in respect of women artists. On that day were received Mme. Vigee Le
Brun and Mme. Adelaide Labille Guyard (or Guiard). One may say that at
that very hour began officially the rivalry which constantly existed
between the two women, both of real merit, throughout their careers--a
rivalry which has been maintained in the preference shown for one or
the other, after death, by their historians. Mme. Vigee Le Brun was
the more celebrated of the two, and rightly so, for one might say that
of all the women painters of her time she had a personality quite her
own, quite feminine, rich in grace, ease, variety of attitude, gesture
and composition, discreet and delicate affectedness, freshness and
brightness. Mme. Vigee Le Brun was the daughter of a somewhat mediocre
painter, and the wife of a well-known picture dealer, whom she married
when quite young. She had lessons from Doyen, Greuze and Joseph
Vernet, and her success was quickly achieved. Mlle. Adelaide Labille
des Vertus, the daughter of a mercer, was married to a certain Guyard,
a neighbour. She did not live long with him, and had lessons from an
old friend, the painter Vincent (the father), and afterwards from La
Tour. While Mme. Le Brun, whose work was admired by Marie Antoinette,
was supported by the Court, Mme. Guyard secretly made friends in the
body of the Academy itself, painting the portraits of first one member
and then another. On the day of the election, she seemed to be
overcoming her rival, whom her friends succeeded in putting on one
side because the rules of the Academy forbade the traffic in pictures.
Mme. Le Brun was received only by order of the King. Her own
autobiography, as well as the pamphlets of the time, depict for us the
powerful rivalry which existed, and also the many calumnies with which
the three women painters were attacked (there was a third candidate,
Mme. Vallayer Coster), even in their private life, the persecution of
offensive insinuations, and the existence of the accusation so often
levelled against women painters, that their work is not their own.
Posterity has reconciled the rivals on the walls of our galleries. If
Mme. Vigee Le Brun certainly holds pride of place, Mme. Guyard, by her
more solid talent, perhaps more characteristic, has an enviable
position at her side.
By the side of these celebrated women there are a few others of whom
the recollection is not quite so keen, but who were not without a
touching grace, though they lived their life within the sphere of
their masters' influence, illuminated by the renown of these masters
and breathing their atmosphere. It would not be right to say that
these women artists copied their masters, or slavishly imitated them,
but they transposed their qualities, elevated them by feminising them.
Of these, I may mention Mlle. Ledoux, who followed in the wake of
Greuze; Mlle. Marguerite Gerard, who lived under the shadow of
Fragonard; and that exquisite and sorrowful figure, Mlle. Constance
Mayer, whose devotion for her master Prudhon found its supreme
expression in her tragic end. Less brilliant, rather hidden in the
twilight of history, these women yet exercise on our thoughts an
influence more subtle and delicate, and more penetrating.
The approach of the great national crisis, and even the worst days of
that period, at the same time glorious yet barbaric, did not
extinguish the zeal of the women painters. It seems rather as though
they shut themselves up in the study of their art so as to secure a
refuge for their hopes and their dreams. In the first "Salons" of the
century, one is surprised to find works by a comparatively large
number of women painters. In 1800, of 180 exhibitors they number 25;
eight years later, in the "Salon" of 1808, they are 46 out of 311. The
difficulties set up by the Academy were overcome, the liberty to
exhibit was a fresh encouragement, even an exceptional stimulus. The
figures, therefore, rise still further in the first quarter of the
century, so that in 1831 the women number 149 out of 873 exhibitors.
The "staff," so to speak, of the women artists of that day,
surrounding Mme. Vigee Le Brun, whose glorious and somewhat
chequered career did not close till 1842, included a number of
distinguished women, such as Mlle. Bevic and Mlle. Capet, pupils of
Mme. Guyard; Mme. Chaudet, the wife of the sculptor; Mlle. Eulalie
Morin; Mme. Adele Romance, who also signed Romany, or Romany de
Romance; the "good" Mlle. Godefroid, pupil of Baron Gerard, who helped
him in so many of the portraits of contemporary cosmopolitan people of
distinction, commissions for which rained in the master's studio,
after the entry of the allied forces into Paris. Later on, we have
Mlle. Cogniet; Mme. Filleul; Mme. Rude, the wife of the great
sculptor, who had a severe yet confident talent. Lastly, there was the
woman artist who benefited by all the advantages of fashion, Mme.
Haudebourt-Lescot.
[Illustration: FRENCH SCHOOL, 1755-1842
MADAME VIGEE LE BRUN AND HER DAUGHTER. AFTER THE PAINTING IN THE
LOUVRE, FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS
Madame Elisabeth Louise Vigee Le Brun, Painter
1755-1842]
Mlle. Lescot, wife of Haudebourt, the architect, and pupil of
Lethiere--mischievous tongues, of course, declared that he painted her
pictures--was a strange creature, who, at the start, owed the
popularity she obtained as much to her personal charm as to her real
talent. Her first success was in the drawing-room, where people
admired her dances. "She was," says a writer, "ugly and captivating,
with crooked eyes and a charming expression, her mouth ill-shaped, but
tender and inviting," such as Ingres represented her in one of his
finest pencil drawings.
Hitherto, women had certainly banished themselves into the domain of
portrait or still-life painting, that is to say, they had done little
that was not sheer copying. But, little by little, under the influence
of the lesser Dutch masters, who had been passionately appreciated
since the close of the previous reign, and thanks to the opening of
the Royal Collections at the Luxembourg Palace, where they could be
studied and copied, the women-painters, following the example of the
masters who gained inspiration therefrom, began to devote themselves
to landscape and to _genre_. They sought out little touching subjects,
which very frequently bordered on the ridiculous. For example, "the
child's bed catches fire through the carelessness of the nurse who has
fallen asleep, and the dog attempts to waken her."
Mlle. Lescot cut herself adrift from all these insipidities. The
opportunity came for her to spend several years in Rome. She was
struck by the popular customs of the country, by its colour and that
singular and picturesque charm which Granet had been the first to
discover--the charm which, after her own time, was to be made further
known by the paintings of the well-known Leopold Robert. As a matter
of fact, she was practically the creator of the type of exotic
subjects borrowed from Italy, to which numerous artists in France
devoted themselves--Hebert, Bonnat and Jules Lefebvre, to name but a
few of the most important of them. In choosing her _motifs_ she
displayed wit and inventiveness, and at times a delicate grace,
notably in her first pictures, before the desire to satisfy a daily
increasing connection had driven her into unduly hurried work. Her
technique, too, was brisk, yet careful, as it should be in small works
such as hers. Her lightly-touched lithographs, together with those
which she did "after" her own pictures, contributed to popularise her
special subjects and her name.
The novelty of these paintings, devoted to the cult of "local colour,"
caused them to be adopted as "romantic." It was the same with Schnetz
and Leopold Robert, who shared the popularity. But the real "Young
romantic" among artists was Mlle. de Fauveau. What one discovers with
regard to her is that she is not a painter but a sculptor. The Royal
Academy of the 17th century had already boasted certain wood carvings
by _la demoiselle_ Masse. Also, there was Mme. Falconet. But the great
and austere art was cultivated only as a rare exception by woman.
Mlle. Felicie de Fauveau was the first pre-Raphaelite, although the
return to the primitive Italian masters of the 16th century dates
further back, but with cropped head under a velvet toque, after the
style of Raphael himself, she unceasingly uttered curses against that
noble personality, whose brush produced the highest incarnation of the
art of painting.
But the naturalist movement it was that witnessed the development of
the greatest artistic personality in the feminine world of
to-day--Rosa Bonheur. The _role_ played by Rosa Bonheur is important
from the feminine point of view, for the reason that she broke away
from ancient traditions. She revealed what woman was capable of in the
matter of energy, of continuity of purpose, of method, of scientific
direction, in a word, in the indispensable impetus of inspiration.
Before her day, the woman-painter had always been looked upon rather
as a phenomenon, or her place in the domain of art was conceded to her
on the grounds that she was indulging in an elevating and tasteful
pastime, coming under the category of "accomplishments." Rosa Bonheur
gave to woman a position equal to that of man. She won for herself
unanimous admiration, based, not on the singularity of her life, not
on looseness of morals, not on social triumphs, not on friends at
Court, but on her robust, virile, observant and well-considered
talent, which in its turn was based on a primary study of anatomy and
osteology, developed by a continuous observation of the constitution
and the life of the animal world. Her long life was crowned with
glory. She held an exceptional place in art, akin to that of George
Sand in the world of letters.
From that day forth, there appeared a new phase in the artistic life
of woman. Art became for her, not merely an intellectual pastime, but
a vocation and a career. Rosa Bonheur lived nearly to the close of the
nineteenth century, seeing many revolutions both in French life and in
French art, but remaining always quite true to herself. Perhaps the
most uncertain period of all, historically, so far as women were
concerned, was that period of wave-like fluctuation in French art that
occurred in the seventies and eighties, reflecting itself in the work
of such women painters as Angele Dubos, Jeanne Fichel, Marie Petiet,
Laure de Chatillon, Felicie Schneider, Eva Gonzales, Marie Nicolas,
and Rosa Bonheur's successor--her heiress, so to speak--Madame
Virginie Demont-Breton, the daughter, wife and niece of a family of
distinguished artists. She has achieved a well-deserved popularity
with her subjects of popular and rustic life, and, like Rosa Bonheur,
has attained the rank of officer of the Legion of Honour. Two other
feminine personalities have attracted the attention of both public
and artists, the one, the sister-in-law of Manet, the delightful
Mademoiselle Morisot, who has, so to speak, improved on the refinement
of her master; the other, that strange and alluring young Russian
girl, who adopted France as her Fatherland, and whom France adopted as
artist. Marie Bashkirtseff, struck down by a cruel and premature
death, at the age of twenty-three, revealed something far more than
mere happy gifts. One is surprised at the amount of studies produced
by the unfortunate and beautiful creature in the short space allotted
to her for her life-work.
We now enter upon the present period of woman's artistic life, the
active period, let us call it. We no longer trouble about her place at
our exhibitions, since she has nowadays her own exhibition, or rather
exhibitions proper to herself. Among the many youthful _amateurs_ who
constitute the bulk of feminine artists, one finds a number of true
artists. To name a few: Mademoiselle Louise Abbema, Madame Madeleine
Lemaire, Madame Nanny Adam, Mlle. Fierard, Mme. Vallet-Bisson, Madame
Chatrousse, Madame Darmesteter, Mme. Delacroix-Garnier, Mme.
Baury-Saurel, and many others, as this book proves.
Several women-artists have won their place in the National Museum,
wherein first rank is held, after Rosa Bonheur and Mme. Demont-Breton,
by Madame Marie Cazin, painter and sculptor, Madame Victoria Dubourg
(widow of Fantin-Latour), Mlle. Dufau, who has just been commissioned
to execute some important decorations for the Sorbonne, Mlle.
Delasalle, Mlle. Marie Gautier, Senora Eva Gonzales, and a couple of
semi-naturalised foreigners, Miss Mary Cassatt, an American, and Mlle.
Breslau, a Swiss--both dames of the Legion of Honour.
To conclude, women are proving just now not only that the domain of
art should be open to them as freely as it is to men, on the grounds
of right and reason, but also that they are specially gifted by their
delicate sensitiveness, their quickness of comprehension, their
initiative faculty, and lastly, by all the phases of their natural
temperament, and by their intelligence to endow art with the elements
of expression and beauty proper to womankind.
LEONCE BENEDITE.
[Illustration: FRENCH SCHOOL, 1768-1826
PORTRAIT OF MARIE PAULINE, PRINCESSE BORGHESE. AFTER THE
PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
Madame Marie Guilhelmine Benoits, Painter
1768-1826]
[Illustration: FRENCH SCHOOL, XVII AND XVIII CENTURIES
PORTRAIT OF MADAME VICTOIRE DE FRANCE. AFTER THE ORIGINAL
PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY BRAUN CLEMENT AND
CO., PARIS
Madame Guyard, nee Labille des Vertus, Painter
1749-1803]
[Illustration: PORTRAIT OF MARIE DE RABUTIN-CHANTAL, MARQUISE DE
SEVIGNE (1626-1696) AFTER THE ORIGINAL PAINTING AT VERSAILLES,
FROM A COPYRIGHT PHOTOGRAPH BY NEWIDEIN, PARIS Mademoiselle de
Vanteuil, Painter
17th Century]
[Illustration: FRENCH SCHOOL, XVIII CENTURY
THE SONS OF CHARLES X. OF FRANCE. AFTER AN ORIGINAL PICTURE IN
THE MUSEE DE VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
Madame Anna Rosalie Filleul, nee Bocquet, Painter
Died 1794]
[Illustration: FRENCH SCHOOL, XVIII CENTURY
PORTRAIT OF THE DUC D'ANGOULEME, SON OF CHARLES X FROM A
PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS, AFTER AN ORIGINAL
PASTEL AT VERSAILLES
Madame Filleul, nee Bocquet, Pastellist
Died 1794]
[Illustration: PORTRAIT OF MADAME RECAMIER IN THE YEAR 1799.
FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., AFTER AN ORIGINAL
PAINTING AT VERSAILLES Madame Eulalie Morin, Painter Late 18th
Century]
[Illustration: FRENCH SCHOOL, XVIII CENTURY
PORTRAIT OF ELISABETH OF FRANCE, DUCHESS OF PARMA. AFTER THE
ORIGINAL PAINTING AT VERSAILLES FROM A PHOTOGRAPH BY NEWIDEIN,
PARIS
Madame Adelaide Guyard, nee Labille des Vertus, Painter
In second marriage Mme. F. A. Vincent
1749-1803]
[Illustration: FRENCH SCHOOL, XIX CENTURY
Portrait of Madame Adelaide D'Orleans (1777-1847). After the
painting at Chantilly, from a Photograph by Braun, Clement &
Co., Paris
Mademoiselle Marie Amelie Cogniet, Painter
1798-1869]
[Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
PORTRAIT OF QUEEN MARIE ANTOINETTE AND HER CHILDREN. AFTER THE
ORIGINAL PAINTING AT VERSAILLES, FROM A CARBON PRINT BY BRAUN,
CLEMENT & CO., PARIS
Madame Elisabeth Louise Vigee Le Brun, Painter
1755-1842]
[Illustration: FRENCH SCHOOL, BETWEEN 1792 AND 1820
PORTRAIT IN THE PINACOTECA AT TURIN DATED 1792. FROM A
PHOTOGRAPH BY ALINARI
Madame Elisabeth Louise Vigee Le Brun, Painter
1755-1842]
[Illustration: "THE MINIATURE." FROM THE PAINTING IN THE GLASGOW
GALLERY AFTER A PHOTOGRAPH BY HANFSTAENGL Madame Caroline de
Valory, Pupil of Greuze, Painter Early 19th Century]
[Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
PORTRAIT OF MADAME LE BRUN, AFTER THE ORIGINAL PAINTING IN THE
NATIONAL GALLERY, LONDON, FROM A PHOTOGRAPH BY HANFSTAENGL
PORTRAIT OF LOUISE MARIE ADELAIDE DE BOURBON (1753-1821). AFTER
THE ORIGINAL PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY
NEWIDEIN, PARIS
Madame Elisabeth Louise Vigee Le Brun, Painter
1755-1842]
[Illustration: FRENCH SCHOOL, EARLY XIX CENTURY
PORTRAIT OF AN ACTRESS, PROBABLY MLLE. BELIER. REPRODUCED FROM A
PHOTOGRAPH OF THE ORIGINAL PAINTING BY PERMISSION OF BRAUN,
CLEMENT & CO., PARIS
Mademoiselle Bouilliar, Painter
Early 19th Century]
[Illustration: FRENCH SCHOOL, XIX CENTURY
STUDY OF A BULL REPRODUCED FROM A PHOTOGRAPH, BY PERMISSION OF
BRAUN, CLEMENT & CO., PARIS, OWNERS OF THE COPYRIGHT
Mademoiselle Rosa Bonheur, Painter
1822-1899]
[Illustration: FRENCH SCHOOL, EARLY XIX CENTURY
PORTRAIT OF DAME DE LONGROIS (1763-1826). AFTER THE PASTEL IN
THE TROCADERO FROM A CARBON PRINT BY BRAUN, CLEMENT & CO., PARIS
Mlle. Marie Gabrielle Capet, Pupil of Madame Guyard, Painter
1761-1818]
[Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
MADAME VIGEE LE BRUN AT HER EASEL. AFTER THE ORIGINAL PAINTING
IN THE UFFIZI, FLORENCE, FROM A PHOTOGRAPH BY W. A. MANSELL &
CO.
Madame Elisabeth Louise Vigee Le Brun, Painter
1755-1842]
[Illustration: FRENCH SCHOOL, 1778-1821
THE HAPPY MOTHER. AFTER THE ORIGINAL PAINTING IN THE LOUVRE,
PARIS, FROM A COPYRIGHT PHOTOGRAPH BY BRAUN, CLEMENT & CO.
Mademoiselle Marie Francoise Constance Mayer, Painter
1778-(committed suicide)1821]
[Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
PORTRAIT OF MARIE ANTOINETTE, QUEEN OF FRANCE (1755-1793). AFTER
THE ORIGINAL PAINTING AT VERSAILLES FROM A PHOTOGRAPH BY BRAUN,
CLEMENT & CO., PARIS
Madame Elisabeth Louise Vigee Le Brun, Painter
1755-1842]
[Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
PORTRAIT OF THE DUCHESS OF POLIGNAC. FROM A PHOTOGRAPH BY BRAUN,
CLEMENT & CO., PARIS
Madame Elisabeth Louise Vigee Le Brun, Painter
1755-1842]
[Illustration: FRENCH SCHOOL, 1767 TO 1830
PORTRAIT OF MADAME VILLOT, NEE BARBIER. FROM A CARBON PRINT BY
BRAUN, CLEMENT & CO., PARIS
Mme. Jeanne Elisabeth Chaudet, nee Gabiou, Painter
1767-1830]
[Illustration: PORTRAIT OF MARGUERITE J. A. HOUDON, FIRST COUSIN
OF HOUDON THE SCULPTOR. PHOTOGRAPH BY BRAUN CLEMENT & CO. Mlle.
Marguerite J. A. Houdon, Painter 1771-1795]
[Illustration: FRENCH SCHOOL, 1778-1849
PORTRAIT OF MADAME DE STAEL (1766-1817). AFTER THE ORIGINAL
PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN
PORTRAIT OF CHARLES MAURICE, PRINCE OF TALLEYRAND-PERIGORD
(1754-1838). FROM A PHOTOGRAPH BY NEWIDEIN, AFTER THE PAINTING
AT VERSAILLES
Mademoiselle Marie Eleonore Godefroid, Painter
1778-1849]
[Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES
PORTRAIT OF MADAME MOLE-RAYMOND, ACTRESS OF THE
COMEDIE-FRANCAISE. AFTER THE ORIGINAL PAINTING IN THE LOUVRE,
FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
Madame Elisabeth Louise Vigee Le Brun, Painter
1755-1842]
[Illustration: FRENCH SCHOOL, XIX CENTURY
"Shepherd Watching his Sheep." After the picture in the Musee de
Chantilly, from a Copyright Photograph by Braun, Clement & Co.,
Paris
Rosa Bonheur, Painter
1822-1899]
[Illustration: FRENCH SCHOOL, XIX CENTURY
PORTRAIT OF MARSHAL LEFEVRE, DUKE OF DANTZIC. FROM A PHOTOGRAPH
BY NEWIDEIN AFTER THE PAINTING AT VERSAILLES
Madame C. H. F. Davin, nee Mirvault, Painter
1773-1844]
[Illustration: PORTRAIT (PAINTED BY HERSELF) OF MADAME RUDE,
PUPIL OF DAVID. FROM A PHOTOGRAPH BY NEWIDEIN, PARIS, AFTER THE
ORIGINAL PAINTING AT DIJON Madame Sophie Rude, nee Fremiet,
Painter
1797-1867]
[Illustration: FRENCH SCHOOL, EARLY XIX CENTURY
A GOOD DAUGHTER. REPRODUCED AFTER THE ORIGINAL PICTURE, FROM AN
ENGRAVING BY S. W. REYNOLDS
Madame Antoinette Cecile Haudebourt Lescot, Painter
1784-1845]
[Illustration: FRENCH SCHOOL, 1847
PLOUGHING IN THE NIVERNAIS. DATED 1847. AFTER THE ORIGINAL
PAINTING IN THE MUSEE DU LUXEMBOURG, FROM A CARBON PRINT BY
BRAUN, CLEMENT & CO.
Mademoiselle Rosa Bonheur, Painter
1822-1899]
[Illustration: FRENCH SCHOOL, XIX CENTURY
THE HORSE FAIR. AFTER THE ORIGINAL PICTURE IN THE TATE GALLERY,
LONDON, FROM A PHOTOGRAPH BY THE AUTOTYPE COMPANY, NEW OXFORD
STREET, LONDON
Mademoiselle Rosa Bonheur, Painter
1822-1899]
[Illustration: FRENCH IMPRESSIONIST SCHOOL, XIX CENTURY
PORTRAIT OF A YOUNG WOMAN SEATED. REPRODUCED FROM THE ORIGINAL
PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND
NEW YORK
Berthe Morisot, Painter
1840-1895]
[Illustration: FRENCH IMPRESSIONIST SCHOOL, XIX CENTURY
THE JETTY.--AN OUTDOOR IMPRESSION. REPRODUCED FROM THE ORIGINAL
PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND
NEW YORK
Berthe Morisot, Painter
1840-1895]
[Illustration: FRENCH SCHOOL, 1879
THE KING OF THE DESERT. FROM AN ORIGINAL PAINTING IN THE PRADO,
MADRID, DATED 1879. AFTER A PHOTOGRAPH BY J. LAURENT & CO.,
MADRID
Mademoiselle Rosa Bonheur, Painter
1822-1899]
[Illustration: FRENCH SCHOOL, ABOUT 1879
'BRISCO,' A SHEPHERD'S DOG. AFTER THE ORIGINAL PAINTING IN THE
WALLACE COLLECTION, LONDON, FROM A PHOTOGRAPH BY W. A. MANSELL &
CO.
Mademoiselle Rosa Bonheur, Painter
1822-1899]
[Illustration: FRENCH SCHOOL, 1878 AND 1879
A NEW SONG. FROM THE ORIGINAL PAINTING, DATED 1879, AFTER A
PHOTOGRAPH BY BRAUN, CLEMENT & CO.
Mademoiselle Angele Dubos, Painter]
[Illustration: THE BOUQUET. FROM THE ORIGINAL PAINTING, DATED
1878, AFTER A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS Madame
Jeanne Fichel, nee Samson, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
MISTLETOE. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY
MESSRS. BRAUN, CLEMENT & CO., PARIS
Madame Jacqueline Comerre-Paton, Painter]
[Illustration: FRENCH SCHOOL, 1878 AND 1881
THE KNITTER ASLEEP. AFTER THE ORIGINAL PICTURE, DATED 1881, FROM
A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS
Mademoiselle Marie Petiet, Painter]
[Illustration: A YOUNG ADOLESCENT. FROM A PICTURE EXHIBITED AT
THE SALON IN 1878, AFTER A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
Madame Laure de Chatillon, Painter]
[Illustration: FRENCH SCHOOL, 1880
PRIVATE AND CONFIDENTIAL. AFTER AN ORIGINAL PICTURE EXHIBITED AT
THE PARIS SALON IN 1880
Madame Armand Emilie Leleux, Painter]
[Illustration: SITTING FOR A PORTRAIT IN 1806. AFTER THE
ORIGINAL PICTURE FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.,
PARIS Mademoiselle Jeanne Rongier, Painter]
[Illustration: FRENCH SCHOOL, ABOUT 1881
"REGALEZ-VOUS, MESDAMES!" AFTER THE ORIGINAL PAINTING, DATED
1881, FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
Mlle. Jenny Zillhardt, Painter
BY THE BANK OF A STREAM. FROM A PHOTOGRAPH BY BRAUN, CLEMENT &
CO., PARIS
Mlle. Hermine Waternau. Painter]
[Illustration: FRENCH SCHOOL, 1882
FATHER RICARD. AFTER A PAINTING EXHIBITED AT THE SALON IN 1882,
FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
Mlle. Marie Nicolas, Painter]
[Illustration: THE LAST SURVIVORS OF A FAMILY. FROM A PHOTOGRAPH
OF THE ORIGINAL PAINTING BY BRAUN, CLEMENT & CO., PARIS Madame
Felicie Schneider, Painter]
[Illustration: FRENCH SCHOOL, XIX CENTURY
PORTRAIT OF A LADY SEATED. AFTER THE PASTEL IN THE MUSEE DU
LUXEMBOURG, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
Madame Eva Gonzales, Pastellist
1849-1883]
[Illustration: FRENCH SCHOOL, BETWEEN 1882 AND 1898
CHARITY. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY BRAUN,
CLEMENT & CO., PARIS
Madame Uranie Colin-Libour, Painter]
[Illustration: "FLEURS DE SERRE." FROM A PHOTOGRAPH OF THE
ORIGINAL PAINTING BY BRAUN, CLEMENT & CO., PARIS Madame Alix
Enault, Painter]
[Illustration: FRENCH SCHOOL, 1883
ON THE SEA-SHORE. AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG,
PARIS, DATED 1883, FROM A PHOTOGRAPH BY MESSRS. LEVY & SONS,
PARIS
Madame Virginie Demont-Breton, Painter]
[Illustration: FRENCH SCHOOL, 1887 TO ABOUT 1892
BEFORE THE DANCE. AFTER AN ORIGINAL PAINTING DATED 1887, FROM A
PHOTOGRAPH BY NEWIDEIN, PARIS
Madame E. de Tavernier, Painter]
[Illustration: DESOLATION. AFTER THE ORIGINAL STUDY FROM A
PHOTOGRAPH LENT BY THE ARTIST Madame Marie Cazin, Painter]
[Illustration: FRENCH SCHOOL, 1885 AND 1890
IN THE GYNAECEUM. DATED 1885. FROM A PHOTOGRAPH OF THE ORIGINAL
PAINTING BY BRAUN, CLEMENT & CO., PARIS
Mlle. Diana Coomans, Painter]
[Illustration: AT LOW TIDE. AFTER THE ORIGINAL PICTURE, DATED
1890. FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO. Mlle. Eugenie
Salanson, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
"Sleep." Reproduced from a Photograph by permission of Braun,
Clement & Co., the Owners of the Copyright.
