Osenga, Giuseppina.This artist resides in Parma, and has there exhibited landscapes that are praised for their color and for the manner in which they are painted, as well as for the attractive subjects she habitually chooses."A View near Parma," the "Faces of Montmorency," and the "Bridge of Attaro" are three of her works which are especially admired.
Ostertag, Blanche.Member of Society of Western Artists; Arts Club, Chicago; Municipal Art League. Born in St. Louis. From 1892-1896 pupil of Laurens and Raphael Collin in Paris, where her works were hung on the line at the New Gallery, Champ de Mars.
A decorative artist who has executed mural decoration in a private house in Chicago, and has illustrated "Max Müller's Memories" and other publications. For use in schools she made a color print, "Reading of the Declaration of Independence before the Army."
Her calendars and posters are in demand by collectors at home and in foreign countries. Miss Ostertag has designed elaborate chimney pieces to be executed in mosaic and glass. Her droll conceits in "Mary and Her Lamb," the "Ten Little Injuns," and other juvenile tales were complimented by Boutet de Monvel, who was so much interested in her work that he gave her valuable criticism and advice without solicitation.
O'Tama-Chiovara.Gold medal at an exhibition of laces in Rome and prizes at all the exhibitions held in Palermo by the Art Club. Born in Tokio, where she came to the notice of Vicenzo Ragusa, a Sicilian sculptor in the employ of the Japanese Government at Tokio. He taught her design, color, and modelling, and finally induced her to go with his sister to Palermo. Here her merit was soon recognized in a varied collection of water-colors representing flowers and fruits, which were reproduced withsurpassing truth. When the School of Applied Art was instituted at Palermo in 1887, she was put in charge of the drawing, water-color, and modelling in the Women's Section.
She knows the flowers of various countries—those of Japan and Sicily wonderfully well, and her fancy is inexhaustible; her exquisite embroideries reflect this quality. She has many private pupils, and is as much beloved for her character as she is admired for her talents. When she renounced Buddhism for Christianity, the Princess of Scalca was her godmother.
Paczka-Wagner, Cornelia.Honorable mention, Berlin, 1890. Born in Göttingen, 1864. She has been, in the main, her own instructor, living for some years in Rome for the purpose of study. In 1895 she settled in Berlin, where she has made a specialty of women's and children's portraits in olgraphy (?) and lithography. Beautiful drawings by her were exhibited at the International Water-Color Exhibition in Dresden, 1892.
An interesting account of a visit to the studio of the Hungarian painter Paczka and his German wife tells of a strong series of paintings in progress there, under the general title, "A Woman's Soul." In freedom and boldness of conception they were said to remind one of Klinger, but in warmth and depth of feeling to surpass him. Frau Paczka had just finished a very large picture, representing the first couple after the expulsion from Paradise. The scene is on the waste, stony slope of a mountain; the sun shines with full force in the background, while upon the unshadowed rocks of the foreground are theprostrate Adam and his wife—more accusing than complaining.
In 1899 Frau Paczka exhibited in Berlin, "Vanitas," which excels in richness of fancy and boldness of representation, while wanting somewhat in detail; the ensemble presents a remarkably fine, symbolic composition, which sets forth in rich color the dance of mankind before the golden calf, and the bitter disillusions in the struggle for fame, wealth, and happiness.
Parlaghy, Vilma, or the Princess Lwoff.Great gold medal from the Emperor of Austria, 1890; great gold medal, 1894; small gold medal at Berlin, 1890, adjudged to her portrait of Windhorst. Born at Hadju-Dorogh in 1863, and studied in Budapest, Munich, Venice, Florence, and Turin. Her portraits having found great favor at the Court of Berlin, she removed her studio from Munich to that capital.
One of her instructors was Lenbach, and she is said by some critics to have appropriated his peculiarities as a colorist and his shortcomings in drawing, without attaining his geniality and power of divination. In 1891 her portrait of Count von Moltke, begun shortly before his death and finished afterward, was sent to the International Exposition at Berlin, but was rejected. The Emperor, however, bought it for his private collection, and at his request it was given a place of honor at the Exposition, the incident causing much comment. She exhibited a portrait of the Emperor William at Berlin in 1893, which Rosenberg called careless in drawing and modelling and inconceivable in its unrefreshing, dirty-gray color.
In January, 1895, she gave an exhibition of one hundred and four of her works, mostly portraits, including those of the Emperor, Caprivi, von Moltke, and Kossuth, which had previously been exhibited in Berlin, Munich, and Paris. The proceeds of this exhibition went to the building fund of the Emperor William Memorial Church.
