Branch, New Jersey. Pupil of Boston Art Museum School, under Mr. Benson
and Mr. Tarbell; in Paris pupil of M. Raphael Collin and Robert Henri.
Miss Perry has exhibited her portrait of Mrs. U. in the Salon of the
Société Nationale des Beaux-Arts and in Philadelphia. She paints
landscapes and portraits.
<b>PERRY, LILLA CABOT.</b> Pupil in Boston of Dennis Bunker and Alfred
Collins; in Paris of Alfred Stevens, Robert Fleury, Bouguereau, and
Courtois; in Munich of Fritz von Uhde.
Mrs. Perry is essentially a portrait painter, but has painted landscapes,
especially in Japan, where she spent some years. The scenery of Japan and
its wonderfully beautiful Fuziyama would almost compel an artist to paint
landscapes.
Mrs. Perry says that her pictures of French and Japanese types are, in
fact, portraits as truly as are those she is asked to paint.
Her picture of a "Japanese Lacemaker" belongs to Mr. Quincy A. Shaw. It
has been much admired in the exhibitions in which it has been seen.
In the Water-Color Exhibition of the Boston Art Club, 1903, Mrs. Perry's
portrait of Miss S. attracted much attention. The delicate flesh tones,
the excellent modelling of the features, and what may be called the whole
atmosphere of the picture combine in producing an effective and pleasing
example of portraiture.
<b>PERUGINI, CATERINA E.</b> An Italian painter living in London, where she
frequently exhibits her excellent pictures. Among them are "A Siesta,"
"Dolce far Niente," "Multiplication," and portraits of Guy Cohn, son of
Sir Guy Campbell, Bart., and of Peggy and Kitty Hammond, two charming
children.
At the Academy, 1903, she exhibited "Faith" and "Silken Tresses."
<b>PERUGINI, MRS. KATE DICKENS.</b> Younger daughter of Charles Dickens and
wife of Charles Edward Perugini. This artist has exhibited at the Royal
Academy and at other exhibitions since 1877. Her pictures are of genre
subjects, such as the "Dolls' Dressmaker," "Little-Red-Cap," "Old
Curiosity Shop," etc. At the Academy, 1903, she exhibited "Some Spring
Flowers."
[_No reply to circular_.]
<b>PETERS, ANNA.</b> Medals at Vienna, 1873; London, 1874; Munich, 1876;
Amsterdam and Antwerp, 1877. Born at Mannheim, 1843. Pupil of her father,
Pieter Francis Peters, in Stuttgart. Miss Peters travelled over Europe
and was commissioned to decorate apartments in the royal castles at
Stuttgart and Friedrichshafen.
Her picture of "Roses and Grapes" is in the National Gallery, London; and
one of "Autumn Flowers" in the Museum at Stuttgart.
<b>PILLINI, MARGHERITA.</b> An Italian painter living in Paris. Her most
successful exhibitions have been those at Rome, in 1883, when her
"Silk-cocoon Carder of Quimper" and "Charity" appeared; and at Turin, in
1884, when "The Three Ages," "The Poor Blind Man," and a portrait of the
Prince of Naples were shown, all exquisite in sentiment and excellent in
execution. The "Silk-cocoon Carder of Quimper" has been thus noticed by
De Rengis: "If I am not mistaken, Signora Margherita Pillini has also
taken this road, full of modernity, but not free from great danger. Her
'Silk-cocoon Carder' is touched with great disdain for every suggestion
of the old school. Rare worth--if worth it is--that a young woman should
be carried by natural inclination into such care for detail."
<b>PINTO-SEZZI, IDA.</b> Silver medal at the Beatrice Exposition, Florence,
1890. Since 1882 pictures by this artist have been seen in various
Italian exhibitions. In the Beatrice of that year she exhibited
"Cocciara," and in 1887 "A Friar Cook." Her "Fortune-Teller" attracted
general attention at Venice in 1887.