Francine Charderon, Painter]
[Illustration: FRENCH SCHOOL, FROM 1880 TO THE PRESENT DAY
THE FRUIT GIRL. AFTER THE ORIGINAL PICTURE BY PERMISSION OF
MESSRS. DURAND-RUEL & SONS, PARIS
Madame Eva Gonzales, Painter
1849-1883]
[Illustration: STUDY FROM A MODEL. AFTER THE ORIGINAL PAINTING
FROM A PHOTOGRAPH LENT BY THE ARTIST Mademoiselle Dufau,
Painter]
[Illustration: FRENCH SCHOOL, 1880 AND 1894
A GOOD CIGARETTE. AFTER THE ORIGINAL PAINTING, DATED 1880, FROM
A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
Madame Delphine de Cool, nee Fortin, Painter]
[Illustration: A HOLIDAY AT SOSTHENE. AFTER THE ORIGINAL
PAINTING, DATED 1894, FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
Madame Blanche Paymal-Amouroux, Painter]
[Illustration: FRENCH SCHOOL, 1894
"STELLA MARIS." AFTER THE ORIGINAL PAINTING, DATED 1894, AND
EXHIBITED AT THE SALON IN 1895, FROM A PHOTOGRAPH BY NEWIDEIN,
PARIS
Madame Virginie Demont-Breton, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
MATERNAL LOVE. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY
BRAUN, CLEMENT & CO., PARIS
Elizabeth Gardner (Madame W. A. Bouguereau), Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
"THE PATHWAY TO THE VILLAGE CHURCH." AFTER THE ORIGINAL PAINTING
FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS
Madame Fanny Fleury, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
THE GODDESSES BEFORE PARIS.
FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
Elisabeth Sonrel, Painter]
[Illustration: WINTER. AFTER THE ORIGINAL PAINTING FROM A
PHOTOGRAPH BY BRAUN, CLEMENT & CO. Mlle. Louise Abbema,
Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
THE JUDGMENT OF PARIS. AFTER THE ORIGINAL PICTURE FROM A
PHOTOGRAPH BY BRAUN, CLEMENT & CO.
Elizabeth Gardner (Madame W. A. Bouguereau), Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
MOTHER AND CHILD
AFTER THE ORIGINAL PICTURE
Madame Marie Cazin, Painter]
[Illustration: THE SHEPHERD AFTER THE ORIGINAL PAINTING Madame
Marie Cazin, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
IMPRESSION OF A CITY.
AFTER THE ORIGINAL PAINTING
Mademoiselle Dufau, Painter]
[Illustration: A BASKET OF FLOWERS. AFTER THE ORIGINAL PAINTING
Madame Victoria Dubourg (Fantin-Latour), Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
"THE DEPARTURE." REPRODUCED BY PERMISSION AFTER A PHOTOGRAPH BY
BRAUN, CLEMENT & CO., PARIS
Madame Vallet-Bisson, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
CHARACTER IN SPAIN
AFTER THE ORIGINAL STUDY
Mademoiselle Dufau, Painter]
[Illustration: STUDY OF TIGERS. AFTER THE ORIGINAL PAINTING
Madame Abran, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
"LES CHANDELLES." AFTER AN ORIGINAL PAINTING EXHIBITED AT THE
SALON IN 1896, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS
Madeleine Carpentier, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
IN SEARCH OF PREY. AFTER AN ORIGINAL PICTURE EXHIBITED AT THE
PARIS SALON IN 1900, FROM A PHOTOGRAPH BY NEWIDEIN
Mademoiselle E. Hilda, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
ROMEO AND JULIET. AFTER AN ORIGINAL PAINTING EXHIBITED AT THE
PARIS SALON IN 1900, FROM A PHOTOGRAPH BY NEWIDEIN
Mademoiselle A. Oppenheim, Painter]
[Illustration: FRENCH SCHOOL, ABOUT 1892.
WILL YOU BUY? AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY
MESSRS. BRAUN, CLEMENT & CO., PARIS
Mademoiselle Consuelo Fould, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
CHILDREN EATING SOUP IN A CHARITY SCHOOL. FROM AN ORIGINAL
PICTURE EXHIBITED AT THE PARIS SALON IN 1901. FROM A PHOTOGRAPH
BY NEWIDEIN
Mademoiselle E. Herland, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
COURTSHIP FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY BRAUN,
CLEMENT & CO., PARIS
Mdlle. Achille-Fould, Painter]
[Illustration: FRENCH SCHOOL, CONTEMPORARY
"BEBE ET ZIZON." REPRODUCED FROM A PHOTOGRAPH BY NEWIDEIN
Madame Lucas-Robiquet, Painter
"DO YOU WANT A MODEL?" FROM A PHOTOGRAPH BY NEWIDEIN
Madame Real del Sarte, Painter]
[Illustration: THE LESSON. AFTER THE ORIGINAL PAINTING FROM A
PHOTOGRAPH BY BRAUN CLEMENT & CO. Mlle. Josephine Houssay,
Painter]
[Illustration: FRENCH SCHOOL, 1903 AND 1904
PORTRAIT. AFTER THE ORIGINAL PAINTING, FROM A PHOTOGRAPH BY
BRAUN, CLEMENT & CO., PARIS
Madame Le Roy, Painter]
[Illustration: FLORA. AFTER THE ORIGINAL PAINTING, FROM A
PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS Mademoiselle Claudie,
Painter]
Women Painters in Belgium and in Holland
By N. Jany. Translated by Edgar Preston
As far as we are able to ascertain, the history of the present subject
takes us back to the time of Hubert and Jean Van Eyck, whose sister
Marguerite made a name for herself in art. In the important volume by
M. J. du Jardin, "L'Art Flamand," there is reproduced a drawing
"after" a miniature by Marguerite Van Eyck, representing St. Catherine
and St. Agnes, but we read elsewhere that "no work can with certainty
be attributed to her."
Among women workers a century later, we find: Clara de Keyzer, Suzanne
Horebout and Anna Smyters, all three of Ghent. Clara de Keyzer, who
flourished about 1530, visited Germany, Italy, France and Spain.
Suzanne Horebout (1503-1545) was the daughter of Gerard Horebout, a
painter of Ghent, who betook himself to England, and became painter to
Henry VIII. Duerer knew him at Antwerp, in 1521, and there paid homage
to the skill of his daughter, who was then barely 18 years of age. She
accompanied her father to England, and was there received with the
utmost favour; she made a rich marriage with John Parcker (or Parker),
one of the King's archers, and died full of honours in her adopted
country.
Anne Smyters who flourished about 1540, is named in words of praise by
Van Mander, Vaernewyck and Guicciardini. She married the celebrated
sculptor, Jean de Heere, and was the mother of Luc de Heere, the
painter, who made a long stay in England, where, among other works of
importance, he did a series of decorative paintings for the Earl of
Lincoln.
Siret's "Dictionnaire" tells us that "in 1868, M. Lescart, a barrister
of Mons, was the possessor of the only known picture by Catherine van
Hemessen. This is a half-length study of the Virgin fondling the
infant Christ, with a background of landscape wherein one perceives
snow. It is painted on wood, and bears the signature: 'Caterina de
Hemessen pingebat.'" But there is in London an interesting portrait of
a man, by her, dated 1552, and an illustration of it will be found on
page 263.
Then comes a series of daughters (and a sister) of famous painters,
viz: Justine van Dyck; Gertrude van Veen; Catherine Pepyn; Catherine
Peeters; Anne-Marie, Francoise-Catherine and Marie-Therese van
Thielen; and Laurence-Catherine Ykens. The daughter of Antony van Dyck
was born in London, in 1641. "She was wedded at the age of 12," says
Siret's "Dictionnaire," "to Sir John Stepney de Prendergast, and
abjured Protestantism at Antwerp on the 19th of August, 1660. Left a
widow, she made a second marriage with Martin de Carbonell. Van Dyck's
daughter was unfortunate, for she found herself compelled to ask the
King for a pension, which she obtained."
The daughter of Otto van Veen, known as Venius, the teacher of Rubens,
was born at Antwerp in 1602. She was a pupil of her father, and
married Louis Malo. The Brussels gallery contains a portrait of her
father, from her brush. She died in 1643. The daughter of Martin Pepyn
lived in Antwerp about 1619. She specialised in portrait work, and was
received into the Corporation of St. Luke, of that city, in 1650, by
virtue of being a daughter of the master.
The success obtained by the flower-paintings of Seghers and Breughel
suddenly caused a great development of this special branch of art, to
which, moreover, the celebrated Dutchman Jean-David de Heem, then
domiciled in Antwerp, was a notable contributor. Among the women who
became inspired by their example and followed their technique may be
mentioned: Catherine Peeters, and the three daughters, pupils of the
painter, Jean-Philippe van Thielen (himself a direct disciple of
Seghers), and Laurence-Catherine Ykens.
The registers of the Antwerp Academy for 1784 contain the name of
Marie Baesten, _nee_ Ommeganck. Siret's "Dictionnaire" also mentions
(at Bruges), the daughter of Louis de Deyster, the painter. Anne de
Deyster (1690-1747) attracted notice by the perfection with which she
copied her father's pictures. Gertrude de Pelichy, of Utrecht
(1743-1825), was appointed an honorary member of the Imperial and
Royal Academy of Painting in Vienna, and at Bruges she painted the
portrait of the Emperor Joseph II., and that of the Empress
Maria-Theresa.
At the opening of the 19th Century, the Art of the Miniature was
cultivated--as they expressed it in those days--by Marie-Josephe
Dargent of Liege, a daughter and pupil of Michel Dargent, the elder,
Hortense van Baerlen, and Amelie van Assche, whose sister, Isabelle
Catherine, a pupil of her uncle, Henry van Assche, had devoted herself
to landscape painting.
Siret's dictionary then notices a large number of women painters both
historical and _genre_.
Marie-Adelaide Kindt of Brussels, who was a pupil of David and of
Navez, and visited Germany and France; Julie-Anne-Marie Noel,
wife of the painter, J. B. van Eycken, of Brussels; Mme.
Isabelle-Marie-Francoise Geefs, _nee_ Corr, of Brussels, a pupil of
Navez; Mme. de Keyzer, _nee_ Marie Isabelle Telghuis, wife of the
former director of the Antwerp Academy, Nicaise de Keyzer. As to Mme.
O'Connel, _nee_ Frederique Miethe, of Berlin, a pupil of Begas and of
Gallait, "there is (writes C. Lemonnier in his 'Histoire des Beaux
Arts en Belgique'), in her wild paintings, as it were, a reflection of
Rubens."
Mlle. C. de Vrient, of Ghent, sister of the painters Albert and
Julien, was a flower painter of distinction, like Mlle. Renoz, Mlle.
de Franchimont, Mlle. F. Capesius and Mlle. E. de Vigne. Marie
Ommeganck, a sister of the renowned Balthazar Ommeganck, surnamed the
"Racine des Moutons," painted several landscapes in the manner of her
brother; Mlle. Euphrosine Beernaert, of Ostend, a pupil of L. Kuhnen,
painted landscapes characteristic of Zeeland and the Campine. The
Brussels Gallery has several of her works, including _Les Vieux
Chenes, ile de Walcheren_, and a _Lisiere de Bois en Hollande_.
Before citing the names of the professional women painters who
continue to contribute to the fame of the Belgian School, let me say a
word in admiration of the talent of sundry "amateurs" (as they are
called, to distinguish them from the others), chief among whom is
H.R.H. the Comtesse de Flandre. The small-sized portraits in oils
painted by the Duchesse d'Ursel are restrained in manner and full of
charm.
Furthermore, the pastel portraits by the Baroness Lambert de
Rothschild attract attention by the richness of their colouring and
their firm drawing, while those of the Comtesse Ghislaine de Caraman
impress one by their distinction and their style. Madame Philippson,
who is at present devoting herself specially to sculpture, has
exhibited oil paintings, boldly handled and decorative in effect, and
Madame Rolin-Jacquemyns has engraved in most skilful fashion several
etchings representing "The Desolate Spots of the Campine."
The most notable of the women-painters of the Belgian School to-day is
certainly Madame Marie Collart, who with rare skill, has chosen a path
to herself whereon she walks alone with an admirable instinct for
intimate rusticity, showing much deep feeling. The painting of Mlle.