Of a portrait exhibited in 1896, at Munich, a critic said that while it was not wholly bad, it was no better than what hundreds of others could do as well, and hundreds of others could do much better.
Pasch, Ulricke Friederika.Member of the Academy of Fine Arts of Sweden. Born in Stockholm. 1735-1796. A portrait of Gustavus-Adolphus II. by this artist is in the Castle at Stockholm. She was a sister of Lorenz Pasch.
Pascoli, Luigia.This Venetian painter has exhibited in various Italian cities since 1870, when she sent a "Magdalen" to Parma. "First Love" appeared at Naples in 1877, and "The Maskers"—pastel—at Venice in 1881. A "Girl with a Cat," a "Roman Girl," and a "Seller of Eggs"—the latter in Venetian costume—are works of true value. Her copies of Titian's "St. Mark" and of Gian Bellini's "Supper at Emmaus" have attracted attention and are much esteemed.
Passe, Magdalena van de.Born at Utrecht about 1600; she died at the age of forty. This engraver was a daughter of Crispus van de Passe, the elder. She practised her art in Germany, England, Denmark, and the Netherlands, and was important as an artist. Her engraving was exceedingly careful and skilful. Among her plates are"Three Sibyls," 1617; an "Annunciation," "Cephalus and Procris," "Latona," and landscapes after the works of Bril, Savery, Willars, etc.
Pattison, Helen Searle.Born in Burlington, Vermont. Daughter of Henry Searle, a talented architect who moved to Rochester, New York, where his daughter spent much of her girlhood. She held the position of art teacher in a school in Batavia, New York, while still a girl herself.
About 1860 she became the pupil of Herr Johan Wilhelm Preyer, the well-known painter of still-life, fruit, and flowers. Preyer was a dwarf and an excellent man, but as a rule took no pupils. He was much interested in Miss Searle, and made an exception in her case. She soon acquired the technique of her master and painted much as he did, but with less minute detail, finer color, and far more sentiment.
FLOWERS. Helen Searle Pattison
FLOWERS
Helen Searle Pattison
In 1876 Miss Searle married the artist, James William Pattison, now on the staff of the Art Institute, Chicago. After their marriage Mr. and Mrs. Pattison resided at Écouen, near Paris. Returning to America in 1882, they spent some time in Chicago and New York City, removing to Jacksonville, Illinois, in 1884. Here Mr. Pattison was at the head of the School of Fine Arts.
Mrs. Pattison lived but a few months in Jacksonville, dying in November, 1884.
Mrs. Pattison's artistic reputation was well established and her works were exhibited at the Paris Salon and in all the German cities of importance. They were frequently seen in England and at the National Academy ofDesign in New York. Her subjects were still-life, fruit, and flowers, and her works are widely distributed.
Pazzi, Caterina de, whose conventual name was Maria Maddalena. Was born in Florence in 1566. It would be interesting to know the relation that this gentle lady bore to those Pazzi who had earned a fame so unlike hers fourscore years before she saw the light.
Caterina de Pazzi, when a mere girl, entered a convent which stood on the site of the church known by her name in the Via Pinti. The cell of Santa Maddalena—now a chapel—may still be visited. She was canonized by Pope Alexander VIII. in 1670, sixty-two years after her death.
The Florentines have many lovely legends associated with her memory. One of these relates that she painted pictures of sacred subjects when asleep. Be this as it may, we know that her pictures were esteemed in the days when the best artists lived and worked beside her. Examples of her art may still be seen in churches in Rome and Parma, as well as in the church of her native city which bears her name.
Peale, Anna C.Made her mark as a miniature painter and for some years was the only professional woman artist in Philadelphia. Her portrait of General Jackson made in 1819 was well considered. She also made portraits of President Monroe, Henry Clay, R. M. Johnson, John Randolph of Roanoke, and other prominent men. Miss Peale married in 1829 the Rev. William Staughton, a Baptist clergyman, the president of the theological college at Georgetown, Kentucky. He lived but three months after their marriage, and she returned to Philadelphia and again pursued her artistic labors. She married a second husband, General William Duncan, and from this time gave up professional painting.
Peale, Sara M.1860-1885. Daughter of James Peale, under whose teaching she made her first studies. She was also a pupil of her uncle, the founder of Peale's Museum, Philadelphia. Miss Peale painted portraits and spent some years in Baltimore and Washington. Among her portraits are those of Lafayette, Thomas Benton, Henry A. Wise, Caleb Cushing, and other distinguished men. From 1847 she resided in St. Louis thirty years and then went to Philadelphia. Her later works were still-life subjects, especially fruits.
