall Wisdom be Found?" and the
"Roadmenders," in Academy Exhibition, 1903.
The only work of Mrs. Hunter's that I have seen is the "Dante and
Beatrice," Academy, 1900, and the impression I received leads me to think
an article in the _Studio,_ June, 1903, a just estimate of her work. It
is by A. L. Baldry, who writes: "In the band of young artists who are at
the present time building up sound reputations which promise to be
permanent, places of much prominence must be assigned to Mr. J. Young
Hunter and his wife. Though neither of them has been before the public
for any considerable period, they have already, by a succession of
notable works, earned the right to an amount of attention which, as a
rule, can be claimed only by workers who have a large fund of experience
to draw upon. But though they have been more than ordinarily successful
in establishing themselves among the few contemporary painters whose
performances are worth watching, they have not sprung suddenly into
notice by some special achievement or by doing work so sensational that
it would not fail to set people talking. There has been no spasmodic
brilliancy in their progress, none of that strange alternation of
masterly accomplishment and hesitating effort which is apt at times to
mark the earlier stages of the life of an artist who may or may not
attain greatness in his later years. They have gone forward steadily year
by year, amplifying their methods and widening the range of their
convictions; and there has been no moment since they made their first
appeal to the public at which they can be said to have shown any
diminution in the earnestness of their artistic intentions.
"The school to which they belong is one which has latterly gathered to
itself a very large number of adherents among the younger painters--a
school that, for want of a better name, can be called that of the new
Pre-Raphaelites. It has grown up, apparently, as an expression of the
reaction which has recently set in against the realistic beliefs taught
so assiduously a quarter of a century ago. At the end of the seventies
there was a prevailing idea that the only mission of the artist was to
record with absolute fidelity the facts of nature.... To-day the fallacy
of that creed is properly recognized, and the artists on whom we have to
depend in the immediate future for memorable works have substituted for
it something much more reasonable.... There runs through this new school
a vein of romantic fantasy which all thinking people can appreciate,
because it leads to the production of pictures which appeal, not only to
the eye by their attractiveness of aspect, but also to the mind by their
charm of sentiment.... It is because Mr. Young Hunter and his wife have
carried out consistently the best principles of this school that they
have, in a career of some half-dozen years, established themselves as
painters of noteworthy prominence. Their romanticism has always been free
from exaggeration and from that morbidity of subject and treatment which
is occasionally a defect in the work of young artists. They have kept
their art wholesome and sincere, and they have cultivated judiciously
those tendencies in it which justify most completely the development of
the new Pre-Raphaelitism. They are, indeed, standing examples of the
value of this movement, which seems destined to make upon history a mark
almost as definite as that left by the original Brotherhood in the middle
of the nineteenth century. By their help, and that of the group to which
they belong, a new artistic fashion is being established, a fashion of a
novel sort, for its hold upon the public is a result not of some
irrational popular craze, but of the fascinating arguments which are put
into visible shape by the painters themselves."
<b>HYATT, HARRIET RANDOLPH--MRS. ALFRED L. MAYER.</b> Silver medal at
Exposition in Atlanta, Georgia, 1895. Member of National Art Club, New
York. Born at Salem, Massachusetts. Studied at Cowles Art School and with
Ross Turner; later under H. H. Kitson and Ernest L. Major.
Among this artist's pictures are "Shouting above the Tide," "Primitive
Fishing," "The Choir Invisible," etc.
The plaster group called the "Boy with Great Dane" was the work of this
artist and her sister, Anna Vaughan Hyatt, and is at the Bureau of the
Society for the Prevention of Cruelty to Animals, in New York.
<b>HYATT, ANNA VAUGHAN.</b> Member of the Copley Society, Boston. Born in
Cambridge, Massachusetts. Studied nature at Bostock's Animal Arena,
Norumbega Park, and at Sportsman's Exhibition. Criticism from H. H.
Kitson.
The principal works of this artist are the "Boy with Great Dane," already
mentioned, made in conjunction with her sister; a "Bison," in a private
collection in Boston; and "Playing with Fire."
In November, 1902, Miss Hyatt held an exhibition of her works, in plaster
and bronze, at the Boston Art Club. There were many small studies taken
from life.
<b>HYDE, HELEN.</b> Member of the Art Association, San Francisco. Born in
Lima, New York, but has lived so much in California that she is
identified with that State, and especially with San Francisco. She made
her studies in San Francisco, Philadelphia, New York, and Paris, where
she was a pupil of Felix Regamy and Albert Sterner. She then went to
Holland, where she also studied. On her return to San Francisco she
became so enamoured of the Oriental life she saw there that she
determined to go to Japan to perfect herself in colored etching. Miss
Hyde devoted herself to the study she had chosen during three years. She
lived in an old temple at Tokio, made frequent excursions into the
country, was a pupil of the best Japanese teachers, adapted herself to
the customs of the country, worked on low tables, sitting on the floor,
and so gained the confidence of the natives that she easily obtained
models, and, in a word, this artist was soon accorded honors in Japanese
exhibitions, where her pictures were side by side with those of the best
native artists.