Anna Boch, on the other hand, is bright and gay. She formed one of the
famous group of the XX., and following the example of several of its
members, she has now turned her attention to the special study of
light in the open air. Mlle. Louise Heger, after painting the lonely
_dunes_ of Flanders, and the Campine, has been studying and skilfully
representing the slaty tints of the high plateau of the Ardennes.
The most interesting of the "Menages d'artistes" existing at present
in the Belgian School is that of the Wytsmans. While Rodolph Wytsman
seeks out the characteristic aspects of the landscapes of Brabant and
the silent spots among the Flemish towns, Mme. Juliette Wytsman, for
her part represents, so to speak, the floral life of the sites chosen
by her husband. She has indeed created a _genre_ in which she is
without a rival.
The daughters of the German engraver, Hoppe, one of whom has married
Bernier, the animal painter, and the other the landscapist, Gilsoul,
have likewise attained celebrity.
[Illustration: DUTCH SCHOOL, XVII CENTURY
THE MERRY YOUNG MAN. FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE
PAINTING IN THE RIJKSMUSEUM AMSTERDAM.
Judith Leyster, Painter
1600(?)-1660]
The daughters and granddaughters of famous artists form yet another
section. Mlle. Alice Ronner, of Brussels, daughter of Mme. Henriette
Ronner, is beyond dispute the foremost painter of still-life in
Belgium to-day. Her technical qualities are of the highest order, her
_mise-en-page_, her draughtsmanship and her colour are in the grand
style, and her works one and all have a really masterly air. Mlle.
Marguerite Verboeckhoven, the granddaughter of the famous animal
painter, has set herself to study the delicate gradations of colour
seen on the Belgian littoral. Mlle. Verwee, daughter of the painter of
the _Beau Pays de Flandre_, exhibits portraits, which display the
wealth of her palette; and the still-life subjects by Mlle. Georgette
Meunier, daughter of the engraver, Jean Baptiste, and niece of the
great Constantin Meunier, are delicate both in design and in
colouring. She is a pupil of Alfred Stevens.
Mme. Destree-Danse and Mlle. Louise Danse, daughters of Auguste Danse,
the engraver, have revealed themselves worthy of their father's high
gifts. Mlle. Wesmael, in some remarkable landscapes, and Mme. Marie
Durand, who has done some interesting heads, both prove that in
Auguste Danse the teacher is fully worthy of the artist.
With regard to Mlle. Alix d'Anethan, C. Lemonnier, in his "History of
Belgian Fine Art," writes in the following terms:--"In the Antwerp
Salon of 1882 were two canvases by Mlle. d'Anethan, _L'affiche_ and
_L'Enfant malade_, which had the freshness and the limpidity of
Chardin, with a grace, a delicacy of touch, a feminine sense revealing
the teaching of that most imperious of masters, Alfred Stevens." Mlle.
Berthe Art, too, followed this prodigious master painter. She has made
her position by means of pastels which, while preserving their natural
charm, have all the solidity of oil-paintings.
Mlle. Marie Antoinette Marcotte at first devoted herself to the
representation of the life of the poor. Since then, however, she has
created an altogether original _genre_, which has won for her many a
success--the painting of glass-house interiors. She was "coached" by
Emile Claus, the landscapist, among whose pupils were Mme. de Weert
and Mlle. Montigny.
The number of women painters is ever on the increase. There were as
many as thirty-nine represented at the Brussels Salon of 1848, while
at the last Brussels Salon in 1903, they were more than a hundred; and
to close this rapid survey of feminine art in Belgium, I may record a
success of another kind. In 1904, Mlle. L. Brohee, after the various
eliminating trials, found herself among the half-dozen artists
permitted to take part in the final examination for the Prix de Rome.
Machteld van Lichtenberg, wife of Egbert van Boecop, is the first name
of a Dutch woman painter given in Siret's "Historical Dictionary." She
was born at Utrecht, of noble family, and made a speciality in
portrait painting. Her name is mentioned by J. van Beverwyck. Her
daughter Cornelie also took up painting, and died at a great age in
1629.
Marguerite Godewyck, of Dordrecht (1627-1677), was styled a "second
Anne Schurman." She was one of the most learned women of her time, and
was further surnamed "La Perle de la Jeunesse de Dordrecht," and "La
Fleur du Paradis des Arts et des Sciences." She specialised in
portrait painting. Judith Leyster, of Haarlem, likewise enjoyed great
fame. From the year 1613 she was a member of the Guild of St. Luke,
of Haarlem. In 1635 she had a pupil, Guillaume Wauters by name, who on
leaving her entered the studio of Franz Hals. She was married at
Heemstede on the 1st of June, 1636, to the painter Jean Molenaer, also
a native of Haarlem. She is eulogistically mentioned by Th.
Schrevelius, the historian of Haarlem, who describes her as a famous
woman, justly, as he remarks, called "the true guide in the
arts"--(_de Ware Leyster in de Konst_), her name Leyster signifying
'Guide.' She died in 1660.
The most celebrated of the Dutch women painters of the 18th century
was Rachel Ruysch, of Haarlem. Her flowers and fruit, painted with
keen spirit and with extraordinary firmness, are extremely rich and
varied in their arrangement. She was a pupil of Guillaume Aelst. In
1695 she married Jurian Pool, and was admitted into the Hague
Corporation of Painters in 1701, the same year as her husband. Without
neglecting her duties as a mother (she had ten children) she was
constantly devoted to her art. In 1708 she was appointed Court Painter
of the Elector Palatine. Poets have sung the virtues and the gifts of
this renowned woman.
Agathe and Cornelie van der Myn, sister and daughter of Herman van der
Myn, accompanied the latter when he settled in London. Notable work
was produced by three miniaturists: Henriette van Pee, wife of Herman
Wolters, was born at Amsterdam, in 1692, and became her father's
pupil. Peter the Great and the King of Prussia visited her studio,
which had a high reputation, and the customary poets wrote the
customary verses in her honour. Caroline-Petronille van Cuyck was made
an honorary member of the _Pictura_ of the Hague, in 1777. Anne
Folkema, who lived between 1695 and 1768, was an active assistant of
her brother, Jacques, in his numerous works. Nor must one forget Alida
Carre, who confined herself, for the most part, to painting fans;
Mlle. Van Kooten, whose name was inscribed in 1765 on the registers of
the Confrerie de St. Luc, at Utrecht; Marguerite Wulfraat, of Arnhem
(1678-1738), and Elisabeth Gertrude Wassenberg, of Groningue,
(1726-1782), who painted _genre_ and portraits.
At the opening of the 19th century the women painters of still-life,
flowers and fruit, were still in large numbers.
An interesting figure who has left a poetical memory is Cornelie
Lamme, of Dordrecht, who married J. B. Scheffer, and was the mother of
the celebrated painters Henry and Ary, who belong to the French
School. After the death of her husband she settled in Paris, and there
ended her days. Her attainments, her wit, her eminent merits, made her
one of the most remarkable women of her day. She was a draughtsman and
an engraver.
The name of Henriette Ronner is one of great popularity. This
indefatigable artist is known as "the painter of cats," and she has
charmingly "hit off" both the heavy laziness of the mature animal, and
the frolicsomeness of the kitten.
The flower pictures by Mme. van de Sande-Bakhuyzen, of the Hague, so
well known, tempted that excellent engraver, Philippe Zilcken, who has
"translated" with marvellous success their freshness and their
_eclat_. Mme. Bilders van Bosse, of the Hague, is well known by her
skilfully drawn and powerfully painted landscapes, and Mlle. Therese
Schwartze, of Amsterdam, a painter of high merit, has the art of
giving character to a portrait; and knows how to group her figures and
paint them in strong and sombre tones. Mme. Mesdag van Houten, of the
Hague, wife of the famous marine painter, affects the landscape at
dark, and realises fully the melancholy tenderness of the hour.
It may be interesting now to name a truly remarkable artist who never
exhibits--Mlle. Barbara van Houten, niece of Mme. Mesdag van Houten.
She is an excellent painter of figure pictures and still-life; her
etchings are of the highest quality, and embrace a large number of
subjects--interiors with lamp effects, children's heads, landscapes,
dead birds, bouquets of enormous sunflowers and gaudy tulips. Further,
she has interpreted in masterly fashion, Eugene Delacroix, Jules
Dupre, Gustave Courbet and other great masters of the French School.
Mention must be made of Mme. Bisschop-Robertson, who paints popular
subjects with astounding vigour; Mme. Marie Heyermans, whose pictures
deal with the life and surroundings of the poor; Mlles. Anna Abrahams
and Anna Kerling, whose charming still-life pieces are coloured now in
bright, now in sombre, tones; Mme. la baronne Hogendorp S' Jacob, of
the Hague, who has turned her attention to flower painting; Mlle.
Nelly Bodenheim, who does some very clever comic scenes, for the
benefit of children; and Mlle. Wally Moes, of Amsterdam, a painter of
portraits and peasant subjects.
Last we come to Mlle. Marius, whose fair-tinted and most distinguished
still-life works have been seen and admired. She is an excellent art
critic, and is now publishing an important work on Dutch painting of
the 19th century.
N. JANY.
[Illustration: FLEMISH SCHOOL, 1552
PORTRAIT OF A FLEMISH GENTLEMAN. AFTER THE ORIGINAL PAINTING IN
THE NATIONAL GALLERY, LONDON, FROM A CARBON PRINT BY BRAUN,
CLEMENT & CO., PARIS
Catharina van Hemessen, Painter
16th Century]
[Illustration: DUTCH SCHOOL, XVII CENTURY
YOUNG MAN ENCOURAGING A GIRL TO SMOKE AND DRINK. FROM A
PHOTOGRAPH BY W. A. MANSELL & CO., AFTER THE ORIGINAL PICTURE IN
A PRIVATE COLLECTION
Judith Leyster, Painter
1600(?)-1660]
[Illustration: DUTCH SCHOOL, XVII AND XVIII CENTURIES
PICTURE OF FRUIT WITH INSECTS AND LIZARDS. FROM A PHOTOGRAPH BY
ANDERSON AFTER THE ORIGINAL MASTERPIECE IN THE PITTI GALLERY,
FLORENCE
Rachel Ruysch, Painter
1664-1750]
[Illustration: DUTCH AND FLEMISH SCHOOLS, LATE XIX CENTURY
AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING.
Mme. Gilsoul-Hoppe, Painter
Belgium]
[Illustration: AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING
Baronne van Hogendorp, Painter Holland]
[Illustration: STUDY OF STILL LIFE: ROSES IN A BASKET. FROM A
TRANSLATOR'S-ETCHING BY P. ZILCKEN Madame G. J. van de Sande
Bakhuyzen, Painter Holland, 1826-1895]
[Illustration: DUTCH SCHOOL, BETWEEN 1880-1890
LANDSCAPE NEAR OOSTERBEEK
FROM THE ORIGINAL CHALK DRAWING
Mevrouw Marie Philippine Bilders van Bosse, Painter
1837-1900]
[Illustration: DUTCH SCHOOL, LATE XIX CENTURY
A BLEAK PASTORAL SCENE
AFTER THE ORIGINAL WATER-COLOUR
Madame Mesdag van Houten, Painter]
[Illustration: WINDMILL AT HEELSUM AFTER THE ORIGINAL OIL
PAINTING Madame Marie Philippine Bilders van Bosse, Painter
1837-1900]
[Illustration: DUTCH SCHOOL, CONTEMPORARY
PORTRAIT STUDY OF A GIRL AFTER THE ORIGINAL PICTURE
Mlle. Barbara van Houten, Painter]
[Illustration: ORPHANS. FROM A PHOTOGRAVURE OF THE ORIGINAL
PICTURE PAINTED IN 1887 Mlle. Therese Schwartze, Painter]
[Illustration: DUTCH SCHOOL, CONTEMPORARY
PORTRAIT OF MLLE. THERESE SCHWARTZE. PAINTED BY HERSELF FOR THE
UFFIZI GALLERY, FLORENCE, BY REQUEST OF THE ITALIAN GOVERNMENT.
REPRODUCED FROM A PHOTOGRAPH BY BROGI
Mlle. Therese Schwartze, Painter]
[Illustration: DUTCH AND FLEMISH SCHOOLS, CONTEMPORARY
A POOL NEAR OOSTERBEEK. AFTER THE ORIGINAL PAINTING
Madame Bilders van Bosse, Painter
1837-1900]
[Illustration: WITH THE POOR AT HOME. REPRODUCED FROM A
PHOTOGRAPH OF THE ORIGINAL PAINTING Mademoiselle E. Marcotte,
Painter Belgium]
[Illustration: DUTCH SCHOOL, CONTEMPORARY
PORTRAITS OF THE CHILDREN OF MR A. MAY, AMSTERDAM. REPRODUCED
FROM A PHOTOGRAPH OF THE ORIGINAL PASTEL
Mademoiselle Therese Schwartze, Painter and Pastellist]
[Illustration: DUTCH SCHOOL, CONTEMPORARY
"LOUTJE."