Pelichy, Geertruida.Honorary member of the Academy of Vienna. Born in Utrecht, 1744; died in Brügge, 1825. Pupil of P. de Cock and Suvée. In 1753, she went to Brügge with her father, and later to Paris and Vienna. She painted portraits of the Emperor Joseph II. and Maria Theresa, some good landscapes, and animal studies. Two of her pictures are in the Museum at Brügge.
Pellegrino, Itala.Born at Milan, 1865. Pupil of Battaglia. Her pictures are of genre and marine subjects. At the great exhibition at Turin, 1884, she exhibited a marine view which was bought by Prince Amadeo. Another marine view exhibited at Milan was acquired by the Società Promotrice. In 1888 she sent to the exhibition at Naples, where she resides, a view of Portici, which was added to the Royal Gallery. The excellence of her work is in the strength and certainty of touch and thesincerity and originality of composition. She has painted a "Marine View of Naples," "In the Gulf," "Fair Weather," and "Evening at Sea"; also a genre picture, "Frusta là," which was sold while in an exhibition in Rome.
Penicke, Clara.Born at Berlin in 1818, where she died in 1899. She studied first with Remy and later with Carl Begas and Edward Magnus. Her work was largely confined to portrait and historical painting. In the Gallery at Schwerin is her "Elector Frederick of Saxony Refusing to Accept the Interim." Another good example of her historical work is the "Reconciliation of Charlemagne with Thassilo of Bavaria." A well-known and strongly modelled portrait of Minister Von Stoach and several Luther portraits, "Luther's Family Devotion" and "Luther Finds the First Latin Bible," show her facility in this branch of art. She also painted a "Christ on the Cross."
Perelli, Lida.A landscape painter living in Milan, who has become well known by pictures that have been seen at the exhibitions in several Italian cities, especially through some Roman studies that appeared at Florence and Turin in 1884. "A View of Lecco, Lake Como," "Casolare," and "A Lombard Plain" are among her best works.
Perman, Louise E.Born at Birkenshaw, Renfrewshire. Studied in Glasgow. This artist paints roses, and roses only, in oils. In this art she has been very successful. She has exhibited at the Royal Academy and the New Gallery, London; at the Royal Scottish Academy,Glasgow; at art exhibits in Munich, Dresden, Berlin, Prague, Hanover, etc., and wherever her works have been seen they have been sold. In May, 1903, a collection of twenty-five rose pictures were exhibited by a prominent dealer, and but few were left in his hands.
A critic in theStudioof April, 1903, writing of the exhibition at the Ladies' Artists' Club, Glasgow, says: "Miss Louise Perman's rose pictures were as refined and charming as ever. This last-named lady certainly has a remarkable power of rendering the beauties of the queen of flowers, whether she chooses to paint the sumptuous yellow of the 'Maréchal Niel,' the blush of the 'Katherine Mermet,' or the crimson glory of the 'Queen of Autumn.' She seems not only to give the richness of color and fulness of contour of the flowers, but to capture for the delight of the beholder the very spiritual essence of them." To the London Academy, 1903, she sent a picture called "York and Lancaster."
Perrier, Marie.Mention honorable at Salon des Artistes Français, 1899; Prix Marie Bashkirtseff, 1899; honorable mention, Paris Exposition, 1900; numerous medals from foreign and provincial exhibitions; medals in gold and silver at Rouen, Nîmes, Rennes, etc.; bronze medals at Amiens and Angers. Member of the Société des Artistes Français; perpetual member of the Baron Taylor Association, section of the Arts of Painting, etc. Born at Paris. Pupil of Benjamin Constant, Jules Lefebvre, and J. P. Laurens.
Mlle. Perrier's picture of "Jeanne d'Arc" is in a provincial museum; several pictures by her belonging to thecity of Paris are scenes connected with the schools of the city—"Breakfast at the Communal School"; "After School at Montmartre" were at the Salon des Artistes Français, 1903; others are "Manual Labor at the Maternal School," "Flowers," and "Recreation of the Children at the Maternal School." Of the last Gabriel Moury says, "It is one of the really good pictures in the Salon."
This artist decorated a villa near Nîmes with four large panels representing the "Seasons," twelve small panels, the "Hours," and pictures of the labors of the fields, such as the gathering of grapes and picking of olives.
She has painted numerous portraits of children and a series of pictures illustrating the "Life of the Children of Paris." They are "Children at School and after School," "Children on the Promenade and Their Games," and "Children at Home."