This artist has also given some time to the decoration of terra-cotta in
oil colors. An amphora decorated with landscape and figures was exhibited
at the Promotrice in Florence in 1889 (?) and much admired.
<b>POETTING, COUNTESS ADRIENNE.</b> Born in Chrudim, Bohemia, 1856. The
effect of her thorough training under Blass, Straschiripka, and Frittjof
Smith is seen in her portraits of the Deputy-Burgomaster Franz Khume,
which is in the Rathhaus, Vienna, as well as in those of the Princess
Freda von Oldenburg and the writer, Bertha von Suttner. Her excellence is
also apparent in her genre subjects, "In the Land of Dreams" being an
excellent example of these.
<b>POPERT, CHARLOTTE.</b> Silver medal at the Beatrice, Florence, 1890.
Born in Hamburg, 1848. Pupil in Weimar of the elder Preller and Carl
Gherts; of P. Joris in Rome, and Bonnat in Paris. After extensive travels
in the Orient, England, the Netherlands, and Spain, she established
herself in Rome and painted chiefly in water-colors. Her "Praying Women
of Bethlehem" is an excellent example of her art.
In 1883 she exhibited at Rome, "In the Temple at Bethlehem"; at Turin in
1884, "In the Seventeenth Century" and "The Nun"; at Venice in 1887, an
exquisite portrait in water-colors.
<b>POPPE-LÜDERITZ, ELIZABETH.</b> Honorable mention, Berlin, 1891. For the
second time only the Senate of the Berlin Academy conferred this
distinction upon a woman. The artist exhibited two portraits, "painted
with Holbein-like delicacy and truthfulness"--if we may agree with the
critics.
This artist was born in Berlin in 1858, and was a pupil of Gussow. Her
best pictures are portraits, but her "Sappho" and "Euphrosine" are
excellent works.
<b>POPP, BABETTE.</b> Born in Regensburg, 1800; died about 1840. Made her
studies in Munich. In the Cathedral of Regensburg is her "Adoration of
the Kings."
<b>POWELL, CAROLINE A.</b> Bronze medal at Chicago, 1893; silver medal at
Buffalo, 1901. Member of the Society of American Wood-Engravers and of
the Boston Society of Arts and Crafts. Born in Dublin, Ireland. Pupil of
W. J. Linton and Timothy Cole.
[Illustration: Doge's Palace, Venice
ST. CHRISTOPHER
ENGRAVED BY CAROLINE A. POWELL]
Miss Powell was an illustrator of the _Century Magazine_ from 1880 to
1895. The engraving after "The Resurrection" by John La Farge, in the
Church of St. Thomas, New York, is the work of this artist. She also
illustrated "Engravings on Wood," by William M. Laffan, in which book her
work is commended.
Miss Powell is now employed by Messrs. Houghton, Mifflin & Co., and
writes me: "So far as I know, I am, at present, the only woman in America
engaged in the practise of engraving as a fine art."
<b>PRESTEL, MARIA CATHARINA</B>; FAMILY NAME <B>HOLL.</b> Born in Nuremburg,
1747. Her husband, Johan Prestel, was her teacher, and she was of great
assistance in the work which he produced at Frankfort-on-the-Main, in
1783. In 1786, however, she separated from him and went to London, where
she devoted herself to aquatints. She executed more than seventy plates,
some of them of great size.
<b>PRESTEL, URSULA MAGDALENA.</b> Born in Nuremburg. 1777-1845. Daughter of
the preceding artist. She worked in Frankfort and London, travelled in
France and Switzerland, and died in Brussels. Her moonlight scenes, some
of her portraits, and her picture of the "Falls of the Rhine near
Laufen," are admirable.
<b>PREUSCHEN, HERMINE VON SCHMIDT</b>; married name, Telman. Born at
Darmstadt, 1857. Pupil of Ferdinand Keller in Karlsruhe. Travelled in
Spain, France, Italy, the Netherlands, and Denmark. She remained some
time in Munich, Berlin, and Rome, establishing her studio in these cities
and painting a variety of subjects. Her flower pictures are her best
works. Her "Mors Imperator" created a sensation by reason of its striking
qualities rather than by intrinsic artistic merit. In the gallery at Metz
is her picture of "Irene von Spilimberg on the Funeral Gondola."