FROM A SKETCH
Mlle. Barbara van Houten, Painter]
[Illustration: PORTRAIT OF A. G. C. VAN DUYL, AUTHOR. FROM A
PHOTOGRAPH OF THE ORIGINAL PASTEL Mlle. Therese Schwartze,
Pastellist and Painter]
[Illustration: FLEMISH SCHOOL, CONTEMPORARY
STUDY OF STILL LIFE: GRAPES AND PARTRIDGES.
AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING
Mademoiselle Berthe Art, Painter]
[Illustration: FLEMISH SCHOOL, CONTEMPORARY
PORTRAIT STUDY OF THE COUNTESS FLORENCE FABBRICOTTI
Baroness Lambert de Rothschild, Painter]
[Illustration: PORTRAIT OF MONSIEUR GEVAERT. REPRODUCED FROM THE
ORIGINAL PAINTING Baroness Lambert de Rothschild, Painter]
[Illustration: FLEMISH AND DUTCH SCHOOLS, CONTEMPORARY
PORTRAIT OF MLLE. DETHIER. AFTER A PROOF OF THE ORIGINAL ETCHING
Mlle. Louise Danse, Painter-Etcher
Belgium]
[Illustration: A DUTCH PEASANT WOMAN. FROM A PHOTOGRAPH OF THE
ORIGINAL PAINTING Madame Suse Bisschop-Robertson, Painter
Holland]
[Illustration: FLEMISH SCHOOL, CONTEMPORARY
"THE LAST MOVE." REPRODUCED FROM THE ORIGINAL PAINTING BY
PERMISSION OF MESSRS. BRAUN, CLEMENT & CO., PARIS, OWNERS OF THE
COPYRIGHT
Madame Henriette Ronner, Painter]
[Illustration: FLEMISH SCHOOL, CONTEMPORARY
NEW TENANTS--NOUVEAUX LOCATAIRES. AFTER THE ORIGINAL PICTURE,
FROM A CARBON PRINT BY BRAUN, CLEMENT & CO., PARIS, OWNERS OF
THE COPYRIGHT
Madame Henriette Ronner, Painter]
[Illustration: FLEMISH SCHOOL, CONTEMPORARY
STUDY OF A HERON. FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING
Mlle. Georgette Meunier, Painter]
[Illustration: THE MASSACRE OF THE INNOCENTS. AFTER MATTEO DI
GIOVANNI DA SIENA Madame Marie Destree-Danse, Etcher]
[Illustration: FLEMISH SCHOOL, CONTEMPORARY
A SUNSET IN THE CAMPINE. REPRODUCED BY PERMISSION FROM AN
ETCHING AFTER THE PAINTING BY JOSEPH COOSEMANS IN THE BRUSSELS
MUSEUM
Mademoiselle E. Wesmael, Etcher]
[Illustration: FLEMISH SCHOOL, CONTEMPORARY
LILIES IN THE COURTYARD OF A HOUSE OF REST AT BRUGES.
AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING
Madame Juliette Wytsman, Painter]
In Germany and Austria, in Russia, Switzerland and Spain
By Wilhelm Schoelermann. Translated into English by Wilfrid Sparroy
When we look into the past history of the present subject, the first
German name we come upon is that of the Nun of Nuremberg, Sister
Margareta, who worked from 1459 to 1470, and who copied many religious
works. A century later, at Udina, in Italy, Irene von Spilimberg was
born, descending from a noble German family; and although Irene died
at the age of nineteen, she yet lived long enough to win the hearty
admiration of her great master, Titian. As a picture by Irene von
Spilimberg could not be obtained for this book, the editor has begun
the German section with Anna Maria Schurman and with Maria Sibylla
Merian. The first was a clever painter-etcher as well as the most
learned lady of her time; the second was the daughter of Matthew
Merian, and the exquisite studies she made, in water-colour, of
insects and of plants and flowers, have never been excelled in their
own line.
From Maria Sibylla Merian (1647-1717) we pass on to an admirable
mezzotint, after Morland, by Maria Prestel, who died in 1794; and then
we are brought into the heart of the 19th century by the searching
industry and skill of Anna Maria Ellenrieder, a very capable
painter-etcher, who lived between the years 1791 and 1863. Ellenrieder
looked to the past for her inspiration, going to the art of the early
Dutch masters. She has little or nothing in common with the other
German women artists of her time. How different is her ideal, for
instance, from that of the well-known painter of historical subjects,
the Baroness Hermione von Preuschen, whose dramatic and sensational
spirit appeals so strongly to the great public, as in that canvas in
which is represented the Corpse of Irene von Spilimberg, young and
beautiful, lying in state in her Venetian gondola, draped with black
and covered with flowers. Artists do not often care for pictures of
this romantic type; and they find higher and more subtle qualities in
the quiet wisdom of Julie Wolfthorn, a Berlin painter of note, and a
follower of the modern school of psychological portraiture. Julie
Wolfthorn combines depth of feeling and refinement of taste with
keenness of penetration into the mystery of individual character. Her
portrait of a young sculptor, given in the illustration on page 304,
is a good example of the painter's methods.
Another Berlin artist of note is Fraeulein Kaethe Kollwitz, whose
principal field of artistic expression has hitherto been restricted to
the burin and copper plate. She has studied etching almost entirely by
herself, and by dint of persistent courage and skill has developed her
gifts in a direction all her own. The subjects that appeal most
forcibly to her mind are taken with scarcely an exception from the
darkest and most painful sides of social life and social unrest. Take
a glance at the father, mother, and child, reproduced on page 302, and
entitled "Destitution and Despair." Are you not inclined to marvel,
almost, how a woman had the courage to depict, without flinching, the
sad truths of such bitter poverty? Can you not fancy that you hear the
moan of misery, the shrill scream of starvation, the cries of
rebellion and death, as when, on the outbreak of the strike, the bulk
of the working classes casts itself upon the streets? Such masses in
motion have been made real to us in her series of plates from the
"Peasants' War."
An artist of considerable versatility and intuition is Dora Hitz, of
Berlin. Born at Altdorf, near Nuernberg, she began her studies at
Munich, afterwards continuing them at intervals in Paris. In 1878 she
acted upon the invitation of Carmen Silva, the Poet-Queen of Roumania,
and executed a series of decorative panels for the royal castle of
Petes, at Sinaivo, the pictorial subjects of which were chosen from
the literary works of her Majesty. Four years later she settled in
Paris, and there she remained till 1891. During all that time her
industry never flagged, and she was much indebted to the friendly
interest which Eugene Carriere took in her work. The portrait of a
little girl which may be seen here on page 303, belongs to the modern
collection in the Berlin National Gallery.
Our next lady painter, though of German descent, her grandfather being
a native of Hamburg, was herself born in Sweden. Her name is Jeanna
Bauck. When she was twenty-three years of age she saw the fulfilment
of her life-long yearning to go to Germany for the purpose of studying
painting, and there, with a few short breaks, she has remained ever
since, first in Dresden and Duesseldorf, and then at Munich, where she
has now taken up her abode. She was also in Paris for a while, for the
sake of study. At first exclusively a landscapist, she afterwards
turned to portrait painting, an example of which may be found on page
300. For seven years (1897-1904) she lived in Berlin, and painted
landscapes and portraits alternately, whilst superintending a
flourishing school of art for ladies. In drawing your attention to her
landscape on page 301, I should like to add that Jeanna Bauck takes
rank among the most serious women painters of to-day.
There is yet another portrait painter who deserves a memory for the
sake of her refinement and sensibility. I refer to the wife of Wilhelm
Jensen, the historical novelist and poet of Schleswig-Holstein. Now,
Frau Marie Jensen (Munich), once a pupil of the late Emil Lugo,
devotes herself to her art in private. Most of her portraits, too,
give proof of this same love of retirement, originating as they do in
the family circle (see page 303).
The portrait of a lady, on page 300, is the work of that very gifted
portrait painter, Fraeulein Maria Davids. This capable artist has
produced some excellent likenesses; among others those of the poet
Gustav Frenssen, of Professor Weber, of Freiburg, of Fraeulein von
Sydow, a daughter of the Minister of State, and of Frau Vermehren of
Luebeck. Another portrait painter of fame and much power of expression,
is Frau Vilma Parlaghy, her draughtsmanship being particularly good.
Hungarian by birth, she lives and works for the most part in the
German capital. Her handling of the brush is vigorous, yet sober, her
colouring is warm and harmoniously balanced, and her insight into
character quite strikingly true and convincing. The finest and most
successful efforts, in my opinion, are the portrait of the aged
Field-marshal Count von Moltke, taken in his eighty-ninth year,
shortly before his death, and that of Windhorst, the German statesman.
In Austria, in the dominions of the Emperor Francis Joseph, women
painters are numerous, but those of more than average gifts are not
perhaps so plentiful as elsewhere. In the Bohemian capital of Prague,
Fraeulein Hermine Laucota has worked her way up to a position of
distinction quite on her own grounds. Leading a most retired life,
devoted chiefly to the pursuit of natural history and art, she studied
first in Prague, and then partly at Antwerp and in Munich, but since
the year 1888 she has resided altogether in her native town. It is not
in colours so much as in etching on the copper plate that she has
found her medium of artistic expression, and the subjects she has
chosen are for the most part of a symbolical character, as in the
distinguished etching on page 307.
To come to Vienna, a couple of names of good repute occur to me: Frau
Olga Wisinger-Florian and Frau Tina Blau-Lang, the latter a refined
landscapist (see pages 306 and 308). The two views of the Prater will
speak for themselves. With their charming freshness and their genial
breadth of handling, they tell us as plain as words that "all's right
with the world" in the springtime. Every touch is so bracing that it
needs no praise. Frau Blau-Lang is an optimist beyond a doubt, and
that as much by temperament as by choice of motive.
And when we look beyond Austria and Germany, we find everywhere among
women the same enthusiasm for art, and the same unflagging courage in
mastering the difficulties that thwart their every effort. That their
persistence has been crowned with much success is shown in a very
remarkable manner by this present book. How admirable, for instance,
is the work done in Finland by Maria Wiik and Helene Schjerfbeck! In
Switzerland, too, if we take a glance at the country where Anna
Wasser, at the beginning of the 18th century, achieved fame by her
paintings--there, too, we are welcomed by a particularly interesting
painter's painter, Mdlle. Louise Breslau, who, with her thorough
knowledge of modern realism, never truckles to the taste of the
general public; and there, also, we find another woman painter whose
art has been inspired on several occasions by the life of Christ: a
woman painter so much occupied with the conception of her pictures
that her technique has a tendency to lag behind the almost literary
eloquence of her design. But Mdlle. Ottilie Roederstein is
nevertheless an artist of real ability.
From Switzerland we must turn to Spain if we would do for ourselves
what the accompanying illustrations will do for us in the pleasantest
of pleasant ways. Take, for example, the airy, fresh, excellent
landscape, a "Scene at Comillas," painted in water-colour by the
Infante Dona Paz de Bourbon. Then, again, the "Carriage Race at
Naples," by Dona Stuart Sindici, with its splendid dash and dexterity
of composition, and the court outside a "Roman Hostelry," by Elena
Brockmann, likewise a sunny scene, simply teem with warmth and colour,
and with life and beauty. Not quite so strong and independent are the
"Fisher Boys," by Antonia de Banuelos, the conception and the
execution alike being apparently inspired by that mild and noble
master of Spanish painting, Esteban Murillo. Again, in Russia, we meet
with a portrait-painter, Olga de Boznanska (page 316), whose work
unites a certain independent character of its own with the influences
of her Parisian training: qualities that marked in a much higher and
more perfect degree the pictorial appeals of that young and
marvellously spirited genius whose premature death cut short a career
of infinite promise: Marie Bashkirtseff, the friend of Bastien Lepage,
and a realist full of subtlety and of penetration.
WILHELM SCHOELERMANN.
Some Finnish Women Painters
By Helena Westermarck, Critic and Painter
Art in Finland, pictorial art, like much else in that country, is a
young growth. It is in the nineteenth century that we are first able
to verify its existence, and it is only in the year 1840, or
thereabouts, that we find any traces of women who seriously devoted
themselves to the study of painting. The pioneers in this may be said
to be Mathilda Rotkirch and Victoria Abey.
Somewhat later, in or about 1870, Fanny Churberg, after working in
Duesseldorf and Paris, evinced much independent and original talent in
landscape painting, her art having also an inaugural character, in
that she was the first who applied herself to the decoration of
textile fabrics, adapting to her purpose the old national Finnish
patterns, a practice which has since then had a large following in the
field of applied design. Her career, unfortunately, was soon ended by
illness and an early death. After her came the generation of women
artists who are at present carrying forward a young school of
enthusiastic workers.
In the sphere of painting, the women artists of Finland study under
much the same circumstances as their male comrades. The Schools of Art
subsidized by the State are open both to male and to female pupils,
and this applies also to all prizes and rewards of merit. Some account
of the principal women painters may be of interest.