Perry, Clara Greenleaf.Member of the Copley Society. Born at Long Branch, New Jersey. Pupil of Boston Art Museum School, under Mr. Benson and Mr. Tarbell; in Paris pupil of M. Raphael Collin and Robert Henri.
Miss Perry has exhibited her portrait of Mrs. U. in the Salon of the Société Nationale des Beaux-Arts and in Philadelphia. She paints landscapes and portraits.
Perry, Lilla Cabot.Pupil in Boston of Dennis Bunker and Alfred Collins; in Paris of Alfred Stevens, Robert Fleury, Bouguereau, and Courtois; in Munich of Fritz von Uhde.
Mrs. Perry is essentially a portrait painter, but has painted landscapes, especially in Japan, where she spent some years. The scenery of Japan and its wonderfully beautiful Fuziyama would almost compel an artist to paint landscapes.
Mrs. Perry says that her pictures of French and Japanese types are, in fact, portraits as truly as are those she is asked to paint.
Her picture of a "Japanese Lacemaker" belongs to Mr. Quincy A. Shaw. It has been much admired in the exhibitions in which it has been seen.
In the Water-Color Exhibition of the Boston Art Club, 1903, Mrs. Perry's portrait of Miss S. attracted much attention. The delicate flesh tones, the excellent modelling of the features, and what may be called the whole atmosphere of the picture combine in producing an effective and pleasing example of portraiture.
Perugini, Caterina E.An Italian painter living in London, where she frequently exhibits her excellent pictures. Among them are "A Siesta," "Dolce far Niente," "Multiplication," and portraits of Guy Cohn, son of Sir Guy Campbell, Bart., and of Peggy and Kitty Hammond, two charming children.
At the Academy, 1903, she exhibited "Faith" and "Silken Tresses."
Perugini, Mrs. Kate Dickens.Younger daughter of Charles Dickens and wife of Charles Edward Perugini. This artist has exhibited at the Royal Academy and at other exhibitions since 1877. Her pictures are of genre subjects, such as the "Dolls' Dressmaker," "Little-Red-Cap," "Old Curiosity Shop," etc. At the Academy, 1903, she exhibited "Some Spring Flowers."
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Peters, Anna.Medals at Vienna, 1873; London, 1874; Munich, 1876; Amsterdam and Antwerp, 1877. Born at Mannheim, 1843. Pupil of her father, Pieter Francis Peters, in Stuttgart. Miss Peters travelled over Europe and was commissioned to decorate apartments in the royal castles at Stuttgart and Friedrichshafen.
Her picture of "Roses and Grapes" is in the National Gallery, London; and one of "Autumn Flowers" in the Museum at Stuttgart.
Pillini, Margherita.An Italian painter living in Paris. Her most successful exhibitions have been those at Rome, in 1883, when her "Silk-cocoon Carder of Quimper" and "Charity" appeared; and at Turin, in 1884, when "The Three Ages," "The Poor Blind Man," and a portrait of the Prince of Naples were shown, all exquisite in sentiment and excellent in execution. The "Silk-cocoon Carder of Quimper" has been thus noticed by De Rengis: "If I am not mistaken, Signora Margherita Pillini has also taken this road, full of modernity, but not free from great danger. Her 'Silk-cocoon Carder' is touched with great disdain for every suggestion of the old school. Rare worth—if worth it is—that a young woman should be carried by natural inclination into such care for detail."
Pinto-Sezzi, Ida.Silver medal at the Beatrice Exposition, Florence, 1890. Since 1882 pictures by this artist have been seen in various Italian exhibitions. In theBeatrice of that year she exhibited "Cocciara," and in 1887 "A Friar Cook." Her "Fortune-Teller" attracted general attention at Venice in 1887.
This artist has also given some time to the decoration of terra-cotta in oil colors. An amphora decorated with landscape and figures was exhibited at the Promotrice in Florence in 1889 (?) and much admired.
Poetting, Countess Adrienne.Born in Chrudim, Bohemia, 1856. The effect of her thorough training under Blass, Straschiripka, and Frittjof Smith is seen in her portraits of the Deputy-Burgomaster Franz Khume, which is in the Rathhaus, Vienna, as well as in those of the Princess Freda von Oldenburg and the writer, Bertha von Suttner. Her excellence is also apparent in her genre subjects, "In the Land of Dreams" being an excellent example of these.
