Water-Color Club, January, 1904, says: "Miss Oakley has had considerable
experience in designing stained-glass windows, and has reproduced in some
of her designs for book covers a corresponding treatment of the
composition, with an attempt, not very logical or desirable, considering
the differences between paint and glass, to reproduce also something of
her window color schemes.... But for myself, her cover, in which some
girls are picking flowers, is far more charming in its easy grace of
composition, choice gravity of color, and spontaneity of feeling. Here is
revealed a very _naïve_ imagination, free of any obsessions."
<b>OCCIONI, SIGNORA LUCILLA MARZOLO.</b> Diploma of gold medal at the
Women's Exhibition, Earl's Court, London, 1900. Born in Trieste. Pupil,
in Rome, of Professor Giuseppe Ferrari.
This artist paints figure subjects, portraits, landscapes, and flowers,
in both oils and water-colors, and also makes pen-drawings. Her works are
in many private galleries. She gives me no list of subjects. Her pictures
have been praised by critics.
<b>O'CONNELL, FREDERIQUE EMILIE AUGUSTE MIETHE.</b> Born in Potsdam.
1823-1885. She passed her early life in her native city, having all the
advantages of a solid and brilliant education. She early exhibited a love
of drawing and devoted herself to the study of anatomical plates. She
soon designed original subjects and introduced persons of her own
imagination, which early marked her as powerful in her fancy and original
in her manner of rendering her ideas.
A picture of "Raphael and the Fornarina," which she executed at the age
of fifteen, was so satisfactory as to determine her fate, and she was
allowed to study art.
When about eighteen years old she became the pupil of Charles Joseph
Begas, a very celebrated artist of Berlin. Under his supervision she
painted her first picture, called the "Day of the Dupes," which, though
full of faults, had also virtues enough to secure much attention in the
exhibition. It was first hung in a disadvantageous position, but the
crowd discovered its merits and would have it noticed. She received a
complimentary letter from the Academy of Berlin, and the venerable artist
Cornelius made her a visit of congratulation.
About 1844 she married and removed to Brussels. Here she came into an
entirely new atmosphere and her manner of painting was changed. She
sought to free herself from all outer influence and to express her own
feeling. She studied color especially, and became an imitator of Rubens.
She gained in Brussels all the medals of the Belgian expositions, and
there began two historical pictures, "Peter the Great and Catherine" and
"Maria Theresa and Frederick the Great." These were not finished until
after her removal to Paris in 1853. They were bought by Prince Demidoff
for the Russian Government.
She obtained her first triumph in Paris, at the Salon of 1853, by a
portrait of Rachel. She represented the famous actress dressed entirely
in white, with the worn expression which her professional exertions and
the fatal malady from which she was already suffering had given to her
remarkable face. The critics had no words for this portrait which were
not words of praise, and two years later, in 1855, Madame O'Connell
reached the height of her talent. "A Faunesse," as it was called, in the
exposition of that year, was a remarkable work, and thus described by
Barty:
"A strong and beautiful young woman was seated near a spring, where
beneath the shade of the chestnut trees the water lilies spread
themselves out upon the stream which flowed forth. She was nude and her
flesh palpitated beneath the caresses of the sun. With feminine caprice
she wore a bracelet of pearls of the style of the gold workers of the
Renaissance. Her black hair had lights of golden brown upon it, and she
opened her great brown eyes with an expression of indifference. A half
smile played upon her rosy lips and lessened the oval of the face like
that of the 'Dancing Faun.' The whole effect of the lines of the figure
was bold and gave an appearance of youth, the extremities were studiously
finished, the skin was fine, and the whole tournure elegant. It was a
Faunesse of Fontainebleau of the time of the Valois."
Mme. O'Connell then executed several fine portraits--two of Rachel, one
of M. O'Connell, others of Charles Edward and Théophile Gautier, which
were likened to works of Vandyck, and a portrait in crayon of herself
which was a _chef-d'oeuvre_. She excelled in rendering passionate
natures; she found in her palette the secret of that pallor which spreads
itself over the faces of those devoted to study--the fatigues of days and
nights without sleep; she knew how to kindle the feverish light in the
eyes of poets and of the women of society. She worked with great
freedom, used a thick pâte in which she brushed freely and left the
ridges thus made in the colors; then, later, she put over a glaze, and
all was done. Her etchings were also executed with great freedom, and
many parts, especially the hair, were remarkably fine. She finished
numerous etchings, among which a "St. Magdalen in the Desert" and a
"Charity Surrounded by Children" are worthy of particular notice.
