existed concerning the merit of Mistress Killigrew's art and of Dryden's
ode, which another critic called "a harmonious hyperbole, composed of the
Fall of Adam--Arethusa--Vestal Virgins--Dian--Cupid--Noah's Ark--the
Pleiades--the fall of Jehoshaphat--and the last Assizes."
Anthony Wood, however, says: "There is nothing spoken of her which she
was not equal to, if not superior, and if there had not been more true
history in her praises than compliment, her father never would have
suffered them to pass the press."
<b>KINDT, ADELE.</b> This painter of history and of genre subjects won her
first prize at Ghent when less than twenty-two, and received medals at
Douai, Cambrai, Ghent, and Brussels before she was thirty-two. Was made a
member of the Brussels, Ghent, and Lisbon Academies. Born in Brussels,
1805. Pupil of Sophie Frémiet and of Navez. Her picture of the "Last
Moments of Egmont" is in the Ghent Museum; among her other historical
pictures are "Melancthon Predicting Prince Willem's Future" and
"Elizabeth Sentencing Mary Stuart," which is in the Hague Museum. The
"Obstinate Scholar" and "Happier than a King" are two of her best genre
pictures.
<b>KING, JESSIE M.</b> A most successful illustrator and designer of
book-covers, who was educated as an artist in the Glasgow School of
Decorative Art. In this school and at that of South Kensington she was
considered a failure, by reason of her utterly unacademic manner. She did
not see things by rule and she persistently represented them as she saw
them. Her love of nature is intense, and when she illustrated the "Jungle
Book" she could more easily imagine that the animals could speak a
language that Mowgli could understand, than an academic artist could
bring himself to fancy for a moment. Her work is full of poetic
imagination, of symbolism, and of the spirit of her subject.
Walter P. Watson, in a comprehensive critique of her work, says: "Her
imaginations are more perfect and more minutely organized than what is
seen by the bodily eye, and she does not permit the outward creation to
be a hindrance to the expression of her artistic creed. The force of
representation plants her imagined figures before her; she treats them as
real, and talks to them as if they were bodily there; puts words in their
mouths such as they should have spoken, and is affected by them as by
persons. Such creation is poetry in the literal sense of the term, and
Miss King's dreamy and poetical nature enables her to create the persons
of the drama, to invest them with appropriate figures, faces, costumes,
and surroundings; to make them speak after their own characters."
Her important works are in part the illustrations of "The Little
Princess," "The Magic Grammar," "La Belle Dame sans Merci," "L'Evangile
de l'Enfance," "The Romance of the Swan's Nest," etc.
She also makes exquisite designs for book-covers, which have the spirit
of the book for which they are made so clearly indicated that they add to
the meaning as well as to the beauty of the book.
[_No reply to circular_.]
<b>KIRCHSBERG, ERNESTINE VON.</b> Medal at Chicago Exposition, 1893. Born
in Verona, 1857. Pupil of Schäffer and Darnaut. This artist has exhibited
in Vienna since 1881, and some of her works have been purchased for the
royal collection. Her landscapes, both in oil and water-colors, have
established her reputation as an excellent artist, and she gains the same
happy effects in both mediums. Her picture shown at Chicago was "A
Peasant Home in Southern Austria."
<b>KIRSCHNER, MARIE.</b> Born at Prague, 1852. Pupil of Adolf Lier in
Munich, and Jules Dupré and Alfred Stevens in Paris. In 1883 she
travelled in Italy, and has had her studio in Berlin and in Prague. The
Rudolfinum at Prague contains her "Village Tulleschitz in Bohemia." She
is also, known by many flower pieces and by the "Storm on the Downs of
Heyst," "Spring Morning," and a "Scene on the Moldau."
<b>KITSON, MRS. H. H.</b> Honorable mention, Paris Exposition, 1889; and
the same at Paris Salon, 1890; two medals from Massachusetts Charitable
Association; and has exhibited in all the principal exhibitions of the
United States. Born in Brookline. Pupil of her husband, Henry H. Kitson,
and of Dagnan-Bouveret in Paris.
The women of Michigan commissioned Mrs. Kitson to make two bronze statues
representing the woods of their State for the Columbian Exhibition at
Chicago. Her principal works are the statue of a volunteer for the
Soldiers' Monument at Newburyport; Soldiers' Monument at Ashburnham;
Massachusetts State Monument to 29th, 35th, and 36th Massachusetts
Volunteer Infantry at National Military Park at Vicksburg; also medallion
portraits of Generals Dodge, Ransom, Logan, Blair, Howard, A. J. Smith,
Grierson, and McPherson, for the Sherman Monument at Washington.
