largest and most important design we have seen from Mrs. Jopling's hand,
and in the disposition of the various figures and the management of color
it certainly exhibits very remarkable technical gifts. Especially do we
notice in this lady's work a correct understanding of the laws of tone,
very rare to find in the works of English painters, giving the artist
power to bring different tints, even if they are not harmonious, into
right relations with one another."
The above-named picture was sold to the Messrs. Agnew, and was followed
by "The Modern Cinderella," which was seen at the Paris Exposition in
1878; at the Philadelphia Exposition in 1876 she exhibited "Five Sisters
of York."
Mrs. Jopling is also known as the founder and president of the Society of
the Immortals. She has written several short tales, some poems, and a
book called "Hints to Amateurs."
At the Royal Academy, 1903, she exhibited "Hark! Hark! the Lark at
Heaven's Gate Sings," which is a picture of a poor girl beside a table,
on which she has thrown her work, and leaning back in her chair, with
hands clasped behind her head, is lost in thought.
<b>JORIS, SIGNORINA AGNESE</b>--pseudonym, Altissimi. Was accorded the
title of professor at the Institute of the Fine Arts, Rome, 1881. She was
successful in a competition for a position in the Scuole Tecniche, Rome,
1888. Honorable mention, Florence, 1890; same at Palermo, 1891 and 1892;
silver medal of first class and diploma of silver medal, Rome, 1899 and
1900. Member of the Società Cooperativa, Rome. Born in the same city, and
pupil of the Institute of Fine Arts and of her brother, Cavaliere
Professore Pio Joris.
This artist writes that a list of her works would be too long and require
too much time to write it. They are in oils, pastel, and water-colors,
with various applications of these to tapestries, etc. She also gives
lessons in these different methods of painting. In a private collection
in New York is her "Spanish Scene in the Eighteenth Century."
She painted a "portrait of the late King Humbert, arranged in the form of
a triptych surrounded by a wreath of flowers, painted from some which had
lain on the King's bier." She sent this picture to Queen Margharita, "who
not only graciously accepted it, but sent the artist a beautiful letter
and a magnificent jewel on which was the Royal Cipher."
<b>KAERLING, HENRIETTE.</b> Born about 1832. Daughter of the artist, J. T.
Kaerling, who was her principal teacher. She practised her art as a
painter of portraits, genre subjects, and still-life in Budapest during
some years before her marriage to the pianist Pacher, with whom she went
to Vienna. She there copied some of the works of the great painters in
the Gallery, besides doing original work of acknowledged excellence. In
addition to her excellent portraits, she painted in 1851 "The
Grandmother"; in 1852, "A Garland with Religious Emblems"; in 1855, "A
Crucifix Wound with Flowers."
<b>KALCKREUTH, COUNTESS MARIA.</b> Medal at Chicago Exposition, 1893.
Member of the Society of Women Artists in Berlin. Born at Düsseldorf.
1857-1897. Much of her artistic life was passed in Munich. Her picture at
Chicago was later exhibited at Berlin and was purchased for the
Protestant Chapel at Dachau. It represented "Christ Raising a Repentant
Sinner"--a strong work, broadly painted. Among her important pictures are
"In the Sunshine," "Fainthearted," "Discontented," and several portraits,
all of which show the various aspects of her artistic talent.
<b>KAUFFMAN, ANGELICA.</b> An original member of the London Academy. She
was essentially an Italian artist, since from the age of eleven she lived
in Italy and there studied her art. Such different estimates have been
made of her works that one may quote a good authority in either praise or
blame of her artistic genius and attainment.
Kugler, a learned, unimpassioned critic, says: "An easy talent for
composition, though of no depth; a feeling for pretty forms, though they
were often monotonous and empty, and for graceful movement; a coloring
blooming and often warm, though occasionally crude; a superficial but
agreeable execution, and especially a vapid sentimentality in harmony
with the fashion of the time--all these causes sufficiently account for
her popularity."
[Illustration: Alinari, Photo.
In the Uffizi, Florence
PORTRAIT OF ANGELICA KAUFFMAN
PAINTED BY HERSELF]
Raphael Mengs, himself an artist, thus esteems her: "As an artist she is
the pride of the female sex in all times and all nations. Nothing is
wanting--composition, coloring, fancy--all are here."