After Madame O'Connell removed to Paris she opened a large atelier and
received many pupils. It was a most attractive place, with gorgeous
pieces of antique furniture, loaded with models of sculpture, books,
albums, engravings, and so on, while draperies, tapestries, armor, and
ornaments in copper and brass all lent their colors and effects to
enhance the attractions of the place. Many persons of rank and genius
were among the friends of the artist and she was much in society.
In spite of all her talent and all her success the end of Madame
O'Connell's life was sad beyond expression. Her health suffered, her
reason tottered and faded out, yet life remained and she was for years in
an asylum for the insane. Everything that had surrounded her in her Paris
home was sold at auction. No time was given and no attempt was made to
bring her friends together. No one who had known or loved her was there
to shed a tear or to bear away a memento of her happy past. All the
beautiful things of which we have spoken were sacrificed and scattered as
unconscionably as if she had never loved or her friends enjoyed them.
In the busy world of Paris no one remembered the brilliant woman who had
flashed upon them, gained her place among them, and then disappeared.
They recalled neither her genius nor her womanly qualities which they had
admired, appreciated, and so soon forgotten!
<b>OOSTERWYCK, MARIA VAN.</b> The seventeenth century is remarkable for the
perfection attained in still-life and flower painting. The most famous
masters in this art were William van Aelst of Delft, the brothers De Heem
of Utrecht, William Kalf and the Van Huysums of Amsterdam. The last of
this name, however, Jan van Huysum, belongs to the next century.
Maria van Oosterwyck and Rachel Ruysch disputed honors with the above
named and are still famous for their talents.
The former was a daughter of a preacher of the reformed religion. She was
born at Nootdorp, near Delft, in 1630. She was the pupil of Jan David de
Heem, and her pictures were remarkable for accuracy in drawing, fine
coloring, and an admirable finish.
Louis XIV. of France, William III. of England, the Emperor Leopold of
Germany, and Augustus I. of Poland gave her commissions for pictures.
Large prices were paid her in a most deferential manner, as if the
tributes of friendship rather than the reward of labor, and to these
generous sums were added gifts of jewels and other precious objects.
Of Maria van Oosterwyck Kugler writes: "In my opinion she does not occupy
that place in the history of the art of this period that she deserves,
which may be partly owing to the rarity of her pictures, especially in
public galleries. For although her flower pieces are weak in arrangement
and often gaudy in the combination of color, she yet represents her
flowers with the utmost truth of drawing, and with a depth, brilliancy,
and juiciness of local coloring _unattained by any other flower painter_"
A picture in the Vienna Gallery of a sunflower with tulips and poppies,
in glowing color, is probably her best work in a public collection. Her
pictures are also in the galleries of Dresden, Florence, Carlsruhe,
Copenhagen, the Schwerin Gallery, and the Metropolitan Museum of New
York.
There is a romantic story told of Maria van Oosterwyck, as follows.
William van Aelst, the painter of exquisite pictures of still-life,
fruits, glass, and objects in gold and silver, was a suitor for her hand.
She did not love him, but wishing not to be too abrupt in her refusal,
she required, as a condition of his acceptance, that he should work ten
hours a day during a year. This he readily promised to do. His studio
being opposite that of Maria, she watched narrowly for the days when he
did not work and marked them down on her window-sash. At the close of the
year Van Aelst claimed her as his bride, assuming that he had fulfilled
her condition; but she pointed to the record of his delinquencies, and he
could but accept her crafty dismissal of his suit.
<b>OSENGA, GIUSEPPINA.</b> This artist resides in Parma, and has there
exhibited landscapes that are praised for their color and for the manner
in which they are painted, as well as for the attractive subjects she
habitually chooses. "A View near Parma," the "Faces of Montmorency," and
the "Bridge of Attaro" are three of her works which are especially
admired.
<b>OSTERTAG, BLANCHE.</b> Member of Society of Western Artists; Arts Club,
Chicago; Municipal Art League. Born in St. Louis. From 1892-1896 pupil of
Laurens and Raphael Collin in Paris, where her works were hung on the
line at the New Gallery, Champ de Mars.
A decorative artist who has executed mural decoration in a private house
in Chicago, and has illustrated "Max Müller's Memories" and other
publications. For use in schools she made a color print, "Reading of the
Declaration of Independence before the Army."