In 1883 she exhibited in Rome, "Answered," a study of thistles; "In
Autumn," a variety of fruits; and "Questions," a charming study of
carnations. At Berlin, in 1890, "Meadow Saffron and Cineraria" was
praised for its glowing color and artistic arrangement. A Viennese
critic, the same year, lamented that an artist of so much talent should
paint lifeless objects only. In Berlin, in 1894, she held an exhibition,
in which her landscapes and flower pieces were better than her still-life
pictures. Frau Preuschen is also a musician and poet.
The painting of flower pieces is a delightful art for man or woman, but
so many such pictures which are by amateurs are seen in exhibitions--too
good to be refused but not of a satisfactory quality--that one can
scarcely sympathize with the critic who would have Mme. Preuschen paint
other subjects than these charming blossoms, so exquisite in form and
color, into which she paints so much delightful sentiment.
<b>PUEHN, SOPHIE.</b> Born at Nuremberg, 1864. This artist studied in Paris
and Munich and resides in the latter city. At the International
Exhibition, Vienna, 1894, her portrait of a "Lady Drinking Tea" was
praised by the critics without exception, and, in fact, her portraits are
always well considered. That she is also skilful in etching was shown in
her "Forsaken," exhibited in 1896.
<b>PUTNAM, SARAH GOOLD.</b> Member of the Copley Society. Born in Boston.
Pupil in Boston and New York of J. B. Johnston, F. Duveneck, Abbott
Thayer, and William Chase; in Scheveningen, of Bart. J. Blommers; and in
Munich, of Wilhelm Dürr.
Miss Putnam's portrait of Hon. John Lowell is in the District Court Room
in Post-Office Building, Boston; that of William G. Russell, in the Law
Library in the Court House, Pemberton Square, same city; that of General
Charles G. Loring, for many years Director of Boston Museum of Fine Arts,
belongs to his family; among her other portraits are those of Dr. Henry
P. Bowditch, Francis Boott, George Partridge Bradford, Edward Silsbee,
Mrs. Asa Gray, and Lorin Deland. In addition to the above she has
painted more than one hundred portraits of men, women, and children,
which belong to the families of the subjects.
<b>PUYROCHE, MME. ELISE.</b> Born in Dresden, 1828. Resided in Lyons,
France, where she was a pupil of the fine colorist, Simon St. Jean. Mme.
Puyroche excelled her master in the arrangement of flowers in her
pictures and in the correctness of her drawing, while she acquired his
harmonious color. Her picture called the "Tom Wreath," painted in 1850,
is in the Dresden Gallery.
<b>QUESTIER, CATHERINE.</b> Born in Amsterdam. In 1655 she published two
comedies which were illustrated by engravings of her own design and
execution. She achieved a good reputation for painting, copper engraving,
and modelling in wax, as well as for her writings.
<b>RAAB, DORIS.</b> Third-class medal, Nuremberg; also second-class medal,
1892. Born in Nuremberg, 1851. Pupil of her father, Johann Leonhard Raab,
in etching and engraving. She has engraved many works by Rubens, Van
Dyck, and Cuyp; among her plates after works of more recent artists are
Piloty's "Death Warrant of Mary Stuart," Lindenschmidt's "In Thought,"
and Laufberger's "Hunting Fanfare." This artist resides in Munich.
<b>RADOVSKA, BARONESS ANNETTA</b>, of Milan. Her interesting genre pictures
are seen in most of the Italian exhibitions. "Old Wine, Young Wife," was
at Milan, 1881; in same city, 1883, "An Aggression," "The Visit," "The
Betrothed." She also sent to Rome, in 1883, two pictures, one of which,
"The Harem," was especially noteworthy. In 1884, at Turin, she exhibited
"Tea" and the "Four Ages"; these, were excellent in tone and technique
and attractive in subject. At Milan, 1886, her "Will He Arrive?" was
heartily commended in the art journals.