Miss Kate Thompson writes: "Her works showed no originality nor any great
power of execution, and, while sometimes graceful, were generally weak
and insipid."
For myself I do not find her worthy of superlative praise or
condemnation; one cannot deny her grace in design, which was also
creditably correct; her poetical subjects were pleasing in arrangement;
her historical subjects lacked strength and variety in expression; her
color was as harmonious and mellow as that of the best Italian colorists,
always excepting a small number of the greatest masters, and in all her
pictures there is a something--it must have been the individuality of
the artist--that leads one to entertain a certain fondness for her, even
while her shortcomings are fully recognized.
The story of Angelica Kauffman's life is of unusual interest. She was
born at Coire, in the Grisons. 1742-1807. Her father, an artist, had gone
from Schwarzenburg to Coire to execute some frescoes in a church, and had
married there. When Angelica was a year old the family settled in
Morbegno, in Lombardy. Ten years later, when the child had already shown
her predilection for painting and music, a new home was made for her in
Como, where there were better advantages for her instruction.
Her progress in music was phenomenal, and for a time she loved her two
arts--one as well as the other--and could make no choice between them. In
one of her pictures she represented herself as a child, standing between
allegorical figures of Music and Painting.
The exquisite scenery about Como, the stately palaces, charming villas,
the lake with its fairy-like pleasure boats, and the romantic life which
there surrounded this girl of so impressionable a nature, rapidly
developed the poetic element born with her, which later found expression
through her varied talents. During her long life the recollections of the
two years she passed at Como were among the most precious memories
associated with her wandering girlhood.
From Como she was taken to Milan, where she had still better advantages
for study, and a world of art was opened to her which far exceeded her
most ardent imaginings. Leonardo had lived and taught in Milan, and his
influence with that of other Lombard masters stirred Angelica to her very
soul.
Her pictures soon attracted the attention of Robert d'Este, who became
her patron and placed her in the care of the Duchess of Carrara. This
early association with a circle of cultured and elegant men and women was
doubtless the origin of the self-possession and modest dignity which
characterized Angelica Kauffman through life and enabled her becomingly
to accept the honors that were showered upon her.
Her happy life at Milan ended all too soon. Her mother died, and her
father decided to return to his native Schwarzenburg to execute some
extensive decorative works in that vicinity. In the interior decoration
of a church Angelica painted in fresco the figures of the twelve apostles
after engravings from the works of Piazetta.
The coarse, homely life of Schwarzenburg was in extreme contrast to that
of Milan and was most uncongenial to a sensitive nature; but Angelica was
saved from melancholy by the companionship she felt in the grand pine
forests, which soothed her discontent, while her work left her little
time to pine for the happiness she had left or even to mourn the terrible
loss of her mother.
Her father's restlessness returned, and they were again in Milan for a
short time, and then in Florence. Here she studied assiduously awhile,
but again her father's discontent drove him on, and they went to Rome.
Angelica was now eighteen years old, and in a measure was prepared to
profit by the aid and advice of Winckelmann. He conceived an ardent
friendship for the young artist, and, though no longer young, and engaged
in most important and absorbing research, he found time to interest
himself in Angelica's welfare, and allowed her to paint his portrait, to
which she gave an expression which proved that she had comprehended the
spirit of this remarkable man of threescore years.
While at Rome Angelica received a commission to copy some pictures in
Naples. After completing these she returned to Rome, in 1764, and
continued her studies for a time, but her interests were again sacrificed
to her father's unreasonable capriciousness, and she was taken to Bologna
and then to Venice. This constant change was disheartening to Angelica
and of the greatest disadvantage to her study, and it was most fortunate
that she now met Lady Wentworth, who became her friend and afterward took
her to England.
Angelica had already executed commissions for English families of rank
whom she had met in various cities of Italy, and her friends hoped that
she would be able to earn more money in England than in Italy, where
there were numberless artists and copyists. After visiting Paris she went
to London, where a brilliant career awaited her, not only as an artist,
but in the social world as well.
De Rossi thus describes her at this time: "She was not very tall, but
slight, and her figure was well proportioned. She had a dark, clear
complexion, a gracious mouth, white and equal teeth, and well-marked
features;... above all, her azure eyes, so placid and so bright, charmed
you with an expression it is impossible to write; unless you had known
her you could not understand how eloquent were her looks."