Maria Wiik (1853), after an apprenticeship in the Finnish Schools of
Art and in Professor Becker's Private Academy, spent several years of
study in Paris--occasionally moving her easel in the summers to
Brittany, to Normandy, or even to St. Ives, in England. She has
further developed her art in later years by visits to Holland and to
Italy. Her talent lies in the direction of portrait and genre painting
and she has now the name of being among the best Finnish portrait
painters. She has executed many public commissions, such as the
portrait of the Professor at the Rein University in Helsingfors, for
the Finnish Literary Society, and that of the poet, Z. Topelius, for a
large public school for girls. Many will remember her portrait of the
School Inspector, Ohberg, which now hangs in the Helsingfors Board
School. Maria Wiik has exhibited at the Paris Salons, and at picture
exhibitions in Moscow, Copenhagen, and Dresden, and besides the prizes
awarded her in her own country, she has received a bronze medal in
Paris (1900) for a picture painted in St. Ives, called, "Out into the
World."
Helene Schjerfbeck (1863), also a pupil of the Finnish Schools of Art
and of Prof. Becker's Private Academy, continued her studies in Paris
and afterwards visited Brittany, England, Austria and Italy. She has
painted some important historical pictures, taking her subjects from
Finnish and Swedish history, as in her two admirable paintings,
"Liukoeping's Prison in 1600" and "The Death of W. v. Schwerin." She
has also painted a few landscapes and a number of genre pictures, many
of them with subjects taken from French and English life. Helene
Schjerfbeck has exhibited both at home and at the Paris Salons, has
twice been awarded the lesser money prize given yearly by the Finnish
State (for the two historical pictures mentioned above), while at the
Exhibition in Paris in 1889, she received a bronze medal. She has also
held an appointment as teacher in the Finnish Academy of Art, in the
department of painting and in the drawing class from the living model.
Her many pictures have been among the best that our women artists have
produced.
Venny Soldan-Brofeldt (1860) is another pupil of the Finnish Schools
of Art and of Prof. Becker's Academy, and has studied later in Paris,
and in Spain and Italy. Her best work is in the genre style, many of
her pictures being very characteristic and true scenes of Finnish
peasant life, such as "Meal time in a Peasant's Hut" and "Pietists."
Her landscapes, too, are remarkable for a sensitive conception of
Nature; especially is this true of her pictures of our coast scenery,
with its low granite rocks, washed over by the sea waves. Mrs.
Soldan-Brofeldt has illustrated also some books for children, among
others a part of a large Scandinavian edition of Topelius' Saga tales
for children. At the Paris Exhibition of 1889, she received a "Mention
Honorable," and in 1900, a bronze medal. She is the wife of the
author, Juhani Aho. Brofeldt. Mrs. Soldan-Brofeldt's work is not
illustrated in this book, as a photograph of her most important
picture was broken into fragments in its journey from Finland to
London.
It is characteristic of all these painters that their artistic bias
was determined by their study in Paris of the French naturalists, who
inspired them with a stern respect for drawing, and taught them to
study Nature seriously. Starting from this common standpoint, they
have, whilst working in their own way, developed along their own
individual lines.
Many another woman artist deserves mention, but the limited space at
my disposal permits me to give only a list of their names.
There is Ellen Thesleff, a figure painter; there is Elin
Danielson-Gambogi (wife of the Italian painter, R. Gambogi),
well-known for her portraits and landscapes; there is Julia Stigzelius
de Cock (wife of the Belgian artist, Cesare de Cock), a clever
landscape painter; there is Amelie Lundahl, figure painter; and Ada
Thilen, with her landscapes; and Hanna Roennberg, with her subject
pictures and outdoor scenes; and Anna Sahlsten, a figure painter; and
last, but not least, I name Annie Torselles-Schybergson, a good
painter of animals.
HELENA WESTERMARCK.
[Illustration: SILHOUETTE BY NELLY BODENHEIM.]
[Illustration: RUSSIAN SCHOOL, 1884
"A MEETING." AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG,
PARIS, FROM A PHOTOGRAPH BY LEVY & SONS, PARIS
Mademoiselle Marie Bashkirtseff, Painter
1860-1884]
[Illustration: GERMAN SCHOOL, XVII CENTURY
PLANT STUDY PAINTED IN WATER-COLOUR ON VELLUM. AFTER ONE OF THE
MANY DRAWINGS BY THE SAME ARTIST IN THE BRITISH MUSEUM. THEY
ONCE BELONGED TO SIR HANS SLOANE, WHO PURCHASED THEM AT A HIGH
PRICE.
Maria Sibylla Merian (Frau Graff), Painter
1647-1717]
[Illustration: GERMAN SCHOOL, XVII CENTURY
PORTRAIT ETCHED BY HERSELF OF ANNA MARIA SCHURMAN PERHAPS THE
MOST FAMOUS LINGUIST OF HER TIME IN EUROPE
Anna Maria Schurman, Painter-Etcher
1607-1678]
[Illustration: PLANT STUDY PAINTED IN WATER-COLOUR ON VELLUM.
REPRODUCED FROM THE ORIGINAL DRAWING IN THE BRITISH MUSEUM Maria
Sibylla Merian (Frau Graff), Painter 1647-1717]
[Illustration: GERMAN SCHOOL, END OF XVIII CENTURY
GYPSIES ON A COMMON
AFTER GEORGE MORLAND
Frau Maria Catharina Prestel, Engraver
Died 1794]
[Illustration: GERMAN SCHOOL, 1817 AND 1820
PORTRAIT OF A WOMAN. FROM THE ORIGINAL ETCHING IN THE BRITISH
MUSEUM]
[Illustration: PORTRAIT OF A MAN. REPRODUCED FROM THE ORIGINAL
ETCHING IN BRITISH MUSEUM Anna Marie Ellenrieder, Painter-Etcher
1791-1863]
[Illustration: GERMAN SCHOOL, LATE XIX CENTURY
A GIRL OF BOHEMIA. FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO.,
PARIS
Caroline von Maupeou, Painter]
[Illustration: BRETON GIRL PRAYING. FROM A PHOTOGRAPH BY BRAUN,
CLEMENT & CO., PARIS Frau Adelaide Salles-Wagner, Painter]
[Illustration: GERMAN SCHOOL, CONTEMPORARY
PORTRAIT OF FRAEULEIN VON SYDOW. FROM THE ORIGINAL PAINTING
Fraeulein Maria Davids, Painter
PORTRAIT. FROM A PHOTOGRAPH BY HANFSTAENGL KINDLY LENT BY THE
ARTIST
Jeanna Bauck, Painter]
[Illustration: GERMAN AND SPANISH SCHOOLS, CONTEMPORARY
A WOODLAND LAKE.
AFTER THE ORIGINAL PICTURE
Jeanna Bauck, Painter, Germany]
[Illustration: THE CASTLE AND PALACE OF PENA IN CINTRA. AFTER
THE ORIGINAL PICTURE FROM A PHOTOGRAPH BY J. LAURENT & CO.,
MADRID Maria G. Silva Reis, Painter, Spain]
[Illustration: GERMAN SCHOOL, CONTEMPORARY
MOTHERHOOD. FROM A PHOTOGRAPH LENT BY THE ARTIST
Dora Hitz, Painter]
[Illustration: DESOLATION AND DESPAIR AFTER THE ORIGINAL ETCHING
Fraeulein Kaethe Kollwitz, Painter-Etcher]
[Illustration: GERMAN SCHOOL, CONTEMPORARY
PORTRAIT OF A LITTLE GIRL. AFTER THE ORIGINAL PICTURE FROM A
PHOTOGRAPH BY FRANZ KULLRICH, BERLIN, LENT BY THE ARTIST
Dora Hitz, Painter]
[Illustration: PORTRAIT OF WILHELM JENSEN, POET AND HISTORICAL
NOVELIST. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH LENT BY
THE ARTIST
Frau Marie Jensen, Painter]
[Illustration: GERMAN AND SWISS SCHOOLS, CONTEMPORARY
PORTRAIT OF A SCULPTOR. FROM A PHOTOGRAPH BY FRANZ KULLRICH
KINDLY LENT BY THE ARTIST
Frau Julie Wolfthorn, Painter
Germany]
[Illustration: "ANAIS." AFTER THE ORIGINAL PAINTING FROM A
PHOTOGRAPH BY BRAUN, CLEMENT & CO. Mlle.
Louise Breslau, Painter
Switzerland]
[Illustration: SWISS SCHOOL, CONTEMPORARY
THEIR DAILY BREAD. AFTER THE ORIGINAL PAINTING, REPRODUCED BY
PERMISSION FROM A CARBON PRINT BY BRAUN, CLEMENT & CO.
Mademoiselle Ottilie Roederstein, Painter]
[Illustration: AUSTRIAN SCHOOL, CONTEMPORARY
SPRINGTIME IN THE PRATER, VIENNA. AFTER THE ORIGINAL PAINTING
FROM A PHOTOGRAPH BY J. LOEWY, VIENNA, KINDLY LENT BY THE ARTIST
Frau Tina Blau-Lang, Painter]
[Illustration: AUSTRIAN SCHOOL, CONTEMPORARY
BY THE SHORE OF LETHE LAKE
AFTER A PROOF OF THE ORIGINAL ETCHING
Fraeulein Hermine Laucota, Painter-Etcher]
[Illustration: AUSTRIAN SCHOOL, CONTEMPORARY
VIEW IN THE PRATER, VIENNA. AFTER THE ORIGINAL PICTURE FROM A
PHOTOGRAPH BY J. LOEWY, VIENNA, KINDLY LENT BY THE ARTIST
Frau Tina Blau-Lang, Painter]
[Illustration: FINNISH SCHOOL, CONTEMPORARY
PORTRAIT OF A LADY.
AFTER THE ORIGINAL PICTURE
Maria Wiik, Painter]
[Illustration: FINNISH SCHOOL, 1887
THE CONVALESCENT
AFTER THE ORIGINAL PAINTING
Helene Schjerfbeck, Painter]
[Illustration: SWISS SCHOOL, CONTEMPORARY
"LE MOIS DE MARIE." REPRODUCED AFTER THE ORIGINAL PAINTING FROM
A PHOTOGRAPH BY BRAUN, CLEMENT & CO.
Mademoiselle Ottilie Roederstein, Painter]
[Illustration: FINNISH SCHOOL, FROM 1887 TO ABOUT 1895
PREPARING TO LEAVE HOME. FROM A PHOTOGRAPH OF THE ORIGINAL
PAINTING, DATED 1887
Maria Wiik, Painter]
[Illustration: AT WORK. REPRODUCED FROM A CARBON-PRINT
PHOTOGRAPH OF THE ORIGINAL PAINTING Helene Schjerfbeck,
Painter]
[Illustration: FINNISH AND SWISS SCHOOLS, ABOUT 1904
A FINNISH PEASANT GIRL
FROM THE ORIGINAL DRAWING
Ellen Thesleff, Painter
Finland]
[Illustration: A PORTRAIT-GROUP OF FRIENDS. AFTER THE ORIGINAL
PICTURE FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO Mlle. Louise
Breslau, Painter Switzerland]
[Illustration: RUSSIAN SCHOOL, XIX CENTURY
PORTRAIT OF MARIE BASHKIRTSEFF. AFTER THE ORIGINAL PASTEL IN THE
MUSEE DU LUXEMBOURG, FROM A PHOTOGRAPH BY LEVY & SONS, PARIS
Mlle. Marie Bashkirtseff, Pastellist
1860-1884]
[Illustration: PORTRAIT OF THE COMTESSE DE TOULOUSE. AFTER THE
ORIGINAL PASTEL IN THE MUSEE DU LUXEMBOURG, FROM A PHOTOGRAPH BY
NEWIDEIN Mlle. Marie Bashkirtseff, Pastellist 1860-1884]
[Illustration: GERMAN AND RUSSIAN SCHOOLS, 1870 AND 1903
PORTRAIT (DATED 1870) OF THE LATE LUDWIG WINDHORST, GERMAN
STATESMAN FROM A PHOTOGRAPH BY V. A. BRUCKMANN, MUNICH
Frau Vilma Parlaghy, Painter
Germany]
[Illustration: PORTRAIT OF A LADY (DATED 1903), RECENTLY
PURCHASED FOR THE LUXEMBOURG, PARIS Mlle. Olga de Boznanska,
Painter Russia]
[Illustration: SPANISH SCHOOL, 1875
A CARRIAGE RACE AT NAPLES
FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID
Dona Stuart Sindici, Painter]
[Illustration: SPANISH SCHOOL, 1881
A SCENE AT COMILLAS. REPRODUCED AFTER THE ORIGINAL WATER-COLOUR,
DATED 1881, FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID
Infante Dona Paz de Bourbon, Painter]
[Illustration: SPANISH SCHOOL, 1887
OUTSIDE A ROMAN HOSTELRY
FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID
Dona Elena Brockmann, Painter]
[Illustration: SPANISH SCHOOL, 1881 AND 1890
MY MODEL. AFTER THE ORIGINAL WATER-COLOUR, FROM A PHOTOGRAPH BY
LAURENT, MADRID
Infante Dona Paz de Bourbon, Painter]
[Illustration: STUDY OF A BABY LAUGHING. AFTER THE ORIGINAL
PICTURE, FROM A PHOTOGRAPH BY J. LAURENT & CO., MADRID Antonia
de Banuelos, Painter]
[Illustration: SPANISH SCHOOL, 1883
"THE LITTLE FISHERS." AFTER THE ORIGINAL PAINTING, FROM A
PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS
Antonia de Banuelos, Painter]
INDEX
ABBEMA, MLLE. LOUISE: "Winter," 237.
