drawings the eminent artist, G. F. Watts, says: "In imaginative
comprehension they are more than illustrations; they are interpretations.
I find in them an assemblage of great qualities--beauty of line, unity
and abundance in composition, variety and appreciation of natural
effects, with absence of manner; also unusual qualities in drawing,
neither academical nor eccentric--all carried out with great purity and
completeness."
<b>RICHARDS, SIGNORA EMMA GAGIOTTI.</b> Rome.
[_No reply to circular_.]
<b>RIES, THERESE FEODOROWNA.</b> Bronze medal at Ekaterinburg; Karl Ludwig
gold medal, Vienna; gold medal, Paris Exposition, 1900. Officer of the
Academy. Born in Moscow. Pupil of the Moscow Academy and of Professor
Hellmer, Vienna, women not being admitted to the Vienna Academy.
A critic in the _Studio_ of July, 1901, who signs his article A. S. L.,
writes as follows of this remarkable artist: "Not often does it fall to
the lot of a young artist to please both critic and public at the same
time, and, having gained their interest, to continue to fill their
expectations. But it was so with Feodorowna Ries, a young Russian artist
who some eight months ago had never even had a piece of clay in her hand,
but who, by dint of 'self,' now stands amongst the foremost of her
profession. It was chance that led Miss Ries to the brush, and another
chance which led her to abandon the brush for the chisel. Five years ago
she was awarded the Carl Ludwig gold medal for her 'Lucifer,' and at the
last Paris Exhibition she gained the gold medal for her 'Unbesiegbaren'
(The Unconquerable).
"Miss Ries was born and educated in Moscow, but Vienna is the city of her
adoption. She first studied painting at the Moscow Academy, her work
there showing great breadth of character and power of delineation. At the
yearly Exhibition in Moscow, held some five months after she had entered
as a student, she took the gold medal for her 'Portrait of a Russian
Peasant.' She then abandoned painting for sculpture, and one month later
gained the highest commendations for a bust of 'Ariadne.' She then began
to study the plastic art from life. Dissatisfied with herself, although
her 'Somnambulist' gained a prize, Miss Ries left Moscow for Paris, but
on her way stayed in Vienna, studying under Professor Hellmer. One year
later, at the Vienna Spring Exhibition, she exhibited her 'Die Hexe.'
Here is no traditional witch, though the broomstick on which she will
ride through the air is _en evidence_. She is a demoniac being, knowing
her own power, and full of devilish instinct. The marble is full of life,
and one seems to feel the warmth of her delicate, powerfully chiselled,
though soft and pliable limbs."
"'Die Unbesiegbaren' is a most powerful work, and stood out in the midst
of the sculpture at Paris in 1900 with the prominence imparted by unusual
power in the perception of the _whole_ of a subject and the skill to
render the perception so that others realize its full meaning. There are
four figures in this group--men drawing a heavy freight boat along the
shore by means of a towline passed round their bodies, on which they
throw their weight in such a way that their legs, pressed together, lose
their outline--except in the case of the leader--and are as a mass of
power. They also pull on the line with their hands. The leader bends over
the rope until he looks down; the man behind him raises his head and
looks up with an appealing expression; the two others behind are exerting
all their force in pulling on the rope, but have twisted the upper part
of the body in order to look behind and watch the progress of their great
burden. There is not the least resemblance of one to the other, either in
feature or expression, and to me it would seem that the woman who had
conceived and executed this group might well be content to rest on her
laurels.
"But an artistic creator who is really inspired with his art and not with
himself is never satisfied; he presses on and on--sometimes after he has
expressed the best of his talent. This is not yet reached, I believe, by
Miss Ries, and we shall see still greater results of her inspiration."
The Austrian Government commissioned this artist to execute the figure of
a saint. One may well prophesy that there will be nothing conventional in
this work. She has already produced a striking "Saint Barbara." Her
portrait busts include those of Professor Wegr, Professor Hellmer, Mark
Twain, Countess Kinsky, Countess Palffs, Baron Berger, and many others.
<b>RIJUTINE, ELISA.</b> A bronze and a gold medal at the Beatrice
Exposition, Florence, 1890. Born in Florence, where she resides and
devotes herself to painting in imitation of old tapestries. An excellent
example of her work is in water-colors and is called "The Gardener's
Children." In 1888 and 1889 she exhibited "The Coronation of Esther" and
a picture of "Oleanders."