Her calendars and posters are in demand by collectors at home and in
foreign countries. Miss Ostertag has designed elaborate chimney pieces to
be executed in mosaic and glass. Her droll conceits in "Mary and Her
Lamb," the "Ten Little Injuns," and other juvenile tales were
complimented by Boutet de Monvel, who was so much interested in her work
that he gave her valuable criticism and advice without solicitation.
<b>O'TAMA-CHIOVARA.</b> Gold medal at an exhibition of laces in Rome and
prizes at all the exhibitions held in Palermo by the Art Club. Born in
Tokio, where she came to the notice of Vicenzo Ragusa, a Sicilian
sculptor in the employ of the Japanese Government at Tokio. He taught her
design, color, and modelling, and finally induced her to go with his
sister to Palermo. Here her merit was soon recognized in a varied
collection of water-colors representing flowers and fruits, which were
reproduced with surpassing truth. When the School of Applied Art was
instituted at Palermo in 1887, she was put in charge of the drawing,
water-color, and modelling in the Women's Section.
She knows the flowers of various countries--those of Japan and Sicily
wonderfully well, and her fancy is inexhaustible; her exquisite
embroideries reflect this quality. She has many private pupils, and is as
much beloved for her character as she is admired for her talents. When
she renounced Buddhism for Christianity, the Princess of Scalca was her
godmother.
<b>PACZKA-WAGNER, CORNELIA.</b> Honorable mention, Berlin, 1890. Born in
Göttingen, 1864. She has been, in the main, her own instructor, living
for some years in Rome for the purpose of study. In 1895 she settled in
Berlin, where she has made a specialty of women's and children's
portraits in olgraphy (?) and lithography. Beautiful drawings by her were
exhibited at the International Water-Color Exhibition in Dresden, 1892.
An interesting account of a visit to the studio of the Hungarian painter
Paczka and his German wife tells of a strong series of paintings in
progress there, under the general title, "A Woman's Soul." In freedom and
boldness of conception they were said to remind one of Klinger, but in
warmth and depth of feeling to surpass him. Frau Paczka had just finished
a very large picture, representing the first couple after the expulsion
from Paradise. The scene is on the waste, stony slope of a mountain; the
sun shines with full force in the background, while upon the unshadowed
rocks of the foreground are the prostrate Adam and his wife--more
accusing than complaining.
In 1899 Frau Paczka exhibited in Berlin, "Vanitas," which excels in
richness of fancy and boldness of representation, while wanting somewhat
in detail; the ensemble presents a remarkably fine, symbolic composition,
which sets forth in rich color the dance of mankind before the golden
calf, and the bitter disillusions in the struggle for fame, wealth, and
happiness.
<b>PARLAGHY, VILMA, OR THE PRINCESS LWOFF.</b> Great gold medal from the
Emperor of Austria, 1890; great gold medal, 1894; small gold medal at
Berlin, 1890, adjudged to her portrait of Windhorst. Born at Hadju-Dorogh
in 1863, and studied in Budapest, Munich, Venice, Florence, and Turin.
Her portraits having found great favor at the Court of Berlin, she
removed her studio from Munich to that capital.
One of her instructors was Lenbach, and she is said by some critics to
have appropriated his peculiarities as a colorist and his shortcomings in
drawing, without attaining his geniality and power of divination. In 1891
her portrait of Count von Moltke, begun shortly before his death and
finished afterward, was sent to the International Exposition at Berlin,
but was rejected. The Emperor, however, bought it for his private
collection, and at his request it was given a place of honor at the
Exposition, the incident causing much comment. She exhibited a portrait
of the Emperor William at Berlin in 1893, which Rosenberg called careless
in drawing and modelling and inconceivable in its unrefreshing,
dirty-gray color.
In January, 1895, she gave an exhibition of one hundred and four of her
works, mostly portraits, including those of the Emperor, Caprivi, von
Moltke, and Kossuth, which had previously been exhibited in Berlin,
Munich, and Paris. The proceeds of this exhibition went to the building
fund of the Emperor William Memorial Church.
Of a portrait exhibited in 1896, at Munich, a critic said that while it
was not wholly bad, it was no better than what hundreds of others could
do as well, and hundreds of others could do much better.
<b>PASCH, ULRICKE FRIEDERIKA.</b> Member of the Academy of Fine Arts of
Sweden. Born in Stockholm. 1735-1796. A portrait of Gustavus-Adolphus II.
by this artist is in the Castle at Stockholm. She was a sister of Lorenz
Pasch.