<b>RAE, HENRIETTA.</b> See Normand, Mrs. Ernest
<b>RAGUSA, ELEANORA.</b> See O'Tama.
<b>RAPIN, AIMÉE.</b> At the Swiss National Exposition, 1896, a large
picture of a "Genevese Watchmaker" by this artist was purchased; By the
Government and is in the Museum at Neuchâtel. In 1903 the city of Geneva
commissioned her to paint a portrait of Philippe Plantamour, which is in
the Museum Mon-Repos, at Geneva. Member of the Société des Beaux-Arts of
Lausanne, Société des Femmes peintres et sculpteurs de la Suisse romande,
Société de l'exposition permanente des Beaux-Arts, Geneva. Born at
Payerne, Canton de Vaud. Studied at Geneva under M. Hebert and Barthelmy
Menn, in painting; Hugues Bovy, modelling.
[Illustration: In the Museum at Neuchâtel
GENEVESE WATCHMAKER
AIMÉE RAPIN]
Mlle. Rapin writes me: "I am, above all, a portrait painter, and my
portraits are in private hands." She names among others of her sitters,
Ernest Naville, the philosopher; Raoul Pictet, chemist; Jules Salmson,
sculptor, etc. She mentions that she painted a portrait of the present
Princess of Wales at the time of her marriage, but as it was painted from
photographs the artist has no opinion about its truth to life. Mlle.
Rapin has executed many portraits of men, women, and children in Paris,
London, and Germany, as well as in Switzerland. She refers me to the
following account of herself and her art. In the _Studio_ of April, 1903,
R. M. writes: "The subject of these notes is a striking example of the
compensations of Nature for her apparent cruelty; also of what the
genuine artist is capable of achieving notwithstanding the most singular
disadvantages. Some years ago in the little town of Payerne, Canton Vaud,
a child was born without arms. One day the mother, while standing near a
rose-bush with her infant in her arms, was astonished to observe one of
its tiny toes clasp the stem of the rose. Little did she guess at the
time that these prehensile toes were destined one day to serve an artist,
in the execution of her work, with the same marvellous facility as hands.
As the child grew up the greatest care was bestowed upon her education.
She early manifested unmistakable artistic promise, and at the age of
sixteen was sent to the École des Beaux Arts, Geneva.... For reasons
already mentioned Mlle. Rapin holds a unique position amongst that
valiant and distinguished group of Swiss lady artists to whose work we
hope to have the opportunity of referring.... She is a fine example of
that singleness of devotion which characterizes the born artist. Her art
is the all-absorbing interest of her life. It is not without its
limitations, but within these limitations the artist has known how to be
true to herself. Drawing her inspiration direct from nature, she has held
on her independent way, steadily faithful to the gift she possesses of
evoking a character in a portrait or of making us feel how the common
task, when representative of genuine human effort and touched with the
poetry of national tradition, of religion, and of nature, becomes a
subject of noble artistic treatment. She has kept unimpaired that
_merveilleux frisson de sensibilité_ which is one of the most precious
gifts of the artistic temperament, and which is quick to respond to the
ideal in the real. There are some artists who, though possessed of
extraordinary mastery over the materials of their art, bring to their
work a spirit which beggars and belittles both art and life; there are
others who seem to work with an ever-present sense of the noble purpose
of their vocation and the pathos and dignity of existence. Mlle. Rapin
belongs to the second category. Her 'L'Horloger' is an example of this. A
Genevese watchmaker is bending to his work at a bench covered with tools.
Through the window of the workshop one perceives in the blue distance
Mont Saléve, and nearer the time-honored towers of the Cathedral of St.