<b>ROBERTS, ELIZABETH WENTWORTH.</b>
[_No reply to circular_.]
<b>ROBINSON, MRS. IMOGENE MORRELL.</b> Medals at the Mechanics' Fair,
Boston, and at the Centennial Exhibition, Philadelphia, 1876. Born in
Attleborough, Massachusetts. Pupil of Camphausen in Düsseldorf, and of
Couture in Paris, where she resided several years. Among her important
works are "The First Battle between the Puritans and Indians" and
"Washington and His Staff Welcoming a Provision Train," both at
Philadelphia. Mrs. Morrell continued to sign her pictures with her maiden
name, Imogene Robinson.
A critic of the New York _Evening Post_ said of her pictures at
Philadelphia: "In the painting of the horses Mrs. Morrell has shown great
knowledge of their action, and their finish is superb. The work is
painted with great strength throughout, and its solidity and forcible
treatment will be admired by all who take an interest in Revolutionary
history.... In the drawing of the figures of Standish and the chief at
his side, and the dead and dying savages, there is a fine display of
artistic power, and the grouping of the figures is masterly.... In color
the works are exceedingly brilliant."
<b>ROBUSTI, MARIETTA.</b> Born in Venice. 1560-1590. The parentage of this
artist would seem to promise her talent and insure its culture. She was
the daughter of Jacopo Robusti, better known as "Il Tintoretto," who has
been called "the thunder of art," and who avowed his ambition to equal
"the drawing of Michael Angelo and the coloring of Titian."
The portrait of Marietta Robusti proves her to have been justly
celebrated for her beauty. Her face is sweet and gentle in expression.
She was sprightly in manner and full of enthusiasm for anything that
interested and attracted her; she had a good talent for music and a
charming voice in singing.
Her father's fondness for her made him desire her constant companionship,
and at times he permitted her to dress as a boy and share with him
certain studies that she could only have made in this disguise.
Tintoretto carefully cultivated the talents of his daughter, and some of
the portraits she painted did her honor. That of Marco dei Vescovi first
turned public attention to her artistic merits. The beard was especially
praised and it was even said by good judges that she equalled her father.
Indeed, her works were so enthusiastically esteemed by some critics that
it is difficult to make a just estimate of her as an artist, but we are
assured of her exquisite taste in the arrangement of her pictures and of
the rare excellence of her coloring.
It soon became the fashion in the aristocratic circles of Venice to sit
for portraits to this fascinating artist. Her likeness of Jacopo Strada,
the antiquarian, was considered a worthy gift for the Emperor Maximilian,
and a portrait of Marietta was hung in the chamber of his Majesty.
Maximilian, Philip II. of Spain, and the Archduke Ferdinand, each in
turn invited Marietta to be the painter of his Court.
Tintoretto could not be induced to be separated from his daughter, and
the honors she received so alarmed him that he hastened to marry her to
Mario Augusti, a wealthy German jeweller, upon the condition that she
should remain at home.
But the Monarch who asks no consent and heeds no refusal claimed this
daughter so beloved. She died at thirty, and it is recorded that both her
father and her husband mourned for her so long as they lived. Marietta
was buried in the Church of Santa Maria dell' Orto, where, within sight
of her tomb, are several of her father's pictures.
Tintoretto painting his daughter's portrait after her death has been the
subject of pictures by artists of various countries, and has lost nothing
of its poetic and pathetic interest in the three centuries and more that
have elapsed since that day when the brave old artist painted the
likeness of all that remained to him of his idolized child.
<b>ROCCHI, LINDA.</b> Born in Florence; she resides in Geneva. Two of her
flower pieces, in water-color, were seen at the Fine Arts Exposition,
Milan, 1881. In 1883, also in Milan, she exhibited "A Wedding Garland,"
"Hawthorne," etc. The constantly increasing brilliancy of her work was
shown in three pictures, flowers in water-colors, seen at the Milan
Exposition, 1886. To Vienna, 1887, she sent four pictures of wild
flowers, which were much admired.
<b>ROCCO, LILI ROSALIA.</b> Honorable mention, a bronze medal, and four
silver medals were accorded this artist at the Institute of Fine Arts in
Naples, where she studied from 1880 to 1886, and was also a pupil of
Solari. Born in Mazzara del Vallo, Sicily, 1863. In 1886 she exhibited,
at Naples, "Cari Fiori!" at Palermo, "Flora"; and in Rome, "A Sicilian
Contadina." In 1888 her picture, "Spring," was exhibited in London. Two
of her works were in the Simonetti Exposition, 1889, one being a marine
view from her birthplace. She has painted many portraits, both in oils
and water-colors, and has been appointed a teacher in at least two
Government schools in Naples.