Popert, Charlotte.Silver medal at the Beatrice, Florence, 1890. Born in Hamburg, 1848. Pupil in Weimar of the elder Preller and Carl Gherts; of P. Joris in Rome, and Bonnat in Paris. After extensive travels in the Orient, England, the Netherlands, and Spain, she established herself in Rome and painted chiefly in water-colors. Her "Praying Women of Bethlehem" is an excellent example of her art.
In 1883 she exhibited at Rome, "In the Temple at Bethlehem"; at Turin in 1884, "In the Seventeenth Century" and "The Nun"; at Venice in 1887, an exquisite portrait in water-colors.
Poppe-Lüderitz, Elizabeth.Honorable mention, Berlin, 1891. For the second time only the Senate of theBerlin Academy conferred this distinction upon a woman. The artist exhibited two portraits, "painted with Holbein-like delicacy and truthfulness"—if we may agree with the critics.
This artist was born in Berlin in 1858, and was a pupil of Gussow. Her best pictures are portraits, but her "Sappho" and "Euphrosine" are excellent works.
Popp, Babette.Born in Regensburg, 1800; died about 1840. Made her studies in Munich. In the Cathedral of Regensburg is her "Adoration of the Kings."
Powell, Caroline A.Bronze medal at Chicago, 1893; silver medal at Buffalo, 1901. Member of the Society of American Wood-Engravers and of the Boston Society of Arts and Crafts. Born in Dublin, Ireland. Pupil of W. J. Linton and Timothy Cole.
Doge's Palace, Venice. ST. CHRISTOPHER. Engraved By Caroline A. Powell
Doge's Palace, Venice
ST. CHRISTOPHER
Engraved By Caroline A. Powell
Miss Powell was an illustrator of theCentury Magazinefrom 1880 to 1895. The engraving after "The Resurrection" by John La Farge, in the Church of St. Thomas, New York, is the work of this artist. She also illustrated "Engravings on Wood," by William M. Laffan, in which book her work is commended.
Miss Powell is now employed by Messrs. Houghton, Mifflin & Co., and writes me: "So far as I know, I am, at present, the only woman in America engaged in the practise of engraving as a fine art."
Prestel, Maria Catharina; family nameHoll.Born in Nuremburg, 1747. Her husband, Johan Prestel, was her teacher, and she was of great assistance in the work which he produced at Frankfort-on-the-Main, in 1783. In 1786, however, she separated from him and went to London, where she devoted herself to aquatints. She executed more than seventy plates, some of them of great size.
Prestel, Ursula Magdalena.Born in Nuremburg. 1777-1845. Daughter of the preceding artist. She worked in Frankfort and London, travelled in France and Switzerland, and died in Brussels. Her moonlight scenes, some of her portraits, and her picture of the "Falls of the Rhine near Laufen," are admirable.
Preuschen, Hermine von Schmidt; married name, Telman. Born at Darmstadt, 1857. Pupil of Ferdinand Keller in Karlsruhe. Travelled in Spain, France, Italy, the Netherlands, and Denmark. She remained some time in Munich, Berlin, and Rome, establishing her studio in these cities and painting a variety of subjects. Her flower pictures are her best works. Her "Mors Imperator" created a sensation by reason of its striking qualities rather than by intrinsic artistic merit. In the gallery at Metz is her picture of "Irene von Spilimberg on the Funeral Gondola."
In 1883 she exhibited in Rome, "Answered," a study of thistles; "In Autumn," a variety of fruits; and "Questions," a charming study of carnations. At Berlin, in 1890, "Meadow Saffron and Cineraria" was praised for its glowing color and artistic arrangement. A Viennese critic, the same year, lamented that an artist of so much talent should paint lifeless objects only. In Berlin, in 1894, she held an exhibition, in which her landscapes and flower pieces were better than her still-life pictures. Frau Preuschen is also a musician and poet.
The painting of flower pieces is a delightful art for man or woman, but so many such pictures which are by amateurs are seen in exhibitions—too good to be refused but not of a satisfactory quality—that one can scarcely sympathize with the critic who would have Mme. Preuschen paint other subjects than these charming blossoms, so exquisite in form and color, into which she paints so much delightful sentiment.
Puehn, Sophie.Born at Nuremberg, 1864. This artist studied in Paris and Munich and resides in the latter city. At the International Exhibition, Vienna, 1894, her portrait of a "Lady Drinking Tea" was praised by the critics without exception, and, in fact, her portraits are always well considered. That she is also skilful in etching was shown in her "Forsaken," exhibited in 1896.
Putnam, Sarah Goold.Member of the Copley Society. Born in Boston. Pupil in Boston and New York of J. B. Johnston, F. Duveneck, Abbott Thayer, and William Chase; in Scheveningen, of Bart. J. Blommers; and in Munich, of Wilhelm Dürr.