[_No reply to circular_.]
<b>KLUMPKE, ANNA ELIZABETH.</b> Honorable mention, Paris Salon, 1885;
silver medal, Versailles, 1886; grand prize, Julian Academy, 1889; Temple
gold medal, Pennsylvania Academy of Fine Arts, 1889; bronze medal, Paris
Exposition, 1889. Member of the Copley Society, Boston; of the Society of
Baron Taylor, Paris; and of the Paris Astronomical Society. Born in San
Francisco. Pupil of the Julian Academy, under Robert-Fleury, and Jules
Lefebvre, where she received, in 1888, the prize of the silver medal and
one hundred francs--the highest award given at the annual Portrait
Concours, between the men and women students of the above Academy.
[Illustration: PORTRAIT OF ROSA BONHEUR
ANNA E. KLUMPKE]
Among Miss Klumpke's principal works are: "In the Wash-house," owned by
the Pennsylvania Academy of Fine Arts; portrait of Mrs. Nancy Foster, at
the Chicago University; "Maternal Instruction," in the collection of Mr.
Randolph Jefferson Coolidge, Boston; many portraits, among which are
those of Madame Klumpke, Rosa Bonheur, Mrs. Thorp, Mrs. Sargent, Count
Kergaradec, etc.
In writing me of her own life-work and that of her family, she says, what
we may well believe: "Longfellow's thought, 'Your purpose in life must be
to accomplish well your task,' has been our motto from childhood."
Anna Klumpke, being the eldest of the four daughters of her mother, had a
double duty: her own studies and profession and the loving aid and care
of her sisters. In the beginning of her art studies it was only when her
home duties were discharged that she could hasten to the Luxembourg,
where, curiously enough, her time was devoted to copying "Le Labourage
Nivernais," by Rosa Bonheur, whose beloved and devoted friend she later
became.
Meantime Anna Klumpke had visited Boston and other cities of her native
land, and made a success, not only as an artist, but as a woman, whose
intelligence, cheerfulness, and broad interests in life made her a
delightful companion. Sailing from Antwerp one autumn, I was told by a
friend that a lady on board had a letter of introduction to me from
Madame Bouguereau. It proved to be Miss Klumpke, and the acquaintance
thus begun, as time went on, disclosed to me a remarkable character,
founded on a remarkable experience, and it was no surprise to me that the
great and good Rosa Bonheur found in Anna Klumpke a sympathetic and
reliable friend and companion for her last days.
The history of this friendship and its results are too well known to
require more than a passing mention. Miss Klumpke is now established in
Paris, and writes me that, in addition to her painting, she is writing of
Rosa Bonheur. She says: "This biography consists of reminiscences of Rosa
Bonheur's life, her impressions of Nature, God, and Art, with perhaps a
short sketch of how I became acquainted with the illustrious woman whose
precious maternal tenderness will remain forever the most glorious event
of my life."
At the Salon des Artistes Français, 1903, Miss Klumpke exhibited a
picture called "Maternal Affection."
<b>KNOBLOCH, GERTRUDE.</b> Born at Breslau, 1867. Pupil of Skirbina in
Berlin. Her studio is in Brussels. She paints in oil and water-colors.
Among her best pictures are "In the Children's Shoes," "The Forester's
Leisure Hours," and a "Madonna with the Christ Child."
Two of her works in gouache are worthy of mention: "An Effeminate" and
"Children Returning from School."
<b>KOLLOCK, MARY.</b> Born at Norfolk, Virginia, 1840. Studied at the
Pennsylvania Academy under Robert Wylie, and in New York under J. B.
Bristol and A. H. Wynant. Her landscapes have been exhibited at the
National Academy, New York. Several of these were scenes about Lake
George and the Adirondack regions. "Morning in the Mountains" and "On the
Road to Mt. Marcy" were exhibited in 1877; "A November Day" and an
"Evening Walk," in 1878; "A House in East Hampton, Two Hundred and Twenty
Years Old," in 1880; "On Rondout Creek," in 1881; and "The Brook," in
1882.
<b>KOKER, ANNA MARIA DE.</b> A Dutch etcher and engraver of the seventeenth
century, who pursued her art from pure love of it, never trying to make
her works popular or to sell them. A few of her landscapes fell into the
hands of collectors and are much valued for their rarity and excellence.
Three examples are the "Landscape with a View of a Village," "The Square
Tower," and "Huts by the Water."