<b>RODIANA, ONORATA.</b> Was a contemporary of the saintly Caterina de
Vigri, but was of quite another order of women. She had one quality
which, if not always attractive, at least commands attention. She was
unique, since we know of no other woman who was at the same time a
successful artist and a valiant soldier!
Born in Castelleone, near Cremona, early in the fifteenth century, she
was known as a reputable artist while still young, and was commissioned
to decorate the palace of the tyrant, Gabrino Fondolo, at Cremona. The
girlish painter was beautiful in person, frank and engaging in manner,
and most attractive to the gentlemen of the tyrant's court.
One day when alone and absorbed in the execution of a wall-painting, a
dissolute young noble addressed her with insulting freedom. She could not
escape, and in the struggle which ensued she drew a dagger and stabbed
her assailant to the heart.
Rushing from the palace, she disguised herself in male attire and fled to
the mountains, where she joined a company of Condottieri. She soon became
so good a soldier that she was made an officer of the band.
Fondolo raged as tyrants are wont to do, both on account of the murder
and of the escape. He vowed the direst vengeance on Onorata if ever she
were again in his power. Later, when his anger had cooled and he had no
other artist at command who could worthily complete her decorations, he
published her pardon and summoned her to return to his service.
Onorata completed her work, but her new vocation held her with a potent
spell, and henceforth she led a divided life--never entirely
relinquishing her brush, and remaining always a soldier.
When Castelleone was besieged by the Venetians, Onorata led her band
thither and was victorious in the defence of her birthplace. She was
fatally wounded in this action and died soon after, in the midst of the
men and women whose homes she had saved. They loved her for her bravery
and deeply mourned the sacrifice of her life.
Few stories from real life are so interesting and romantic as this, yet
little notice has been taken of Onorata's talent or of her prowess, while
many less spirited and unusual lives have been commemorated in prose and
poetry.
<b>RODRIGUEZ DE TORO, LUISA.</b> Honorable mention, Madrid, 1856, for a
picture of "Queen Isabel the Catholic Reading with Doña Beatriz de
Galindo"; honorable mention, 1860, for her "Boabdil Returning from
Prison."
Born in Madrid; a descendant of the Counts of Los Villares, and wife of
the Count of Mirasol. Pupil of Cárlos Ribera.
<b>RONNER, MME. HENRIETTE.</b> Medals and honorable mentions and elections
to academies have been showered on Mme. Ronner all over Europe. The King
of Belgium decorated her with the Cross of the Order of Leopold. Born in
Amsterdam in 1821. The grandfather of this artist was Nicolas Frederick
Knip, a flower painter; her father, Josephus Augustus Knip, a landscape
painter, went blind, and after this misfortune was the teacher of his
daughter; her aunt, for whom she was named, received medals in Paris and
Amsterdam for her flower pictures. What could Henriette Knip do except
paint pictures? Hers was a clear case of predestination!
At all events, almost from babyhood she occupied herself with her pencil,
and when she was twelve years old her blind father began to teach her.
Even at six years of age it was plainly seen that she would be a painter
of animals. When sixteen she exhibited a "Cat in a Window," and from that
time was considered a reputable artist.
In 1850 she was married and settled in Brussels. From this time for
fifteen years she painted dogs almost without exception. Her picture
called "Friend of Man" was exhibited in 1850. It is her most famous work
and represents an old sand-seller, whose dog, still harnessed to the
little sand-wagon, is dying, while two other dogs are looking on with
well-defined sympathy. It is a most pathetic scene, wonderfully
rendered.
About 1870 she devoted herself to pictures of cats, in which specialty of
art she has been most important. In 1876, however, she sent to the
Philadelphia Exposition a picture of "Setter Dogs." "A Cart Drawn by
Dogs" is in the Museum at Hanover; "Dog and Pigeon," in the Stettin
Museum; "Coming from Market" is in a private collection in San Francisco.