<b>PASCOLI, LUIGIA.</b> This Venetian painter has exhibited in various
Italian cities since 1870, when she sent a "Magdalen" to Parma. "First
Love" appeared at Naples in 1877, and "The Maskers"--pastel--at Venice in
1881. A "Girl with a Cat," a "Roman Girl," and a "Seller of Eggs"--the
latter in Venetian costume--are works of true value. Her copies of
Titian's "St. Mark" and of Gian Bellini's "Supper at Emmaus" have
attracted attention and are much esteemed.
<b>PASSE, MAGDALENA VAN DE.</b> Born at Utrecht about 1600; she died at the
age of forty. This engraver was a daughter of Crispus van de Passe, the
elder. She practised her art in Germany, England, Denmark, and the
Netherlands, and was important as an artist. Her engraving was
exceedingly careful and skilful. Among her plates are "Three Sibyls,"
1617; an "Annunciation," "Cephalus and Procris," "Latona," and landscapes
after the works of Bril, Savery, Willars, etc.
<b>PATTISON, HELEN SEARLE.</b> Born in Burlington, Vermont. Daughter of
Henry Searle, a talented architect who moved to Rochester, New York,
where his daughter spent much of her girlhood. She held the position of
art teacher in a school in Batavia, New York, while still a girl herself.
About 1860 she became the pupil of Herr Johan Wilhelm Preyer, the
well-known painter of still-life, fruit, and flowers. Preyer was a dwarf
and an excellent man, but as a rule took no pupils. He was much
interested in Miss Searle, and made an exception in her case. She soon
acquired the technique of her master and painted much as he did, but with
less minute detail, finer color, and far more sentiment.
[Illustration: FLOWERS
HELEN SEARLE PATTISON]
In 1876 Miss Searle married the artist, James William Pattison, now on
the staff of the Art Institute, Chicago. After their marriage Mr. and
Mrs. Pattison resided at Écouen, near Paris. Returning to America in
1882, they spent some time in Chicago and New York City, removing to
Jacksonville, Illinois, in 1884. Here Mr. Pattison was at the head of the
School of Fine Arts.
Mrs. Pattison lived but a few months in Jacksonville, dying in November,
1884.
Mrs. Pattison's artistic reputation was well established and her works
were exhibited at the Paris Salon and in all the German cities of
importance. They were frequently seen in England and at the National
Academy of Design in New York. Her subjects were still-life, fruit,
and flowers, and her works are widely distributed.
<b>PAZZI, CATERINA DE</b>, whose conventual name was Maria Maddalena. Was
born in Florence in 1566. It would be interesting to know the relation
that this gentle lady bore to those Pazzi who had earned a fame so unlike
hers fourscore years before she saw the light.
Caterina de Pazzi, when a mere girl, entered a convent which stood on the
site of the church known by her name in the Via Pinti. The cell of Santa
Maddalena--now a chapel--may still be visited. She was canonized by Pope
Alexander VIII. in 1670, sixty-two years after her death.
The Florentines have many lovely legends associated with her memory. One
of these relates that she painted pictures of sacred subjects when
asleep. Be this as it may, we know that her pictures were esteemed in the
days when the best artists lived and worked beside her. Examples of her
art may still be seen in churches in Rome and Parma, as well as in the
church of her native city which bears her name.
<b>PEALE, ANNA C.</b> Made her mark as a miniature painter and for some
years was the only professional woman artist in Philadelphia. Her
portrait of General Jackson made in 1819 was well considered. She also
made portraits of President Monroe, Henry Clay, R. M. Johnson, John
Randolph of Roanoke, and other prominent men. Miss Peale married in 1829
the Rev. William Staughton, a Baptist clergyman, the president of the
theological college at Georgetown, Kentucky. He lived but three months
after their marriage, and she returned to Philadelphia and again pursued
her artistic labors. She married a second husband, General William
Duncan, and from this time gave up professional painting.
<b>PEALE, SARA M.</b> 1860-1885. Daughter of James Peale, under whose
teaching she made her first studies. She was also a pupil of her uncle,
the founder of Peale's Museum, Philadelphia. Miss Peale painted portraits
and spent some years in Baltimore and Washington. Among her portraits are
those of Lafayette, Thomas Benton, Henry A. Wise, Caleb Cushing, and
other distinguished men. From 1847 she resided in St. Louis thirty years
and then went to Philadelphia. Her later works were still-life subjects,
especially fruits.
<b>PELICHY, GEERTRUIDA.</b> Honorary member of the Academy of Vienna. Born
in Utrecht, 1744; died in Brügge, 1825. Pupil of P. de Cock and Suvée. In
1753, she went to Brügge with her father, and later to Paris and Vienna.