Her English friends belonged to the most cultivated circles, many of them
being also of high rank. Artists united to do her honor--showing no
professional envy and making no opposition to her election to the
Academy. Many interesting incidents in her association with London
artists are related, and it is said that both Fuseli and Sir Joshua
Reynolds were unsuccessful suitors for her hand. Miss Thackeray, in her
novel, "Miss Angel," makes Angelica an attractive heroine.
The royal family were much interested in her, and the mother of the King
visited her--an honor never before accorded to an artist--and the
Princess of Brunswick gave her commissions for several pictures.
De Rossi says that her letters at this time were those of a person at the
summit of joy and tranquillity. She was able to save money and looked
hopefully forward to a time when she could make a home for her unthrifty
father. But this happy prosperity was suddenly cut short by her own
imprudence.
After refusing many eligible offers of marriage, she was secretly married
to an adventurer who personated the Count de Horn, and succeeded by
plausible falsehoods in convincing her that it was necessary, for good
reasons, to conceal their marriage. One day when painting a portrait of
Queen Charlotte, who was very friendly to the artist, Angelica was moved
to confide the secret of her marriage to the Queen. Until this time no
one save her father had known of it.
Her Majesty, who loved Angelica, expressed her surprise and interest and
desired that Count de Horn should appear at Court. By this means the
deceit which had been practised was discovered, and the Queen, as gently
as possible, told Angelica the truth. At first she felt that though her
husband was not the Count de Horn and had grossly deceived her, he was
the man she had married and the vows she had made were binding. But it
was soon discovered that the villain had a living wife when he made his
pretended marriage with Angelica, who was thus released from any
consideration for him. This was a time to prove the sincerity of friends,
and Angelica was comforted by the steadfastness of those who had devoted
themselves to her in her happier days. Sir Joshua Reynolds was untiring
in his friendly offices for her and for her helpless old father.
There were as many differing opinions in regard to Angelica Kauffman, the
woman, as in regard to the quality of her art. Some of her biographers
believed her to be perfectly sincere and uninfluenced by flattery.
Nollekens takes another view; he calls her a coquette, and, among other
stories, relates that when in Rome, "one evening she took her station in
one of the most conspicuous boxes in the theatre, accompanied by two
artists, both of whom, as well as many others, were desperately enamoured
of her. She had her place between her two adorers, and while her arms
were folded before her in front of the box, over which she leaned, she
managed to clasp a hand of both, so that each imagined himself the
cavalier of her choice."
When Angelica could rise above the unhappiness and mortification of her
infatuation for the so-called De Horn, she devoted herself to her art,
and during twelve years supported her father and herself and strengthened
the friendships she had gained in her adopted land. At length, in 1781,
her father's failing health demanded their return to Italy; and now, when
forty years old, she married Antonio Zucchi, an artist who had long loved
her and devoted himself to her and to her father with untiring affection.
The old Kauffman lived to visit his home in Schwarzenburg and to reach
Southern Italy, but died soon after.
Signor Zucchi made his home in Rome. He was a member of the Royal
Academy, London, and was in full sympathy with his wife in intellectual
and artistic pursuits and pleasures. De Rossi says: "It was interesting
to see Angelica and her husband before a picture. While Zucchi spoke with
enthusiasm Angelica remained silent, fixing her eloquent glance on the
finest portions of the work. In her countenance one could read her
emotions, while her observations were limited to a few brief words.
These, however, seldom expressed any blame--only the praises of that
which was worthy of praise. It belonged to her nature to recognize the
beauty alone--as the bee draws honey only out of every flower."
Her home in Rome was a centre of attraction to the artistic and literary
society of the city, and few persons of note passed any time there
without being presented to her. Goethe and Herder were her friends, and
the former wrote: "The good Angelica has a most remarkable, and for a
woman really unheard-of, talent; one must see and value what she does and
not what she leaves undone. There is much to learn from her, particularly
as to work, for what she effects is really marvellous." In his work
called "Winckelmann and His Century," Goethe again said of her: "The
light and pleasing in form and color, in design and execution,
distinguish the numerous works of our artist. _No living painter_ excels
her in dignity or in the delicate taste with which she handles the
pencil."