Mme. Ronner has invented a method of posing cats that is ingenious and of
great advantage. To the uninitiated it would seem that one could only
take the portrait of a sleeping cat, so untiring are the little beasts in
their gymnastic performances. But Mme. Ronner, having studied them with
infinite patience, proceeded to arrange a glass box, in which, on a
comfortable cushion, she persuades her cats to assume the positions she
desires. This box is enclosed in a wire cage, and from the top of this
she hangs some cat attraction, upon which the creature bounds and shows
those wonderful antics that the artist has so marvellously reproduced in
her painting. Mme. Ronner has two favorite models, "Jem" and "Monmouth."
The last name is classical, since the cat of Mother Michel has been made
immortal.
Miss Winslow, in "Concerning Cats," says that "Mme. Ronner excels all
other cat painters, living or dead. She not only infuses a wonderful
degree of life into her little figures, but reproduces the shades of
expression, shifting and variable as the sands of the sea, as no other
artist of the brush has done. Asleep or awake, her cats look to the"
felinarian "like cats with whom he or she is familiar. Curiosity,
drowsiness, indifference, alertness, love, hate, anxiety, temper,
innocence, cunning, fear, confidence, mischief, earnestness, dignity,
helplessness--they are all in Mme. Ronner's cats' faces, just as we see
them in our own cats."
It is but a short time ago that Mme. Ronner was still painting in
Brussels, and had not only cats, but a splendid black dog and a cockatoo
to bear her company, while her son is devoted to her. Her house is large
and her grounds pleasant, and her fourscore years did not prevent her
painting several hours a day, and, like some other ladies of whom we
know, she was "eighty years young."
The editor of the _Magazine of Art_, M. H. Spielman, in an article on the
Royal Academy Exhibition, 1903, writes: "What the dog is to Mr. Riviere,
to Madame Ronner is the cat. With what unerring truth she records
delightful kittenly nature, the feline nobility of haughty indifference
to human approval or discontent, the subtlety of expression, and drawing
of heads and bodies, the exact quality and tone of the fur, the
expressive eloquence of the tail! With all her eighty years, Madame
Ronner's hand, vision, and sensibility have not diminished; only her
sobriety of color seems to have increased." Her pictures of this year
were called "The Ladybird" and "Coaxing." To the Exhibition of the
Beaux-Arts in Brussels, 1903, Mme. Ronner sent pictures of cats, full of
life and mischief.
<b>ROOSENBOOM, MARGARITE VOGEL.</b> Second-class medal, Munich, 1892. Born
in 1843 and died in 1896, near The Hague. She spent a large part of her
life near Utrecht, devoting herself mainly to the painting of flowers.
One of her works is in the Royal Museum at Amsterdam, and another in the
Museum at Breslau.
<b>ROPE, ELLEN M.</b> This English sculptor executed four large panels for
the Women's Building at the Chicago Exhibition. They represented Faith,
Hope, Charity, and Heavenly Wisdom. They are now in the Ladies' Dwelling,
Cherries Street, London. A "Memorial" by her is in Salisbury Cathedral.
Her reliefs of children are, however, her best works; that of a "Boy on a
Dolphin" is most attractive. "Christ Blessing Little Children" is
charmingly rendered.
At the Academy, 1903, she exhibited a panel for an organ chamber, in low
relief.
<b>ROSA, ANIELLA DI.</b> 1613-1649. A pupil in Naples of Stanzioni, who, by
reason of her violent death, has been called the Neapolitan Sirani. She
acquired a good reputation as a historical painter and doubtless had
unusual talent, but as she worked in conjunction with Stanzioni and with
her husband, Agostino Beltrano, it is difficult to speak of works
entirely her own.
Two pictures that were acknowledged to be hers represented the birth and
death of the Virgin; these were praised and were at one time in a church
in Naples, but in a recent search for them I was unable to satisfy myself
that the pictures I saw were genuine.
Another pupil in the studio of Stanzioni was the Beltrano whom Aniella
married. He painted in fresco, Aniella in oils, and they were frequently
employed together. The fine picture of San Biagio, in the church of Santa
Maria della Sanità, was one of their joint works.
Their early married life was very happy, but Aniella was beautiful and
Beltrano grew jealous; it is said without cause, through the influence of
a woman who loved him and hated Aniella; and in spite of the efforts she
made to merit her husband's confidence, his distrust of her increased.
Her base rival, by her art and falsehood, finally succeeded in convincing
Beltrano that Aniella was unworthy, and in his rage he fatally stabbed
her, when, at thirty-six, she was in the prime of her beauty and talent.