Miss Putnam's portrait of Hon. John Lowell is in the District Court Room in Post-Office Building, Boston; that of William G. Russell, in the Law Library in the Court House, Pemberton Square, same city; that of General Charles G. Loring, for many years Director of Boston Museum of Fine Arts, belongs to his family; among her other portraits are those of Dr. Henry P. Bowditch, Francis Boott, George Partridge Bradford, Edward Silsbee, Mrs. Asa Gray, and Lorin Deland. In addition tothe above she has painted more than one hundred portraits of men, women, and children, which belong to the families of the subjects.
Puyroche, Mme. Elise.Born in Dresden, 1828. Resided in Lyons, France, where she was a pupil of the fine colorist, Simon St. Jean. Mme. Puyroche excelled her master in the arrangement of flowers in her pictures and in the correctness of her drawing, while she acquired his harmonious color. Her picture called the "Tom Wreath," painted in 1850, is in the Dresden Gallery.
Questier, Catherine.Born in Amsterdam. In 1655 she published two comedies which were illustrated by engravings of her own design and execution. She achieved a good reputation for painting, copper engraving, and modelling in wax, as well as for her writings.
Raab, Doris.Third-class medal, Nuremberg; also second-class medal, 1892. Born in Nuremberg, 1851. Pupil of her father, Johann Leonhard Raab, in etching and engraving. She has engraved many works by Rubens, Van Dyck, and Cuyp; among her plates after works of more recent artists are Piloty's "Death Warrant of Mary Stuart," Lindenschmidt's "In Thought," and Laufberger's "Hunting Fanfare." This artist resides in Munich.
Radovska, Baroness Annetta, of Milan. Her interesting genre pictures are seen in most of the Italian exhibitions. "Old Wine, Young Wife," was at Milan, 1881; in same city, 1883, "An Aggression," "The Visit," "The Betrothed." She also sent to Rome, in 1883, two pictures, one of which, "The Harem," was especially noteworthy. In 1884, at Turin, she exhibited "Tea" andthe "Four Ages"; these, were excellent in tone and technique and attractive in subject. At Milan, 1886, her "Will He Arrive?" was heartily commended in the art journals.
Rae, Henrietta.SeeNormand, Mrs. Ernest
Ragusa, Eleanora.SeeO'Tama.
Rapin, Aimée.At the Swiss National Exposition, 1896, a large picture of a "Genevese Watchmaker" by this artist was purchased; By the Government and is in the Museum at Neuchâtel. In 1903 the city of Geneva commissioned her to paint a portrait of Philippe Plantamour, which is in the Museum Mon-Repos, at Geneva. Member of the Société des Beaux-Arts of Lausanne, Société des Femmes peintres et sculpteurs de la Suisse romande, Société de l'exposition permanente des Beaux-Arts, Geneva. Born at Payerne, Canton de Vaud. Studied at Geneva under M. Hebert and Barthelmy Menn, in painting; Hugues Bovy, modelling.
In the Museum at Neuchâtel. GENEVESE WATCHMAKER. Aimée Rapin
In the Museum at Neuchâtel
GENEVESE WATCHMAKER
Aimée Rapin
Mlle. Rapin writes me: "I am, above all, a portrait painter, and my portraits are in private hands." She names among others of her sitters, Ernest Naville, the philosopher; Raoul Pictet, chemist; Jules Salmson, sculptor, etc. She mentions that she painted a portrait of the present Princess of Wales at the time of her marriage, but as it was painted from photographs the artist has no opinion about its truth to life. Mlle. Rapin has executed many portraits of men, women, and children in Paris, London, and Germany, as well as in Switzerland. She refers me to the following account of herself and her art. In theStudioof April, 1903, R. M. writes: "The subjectof these notes is a striking example of the compensations of Nature for her apparent cruelty; also of what the genuine artist is capable of achieving notwithstanding the most singular disadvantages. Some years ago in the little town of Payerne, Canton Vaud, a child was born without arms. One day the mother, while standing near a rose-bush with her infant in her arms, was astonished to observe one of its tiny toes clasp the stem of the rose. Little did she guess at the time that these prehensile toes were destined one day to serve an artist, in the execution of her work, with the same marvellous facility as hands. As the child grew up the greatest care was bestowed upon her education. She early manifested unmistakable artistic promise, and at the age of sixteen was sent to the École des Beaux Arts, Geneva.... For reasons already mentioned Mlle. Rapin holds a unique position amongst that valiant and distinguished group of Swiss lady artists to whose work we hope to have the opportunity of referring.... She is a fine example of that singleness of devotion which characterizes the born artist. Her art is the all-absorbing interest of her life. It is not without its limitations, but within these limitations the artist