In the midst of the social demands on her time in Rome, she continued to
devote herself to her art, and Signor Zucchi, hoping to beguile her into
idleness, purchased a charming villa at Castel Gondolfo; but in spite of
its attractions she was never content to be long away from Rome and her
studio.
Thus in her maturer years her life flowed on in a full stream of
prosperity until, in 1795, Signor Zucchi died. Angelica survived him
twelve years--years of deep sadness. Not only was her personal sorrow
heavy to bear, but the French invasion of her beloved Italy disquieted
her. Hoping to regain her usual spirits, she revisited the scenes of her
youth and remained some time in Venice with the family of Signor Zucchi.
Returning to Rome she resumed her accustomed work, so far as her health
permitted.
She held fast to the German spirit through all the changes in her life,
with the same determination which made it possible, in her strenuous
labors, to retain her gentle womanliness. Just before she died she
desired to hear one of Gellert's spiritual odes.
She was buried in Sant' Andrea dei Frati, beside her husband. All the
members of the Academy of St. Luke attended her obsequies, and her latest
pictures were borne in the funeral procession. Her bust was placed in the
Pantheon, and every proper tribute and honor were paid to her memory in
Rome, where she was sincerely mourned.
Although Angelica lived and worked so long in London and was one of the
thirty-six original members of the Royal Academy, I do not think her best
pictures are in the public galleries there. Of course many of the
portraits painted in London are in private collections. Her pictures are
seen in all the important galleries of Europe. Her etchings, executed
with grace and spirit, are much esteemed and sell for large prices.
Engravings after her works by Bartolozzi are most attractive; numerous as
they were, good prints of them are now rare and costly.
She painted several portraits of herself; one is in the National Portrait
Gallery, London, one at Munich, and a third in the Uffizi, Florence. The
last is near that of Madame Le Brun, and the contrast between the two is
striking. Angelica is still young, but the expression of her face is so
grave as to be almost melancholy; she is sitting on a stone in the midst
of a lonely landscape; she has a portfolio in one hand and a pencil in
the other, and so unstudied is her pose, and so lacking in any attempt to
look her best, that one feels that she is entirely absorbed in her work.
The Frenchwoman could not forget to be interesting; Angelica was
interesting with no thought of being so.
I regard three works by this artist, which are in the Dresden Gallery, as
excellent examples of her work; they are "A Young Vestal," "A Young
Sibyl," and "Ariadne Abandoned by Theseus."
On the margin of one of her pictures she wrote: "I will not attempt to
express supernatural things by human inspiration, but wait for that till
I reach heaven, if there is painting done there."
In 1784 Angelica Kauffman painted "Servius Tullius as a Child" for the
Czar of Russia; in 1786 "Hermann and Thusnelda" and "The Funeral of
Pallas" for Joseph II. These are now in the Vienna Gallery. Three
pictures, "Virgil Reading the Aeneid to the Empress Octavia," "Augustus
Reading Verses on the Death of Marcellus," and "Achilles Discovered by
Ulysses, in Female Attire," were painted for Catherine II. of Russia.
"Religion Surrounded by Virtues," 1798, is in the National Gallery,
London. A "Madonna" and a "Scene from the Songs of Ossian" are in the
Aschaffenburg Gallery. A "Madonna in Glory" and the "Women of Samaria,"
1799, are in the New Pinakothek, Munich, where is also the portrait of
Louis I. of Bavaria, as Crown Prince, 1805. The "Farewell of Abelard and
Heloise," together with other works of this artist, are in the Hermitage,
St. Petersburg. A "Holy Family," and others, in the Museo Civico, Venice.
"Prudence Warning Virtue against Folly," in the Pennsylvania Academy,
Philadelphia. Portraits of Winckelmann in the Städel Institute,
Frankfort, and in the Zürich Gallery. Portrait of a Lady, Stuttgart
Museum; the Duchess of Brunswick, Hampton Court Palace; the architect
Novosielski, National Gallery, Edinburgh. In addition to the portraits of
herself mentioned above, there are others in Berlin Museum, the Old
Pinakothek, Munich, the Ferdinandeum, Innsbruck, and in the Philadelphia
Academy.
<b>KAULA, MRS. LEE LUFKIN.</b> Member of the Woman's Art Club, New York.