She painted portraits of the Emperor Joseph II. and Maria Theresa, some
good landscapes, and animal studies. Two of her pictures are in the
Museum at Brügge.
<b>PELLEGRINO, ITALA.</b> Born at Milan, 1865. Pupil of Battaglia. Her
pictures are of genre and marine subjects. At the great exhibition at
Turin, 1884, she exhibited a marine view which was bought by Prince
Amadeo. Another marine view exhibited at Milan was acquired by the
Società Promotrice. In 1888 she sent to the exhibition at Naples, where
she resides, a view of Portici, which was added to the Royal Gallery. The
excellence of her work is in the strength and certainty of touch and the
sincerity and originality of composition. She has painted a "Marine View
of Naples," "In the Gulf," "Fair Weather," and "Evening at Sea"; also a
genre picture, "Frusta là," which was sold while in an exhibition in
Rome.
<b>PENICKE, CLARA.</b> Born at Berlin in 1818, where she died in 1899. She
studied first with Remy and later with Carl Begas and Edward Magnus. Her
work was largely confined to portrait and historical painting. In the
Gallery at Schwerin is her "Elector Frederick of Saxony Refusing to
Accept the Interim." Another good example of her historical work is the
"Reconciliation of Charlemagne with Thassilo of Bavaria." A well-known
and strongly modelled portrait of Minister Von Stoach and several Luther
portraits, "Luther's Family Devotion" and "Luther Finds the First Latin
Bible," show her facility in this branch of art. She also painted a
"Christ on the Cross."
<b>PERELLI, LIDA.</b> A landscape painter living in Milan, who has become
well known by pictures that have been seen at the exhibitions in several
Italian cities, especially through some Roman studies that appeared at
Florence and Turin in 1884. "A View of Lecco, Lake Como," "Casolare," and
"A Lombard Plain" are among her best works.
<b>PERMAN, LOUISE E.</b> Born at Birkenshaw, Renfrewshire. Studied in
Glasgow. This artist paints roses, and roses only, in oils. In this art
she has been very successful. She has exhibited at the Royal Academy and
the New Gallery, London; at the Royal Scottish Academy, Glasgow; at art
exhibits in Munich, Dresden, Berlin, Prague, Hanover, etc., and wherever
her works have been seen they have been sold. In May, 1903, a collection
of twenty-five rose pictures were exhibited by a prominent dealer, and
but few were left in his hands.
A critic in the _Studio_ of April, 1903, writing of the exhibition at the
Ladies' Artists' Club, Glasgow, says: "Miss Louise Perman's rose pictures
were as refined and charming as ever. This last-named lady certainly has
a remarkable power of rendering the beauties of the queen of flowers,
whether she chooses to paint the sumptuous yellow of the 'Maréchal Niel,'
the blush of the 'Katherine Mermet,' or the crimson glory of the 'Queen
of Autumn.' She seems not only to give the richness of color and fulness
of contour of the flowers, but to capture for the delight of the beholder
the very spiritual essence of them." To the London Academy, 1903, she
sent a picture called "York and Lancaster."
<b>PERRIER, MARIE.</b> Mention honorable at Salon des Artistes Français,
1899; Prix Marie Bashkirtseff, 1899; honorable mention, Paris Exposition,
1900; numerous medals from foreign and provincial exhibitions; medals in
gold and silver at Rouen, Nîmes, Rennes, etc.; bronze medals at Amiens
and Angers. Member of the Société des Artistes Français; perpetual member
of the Baron Taylor Association, section of the Arts of Painting, etc.
Born at Paris. Pupil of Benjamin Constant, Jules Lefebvre, and J. P.
Laurens.
Mlle. Perrier's picture of "Jeanne d'Arc" is in a provincial museum;
several pictures by her belonging to the city of Paris are scenes
connected with the schools of the city--"Breakfast at the Communal
School"; "After School at Montmartre" were at the Salon des Artistes
Français, 1903; others are "Manual Labor at the Maternal School,"
"Flowers," and "Recreation of the Children at the Maternal School." Of
the last Gabriel Moury says, "It is one of the really good pictures in
the Salon."
This artist decorated a villa near Nîmes with four large panels
representing the "Seasons," twelve small panels, the "Hours," and
pictures of the labors of the fields, such as the gathering of grapes and
picking of olives.
She has painted numerous portraits of children and a series of pictures
illustrating the "Life of the Children of Paris." They are "Children at
School and after School," "Children on the Promenade and Their Games,"
and "Children at Home."