has known how to be true to herself. Drawing her inspiration direct from nature, she has held on her independent way, steadily faithful to the gift she possesses of evoking a character in a portrait or of making us feel how the common task, when representative of genuine human effort and touched with the poetry of national tradition, of religion, and of nature, becomes a subject of noble artistic treatment. She has kept unimpaired thatmerveilleuxfrisson de sensibilitéwhich is one of the most precious gifts of the artistic temperament, and which is quick to respond to the ideal in the real. There are some artists who, though possessed of extraordinary mastery over the materials of their art, bring to their work a spirit which beggars and belittles both art and life; there are others who seem to work with an ever-present sense of the noble purpose of their vocation and the pathos and dignity of existence. Mlle. Rapin belongs to the second category. Her 'L'Horloger' is an example of this. A Genevese watchmaker is bending to his work at a bench covered with tools. Through the window of the workshop one perceives in the blue distance Mont Saléve, and nearer the time-honored towers of the Cathedral of St. Pierre. Here is a composition dealing with simple life—a composition which, from the point of execution, color, and harmony of purpose, leaves little or nothing to be desired. But this is not all. It is, so to speak, an artisticrésuméof the life and history of the old city, and that strongly portrayed national type gathers dignity from his alliance with the generations who helped to make one of the main interests of the city, and from his relationship to that eventful past suggested by the Cathedral and the Mountain.
"Mlle. Rapin is unmistakably one of the best Swiss portraitists, working for the most part in pastels, her medium by predilection; she has at the same time modelled portraits in bas-relief. We are not only impressed by the intensely living quality of her work as a portraitist, but by the extraordinary power with which she has seized andexpressed the individual character and history of each of her subjects."
Mlle. Rapin has exhibited her works with success in Paris, Munich, and Berlin. The few specimens of her bas-reliefs which I have seen prove that did she prefer the art of sculpture before that of painting, she would be as successful with her modelling tools as she has been with her brush.
Rappard, Clara von.Second-class medal, London. Born at Wabern, near Berne, 1857. After studying with Skutelzky and Dreber, she worked under Gussow in Berlin. She spent some time in travel, especially in Germany and Italy, and then, choosing Interlaken as her home, turned her attention to the illustration of books, as well as to portrait and genre painting. In the Museum at Freiburg is her "Point-lace-maker." A series of sixteen "Phantasies" by this artist has been published in Munich.
Rath, Henriette.Honorary member of the Société des Arts, 1801. Born in 1772, she died in 1856 at Genf, where, with her sister, she founded the Musée Rath. She studied under Isabey, and was well and favorably known as a portrait and enamel painter.
Ream, Vinnie.SeeHoxie.
Redmond, Frieda Voelter.Medal at the Columbian Exhibition, Chicago. Member of the Woman's Art Club. Born in Thun, Switzerland. Studies made in Switzerland and in Paris. A painter of flowers and still-life.
"Mrs. Redmond is a Swiss woman, now residing in New York. She has exhibited her works in the ParisSalon, in the National Academy of Design, at the Society of American Artists' exhibitions, etc., and was awarded a medal at the World's Fair in Chicago. Her work is not only skilful and accurate in description and characterization; it is done with breadth and freedom, and given a quality of fine decorative distinction. Her subjects are roses, cyclamen, chrysanthemums, nasturtiums, double larkspurs, cinneraria, etc., and she makes each panel a distinct study in design, with a background and accessories of appropriate character. For example, the three or four large panels of roses painted at Mentone have a glimpse of the Mediterranean for background, and a suggestion of trellis-work for the support of the vine or bush; and in another rose panel we have a tipped-over Gibraltar basket with its luscious contents strewed about in artful confusion. The double larkspurs make very charming panels for decorative purposes. They are painted with delightful fulness of color and engaging looseness and crispness of touch."—Boston Transcript.
Regis, Emma.This Roman painter has given special attention to figures, and has executed a number of portraits, one of the best of which is that of the Marchioness Durazzo Pallavicini. She has exhibited some delightful work at Turin and at Rome, such as "The Lute-Player," "All is not Gold that Glitters," "Humanity," and "In illo Tempore?"