<b>KOMLOSI, IRMA.</b> Born in Prague, 1850. Pupil of Friederich Sturm. This
flower painter resides in Vienna, where her pictures are much appreciated
and are seen in good collections. They have been purchased for the Art
Associations of Brünn, Prague, and Budapest.
<b>KONDELKA, BARONESS PAULINE VON</b>--Frau von Schmerling. Born at Vienna.
1806-1840. She inherited from her father a strong inclination for art,
and was placed by him under the instruction of Franz Potter. In the Royal
Gallery, Vienna, is her picture called "Silence," 1834. It represents the
Virgin with her finger on her lip to warn against disturbing the sleep of
the Infant Jesus. The picture is surrounded by a beautiful arrangement of
flowers. In 1836 she painted a charming picture called "A Bunch of
Flowers." Her favorite subjects were floral, and her works of this sort
are much admired.
<b>KONEK, IDA.</b> Born at Budapest, 1856. Her early art studies were under
G. Vastagh, C. von Telepy, W. Lindenschmit, and Munkácsy; later she was a
pupil at the Julian Academy in Paris and the Scuola libera in Florence.
In the Parish Church at Köbölkut are three of her pictures of sacred
subjects, and in the Hungarian National Museum a picture of still-life.
Her "Old Woman," 1885, is mentioned as attracting favorable notice.
<b>KORA OR CALLIRHOË.</b> It is a well-authenticated fact that in the Greek
city of Sicyonia, about the middle of the seventh century before Christ,
there lived the first woman artist of whom we have a reliable account.
Her story has been often told, and runs in this wise: Kora, or Callirhoë,
was much admired by the young men of Sicyonia for her grace and beauty,
of which they caught but fleeting glimpses through her veil when they met
her in the flower-market. By reason of Kora's attraction the studio of
her father, Dibutades, was frequented by many young Greeks, who watched
for a sight of his daughter, while they praised his models in clay.
At length one of these youths begged the modeller to receive him as an
apprentice, and, his request being granted, he became the daily companion
of both Kora and her father. As the apprentice was skilled in letters, it
soon came about that he was the teacher and ere long the lover of the
charming maiden, who was duly betrothed to him.
The time for the apprentice to leave his master came all too soon. As he
sat with Kora the evening before his departure, she was seized by an
ardent wish for a portrait of her lover, and, with a coal from the
brazier, she traced upon the wall the outline of the face so dear to her.
This likeness her father instantly recognized, and, hastening to bring
his clay, he filled in the sketch and thus produced the first portrait in
bas-relief! It is a charming thought that from the inspiration of a pure
affection so beautiful an art originated, and doubtless Kora's influence
contributed much to the artistic fame which her husband later achieved in
Corinth.
In the latter city the portrait was preserved two hundred years, and
Dibutades became so famous for the excellence of his work that at his
death several cities claimed the honor of having been his birthplace.
<b>KRAFFT, ANNA BARBARA.</b> Member of the Vienna Academy. She was born at
Igto in 1764, and died at Bamberg in 1825. She received instruction from
her father, J. N. Steiner, of which she later made good use. Having
married an apothecary, she went for a time to Salsburg, and again, after
nine years in Prague, spent eighteen years in Salsburg, retiring finally
to Bamberg. In the Gallery at Bamberg may be seen her portrait of the
founder, J. Hemmerlein; in the Nostitz Gallery, Prague, a portrait of the
Archduke Charles; in Strahow Abbey, Prague, a "Madonna"; and in the
church at Owencez, near Prague, an altar-piece.
<b>KUNTZE, MARTHA.</b> Born in Heinrichsdorf, Prussia, 1849. Pupil of
Steffeck and Gussow in Berlin. In 1881 she went to Paris and studied
under Carolus Duran and Henner, and later travelled in Italy, pursuing
her art in Florence, Rome, and Southern Italy. She has an excellent
reputation as a portrait painter, and occasionally paints subjects of
still-life.
<b>KÜSSNER, AMALIA.</b> See Coudert, Amalia Küssner.
<b>LABILLE, ADELAIDE VERTUS.</b> Was born in Paris in 1749. She early
developed a taste for art and a desire to study it. J. E. Vincent was her
master in miniature painting, while Latour instructed her in the use of
pastels. She was successful as a portrait painter and as a teacher,
having some members of the royal family as pupils, who so esteemed her
that they became her friends. She is known as Madame Vincent, having
married the son of her first master in painting.