Pierre. Here is a composition dealing with simple life--a composition
which, from the point of execution, color, and harmony of purpose, leaves
little or nothing to be desired. But this is not all. It is, so to speak,
an artistic _résumé_ of the life and history of the old city, and that
strongly portrayed national type gathers dignity from his alliance with
the generations who helped to make one of the main interests of the city,
and from his relationship to that eventful past suggested by the
Cathedral and the Mountain.
"Mlle. Rapin is unmistakably one of the best Swiss portraitists, working
for the most part in pastels, her medium by predilection; she has at the
same time modelled portraits in bas-relief. We are not only impressed by
the intensely living quality of her work as a portraitist, but by the
extraordinary power with which she has seized and expressed the
individual character and history of each of her subjects."
Mlle. Rapin has exhibited her works with success in Paris, Munich, and
Berlin. The few specimens of her bas-reliefs which I have seen prove that
did she prefer the art of sculpture before that of painting, she would be
as successful with her modelling tools as she has been with her brush.
<b>RAPPARD, CLARA VON.</b> Second-class medal, London. Born at Wabern, near
Berne, 1857. After studying with Skutelzky and Dreber, she worked under
Gussow in Berlin. She spent some time in travel, especially in Germany
and Italy, and then, choosing Interlaken as her home, turned her
attention to the illustration of books, as well as to portrait and genre
painting. In the Museum at Freiburg is her "Point-lace-maker." A series
of sixteen "Phantasies" by this artist has been published in Munich.
<b>RATH, HENRIETTE.</b> Honorary member of the Société des Arts, 1801. Born
in 1772, she died in 1856 at Genf, where, with her sister, she founded
the Musée Rath. She studied under Isabey, and was well and favorably
known as a portrait and enamel painter.
<b>REAM, VINNIE.</b> See Hoxie.
<b>REDMOND, FRIEDA VOELTER.</b> Medal at the Columbian Exhibition, Chicago.
Member of the Woman's Art Club. Born in Thun, Switzerland. Studies made
in Switzerland and in Paris. A painter of flowers and still-life.
"Mrs. Redmond is a Swiss woman, now residing in New York. She has
exhibited her works in the Paris Salon, in the National Academy of
Design, at the Society of American Artists' exhibitions, etc., and was
awarded a medal at the World's Fair in Chicago. Her work is not only
skilful and accurate in description and characterization; it is done with
breadth and freedom, and given a quality of fine decorative distinction.
Her subjects are roses, cyclamen, chrysanthemums, nasturtiums, double
larkspurs, cinneraria, etc., and she makes each panel a distinct study in
design, with a background and accessories of appropriate character. For
example, the three or four large panels of roses painted at Mentone have
a glimpse of the Mediterranean for background, and a suggestion of
trellis-work for the support of the vine or bush; and in another rose
panel we have a tipped-over Gibraltar basket with its luscious contents
strewed about in artful confusion. The double larkspurs make very
charming panels for decorative purposes. They are painted with delightful
fulness of color and engaging looseness and crispness of touch."--_Boston
Transcript_.
<b>REGIS, EMMA.</b> This Roman painter has given special attention to
figures, and has executed a number of portraits, one of the best of which
is that of the Marchioness Durazzo Pallavicini. She has exhibited some
delightful work at Turin and at Rome, such as "The Lute-Player," "All is
not Gold that Glitters," "Humanity," and "In illo Tempore?"
[_No reply to circular_.]
<b>REINHARDT, SOPHIE.</b> Born at Kirchberg, 1775; died at Karlsruhe, 1843.
Pupil of Becker. She travelled in Austro-Hungary and Italy. In the
Kunsthalle at Karlsruhe is her picture of "St. Elizabeth and the Child
John." Among her best works are "The Death of St. Catherine of
Alexandria," "The Death of Tasso," and twelve illustrations for a volume
of Hebel's poems.
<b>REMY, MARIE.</b> Born in Berlin, 1829. Daughter of Professor August Remy
of the Berlin Academy. Pupil of her father, Hermine Stilke, and Theude
Grönland. She travelled extensively in several European countries, making
special studies in flowers and still-life, from which many of her
water-colors were painted; twenty of these are in the Berlin National
Gallery.