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Reinhardt, Sophie.Born at Kirchberg, 1775; died at Karlsruhe, 1843. Pupil of Becker. She travelled inAustro-Hungary and Italy. In the Kunsthalle at Karlsruhe is her picture of "St. Elizabeth and the Child John." Among her best works are "The Death of St. Catherine of Alexandria," "The Death of Tasso," and twelve illustrations for a volume of Hebel's poems.
Remy, Marie.Born in Berlin, 1829. Daughter of Professor August Remy of the Berlin Academy. Pupil of her father, Hermine Stilke, and Theude Grönland. She travelled extensively in several European countries, making special studies in flowers and still-life, from which many of her water-colors were painted; twenty of these are in the Berlin National Gallery.
Reuter, Elizabeth.Born in Lubeck, 1853. Pupil of Zimmermann in Munich, A. Schliecker in Hamburg, and of H. Eschke in Berlin. She also went to Düsseldorf to work in the Gallery there. Later she travelled in Scandinavia. Her best pictures are landscapes. Among them is a charming series of six water-colors of views in the park of Friedrichsruhe.
Revest, Cornelia Louisa.Second-class medals in 1819 and 1831 in Paris. Born in Amsterdam, 1795; died in Paris, 1856. Pupil of Sérangély and Vafflard in Paris. In 1814 she painted a "Magdalen at the Feet of Christ" for a church in Marseilles. She also painted many good portraits and a picture called "The Young Mother Playing the Mandolin."
Richard, Mme. Hortense.Honorable mention, Exposition of 1889; third-class medal, 1892; silver medals at Antwerp and Barcelona, and gold medal in London. Born at Paris, 1860. Pupil of James Bertrand, Jules Lefebvre,and Bouguereau. Has exhibited regularly since 1875. Her picture of "Cinderella" is in the Museum of Poitiers; "At Church in Poitou" is in the Luxembourg. She has painted many portraits.
Richards, Anna Mary.Norman Dodge prize, National Academy, New York, 1890. Member of the '91 Art Club, London. Born at Germantown, Pennsylvania, 1870. Pupil of Dennis Bunker in Boston, H. Siddons Mowbray and La Farge in New York, Benjamin Constant and J. P. Laurens in Paris, and always of her father, W. T. Richards.
Miss Richards' work is varied. She is fond of color when suited to her subject; she also works much in black and white. When representing nature she is straightforward in her rendering of its aspects and moods, but she also loves the "symbolic expression of emotion" and the so-called "allegorical subjects." The artist writes: "I simply work in the way that at the moment it seems to me fitting to work to express the thing I have in mind. Where the object of the picture is one sort of quality, I use the method that seems to me to emphasize that quality."
When but fourteen years old this artist exhibited at the National Academy, New York, a picture of waves, "The Wild Horses of the Sea," which was immediately sold and a duplicate ordered. In England Miss Richards has exhibited at the Academy, and her pictures have been selected for exhibitions in provincial galleries. Miss Richards is earnestly devoted to her art, and has in mind an end toward which she diligently strives—not to becomea painter distinguished for clever mannerism, but "to attain a definite end; one which is difficult to reach and requires widely applied effort."
Judging from what she has already done at her age, one may predict her success in her chosen method. In February, 1903, Miss Richards and her father exhibited their works in the Noe Galleries. I quote a few press opinions.
MAY DAY AT WHITELANDS COLLEGE, CHELSEA. Anna M. Richards
MAY DAY AT WHITELANDS COLLEGE, CHELSEA
Anna M. Richards
"Miss Richards paints the sea well; she infuses interest into her figures; she has a love of allegory; her studies in Holland and Norway are interesting. Her 'Whitby,' lighted by sunset, with figures massed in the streets in dark relief against it, is beautiful. Her 'Friends,' showing two women watching the twilight fading from the summits of a mountain range, the cedared slopes and river valley below meantime gathering blueness and shadow, is of such strength and sweetness of fancy that it affects one like a strain of music."
"Miss Richards becomes symbolic or realistic by turn. Some of her figures are creatures of the imagination, winged and iridescent, like the 'Spirit of Hope.' Again, she paints good, honest Dutchmen, loafing about the docks. Sometimes she has recourse to poetry and quotes Emerson for a title.... If technically she is not always convincing, it is apparent that the artist is doing some thinking for herself, and her endeavors are in good taste."
Miss Richards has written "Letter and Spirit," containing fifty-seven "Dramatic Sonnets of Inward Life."
These she has illustrated by sixty full-page pictures. Ofthese 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."
Richards, Signora Emma Gagiotti.Rome.
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Ries, Therese Feodorowna.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 theStudioof 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 Exhibitionshe 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 isen 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 thewholeof 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 towlinepassed 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.