Her portrait of the sculptor Gois gained a prize at the Academy, and in
1781 she was made a member of that institution. We know the subjects of
some large, ambitious works by Madame Vincent, on which she relied for
her future fame, but unhappily they were destroyed in the time of the
French Revolution, and she never again had the courage to attempt to
replace them. One of these represented the "Reception of a Member to the
Order of St. Lazare," the Grand Master being the brother of the King, who
had appointed Madame Vincent Painter to the Court. Another of these works
was a portrait of the artist before her easel, surrounded by her pupils,
among whom was the Duchesse d'Angoulême and other noble ladies.
As Madame Vincent and her husband were staunch royalists, they suffered
serious losses during the Revolution; the loss of her pictures was
irreparable. She was so disheartened by the destruction of the result of
the labors of years that she never again took up her brush with her
old-time ambition and devotion.
She died in 1803, at the age of fifty-four, having received many honors
as an artist, while she was beloved by her friends and esteemed by all as
a woman of noble character.
<b>LAING, MRS. J. G.</b> Principal studies made in Glasgow under Mr. F. H.
Newbery; also in Paris under Jean-Paul Laurens and Aman-Jean.
This artist is especially occupied with portraits of children and their
mothers. She has, however, exhibited works of another sort. Her "Sweet
Repose" and "Masquerading" were sold from the exhibitions in London and
Glasgow, where they were shown. "Bruges Lace-Makers" was exhibited in
Munich in 1903.
The Ladies' Club of Glasgow is enterprising and its exhibitions are
interesting, but Mrs. Laing is not a member of any club, and sends her
pictures by invitation to exhibitions on the Continent as well as in
Great Britain, and sometimes has a private exhibition in Glasgow.
Her study at Aman-Jean's and Colarossi's gave a certain daintiness and
grace to her work, which is more Parisian than British in style. There is
great freedom in her brush and a delicacy well suited to the painting of
children's portraits; her children and their mothers really smile, not
grin, and are altogether attractive. I cannot say whether the portraits I
have seen are good likenesses, but they have an air of individuality
which favors that idea.
<b>LAMB, ELLA CONDIE</b>--Mrs. Charles R. Lamb. Dodge prize, National
Academy, New York; medal at Columbian Exposition, Chicago, 1893; gold
medal, Atlanta Exposition; medal at Pan-American Exposition, 1901. Member
of Art Students' League, Woman's Art Club, National Art Club. Born in New
York City. Pupil of National Academy of Design and of Art Students'
League, New York, under C. Y. Turner, William M. Chase, and Walter
Shirlaw; in Paris, pupil of R. Collin and R. Courtois; in England, of
Hubert Herkomer, R.A.
Among Mrs. Lamb's works are "The Advent Angel"; "The Christ Child," a
life-size painting, copied in mosaic for the Conrad memorial, St. Mary's
Church, Wayne, Pennsylvania; "The Arts" and "The Sciences," executed in
association with Charles R. Lamb, for the Sage Memorial Apse designed by
him for Cornell University.
Of recent years Mrs. Lamb is much occupied in collaborating with her
husband in decorative designs for public edifices. One of the works thus
executed is a memorial window to Mrs. Stella Goodrich Russell in Wells
College at Aurora. It represents three female figures against a landscape
background. Literature is seated in the centre, while Science and Art
stand in the side panels. It has the effect of a triptych.
<b>LAMB, ROSE.</b> Two bronze medals in Boston exhibitions, 1878 and 1879.
Member of the Copley Society. Born in Boston, where her studies have been
made, chiefly under William M. Hunt.
Miss Lamb has painted portraits principally, a large number of which are
in Boston in the homes of the families to which they belong. Among them
are Mrs. Robert C. Winthrop, Jr., and her children; Mr. J. Ingersoll
Bowditch, Mr. Horace Lamb, the three sons of the late Governor Roger
Wolcott, the daughters of Mrs. Shepherd Brooks, the children of Mrs.
Walter C. Baylies, etc.
In 1887 Miss Lamb painted an admirable portrait of Mohini Mohun
Chatterji, a Brahmin, who spent some months in Boston.
<b>LANCIANI, MARCELLA.</b> Born in Rome, where her studies were made under
Professor Giuseppe Ferrari in figure drawing, and under Signor Onorato
Carlandi--the great water-color artist of the Roman Campagna--in
landscape and coloring.
At the annual spring exhibition in the Palazzo delle Belle Arti, Rome,
1903, this artist exhibited four works: a life-size "Study of the Head of
an old Roman Peasant"; a "Sketch near the Mouth of the Tiber at
Finniscino"; "An Old Stairway in the Villa d'Este, at Tivoli"; "A View
from the Villa Colonna, Rome."