ABRAN, MADAME: "Study of Tigers," 243.
ALLINGHAM, MRS. HELEN, R.W.S.: "A Cottage near Crocken Hill," 109;
"Ponte Widman, Venice," 137;
"Campanile San Stefano, Venice," 137.
ALMA-TADEMA, MISS ANNA: "Portrait of Miss Anna Alma-Tadema," 156.
ANDERSON, MRS. SOPHIE: "Elaine," 105.
ANGELL, MRS. HELEN CORDELIA: "Study of a Bird's Nest," 102.
ANGUISCIOLA, SOPHONISBA: "Three Sisters of Sophonisba Anguisciola
Playing at Chess," 25;
"Portrait of Sophonisba Anguisciola," 36;
"Portrait of a Lady," 39.
ANGUS, CHRISTINE: Design, 64.
ART, MLLE. BERTHE: "Study of Still Life: Grapes and Partridges,"
276.
BAKHUYZEN, MME. G. J. VAN DE SANDE: "Study of Still Life: Roses in a
Basket," 266.
BANUELOS, ANTONIA DE: "Study of a Baby Laughing," 320;
"The Little Fishers," 321.
BARTON, MISS ROSE, A.R.W.S.: "Almond Blossom in London," 143.
BASHKIRTSEFF, MLLE. MARIE: "A Meeting," 293;
"Portrait of Marie Bashkirtseff," 315;
"Portrait of the Comtesse de Toulouse," 315.
BAUCK, JEANNA, "Portrait," 300;
"A Woodland Lake," 301.
BAUERLE, MISS A., A.R.E.: "A Song of the Sea," 132;
"Fauns," 132.
BEALE, MARY: "Portrait of the English Poet, Abraham Cowley," 81;
"Portrait of King Charles II. of England," 81.
BEAUCLERK, LADY DIANA: "Caricature of Edward Gibbon," 82;
"Cupids," 82.
BEAUX, MISS CECILIA: "Mother and Child," 121;
"Portrait," 162.
BENOITS, MADAME: "Portrait of Marie Pauline, Princesse Borghese,"
183.
BILDERS VAN BOSSE, MME.: "Landscape near Oosterbeek," 267;
"Windmill at Heelsum," 269;
"A Pool near Oosterbeek," 272.
BISSCHOP-ROBERTSON, MME. SUSE: "A Dutch Peasant Woman," 278.
BLATHERWICK, LILY (MRS. A. S. HARTRICK): "Wintry Weather," 155.
BLAU-LANG, FRAU TINA: "Springtime in the Prater, Vienna," 306;
"View in the Prater, Vienna," 308.
BODENHEIM, MLLE. NELLY: Silhouettes, 12, 72, 292, 332.
BONHEUR, ROSA: "Study of a Bull," 195;
"Shepherd Watching His Sheep," 205;
"Ploughing in the Nivernais," 209;
"The Horse Fair," 210;
"The King of the Desert," 214;
"Brisco," 215.
BOUILLIAR, MLLE.: "Portrait of an Actress," 194.
BOURBON, DE, INFANTE PAZ: "A Scene at Comillas," 318;
"My Model," 320.
BOVI, MADAME: 90.
BOZNANSKA, DE, OLGA: "Portrait of a Lady," 316.
BRESLAU, MLLE. LOUISE: "Anais," 304;
"A Portrait-Group of Friends," 314.
BRICKDALE, MISS ELEANOR FORTESCUE, A.R.W.S.: "Youth and the Lady,"
73;
"To-day for Me," 103;
"Sleep, that knits up the Ravell'd Sleave of Care," 114;
"He Married a Wife," 126;
"Designs," 141;
"Iseult of Brittany," 142.
BROCKMANN, DONA ELENA: "Outside a Roman Hostelry," 319.
BROWNSCOMBE, MISS JENNIE: "The Peace Ball After the Declaration of
Independence," 161.
BUTLER, LADY ELIZABETH: "Missed," 9;
"Steady the Drums and Fifes!" 154.
BYRNE, ANNE FRANCES: "Flowers and Grapes," 94.
CAMERON, MISS KATHARINE: "Hush! Remind not Eros of His Wings," 124.
CAMERON, MISS MARGARET: "Portrait of Mrs. Blair with her Dogs," 131;
"After the Bull-Fight," 155.
CAPET, MARIE GABRIELLE: "Portrait of Dame de Longrois," 197.
CARPENTER, MRS. MARGARET: "Portrait of Henrietta Shuckburgh," 96;
"Portrait of Margaret Carpenter," 96;
"Portrait of John Gibson, R.A., Sculptor," 100;
"Portrait of R. P. Bonington, Painter," 100.
CARPENTIER, MADELEINE: "Les Chandelles," 244.
CARRIERA, ROSALBA: "Portrait of a Lady Unknown," 20;
"Charity and Justice," 37;
"Portrait Study of a Lady with her Pet Monkey," 48;
"Portrait Study of Cardinal de Polignac," 48;
"Portrait Study of a Girl," 51;
"Portrait of Rosalba Carriera," 51.
CASSATT, MISS MARY: "Baby's Toilette," 157;
"Childhood in a Garden," 327;
"Mother and Two Children," 327.
CAZIN, MADAME MARIE: "Desolation," 227;
"Mother and Child," 239;
"The Shepherd," 239.
CHARDERON, FRANCINE: "Sleep," 229.
CHASE, MISS MARIAN, R.I.: "An Interesting Story," 130.
CHATILLON, DE, MME. LAURE: "A Young Adolescent," 219.
CHAUDET, MME JEANNE ELISABETH: "Portrait of Madame Villot, nee
Barbier," 202.
CHEVIOT, MISS LILIAN: "On the Way to the Horse Fair," 143.
CLAUDIE, MLLE.: "Flora," 252.
COGNIET, MLLE. MARIE AMELIE: "Portrait of Madame Adelaide
d'Orleans," 189.
COLIN-LIBOUR, MADAME: "Charity," 225.
COMERRE-PATON, MME. J.: "Mistletoe," 217.
CONANT, MISS CORNELIA W.: "The End of the Story," 151.
* * * * *
[Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
"WE ARE BUT LITTLE CHILDREN WEAK, NOR BORN TO ANY HIGH ESTATE."
FROM A LARGE PHOTOGRAVURE OF THE ORIGINAL PICTURE BY PERMISSION
OF THE BERLIN PHOTOGRAPHIC COMPANY, LONDON, W.
Mrs. Marie Seymour Lucas, Painter]
[Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
"HER MORNING RIDE"
AFTER THE ORIGINAL PICTURE
Miss Blanche Jenkins, Painter]
[Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
"FAITH"
FROM THE ORIGINAL PICTURE
Miss Flora M. Reid, Painter]
[Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
"HUSH!" FROM A PHOTOGRAPH OF THE ORIGINAL PICTURE BY PERMISSION
OF THE BERLIN PHOTOGRAPHIC CO., LONDON, W.
Miss Maude Goodman, Painter]
[Illustration: THE CHILD HANDEL. FROM A PHOTOGRAPH OF THE
ORIGINAL PICTURE BY PERMISSION OF THE BERLIN PHOTOGRAPHIC CO.,
LONDON, W.
Miss Margaret Isabel Dicksee, Painter
1858-1903]
[Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
"NOTHING VENTURE, NOTHING HAVE." FROM A LARGE PHOTOGRAVURE OF
THE ORIGINAL PICTURE BY PERMISSION OF THE BERLIN PHOTOGRAPHIC
COMPANY, LONDON, W.
Lady Alma-Tadema, Painter]
[Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
ISOLA BELLA LAGO MAGGIORE
FROM THE ORIGINAL WATER-COLOUR
Mrs. Marrable, Painter]
[Illustration: "I SHOWED HER THE RING AND IMPLORED HER TO MARRY"
FROM THE ORIGINAL PICTURE
Miss Julia B. Falkard, Painter]
[Illustration: SUPPLEMENT. BRITISH SCHOOL, CONTEMPORARY
SKIRMISHERS: COCKER SPANIELS. FROM "BRITISH HOUNDS AND
GUN-DOGS"]
[Illustration: BULL TERRIER: POSITION OF TRUST. FROM THE SERIES
ON "TERRIERS AND TOYS" PUBLISHED BY THE BERLIN PHOTOGRAPHIC
COMPANY, LONDON, W.]
[Illustration: FOXHOUNDS: A BURNING SCENT. FROM "BRITISH HOUNDS
AND GUN-DOGS"
Miss Maud Earl, Painter]
[Illustration: SUPPLEMENT. FRENCH SCHOOL, CONTEMPORARY
PORTRAIT (PAINTED BY HERSELF) OF MADAME ARSENE DARMESTETER
Madame Arsene Darmesteter, Painter]
[Illustration: SUPPLEMENT. FRENCH SCHOOL, CONTEMPORARY
STUDY
FROM THE ORIGINAL PICTURE
Madame Arsene Darmesteter, Painter]
* * * * *
COOL, DE, MME. DELPHINE: "A Good Cigarette," 232.
COOMANS, MLLE. DIANA: "In the Gynaeceum," 228.
COSWAY, MRS. MARIA: "Lodona," 96.
CURRAN, MISS A.: "Portrait of Percy Bysshe Shelley," 90.
DANSE, MLLE. LOUISE: "Portrait of Mlle. Dethier," 278.
DAVIDS, FRAEULEIN: "Portrait of Fraeulein von Sydow," 300.
DAVIN, MADAME C. H. F.: "Portrait of Marshal Lefevre, Duke of
Dantzic," 207.
DEALY, JANE M. (LADY LEWIS), R.I.: "Day-Dreams," 144;
"Baby," 144.
DEMONT-BRETON, MADAME: "On the Sea-Shore," 226;
"Stella Maris," 233.
DE MORGAN, MRS. EVELYN: "Flora," 91;
"Study from the Life," 117;
"Drapery Study," 123.
DESTREE-DANSE, MADAME: "The Massacre of the Innocents," 282.
DICKSEE, MISS MARGARET ISABEL: "In Memoriam," 112.
DOLCI, AGNESE: "Mary and the Child Jesus," 47;
"Jesus Took Bread and Blessed It," 47.
DUBOS, MLLE. ANGELE: "A New Song," 216.
DUBOURG, MME. VICTORIA: "A Basket of Flowers," 240.
DUFAU, MLLE.: "Study from a Model," 231;
"Impression of a City," 240;
"Character in Spain," 243.
DUFFIELD, MRS. WILLIAM, R.I.: "Yellow Roses," 118.
ELLENRIEDER, ANNA MARIE: "Portrait of a Woman," 298;
"Portrait of a Man," 298.
EMPRESS FREDERICK OF GERMANY, THE: "The Akropolis, Athens," 56.
ENAULT, MADAME ALIX: "Fleurs de Serre," 225.
FANNER, MISS ALICE: "Riverside Landscape," 135;
"A Yorkshire Trout Stream," 156.
FANSHAWE, CATHERINE MARIA: "A Country Boy," 89.
FANTIN-LATOUR, MME. (VICTORIA DUBOURG): "A Basket of Flowers," 240.
FICHEL, MME. JEANNE: "The Bouquet," 216.
FILLEUL, MADAME: "The Sons of Charles X. of France," 186;
"Portrait of the Duc d'Angouleme," 187.
FLEURY, MME. FANNY: "The Pathway to the Village Church," 235.
FONTANA, LAVINIA: "Marriage of St. Catharine," 39;
"Portrait of Lavinia Fontana Zappi," 40;
"Jesus Christ Talking with the Women of Samaria," 41.
FORBES, MRS. STANHOPE, A.R.W.S.: "The Fisher Wife," 85;
"In With You!" 147;
"Cuckoo," 147;
"May Evening," 149.
FOULD, MLLE. ACHILLE: "Courtship," 250.
FOULD, MLLE. CONSUELO: "Will You Buy?" 247.
FRAMPTON, MRS. GEORGE (CHRISTABEL A. COCKERELL): "Bluebells," 136.
GARDNER, ELIZABETH: "Maternal Love," 234;
"The Judgment of Paris," 238.
GENTILESCHI, ARTEMISIA: "Mary Magdalene," 31;
"Portrait of Artemisia Gentileschi," 42;
"Judith and her Maid with the Head of Holofernes," 45.
GHISI, DIANA: "A Victor in his Triumphal Chariot," 39.