Born in Erie, Pennsylvania. Pupil in New York of Charles Melville Dewey
and the Metropolitan Art Schools; in Paris, during three years, pupil of
Girardot, Courtois, the Colarossi Academy, and of Aman-Jean.
Mrs. Kaula is essentially a portrait painter, although she occasionally
paints figure subjects. Her portraits are in private hands in various
cities, and her works have been exhibited in Paris, New York,
Philadelphia, Chicago, Boston, etc. She paints in both oil and
water-colors.
<b>KAYSER, EBBA.</b> Medals in Vienna, Dresden, and Cologne for landscapes
and flower pieces. Born in Stockholm, 1846. When twenty years old she
went to Vienna, where she studied under Rieser, Geyling, and Karl
Hannold. She did not exhibit her works until 1881, since when she has
been favorably known, especially in Austria. A water-color of a "Mill
near Ischl" and several other pictures by this artist have been purchased
for the Imperial Collections.
<b>KEITH, DORA WHEELER.</b>
[_No reply to circular_.]
<b>KEMP-WELCH, LUCY ELIZABETH.</b> Fellow and Associate of Herkomer School,
and member of the Royal Society of British Artists. Born at Bournemouth,
1869. Has exhibited annually at the Royal Academy since 1894. In 1897 her
picture of "Colt Hunting in the New Forest" was purchased by the trustees
of the Chantrey Bequest; in 1900 that of "Horses Bathing in the Sea" was
bought for the National Gallery at Victoria. In 1901 she exhibited "Lord
Dundonald's Dash on Lady-smith."
In July, 1903, in his article on the Royal Academy Exhibition, the editor
of the _Magazine of Art_, in enumerating good pictures, mentions: "Miss
Lucy Kemp-Welch's well-studied 'Village Street' at dusk, and her clever
'Incoming Tide,' with its waves and rocks and its dipping, wheeling sea
gulls."
Mr. Frederick Wetmore, in writing of the Spring Exhibition of the Royal
Painter Etchers, says: "Miss Kemp-Welch, whose best work, so delicate
that it could only lose by the reduction of a process block, shows the
ordinary English country, the sign-post of the crossways, and the sheep
along the lane."
[_No reply to circular_.]
<b>KENDELL, MARIE VON.</b> Born in Lannicken, 1838. Pupil of Pape, Otto von
Kameke, and Dressier. She travelled in England, Italy, and Switzerland,
and many of her works represent scenes in these countries. In 1882 she
painted the Cadinen Peaks near Schluderbach, in the Ampezzo Valley. At
the exhibition of the Women Artists in Berlin, 1892, she exhibited two
mountain landscapes and a view of "Clovelly in Devonshire." The last was
purchased by the Emperor. To the same exhibition in 1894 she contributed
two Swiss landscapes, which were well considered.
<b>KIELLAND, KITTY.</b> Sister of the famous Norwegian novelist, Alexander
Kielland. Her pictures of the forests and fjords of Norway are the best
of her works and painted _con amore._ Recently she exhibited a portrait
which was much praised and said to be so fresh and life-like in
treatment, so flexible and vivacious in color, that one is involuntarily
attracted by it, without any knowledge of the original.
<b>KILLEGREW, ANNE.</b> Was a daughter of Dr. Henry Killegrew, a prebendary
of Westminster Cathedral. Anne was born in 1660, and when still quite
young was maid of honor to the Duchess of York, whose portrait she
painted as well as that of the future King James II. She also painted
historical subjects and still-life.
One of her admirers wrote of her as "A grace for beauty and a muse for
wit." A biographer records her death from smallpox when twenty-five years
old, "to the unspeakable reluctancy of her relatives." She was buried in
the Savoy Chapel, now a "Royal Peculiar," and a mural tablet set forth
her beauty, accomplishments, graces, and piety in a Latin inscription.
Anne Killigrew was notable for her poetry as well as for her painting.
Dryden wrote an ode in her memory which Dr. Johnson called "the noblest
our language has produced." It begins: "Thou youngest virgin daughter of
the skies." After praising her poetry Dryden wrote:
"Her pencil drew whate'er her soul designed,
And oft the happy draught surpassed the image of her mind."
Of her portrait of James II. he says:
"For, not content to express his outward part,
Her hand called out the image of his heart;
His warlike mind--his soul devoid of fear--
His high designing thoughts were figured there."