[Illustration: CHILD OF THE PEOPLE
HELEN HYDE]
Miss Hyde has made a visit to America and received many commissions which
decided her to return to Japan. A letter from a friend in Tokio, written
in October, 1903, says that she will soon return to California.
<b>IGHINO, MARY.</b> A sculptor residing in Genoa. Since 1884 she has
exhibited a number of busts, bas-reliefs, and statues. At Turin in the
above-named year she exhibited a group in plaster, "Love Dominating
Evil." She is especially successful in bas-relief portraits; one of these
is of the Genoese sculptor, Santo Varin. She has also made a bust of
Emanuele Filiberto; and in terra-cotta a bust of Oicetta Doria, the
fifteenth-century heroine of Mitylene. She has executed a number of
decorative and monumental works, and receives many commissions from both
Italians and foreigners.
<b>INGLIS, HESTER.</b> This artist lived in the last half of the sixteenth
and in the early decades of the seventeenth century. In the Library of
Christ Church College, Oxford, there is an example of the Psalms, in
French, written and decorated by her, which formerly belonged to Queen
Elizabeth. In the Royal Library of the British Museum there is also a
"Book of Emblems" from her hand.
<b>ITASSE, JEANNE.</b> Honorable mention, Paris Salon, 1888, and the purse
of the city of Paris; at Paris Exposition, honorable mention, 1889;
travelling purse, 1891; medal at Chicago Exposition, 1893; medal third
class, Salon, 1896; medal second class, 1899; silver medal, Paris
Exposition, 1900. Member of Société des Artistes Français, Société Libre,
Société des prix du Salon et boursiers de voyage. Born in Paris. Pupil of
her father.
Several works of this sculptor have been purchased by the Government and
are in the Bureaux of Ministers or in provincial museums. A "Bacchante"
is in the Museum at Agen; a portrait bust in the Museum of Alger. At
the Salon of 1902 Mlle Itasse exhibited a "Madonna"; in 1903, a portrait
of M, W.
Mlle Itasse knows her art thoroughly. When still a child, at the age when
little girls play with dolls, she was in her father's atelier, working in
clay with an irresistible fondness for this occupation, and without
relaxation making one little object after another, until she acquired
that admirable surety of execution that one admires in her work--a
quality sometimes lacking in the work of both men and women sculptors.
Since her début at the Salon of 1886 she has annually exhibited important
works. In 1887 her bust of the danseuse, Marie Salles, was purchased by
the Government for the Opera; in 1888 she exhibited a plaster statue, the
"Young Scholar," and the following year the bust of her father; in 1890 a
"St. Sebastian" in high relief; in 1891 an "Egyptian Harpist," which
gained her a traveller's purse and an invitation from the Viceroy of
Egypt; in 1893 a Renaissance bas-relief; in 1894 the superb funeral
monument dedicated to her father; in 1896 she exhibited, in plaster, the
"Bacchante," which in marble was a brilliant success and gained for her a
second-class medal and the palmes académique, while the statue was
acquired by the Government. Mlle. Itasse has also gained official
recompenses in provincial exhibitions and has richly won the right to
esteem herself mistress of her art.
<b>JACQUEMART, MLLE. NÉLIE.</b> Medals at Paris Salon, 1868, 1869, and
1870. Born in Paris. A very successful portrait painter. Among the
portraits she has exhibited at the Paris Salon are those of Marshal
Canrobert, General d'Aurelle de Paladines, General de Palikao, Count de
Chambrun, M. Dufaure, and many others, both ladies and gentlemen. Her
portrait of Thiers in 1872 was greatly admired.
Paul d'Abrest wrote of Mlle. Jacquemart, in the _Zeitschrift für bildende
Kunst:_ "One feels that this artist does not take her inspirations alone
from the sittings of her subjects, but that she finds the best part of
her work in her knowledge of character and from her close study of the
personnelle of those whom she portrays."
<b>JANDA, HERMINIE VON.</b> Born at Klosterbruch, 1854. Pupil of Ludwig
Holanska and Hugo Darnaut. Since 1886 her landscapes have been seen in
various Austrian exhibitions. One of these was bought for the
"Franzens-Museum" at Brünn, while several others were acquired by the
Imperial House of Austria.
<b>JENKS, PHOEBE A. PICKERING.</b> Born in Portsmouth, New Hampshire, 1849.