GILSOUL-HOPPE, MADAME: "Interior," 266.
GODEFROID, MLLE. MARIE E.: "Portrait of Madame de Stael," 203;
"Portrait of Charles Maurice, Prince of Talleyrand-Perigord," 203.
GONZALES, EVA: "Portrait of a Lady Seated," 223;
"The Fruit Girl," 231.
GOW, MISS MARY L., R.I.: "Mother and Child," 107.
GRANBY, MARCHIONESS OF: "The Late Cecil Rhodes," 142;
"The Late Lord Salisbury," 142.
GREENAWAY, MISS KATE: "A. for Apple Pie: E. Eat it," 119;
"A. for Apple Pie: C. Cut it," 127.
GUTTI, ROSINA M.: "The Peacemaker," 53.
GUYARD, MADAME: "Portrait of Madame Victoire de France," 185;
"Portrait of Elisabeth of France, Duchess of Parma," 188.
HAMMOND, MISS G. DEMAIN, R.I.: "Memories," 135.
HART, MISS EMILY: "The End of a Story," 113.
HAVERS, MISS ALICE: "Blanchisseuses," 108.
HEITLAND, MISS IVY: "Through the Wood," 107.
HEMESSEN, CATHARINA VAN: "Portrait of a Flemish Gentleman," 263.
HEMING, MRS. MATILDA: "Backwater, Weymouth, Dorset," 95.
HERFORD, MRS. JOHN: "Landscape at Kenilworth," 95.
HERLAND, MLLE. E.: "Children Eating Soup in a Charity School," 249.
HILDA, MLLE. E.: "In Search of Prey," 245.
HITZ, DORA: "Motherhood," 302;
"Portrait of a Little Girl," 303.
HOBSON, MISS A. M., R.I.: "Room at Leicester in which Shakespeare is
said to have Acted before Queen Elizabeth," 118.
HOGENDORP, BARONNE VAN: "Flowers," 266.
HOLROYD, LADY: "Portrait of Sir Charles Holroyd," 150.
HOTHAM, AMELIA: "Riverside Landscape," 88.
HOUDON, MLLE. M. J. A.: "Portrait of Marguerite J. A. Houdon," 202.
HOUSSAY, MLLE. JOSEPHINE: "The Lesson," 251.
HOUTEN, MME. MESDAG VAN: "A Bleak Pastoral Scene," 269.
* * * * *
[Illustration: UNITED STATES OF AMERICA, CONTEMPORARY
CHILDHOOD IN A GARDEN. REPRODUCED FROM THE ORIGINAL PAINTING BY
PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND NEW YORK
Miss Mary Cassatt, Painter]
[Illustration: MOTHER AND TWO CHILDREN. REPRODUCED FROM THE
ORIGINAL PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS,
PARIS AND NEW YORK
Miss Mary Cassatt, Painter]
* * * * *
HOUTEN, MLLE. BARBARA VAN: "Portrait Study of a Girl," 270;
"Loutje," 275.
HOW, MISS BEATRICE: "Le Repas," 142;
"In a Dutch Cottage," 148.
HUNTER, MRS. MARY Y.: "Joy and the Labourer," Frontispiece;
"Olivia," 126;
"Where Shall Wisdom be Found?" 130.
HYDE, MISS HELEN: "Day Dreams," 145;
"The Bamboo Fence," 163.
JENSEN, FRAU MARIE: "Portrait of Wilhelm Jensen," 303.
JOPLING, MRS. LOUISE, R.B.A.: "St. Bridget," 120.
KAUFFMAN, ANGELICA, R.A. "The Sibyl," 67;
"Ariadne," 83;
"Portrait of Angelica Kauffman, R.A.," 87;
"The Vestal Virgin," 87.
KEMP-WELCH, MISS L. E., R.B.A.: "Labourers of the Night," 115;
"After Work," 125.
KING, MISS JESSIE M.: "The Court-Yard," 159.
KOCH, ELISA: "The Little Sister," 49.
KOLLWITZ, FRAEULEIN KAETHE: "Desolation and Despair," 302.
LAUCOTA, FRAEULEIN HERMINE: "By the Shore of Lethe Lake," 307.
LARCOMBE, MISS ETHEL: Dedication Page;
End-Papers;
Initial Letters.
LE BRUN, MADAME VIGEE: "Portrait of Madame Vigee Le Brun and her
Daughter," 166;
"Madame Vigee Le Brun and her Daughter," 177;
"Portrait of Queen Marie Antoinette and her Children," 191;
"Portrait in the Pinacoteca at Turin," 192;
"Portrait of Madame Le Brun," 193;
"Portrait of Louise Marie Adelaide de Bourbon," 193;
"Madame Vigee Le Brun at her Easel," 198;
"Portrait of Marie Antoinette, Queen of France," 200;
"Portrait of the Duchess of Polignac," 201;
"Portrait of Madame Mole-Raymond," 204.
LELEUX, MADAME ARMAND: "Private and Confidential," 220.
LE ROY, MADAME: "Portrait," 252.
LESCOT, MADAME HAUDEBOURT: "A Good Daughter," 208.
LEYSTER, JUDITH: "The Merry Young Man," 257;
"Young Man Encouraging a Girl to Smoke and Drink," 264.
LONGHI, BARBARA: "Mary and the Child Jesus in the Act of Crowning a
Saint," 41.
LOUISE, H.R.H. PRINCESS, DUCHESS OF ARGYLL: "An English Hebe," 13.
LUCAS-ROBIQUET, MME.: "Bebe et Zizon," 251.
MACBETH, MISS ANN: "Elspeth." 97.
MACDONALD, MISS BIDDIE: "Portrait of the Lady Alix Egerton," 123.
MACGREGOR, MISS JESSIE: "In the Reign of Terror," 148.
MARCOTTE, MLLE. E.: "With the Poor at Home," 272.
MARTINEAU, MISS EDITH, A.R.W.S.: "The Potato Harvest," 111.
MAUPEOU, CAROLINE VON: "A Girl of Bohemia," 299.
MAYER, CONSTANCE: "The Happy Mother," 199.
MEE, MRS. ANNE: "Portrait of Lady Dalrymple Hamilton," 93.
MEEN, MRS. MARGARET: "Group of Flowers in a Jar," 94.
MERIAN, MARIA S.: "Plant Study," 295; "Plant Study," 296.
MERRITT, MRS. ANNA LEA, R.B.A.: "Love Locked Out," 139.
MEUNIER, MLLE. GEORGETTE: "Study of a Heron," 282.
MORIN, EULALIE: "Portrait of Madame Recamier," 187.
MORISOT, BERTHE: "Portrait of a Young Woman Seated," 211;
"The Jetty," 213.
MOSER, MARY, R.A.: "Vase of Flowers," 94.
NICOLAS, MLLE. MARIE: "Father Ricard," 222.
NORMAND, MRS. (HENRIETTA RAE): "Ophelia: 'There's Rue for you,'"
153.
OFFOR, B. (MRS. F. LITTLER): "Ophelia," 160.
OPPENHEIM, MLLE. A.: "Romeo and Juliet," 246.
PARLAGHY, FRAU VILMA: "Portrait of the late Ludwig Windhorst," 316.
PAYMAL-AMOUROUX, MME.: "A Holiday at Sosthene," 232.
PETIET, MLLE. MARIE: "The Knitter Asleep," 219.
PHILLOTT, MISS CONSTANCE, A.R.W.S.: "The Herdsman of Admetus," 138.
PRESTEL, MARIA C.: "Gypsies on a Common," 297.
REAL DEL SARTE, MME.: "Do you want a Model?" 251.
RAGNONI, BARBARA: "The Adoration of the Shepherds," 35.
READ, CATHARINE: "Portrait of the Lady Georgiana Spencer," 61;
"Portrait of Miss Harriot Powell," 84;
"Portrait of Miss Jones," 84.
REIS, MARIA G. SILVA: "The Castle and Palace of Pena in Cintra,"
301.
ROBERTSON, MRS. J.: "Portrait of Mrs. Stuart," 93.
ROEDERSTEIN, MLLE. OTTILIE: "Their Daily Bread," 305;
"Le Mois de Marie," 311.
ROMANI, JUANA: "Study from a Model," 54.
ROMANY, MME. ADELE: "Portrait of Gaetano Apollino Baldassare
Vestris, Dancer," 171.
RONGIER, MLLE. JEANNE: "Sitting for a Portrait," 220.
RONNER, MME. HENRIETTE: "The Last Move," 279;
"New Tenants," 281.
ROTHSCHILD, DE, BARONESS LAMBERT: "Portrait Study of the Countess
Florence Fabbricotti," 277;
"Portrait of Monsieur Gevaert," 277.
RUDE, MME. SOPHIE: "Portrait of Madame Rude," 207.
RUYSCH, RACHEL: "Picture of Fruit with Insects and Lizards," 265.
SALANSON, MLLE. EUGENIE: "At Low Tide," 228.
SALLES-WAGNER, ADELAIDE: "Breton Girl Praying," 299.
SAWYER, MISS AMY: "Panel of a Screen," 159.
SCHJERFBECK, HELENE: "The Convalescent," 310;
"At Work," 313.
SCHURMAN, ANNA MARIA: "Portrait of Anna Maria Schurman," 296.
SCHNEIDER, MME. FELICIE: "The Last Survivors of a Family," 222.
SCHWARTZE, THERESE: "Orphans," 270;
"Portrait of Mlle. Therese Schwartze," 271;
"Portraits of the Children of Mr. A. May," 273;
"Portrait of A. G. C. van Duyl," 275.
SINDICI, DONA STUART: "A Carriage Race at Naples," 317.
SIRANI, ELISABETTA: "The Dream of Saint Anthony of Padua," 43;
"The Madonna Weeping," 46;
"The Flight into Egypt," 46.
SISTER A., SIENESE NUN: "Adoration of the Shepherds," 34;
"Madonna and Child with St. Catharine and other Saints," 35.
SISTER B., SIENESE NUN: "The Holy Family with John the Baptist," 34.
SMYTHE, MISS MINNIE, A.R.W.S.: "A Cottage Girl," 150.
SONREL, ELISABETH: "The Goddesses before Paris," 237.
SPENCER, LAVINIA, COUNTESS: "A Pinch of Snuff," 90.
STAPLES, MRS. (M. E. EDWARDS): "Waifs from the Great City," 120.
STARR, LOUISA (MME. CANZIANA): "Sintram and his Mother," 106.
STOKES, MRS. MARIANNE: "The Queen and the Page," 79;
"Portrait of the Hon. Mrs. Walter James," 129.
STRONG, MRS. ELIZABETH: "Good Friends," 113.
SUBLEYRAS, MARIA TIBALDI: "Mary Magdalene at the Feet of Jesus
Christ," 52.
SWAN, MRS. J. M.: "The Music Lesson," 159.
SWYNNERTON, MRS. A. L.: "The Sense of Sight," 133.
TAVERNIER, DE, MME. E.: "Before the Dance," 227.
TEMPLETOWN, VISCOUNTESS: "Wood Scene," 94.
THESLEFF, ELLEN: "A Finnish Peasant Girl," 314.
VALORY, DE, MME. CAROLINE: "The Miniature," 192.
VALLET-BISSON, MME.: "The Departure," 241.
VANTEUIL, DE, MLLE.: "Portrait of Marie de Rabutin-Chantal, Marquise
de Sevigne," 185.
VIGRI, CATERINA: "Saint Ursula and her Maidens," 33.
WATERFORD, LOUISA MARCHIONESS OF: "Palm Branches," 99;
"Spring," 99;
"Jesus Christ among the Doctors," 101.
WATERNAU, MLLE. HERMINE: "By the Bank of a Stream," 221.
WATSON, CAROLINE: "Portrait of Sarah, Countess of Kinnoull," 89.
WENTWORTH, MRS. CECILIA: "Prayer," 160.
WESMAEL, MLLE. E.: "A Sunset in the Campine," 283.
WHITE, MISS FLORENCE: "White Treasures," 124.
WIIK, MARIA: "Portrait of a Lady," 309;
"Preparing to Leave Home," 313.
WOLFTHORN, FRAU JULIE: "Portrait of a Sculptor," 304.
WYTSMAN, MME. JULIETTE: "Lilies in the Courtyard of a House of Rest
at Bruges," 284.
YOUNGMAN, MISS A. M., R.I.: "In a Neapolitan Villa," 118;
"Who Loves a Garden loves a Greenhouse too," 119.
ZAPPI, LAVINIA FONTANA: "Marriage of St. Catharine," 39;
"Portrait of Lavinia Fontana Zappi," 40;
"Jesus Christ Talking with the Woman of Samaria," 41.
ZILLHARDT, MLLE. JENNY: "Regalez-vous, Mesdames!" 221.
[Illustration: SILHOUETTE BY NELLY BODENHEIM.]
* * * * *
Transcriber's note:
Archaic and inconsistent punctuation, spelling and syntax were retained.
The original had illustrations imbedded in the index.