She survived long enough to convince her husband of her innocence and to
pardon him for his crime, but he fled from Italy and lived the life of an
outcast during ten years. He then returned to Naples, where after seven
years, tormented by remorse, death came to his release.
Domenici generously praised the works of Aniella, and quoted her master,
Stanzioni, as saying that she was the equal of the best painters of her
time.
<b>ROSALBA.</b> See Carriera.
<b>ROSSI, PROPERZIA DE.</b> Born in Bologna. 1490-1530. This artist was the
first woman to succeed as a sculptor whose works can still be seen. Pupil
of Raimondi, she was more or less influenced by Tribolo. In the Church of
San Petronio, in her native city, in the eleventh chapel, is a beautiful
bas-relief of two angels, executed by Properzia. They are near Tribolo's
"Ascension." A relief and a portrait bust in the same church are also
ascribed to her.
Her first work in sculpture was a minute representation of the
Crucifixion on a peach stone! The executioners, women, soldiers, and
disciples were all represented in this infinitesimal space. She also
inserted in a coat of arms a double-headed eagle in silver filigree;
eleven peach stones on each side, one set representing eleven apostles
with an article of the creed underneath, the other set eleven virgins
with the name of a saint and her special attribute on each. Some of these
intaglios are still in a private collection in Bologna.
At length Properzia saw the folly of thus belittling her talent, and when
the facade of San Petronio was to be enriched with sculpture she asked
for a share in the work and presented a bust she had made as a pledge of
her ability; she was appointed to execute a portion of the decorations.
She made a bas-relief, the subject being "Joseph and Potiphar's Wife,"
which Vasari called "a lovely picture, sculptured with womanly grace, and
more than admirable."
By this time the jealousy of other artists was aroused, and a story was
diligently repeated to the effect that Properzia loved a young nobleman
who did not care for her, and that the above work, so much admired,
represented her own passion. Albertini and other artists waged an
absolute crusade against her, and so influenced the superintendents of
the church that Properzia was obliged to leave the work and her relief
was never put in place. Through mortification and grief her health
failed, and she died when but forty years old.
In spite of her persecution she was known in all Italy, not only for her
sculpture, but for her copper-plate engraving and etching. When Pope
Clement VII. went to Bologna for the coronation of Charles V. he asked
for Properzia, only to hear that she had been buried that very week.
Her story has been told by Vasari and other writers. She was handsome,
accomplished in music, distinguished for her knowledge of science, and
withal a good and orderly housewife. "Well calculated to awaken the envy,
not of women only, but also of men." Canova ardently admired the work of
Properzia that remained in his day, and esteemed her early death as one
of the chief misfortunes to the advance of the fine arts in Italy.
<b>ROTKY, BARONESS HANNA.</b> Born at Czernowitz in 1857. She studied
portrait painting under Blaas, Swerdts, and Trentino, and has worked
principally in Vienna. Her portrait of Freiherr von Sterneck is in the
Military Academy at Wiener-Neustadt.
<b>RUDDER, MME. DE.</b> This lady has made an art of her embroidery, and
may be said to have revived this decorative specialty and to have
equalled the ancient productions which are so beautiful and valuable.
After her marriage to the well-known sculptor this gifted couple began
their collaboration. M. P. Verneuil, in _Brush and Pencil_, November,
1903, writes: "The first result of this joint work was shown in 1894 at
the Exposition Cercle pour l'Art, in the form of a panel, called 'The
Eagle and the Swan.' It was exhibited afterward at the Secession in
Vienna, where it was purchased by a well-known amateur and connoisseur.
Other works were produced in succession, each more interesting than its
predecessor. Not daunted by difficulties that would have discouraged the
most ambitious and audacious craftswoman, Mme. de Rudder took for a
subject 'The Fates,' to decorate a screen. Aside from the artistic
interest attaching to this work, it is remarkable for another quality.
The artist yielded to the instinctive liking that she had for useful
art--she ornamented a useful article--and in mastering the technical
difficulties of her work she created the new method called
're-embroidery.' For the dresses of her 'Fates' ancient silks were
utilized for a background. Some of the pieces had moth-holes, which
necessitated the addition of 'supplementary ornamental motives,'
'embroidered on cloth to conceal the defects.' The discovery of
're-embroidery' was the result of this enforced expedient.