Mrs. Jenks writes that she has had no teachers.
Her works, being portraits, are mostly in the homes of their owners, but
that of the son of T. Jefferson Coolidge, Jr., has been exhibited in the
Museum of Fine Arts, Boston, and that of Mrs. William Slater and her son
is in the Slater Museum at Norwich.
[Illustration: MOTHER AND CHILD
PHOEBE JENKS]
Mrs. Jenks has been constantly busy in portrait painting for twenty-seven
years, and has had no time for clubs and societies. She esteems the fact
of her constant commissions the greatest honor that she could have. She
has probably painted a greater number of portraits than any other Boston
contemporary artist.
<b>JERICHAU-BAUMANN, ELIZABETH.</b> 1819-1881. Honorable mention, Paris
Salon, 1861. Member of the Academy of Copenhagen. Born in Warsaw. Pupil
of Karl Sohne and Stilke, in Düsseldorf. In Rome she married the Danish
sculptor Jerichau and afterward lived in Copenhagen. She travelled in
England, France, Russia, Greece, Turkey, and Egypt.
Her picture of a "Polish Woman and Children Leaving Their Home, which had
been Destroyed," is in the Raczynski Collection, Berlin; "Polish Peasants
Returning to the Ruins of a Burnt House," in the Lansdowne Collection,
London; "A Wounded Soldier Nursed by His Betrothed," in the Gallery at
Copenhagen, where is also her portrait of her husband; "An Icelandic
Maiden," in the Kunsthalle, Hamburg. Her picture, "Reading the Bible,"
was painted for Napoleon III. at his request. Mme. Jerichau painted a
portrait of the present Queen of England, in her wedding dress. A large
number of her works are in private houses in Copenhagen.
One of her most important pictures was a life-size representation of
"Christian Martyrs in the Catacombs." This picture was much talked of in
Rome, where it was painted, and the Pope desired to see it. Madame
Jerichau took the picture to the Vatican. On seeing it the Pope expressed
surprise that one who was not of his Church could paint this picture.
Mme. Jerichau, hearing this, replied: "Your Holiness, I am a Christian."
Hans Christian Andersen was an intimate friend in the Jerichau family. He
attended the wedding in Rome, and wrote the biographies of Professor and
Mme. Jerichau.
Théophile Gautier once said that but three women in Europe merited the
name of artists--Rosa Bonheur, Henrietta Brown, and Elizabeth Jerichau;
and Cornelius called her "the one woman in the Düsseldorf School,"
because of her virile manner of painting.
Among her important portraits are those of Frederick VII. of Denmark, the
brothers Grimm, and "Hans Christian Andersen Reading His Fairy Tales to a
Child."
Mme. Jerichau was also an author. In 1874 she published her "Memories of
Youth," and later, with her son, the illustrated "Pictures of Travel."
<b>JOPLING-ROWE, LOUISE.</b> Member of Royal Society of British Artists,
Society of Portrait Painters, Pastel Society, Society of Women Artists.
Born at Manchester, 1843. Pupil of Chaplin in Paris; also studied with
Alfred Stevens.
Since 1871 Mrs. Jopling has been a constant exhibitor at the Royal
Academy and other London exhibitions, and frequently also at the Paris
Salon.
[Illustration: MISS ELLEN TERRY AS "PORTIA"
LOUISE JOPLING ROWE]
Her pictures are principally portraits and genre subjects. Her first
decided success was gained in 1874, when she exhibited at the Academy the
"Japanese Tea Party," and from that time she was recognized as an
accomplished artist and received as many commissions as she could
execute. The Baroness de Rothschild had been convinced of Mrs. Jopling's
talent before she became an artist, and had given her great encouragement
in the beginning of her career. The portrait of Lord Rothschild, painted
for Lord Beaconsfield, is thought to be her best work of this kind, but
its owner would not allow it to be exhibited. Her portrait of Ellen
Terry, which hangs in the Lyceum Theatre, was at the Academy in 1883. It
is in the costume of Portia. Mrs. Jopling's pastels are of an unusual
quality, delicate, strong, and brilliant. Her portraits are numerous, and
from time to time she has also executed figure subjects.
Of late years Mrs. Jopling has been much occupied with a School of
Painting. The large number of pupils who wished to study with her made a
school the best means of teaching them, and has been successful. From the
beginning they draw from life, and at the same time they also study from
the antique.
Many of her pupils receive good prices for their works, and also earn
large sums for their portraits in black and white.
Mrs. Jopling writes: "What I know I chiefly learned alone. Hard work and
the genius that comes from infinite pains, the eye to see nature, the
heart to feel nature, and the courage to follow nature--these are the
best qualifications for the artist who would succeed."