<b>REUTER, ELIZABETH.</b> Born in Lubeck, 1853. Pupil of Zimmermann in
Munich, A. Schliecker in Hamburg, and of H. Eschke in Berlin. She also
went to Düsseldorf to work in the Gallery there. Later she travelled in
Scandinavia. Her best pictures are landscapes. Among them is a charming
series of six water-colors of views in the park of Friedrichsruhe.
<b>REVEST, CORNELIA LOUISA.</b> Second-class medals in 1819 and 1831 in
Paris. Born in Amsterdam, 1795; died in Paris, 1856. Pupil of Sérangély
and Vafflard in Paris. In 1814 she painted a "Magdalen at the Feet of
Christ" for a church in Marseilles. She also painted many good portraits
and a picture called "The Young Mother Playing the Mandolin."
<b>RICHARD, MME. HORTENSE.</b> Honorable mention, Exposition of 1889;
third-class medal, 1892; silver medals at Antwerp and Barcelona, and gold
medal in London. Born at Paris, 1860. Pupil of James Bertrand, Jules
Lefebvre, and Bouguereau. Has exhibited regularly since 1875. Her
picture of "Cinderella" is in the Museum of Poitiers; "At Church in
Poitou" is in the Luxembourg. She has painted many portraits.
<b>RICHARDS, ANNA MARY.</b> Norman Dodge prize, National Academy, New York,
1890. Member of the '91 Art Club, London. Born at Germantown,
Pennsylvania, 1870. Pupil of Dennis Bunker in Boston, H. Siddons Mowbray
and La Farge in New York, Benjamin Constant and J. P. Laurens in Paris,
and always of her father, W. T. Richards.
Miss Richards' work is varied. She is fond of color when suited to her
subject; she also works much in black and white. When representing nature
she is straightforward in her rendering of its aspects and moods, but she
also loves the "symbolic expression of emotion" and the so-called
"allegorical subjects." The artist writes: "I simply work in the way that
at the moment it seems to me fitting to work to express the thing I have
in mind. Where the object of the picture is one sort of quality, I use
the method that seems to me to emphasize that quality."
When but fourteen years old this artist exhibited at the National
Academy, New York, a picture of waves, "The Wild Horses of the Sea,"
which was immediately sold and a duplicate ordered. In England Miss
Richards has exhibited at the Academy, and her pictures have been
selected for exhibitions in provincial galleries. Miss Richards is
earnestly devoted to her art, and has in mind an end toward which she
diligently strives--not to become a painter distinguished for clever
mannerism, but "to attain a definite end; one which is difficult to reach
and requires widely applied effort."
Judging from what she has already done at her age, one may predict her
success in her chosen method. In February, 1903, Miss Richards and her
father exhibited their works in the Noe Galleries. I quote a few press
opinions.
[Illustration: MAY DAY AT WHITELANDS COLLEGE, CHELSEA
ANNA M. RICHARDS]
"Miss Richards paints the sea well; she infuses interest into her
figures; she has a love of allegory; her studies in Holland and Norway
are interesting. Her 'Whitby,' lighted by sunset, with figures massed in
the streets in dark relief against it, is beautiful. Her 'Friends,'
showing two women watching the twilight fading from the summits of a
mountain range, the cedared slopes and river valley below meantime
gathering blueness and shadow, is of such strength and sweetness of fancy
that it affects one like a strain of music."
"Miss Richards becomes symbolic or realistic by turn. Some of her figures
are creatures of the imagination, winged and iridescent, like the 'Spirit
of Hope.' Again, she paints good, honest Dutchmen, loafing about the
docks. Sometimes she has recourse to poetry and quotes Emerson for a
title.... If technically she is not always convincing, it is apparent
that the artist is doing some thinking for herself, and her endeavors are
in good taste."
Miss Richards has written "Letter and Spirit," containing fifty-seven
"Dramatic Sonnets of Inward Life."