Two of her sketches, one of the "Tiber" and one of the "Villa Medici,"
are in the collection of Mrs. Pierpont Morgan; two similar sketches are
in the collection of Mrs. James Leavitt, New York; a copy of a "Madonna"
in an old Umbrian church is in a private gallery in Rome; a "Winter Scene
in the Villa Borghese" and two other sketches are owned in Edinburgh; the
"Lake in the Villa Borghese" is in the collection of Mr. Richard Corbin,
Paris; and several other pictures are in private collections in New York.
<b>LANDER, LOUISA.</b> Born in Salem, 1826. Manifested a taste for
sculpture when quite young, and modelled likenesses of the members of her
family. In 1855 she became the pupil of Thomas Crawford in Rome. Among
her earlier works are figures in marble of "To-day" and "Galatea," the
first being emblematic of America.
She executed many portrait busts, one of them being of Nathaniel
Hawthorne. "The Captive Pioneer" is a large group. Among her ideal works
are a statue of Virginia Dare--the first child born in America of English
parents; "Undine," "Evangeline," "Virginia," etc.
<b>LAUKOTA, HERMINIE.</b> Born in Prague, 1853. After having studied in
Prague, Amsterdam, and Munich, she was a pupil of Doris Raab in etching.
She paints portraits, genre and still-life subjects with artistic taste
and delicacy. Her studio is in Prague. Among her best pictures are
"Battle for Truth," "Sentinels of Peace," "A Contented Old Woman"; and
among her etchings may be named "The Veiled Picture of Saïs,"
"Prometheus," "The Microscopist," "Before the Bar of Reason," etc. The
latter was reproduced in _Zeitschrift für bildende Kunst_ in 1893, and
was said to show a powerful fancy.
In 1875 and 1876 she exhibited her etchings in Vienna. The "Going to
Baptism" in the second exhibition was much admired and aroused unusual
interest.
<b>LA VILLETTE, MME. ELODIE.</b> Third-class medal, Paris Salon, 1875;
bronze medal, Paris Exposition, 1889; second-class medal, Melbourne
Exposition; numerous diplomas and medals from provincial exhibitions in
France; also from Vienna, Brussels, Antwerp, Amsterdam, London,
Copenhagen, Barcelona, Munich, and Chicago. Officer of the Academy. Born
at Strasbourg. Educated at Lorient. She began to study drawing and
painting under Coroller, a professor in the school she attended. She then
studied six months in the Atelier School at Strasbourg, and finally
became a pupil of Dubois at Arras. She has exhibited since 1870.
Her picture of the "Strand at Lohic," 1876, is in the Luxembourg Gallery;
the "Cliffs of Yport" is in the Museum of Lille; "A Calm at Villers," in
the Museum at Lorient; "Coming Tide at Kervillaine," in the museum of
Morlaix, etc. Her marine views are numerous and are much admired.
At the Salon of the Artistes Français, 1902, Mme. La Villette exhibited
"Twilight, Quiberon, Morbihan"; in 1903, "Fort Penthièvre, Quiberon," and
"A Foaming Wave."
<b>LE BRUN, MME.</b> See Vigée.
<b>LEHMANN, CHARLOTTE.</b> Born in Vienna, 1860. Daughter of an artist,
Katharine Lehmann. Pupil of Schilcher and Pitner. Her works are
principally portraits and studies of heads, in which she is successful.
Her "Styrian Maiden" belongs to the Austrian Emperor, and is in Gödöllö
castle.
Her portraits are seen at many exhibitions, and art critics mention her
with respect.
[_No reply to circular_.]
<b>LEMAIRE, MME. JEANNE-MADELEINE.</b> Honorable mention, 1877; silver
medal, Paris Exposition, 1900. Born at Sainte Rosseline. Pupil of an
aunt, who was a miniaturist, and later of Chaplin. She first exhibited
at the Salon of 1864, a "Portrait of Madame, the Baroness." She has
painted many portraits, and is extremely successful in her pictures of
flowers and fruit.
Among her principal works are "Diana and Her Dog," "Going out of Church,"
"Ophelia," "Sleep," "The Fall of the Leaves," and "Manon."
She has also painted many pictures in water-colors. Since 1890 she has
exhibited at the Champ-de-Mars. Her illustrations in water-colors for
"L'Abbé Constantin" and for an edition of "Flirt" are very attractive.
Her "Roses" at the Salon of 1903 were especially fine, so fresh and
brilliant that they seemed to be actual blossoms.
This artist, not many months ago, called to mind the celebrated Greek
supper of Mme. Lebrun, which was so famous in the time of that artist.
The following is an account of the entertainment given by Mme. Lemaire: