Guyon, Maximiliènne.Medal of third class, Paris salon, 1888; honorable mention and medal of third class at Exposition Universelle, 1889; travelling purse, 1894—first woman to whom the purse was given; bronze medal, Paris Exposition, 1900; gold medal at Exposition of Black and White, Paris; medal in silver-gilt at Amiens. Mme. Guyon is hors concours at Lyons, Versailles, Rouen, etc. Member of the Société des Artistes Français, Société des Aquarellistes Français, and of the Société des Prix du Salon et Boursiers de Voyage. Born at Paris. Pupil of the Julian Academy under Robert-Fleury, Jules Lefebvre, and Gustave Boulanger.
Mme. Guyon is a successful portrait painter, and herworks are numerous. Among her pictures of another sort are the "Violinist" and "The River." In the Salon des Artistes Français, 1902, she exhibited two portraits. In 1903 she exhibited "Mending of the Fish Nets, a scene in Brittany," and "A Study." The net-menders are three peasant women, seated on the shore, with a large net thrown across their laps, all looking down and working busily. They wear the white Breton caps, and but for these—in the reproduction that I have—it seems a gloomy picture; but one cannot judge of color from the black and white. The net is well done, as are the hands, and the whole work is true to the character of such a scene in the country of these hard-working women.
Mme. Guyon is much esteemed as a teacher. She has been an instructor and adviser to the Princess Mathilde, and has had many young ladies in her classes.
In her portraits she succeeds in revealing the individual characteristics of her subjects and bringing out that which is sometimes a revelation to themselves in a pronounced manner. Is not this the key to the charm of her works?
Haanen, Elizabeth Alida—Mme. Kiers.Member of the Academy of Amsterdam, 1838. Born in Utrecht. 1809-1845. Pupil of her brother, Georg G. van Haanen. The genre pictures by this artist are admirable. "A Dutch Peasant Woman" and "The Midday Prayer of an Aged Couple" are excellent examples of her art and have been made familiar through reproductions.
Hale, Ellen Day.Medal at exhibition of Mechanics' Charitable Association. Born in Worcester, Massachusetts. Pupil of William M. Hart and of Dr. Rimmer, in Boston, and of the Julian Academy, Paris.
Her principal works are decorative. The "Nativity" is in the South Congregational Church, Boston; "Military Music," decorative, is in Philadelphia. She also paints figure subjects.
Hallowell, May.SeeLoud.
Halse, Emmeline.This artist, when in the Royal Academy Schools, was awarded two silver medals and a prize of £30. Her works have been accepted at the Academy Exhibitions since 1888, and occasionally she has sent them to the Paris Salons. Born in London. Studied under Sir Frederick Leighton, at Academy Schools, and in Paris under M. Bogino.
Miss Halse executed the reredos in St. John's Church, Notting Hill, London; a terra-cotta relief called "Earthward Board" (?) is in St. Bartholomew's Hospital, London; a relief, the "Pleiades," was purchased by the Corporation of Glasgow for the Permanent Exhibition; her restoration of the "Hermes" was placed in the British Museum beside the cast from the original.
This artist has made many life-size studies of children, portraits in marble, plaster, and wax, in all sizes, poetical reliefs, and tiny wax figures.
Hammond, Gertrude Demain.Several prizes at the School of the Royal Academy, 1886, 1887, and in 1889 the prize for decorative design; bronze medal at Paris Exposition in 1900. Member of Institute of Painters in Water-Colors. Born at Brixton. After gaining the prize for decorative design Miss Hammond was commissionedto execute her design, in a public building. This was the third time that such a commission was given to a prize student, and the first time it was accorded to a woman.
More recently Miss Hammond has illustrated books and magazines; in 1902 she illustrated the "Virginians" in a new American edition of Thackeray's novels. At the Academy, 1903, she exhibited "A Reading from Plato."
Harding, Charlotte.George W. Childs gold medal at Philadelphia School of Design for Women; silver medal at Women's Exposition, London, 1900. Born in Newark, New Jersey, 1873. Pupil of Philadelphia Academy of Fine Arts and School of Design for Women. In the latter was awarded the Horstman fellowship. Miss Harding is an illustrator whose works are seen in a number of the principal magazines.
Hart, Letitia B.Dodge prize, National Academy of Design, 1898. Born in New York, 1857. Pupil of her father, James M. Hart, and Edgar M. Ward.
Her principal works are "The Keepsake," "Unwinding the Skein," "In Silk Attire," and "The Bride's Bouquet."
Havens, Belle.Awarded third Hallgarten prize at National Academy of Design, winter of 1903. Born in Franklin County, Ohio. Studied at Art Students' League, New York, and at Colarossi Atelier, Paris. In New York Miss Havens was directed by William Chase, and by Whistler in Paris. In Holland she studied landscape under Hitchcock, and a picture called "Going Home" was accepted at the Salon and later exhibited at the Philadelphia Academy; it is owned by Mr. Caldwell, of Pittsburg.
Mr. Harrison N. Howard, inBrush and Pencil, writing of the exhibition of the National Academy of Design, says: "'Belle Havens' the 'Last Load' is part and parcel with her other cart-and-horse compositions, commonplace and prosaic in subject, but rendered naturally and forcefully and with no small measure of atmospheric effect. The picture is not one of the winsome sort, and it doubtless makes less appeal to the spectator than any other of the prize-winners."
Hazleton, Mary Brewster.First Hallgarten prize, 1896; first prize travelling scholarship, School of Museum of Fine Arts, Boston, 1899; honorable mention, Buffalo, 1901.
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Hedinger, Elise.Family name Neumann. Born in Berlin, 1854. Pupil of Hoguet, Hertel, and Gussow in Berlin, and of Bracht in Paris. In recent years she has exhibited in Berlin and other cities many exquisite landscapes and admirable pictures of still-life, which have been universally praised.
Heeren, Minna.Born in Hamburg; living in Düsseldorf. In the Gallery at Hamburg is her "Ruth and Naomi," 1854; other important works are "The Veteran of 1813 and His Grandson, Wounded in 1870," "The Little Boaster," "A Troubled Hour of Rest," etc.
Helena.A Greek painter of the fourth century B. C. Daughter of Timon, an Egyptian. She executed a picture of the "Battle of Issus," which was exhibited in the Temple of Peace, in the time of Vespasian, 333 B. C.
Herbelin, Mme. Jeanne Mathilde.Third-class medal, Paris Salon, 1843; second class, 1844; and first class, 1847, 1848, and 1855. Born in Brunoy, 1820. A painter of miniatures. One of these works by Mme. Herbelin was the first miniature admitted to the Luxembourg Gallery.
Hereford, Laura.1831-1870. This artist is distinguished by the fact that she was the first woman to whom the schools of the Royal Academy were opened. She became a pupil there in 1861 or 1862, and in 1864 sent to the Exhibition "A Quiet Corner"; in 1865, "Thoughtful"; in 1866, "Brother and Sister"; and in 1867, "Margaret."
Herman, Hermine von.Born in Komorn, Hungary, 1857. Studied under Darnaut in Vienna, where she made her home. She is a landscape painter and is known through her "Evening Landscape," "Spring," "Eve," and a picture of roses.
Heustis, Louise Lyons.Member of Art Workers' Club for Women and the Art Students' League. Born in Mobile, Alabama. Pupil of Art Students' League, New York, under Kenyon Cox and W. M. Chase; at Julian Academy, Paris, under Charles Lasar.
From a Copley Print. THE DEPARTURE OF SUMMER. Louise L. Heustis
From a Copley Print.
THE DEPARTURE OF SUMMER
Louise L. Heustis
A portrait painter. At a recent exhibition of the Society of American Artists, Miss Heustis's genre portrait called "The Recitation" was most attractive and well painted. She has painted portraits of Mr. Henry F. Dimock; Mr. Edward L. Tinker, in riding clothes, of which a critic says, "It is painted with distinction and charm"; the portrait of a little boy in a Russian blouseis especially attractive; and a portrait of Miss Soley in riding costume is well done. These are but a small number of the portraits by this artist. She is clever in posing her sitters, manages the effect of light with skill and judgement, and renders the various kinds of textures to excellent advantage.
As an illustrator Miss Heustis has been employed bySt. Nicholas, Scribner's, andHarper's Magazine.
Hill, Amelia R.A native of Dunfermline, she lived many years in Edinburgh. A sister of Sir Noel and Walter H. Paton, she married D. O. Hill, of the Royal Scottish Academy. Mrs. Hill made busts of Thomas Carlyle, Sir David Brewster, Sir Noel Paton, Richard Irven, of New York, and others. She also executed many ideal figures. She was the sculptor of the memorial to the Regent Murray at Linlithgow, of the statue of Captain Cook, and that of Dr. Livingstone; the latter was unveiled in Prince's Gardens, Edinburgh, in 1876, and is said to be the first work of this kind executed by a woman and erected in a public square in Great Britain.
"Mrs. Hill has mastered great difficulties in becoming a sculptor in established practice."—Mrs. Tytler's "Modern Painters."
"Mrs. Hill's Captain Cook—R. Scottish Academy, 1874—is an interesting figure and a perfectly faithful likeness, according to extant portraits of the great circumnavigator."—Art Journal, April, 1874.
Hills, Laura Coombs.Medal at Art Interchange, 1895; bronze medal, Paris Exposition, 1900; silver medal, Pan-American Exposition, 1901; second prize, Corcoran ArtGallery, Washington, D. C, 1901. Member of Society of American Artists, Women's Art Club, New York, American Society of Miniature Painters, and Water-Color Club, Boston. Born in Newburyport, Massachusetts. Studied in Helen M. Knowlton's studio and at Cowles Art School, Boston, and at Art Students' League, New York.
MINIATURE OF PERSIS BLAIR. Laura Coombs Hills
MINIATURE OF PERSIS BLAIR
Laura Coombs Hills
Miss Hills is a prominent and successful miniaturist, and her numerous pictures are in the possession of her subjects. They are decidedly individual in character. No matter how simple her arrangements, she gives her pictures a cachet of distinction. It may be "a lady in a black gown with a black aigrette in her hair and a background of delicate turquoise blue, or the delicate profile of a red-haired beauty, outlined against tapestry, the snowy head and shoulders rising out of dusky brown velvet; but the effect is gem-like, a revelation of exquisite coloring that is entirely artistic."
"An attractive work," reproduced here, "may be called a miniature picture. It is a portrait of a little lady, apparently six or seven years old, in an artistic old-fashioned gown, the bodice low in neck and cut in sharp point at the waist line in front; elbow sleeves, slippers with large rosettes, just peeping out from her dress, her feet not touching the floor, so high is she seated. Her hair, curling about her face, is held back by a ribbon bandeau in front; one long, heavy curl rests on the left side of her neck, and is surmounted by a big butterfly bow. The costume and pose are delightful and striking at first sight, but the more the picture is studied the more the faceattracts the attention it merits. It is a sweet little girl's face, modest and sensible. She is holding the arm of her seat with a sort of determination to sit that way and be looked at so long as she must, but her expression shows that she is thinking hard of something that she intends to do so soon as she can jump down and run away to her more interesting occupations."
Hinman, Leana McLennan.
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Hitz, Dora.Born at Altdorf, near Nuremberg, 1856. During eight years she worked under the direction of Lindenschmit, 1870-1878. She was then invited to Bucharest by the Queen of Roumania, "Carmen Sylva." Here the artist illustrated the Queen's poem, "Ada," with a series of water-color sketches, and painted two landscapes from Roumanian scenery. Between 1883 and 1886 she made sketches for the mural decoration of the music-room at the castle of Sinoia. Later, in Brittany and Normandy, she made illustrations for the fisher-romances of Pierre Loti. At Berlin, in 1891-1892, she painted portraits, and then retired to Charlottenburg. Her exhibition of two beautiful pictures in gouache, at Dresden, in 1892, brought her into notice, and her grasp of her subjects and her method of execution were much commended.
Fräulein Hitz could not stem the "classic" art creed of Berlin, where the "new idealism" is spurned. She ventured to exhibit some portraits and studies there in 1894, and was most unfavorably criticised. At Munich,however, in 1895, her exhibition was much admired at the "Secession." Again, in 1898, she exhibited, in Berlin, at the Union of Eleven, a portrait of a young girl, which was received with no more favor than was shown her previous works. In the same year, at the "Livre Esthetique," in Brussels, her pictures were thought to combine a charming grace with a sure sense of light effects, in which the predominating tone was a deep silver gray. A portrait by this artist was exhibited at a Paris Salon in 1895.
Hoffmann, Felicitas.Born in Venice, she died in Dresden, 1760. Pupil of Rosalba Camera. There are four pictures in the Dresden Gallery attributed to her—"St. George," after Correggio; "Diana with an Italian Greyhound," after Camera; "Winter," a half-length figure by herself; and her own portrait. Her principal works were religious subjects and portraits.
Hoffmann-Tedesco, Giulia.Prize at the Beatrice Exposition, Naples. Born at Wurzburg, 1850. This artist has lived in Italy and made her artistic success there, her works having been seen in many exhibitions. Her prize picture at Naples was called "A Mother's Joy." In 1877 she exhibited in the same city "Sappho" and "A Mother," which were much admired; at Turin, 1880, "On the Water" and "The Dance" were seen; at Milan, 1881, she exhibited "Timon of Athens" and a "Sunset"; at Rome, 1883, "A Gipsy Girl" and "Flowers." Her flower pictures are excellent; they are represented with truth, spirit, and grace.
Hogarth, Mary.Exhibits regularly at the New EnglishArt Club, and occasionally at the New Gallery. Born at Barton-on-Humber, Lincolnshire. Pupil of the Slade School under Prof. Fred Brown and P. Wilson Steer.
Miss Hogarth's contribution to the exhibition of the New English Art Club, 1902, was called "The Green Shutters," a very peculiar title for what was, in fact, a picture of the Ponte Vecchio and its surroundings, in Florence. It was interesting. It was scarcely a painting; a tinted sketch would be a better name for it. It was an actual portrait of the scene, and skilfully done.
Hormuth-Kollmorgen, Margarethe.Born at Heidelberg, 1858. Pupil of Ferdinand Keller at Carlsruhe. Married the artist Kollmorgen, 1882. This painter of flowers and still-life has also devoted herself to decorative work, mural designs, fire-screens, etc., in which she has been successful. Her coloring is admirable and her execution careful and firm.
Hosmer, Harriet G.Born in Watertown, Massachusetts, 1830. Pupil in Boston of Stevenson, who taught her to model; pupil of her father, a physician, in anatomy, taking a supplementary course at the St. Louis Medical School.
Since 1852 she has resided in Rome, where she was a pupil of Gibson. Two heads, "Daphne" and "Medusa," executed soon after she went to Rome, were praised by critics of authority. "Will-o'-the-Wisp," "Puck," "Sleeping Faun," "Waking Faun," and "Zenobia in Chains" followed each other rapidly.
Miss Hosmer made a portrait statue of "Maria Sophia, Queen of the Sicilies," and a monument to an Englishlady to be placed in a church in Rome. Her "Beatrice Cenci" has been much admired; it is in the Public Library at St. Louis, and her statue of Thomas H. Benton is in a square of the same city.
For Lady Ashburton Miss Hosmer made her Triton and Mermaid Fountains, and a Siren Fountain for Lady Marian Alford.
Houston, Caroline A.
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Houston, Frances C.Bronze medal at Atlanta Exposition; honorable mention at Paris Exposition, 1900. Member of the Water-Color Club, Boston, and of the Society of Arts and Crafts. Born in Hudson, Michigan, 1851. Studied in Julian Academy under Lefebvre and Boulanger.
A portrait painter whose pictures are in private hands. They have been exhibited in Paris, London, Naples, New York, Philadelphia, and Boston.
Mrs. Houston writes me: "I have not painted many pictures of late years, but always something for exhibition every year." She first exhibited at Paris Salon in 1889, in London Academy in 1890, and annually sends her portraits to the Boston, New York, and Philadelphia Exhibitions.
Hoxie, Vinnie Ream.Born in Madison, Wisconsin, 1847. This sculptor was but fifteen years old when she was commissioned to make a life-size statue of Abraham Lincoln, who sat for his bust; her completed statue of him is in the rotunda of the Capitol at Washington. Congress then gave her the commission for the heroic statue of Admiral Farragut, now in Farragut Square, Washington. These are the only two statues that the United States Government has ordered of a woman.
This artist has executed ideal statues and several bust portraits of distinguished men. Of these the bust of Ezra Cornell is at Cornell University; that of Mayor Powell in the City Hall of Brooklyn, etc.
Hudson, Grace.Gold medal at Hopkins Institute, San Francisco; silver medal at Preliminary World's Fair Exhibition of Pacific States; and medals and honorable mention at several California State exhibitions. Born in Potter Valley, California. Studied at Hopkins Art Institute, San Francisco, under Virgil Williams and Oscar Kunath.
Paints genre subjects, some of which are "Captain John," in National Museum; "Laughing Child," in C. P. Huntington Collection; "Who Comes?" in private hands in Denver, etc.
Mrs. Hudson's pictures of Indians, the Pomas especially, are very interesting, although when one sees the living article one wonders how a picture of him, conscientiously painted and truthful in detail, can be so little repulsive—or, in fact, not repulsive at all. At all events, Mrs. Hudson has no worthy rival in painting California Indians. If we do not sympathize with her choice of subjects, we are compelled to acknowledge that her pictures are full of interest and emphasize the power of this artist in keeping them above a wearisome commonplace.
Her Indian children are attractive, we must admit, andher "Poma Bride," seated in the midst of the baskets that are her dower, is a picture which curiously attracts and holds the attention. Her compositions are simple, and it can only be a rare skill in their treatment that gives them the value that is generally accorded them by critics, who, while approving them, are all the time conscious of surprise at themselves for doing so, and of an unanswered Why? which persists in presenting itself to their thought when seeing or thinking of these pictures.
Hulbert, Mrs. Katherine Allmond.Born in Sacramento Valley, California. Pupil of the San Francisco School of Design under Virgil Williams; National Academy of Design, New York, under Charles Noel Flagg; Artist Artisan Institute, New York, under John Ward Stimson.
This artist paints in water-colors and her works are much admired. Among the most important are "The Stream, South Egremont," which is in a private gallery in Denver; "In the Woods" belongs to Mr. Whiting, of Great Barrington; and "Sunlight and Shadow" to Mr. Benedict, Albany, New York.
Mrs. Hulbert is also favorably known as an illustrator and decorative designer.
Hunter, Mary Y.Four silver medals at Royal Academy Schools Exhibitions; diploma for silver medal, Woman's International Exhibition, Earl's Court, London. Member of Society of Painters in Tempera. Born in New Zealand. Studied at Royal Academy Schools.
The following list of the titles of Mrs. Hunter's works will give an idea of the subjects she affects: "Dante andBeatrice," "Joy to the Laborer," "An Italian Garden," "Where shall Wisdom be Found?" and the "Roadmenders," in Academy Exhibition, 1903.
The only work of Mrs. Hunter's that I have seen is the "Dante and Beatrice," Academy, 1900, and the impression I received leads me to think an article in theStudio,June, 1903, a just estimate of her work. It is by A. L. Baldry, who writes: "In the band of young artists who are at the present time building up sound reputations which promise to be permanent, places of much prominence must be assigned to Mr. J. Young Hunter and his wife. Though neither of them has been before the public for any considerable period, they have already, by a succession of notable works, earned the right to an amount of attention which, as a rule, can be claimed only by workers who have a large fund of experience to draw upon. But though they have been more than ordinarily successful in establishing themselves among the few contemporary painters whose performances are worth watching, they have not sprung suddenly into notice by some special achievement or by doing work so sensational that it would not fail to set people talking. There has been no spasmodic brilliancy in their progress, none of that strange alternation of masterly accomplishment and hesitating effort which is apt at times to mark the earlier stages of the life of an artist who may or may not attain greatness in his later years. They have gone forward steadily year by year, amplifying their methods and widening the range of their convictions; and there has been no moment since they made their first appeal to the publicat which they can be said to have shown any diminution in the earnestness of their artistic intentions.
"The school to which they belong is one which has latterly gathered to itself a very large number of adherents among the younger painters—a school that, for want of a better name, can be called that of the new Pre-Raphaelites. It has grown up, apparently, as an expression of the reaction which has recently set in against the realistic beliefs taught so assiduously a quarter of a century ago. At the end of the seventies there was a prevailing idea that the only mission of the artist was to record with absolute fidelity the facts of nature.... To-day the fallacy of that creed is properly recognized, and the artists on whom we have to depend in the immediate future for memorable works have substituted for it something much more reasonable.... There runs through this new school a vein of romantic fantasy which all thinking people can appreciate, because it leads to the production of pictures which appeal, not only to the eye by their attractiveness of aspect, but also to the mind by their charm of sentiment.... It is because Mr. Young Hunter and his wife have carried out consistently the best principles of this school that they have, in a career of some half-dozen years, established themselves as painters of noteworthy prominence. Their romanticism has always been free from exaggeration and from that morbidity of subject and treatment which is occasionally a defect in the work of young artists. They have kept their art wholesome and sincere, and they have cultivated judiciously those tendencies in it which justify most completely the development of the new Pre-Raphaelitism. They are, indeed, standing examples of the value of this movement, which seems destined to make upon history a mark almost as definite as that left by the original Brotherhood in the middle of the nineteenth century. By their help, and that of the group to which they belong, a new artistic fashion is being established, a fashion of a novel sort, for its hold upon the public is a result not of some irrational popular craze, but of the fascinating arguments which are put into visible shape by the painters themselves."
Hyatt, Harriet Randolph—Mrs. Alfred L. Mayer.Silver medal at Exposition in Atlanta, Georgia, 1895. Member of National Art Club, New York. Born at Salem, Massachusetts. Studied at Cowles Art School and with Ross Turner; later under H. H. Kitson and Ernest L. Major.
Among this artist's pictures are "Shouting above the Tide," "Primitive Fishing," "The Choir Invisible," etc.
The plaster group called the "Boy with Great Dane" was the work of this artist and her sister, Anna Vaughan Hyatt, and is at the Bureau of the Society for the Prevention of Cruelty to Animals, in New York.
Hyatt, Anna Vaughan.Member of the Copley Society, Boston. Born in Cambridge, Massachusetts. Studied nature at Bostock's Animal Arena, Norumbega Park, and at Sportsman's Exhibition. Criticism from H. H. Kitson.
The principal works of this artist are the "Boy with Great Dane," already mentioned, made in conjunctionwith her sister; a "Bison," in a private collection in Boston; and "Playing with Fire."
In November, 1902, Miss Hyatt held an exhibition of her works, in plaster and bronze, at the Boston Art Club. There were many small studies taken from life.
Hyde, Helen.Member of the Art Association, San Francisco. Born in Lima, New York, but has lived so much in California that she is identified with that State, and especially with San Francisco. She made her studies in San Francisco, Philadelphia, New York, and Paris, where she was a pupil of Felix Regamy and Albert Sterner. She then went to Holland, where she also studied. On her return to San Francisco she became so enamoured of the Oriental life she saw there that she determined to go to Japan to perfect herself in colored etching. Miss Hyde devoted herself to the study she had chosen during three years. She lived in an old temple at Tokio, made frequent excursions into the country, was a pupil of the best Japanese teachers, adapted herself to the customs of the country, worked on low tables, sitting on the floor, and so gained the confidence of the natives that she easily obtained models, and, in a word, this artist was soon accorded honors in Japanese exhibitions, where her pictures were side by side with those of the best native artists.
CHILD OF THE PEOPLE. Helen Hyde
CHILD OF THE PEOPLE
Helen Hyde
Miss Hyde has made a visit to America and received many commissions which decided her to return to Japan. A letter from a friend in Tokio, written in October, 1903, says that she will soon return to California.
Ighino, Mary.A sculptor residing in Genoa. Since1884 she has exhibited a number of busts, bas-reliefs, and statues. At Turin in the above-named year she exhibited a group in plaster, "Love Dominating Evil." She is especially successful in bas-relief portraits; one of these is of the Genoese sculptor, Santo Varin. She has also made a bust of Emanuele Filiberto; and in terra-cotta a bust of Oicetta Doria, the fifteenth-century heroine of Mitylene. She has executed a number of decorative and monumental works, and receives many commissions from both Italians and foreigners.
Inglis, Hester.This artist lived in the last half of the sixteenth and in the early decades of the seventeenth century. In the Library of Christ Church College, Oxford, there is an example of the Psalms, in French, written and decorated by her, which formerly belonged to Queen Elizabeth. In the Royal Library of the British Museum there is also a "Book of Emblems" from her hand.
Itasse, Jeanne.Honorable mention, Paris Salon, 1888, and the purse of the city of Paris; at Paris Exposition, honorable mention, 1889; travelling purse, 1891; medal at Chicago Exposition, 1893; medal third class, Salon, 1896; medal second class, 1899; silver medal, Paris Exposition, 1900. Member of Société des Artistes Français, Société Libre, Société des prix du Salon et boursiers de voyage. Born in Paris. Pupil of her father.
Several works of this sculptor have been purchased by the Government and are in the Bureaux of Ministers or in provincial museums. A "Bacchante" is in the Museum at Agen; a portrait bust in the Museum of Alger.At the Salon of 1902 Mlle Itasse exhibited a "Madonna"; in 1903, a portrait of M, W.
Mlle Itasse knows her art thoroughly. When still a child, at the age when little girls play with dolls, she was in her father's atelier, working in clay with an irresistible fondness for this occupation, and without relaxation making one little object after another, until she acquired that admirable surety of execution that one admires in her work—a quality sometimes lacking in the work of both men and women sculptors.
Since her début at the Salon of 1886 she has annually exhibited important works. In 1887 her bust of the danseuse, Marie Salles, was purchased by the Government for the Opera; in 1888 she exhibited a plaster statue, the "Young Scholar," and the following year the bust of her father; in 1890 a "St. Sebastian" in high relief; in 1891 an "Egyptian Harpist," which gained her a traveller's purse and an invitation from the Viceroy of Egypt; in 1893 a Renaissance bas-relief; in 1894 the superb funeral monument dedicated to her father; in 1896 she exhibited, in plaster, the "Bacchante," which in marble was a brilliant success and gained for her a second-class medal and the palmes académique, while the statue was acquired by the Government. Mlle. Itasse has also gained official recompenses in provincial exhibitions and has richly won the right to esteem herself mistress of her art.
Jacquemart, Mlle. Nélie.Medals at Paris Salon, 1868, 1869, and 1870. Born in Paris. A very successful portrait painter. Among the portraits she has exhibited at the Paris Salon are those of Marshal Canrobert, General d'Aurelle de Paladines, General de Palikao, Count de Chambrun, M. Dufaure, and many others, both ladies and gentlemen. Her portrait of Thiers in 1872 was greatly admired.
Paul d'Abrest wrote of Mlle. Jacquemart, in theZeitschrift für bildende Kunst:"One feels that this artist does not take her inspirations alone from the sittings of her subjects, but that she finds the best part of her work in her knowledge of character and from her close study of the personnelle of those whom she portrays."
Janda, Herminie von.Born at Klosterbruch, 1854. Pupil of Ludwig Holanska and Hugo Darnaut. Since 1886 her landscapes have been seen in various Austrian exhibitions. One of these was bought for the "Franzens-Museum" at Brünn, while several others were acquired by the Imperial House of Austria.
Jenks, Phoebe A. Pickering.Born in Portsmouth, New Hampshire, 1849. Mrs. Jenks writes that she has had no teachers.
Her works, being portraits, are mostly in the homes of their owners, but that of the son of T. Jefferson Coolidge, Jr., has been exhibited in the Museum of Fine Arts, Boston, and that of Mrs. William Slater and her son is in the Slater Museum at Norwich.
MOTHER AND CHILD. Phoebe Jenks
MOTHER AND CHILD
Phoebe Jenks
Mrs. Jenks has been constantly busy in portrait painting for twenty-seven years, and has had no time for clubs and societies. She esteems the fact of her constant commissions the greatest honor that she could have. She has probably painted a greater number of portraits than any other Boston contemporary artist.
Jerichau-Baumann, Elizabeth.1819-1881. Honorable mention, Paris Salon, 1861. Member of the Academy of Copenhagen. Born in Warsaw. Pupil of Karl Sohne and Stilke, in Düsseldorf. In Rome she married the Danish sculptor Jerichau and afterward lived in Copenhagen. She travelled in England, France, Russia, Greece, Turkey, and Egypt.
Her picture of a "Polish Woman and Children Leaving Their Home, which had been Destroyed," is in the Raczynski Collection, Berlin; "Polish Peasants Returning to the Ruins of a Burnt House," in the Lansdowne Collection, London; "A Wounded Soldier Nursed by His Betrothed," in the Gallery at Copenhagen, where is also her portrait of her husband; "An Icelandic Maiden," in the Kunsthalle, Hamburg. Her picture, "Reading the Bible," was painted for Napoleon III. at his request. Mme. Jerichau painted a portrait of the present Queen of England, in her wedding dress. A large number of her works are in private houses in Copenhagen.
One of her most important pictures was a life-size representation of "Christian Martyrs in the Catacombs." This picture was much talked of in Rome, where it was painted, and the Pope desired to see it. Madame Jerichau took the picture to the Vatican. On seeing it the Pope expressed surprise that one who was not of his Church could paint this picture. Mme. Jerichau, hearing this, replied: "Your Holiness, I am a Christian."
Hans Christian Andersen was an intimate friend in the Jerichau family. He attended the wedding in Rome, and wrote the biographies of Professor and Mme. Jerichau.
Théophile Gautier once said that but three women in Europe merited the name of artists—Rosa Bonheur, Henrietta Brown, and Elizabeth Jerichau; and Cornelius called her "the one woman in the Düsseldorf School," because of her virile manner of painting.
Among her important portraits are those of Frederick VII. of Denmark, the brothers Grimm, and "Hans Christian Andersen Reading His Fairy Tales to a Child."
Mme. Jerichau was also an author. In 1874 she published her "Memories of Youth," and later, with her son, the illustrated "Pictures of Travel."
Jopling-Rowe, Louise.Member of Royal Society of British Artists, Society of Portrait Painters, Pastel Society, Society of Women Artists. Born at Manchester, 1843. Pupil of Chaplin in Paris; also studied with Alfred Stevens.
Since 1871 Mrs. Jopling has been a constant exhibitor at the Royal Academy and other London exhibitions, and frequently also at the Paris Salon.
MISS ELLEN TERRY AS "PORTIA". Louise Jopling Rowe
MISS ELLEN TERRY AS "PORTIA"
Louise Jopling Rowe
Her pictures are principally portraits and genre subjects. Her first decided success was gained in 1874, when she exhibited at the Academy the "Japanese Tea Party," and from that time she was recognized as an accomplished artist and received as many commissions as she could execute. The Baroness de Rothschild had been convinced of Mrs. Jopling's talent before she became an artist, and had given her great encouragement in the beginning of her career. The portrait of Lord Rothschild, painted for Lord Beaconsfield, is thought to be her best work of this kind, but its owner would not allow it to beexhibited. Her portrait of Ellen Terry, which hangs in the Lyceum Theatre, was at the Academy in 1883. It is in the costume of Portia. Mrs. Jopling's pastels are of an unusual quality, delicate, strong, and brilliant. Her portraits are numerous, and from time to time she has also executed figure subjects.
Of late years Mrs. Jopling has been much occupied with a School of Painting. The large number of pupils who wished to study with her made a school the best means of teaching them, and has been successful. From the beginning they draw from life, and at the same time they also study from the antique.
Many of her pupils receive good prices for their works, and also earn large sums for their portraits in black and white.
Mrs. Jopling writes: "What I know I chiefly learned alone. Hard work and the genius that comes from infinite pains, the eye to see nature, the heart to feel nature, and the courage to follow nature—these are the best qualifications for the artist who would succeed."
In theArt Journal,July, 1874, I read: "'The Five-o'Clock Tea' is the largest and most important design we have seen from Mrs. Jopling's hand, and in the disposition of the various figures and the management of color it certainly exhibits very remarkable technical gifts. Especially do we notice in this lady's work a correct understanding of the laws of tone, very rare to find in the works of English painters, giving the artist power to bring different tints, even if they are not harmonious, into right relations with one another."
The above-named picture was sold to the Messrs. Agnew, and was followed by "The Modern Cinderella," which was seen at the Paris Exposition in 1878; at the Philadelphia Exposition in 1876 she exhibited "Five Sisters of York."
Mrs. Jopling is also known as the founder and president of the Society of the Immortals. She has written several short tales, some poems, and a book called "Hints to Amateurs."
At the Royal Academy, 1903, she exhibited "Hark! Hark! the Lark at Heaven's Gate Sings," which is a picture of a poor girl beside a table, on which she has thrown her work, and leaning back in her chair, with hands clasped behind her head, is lost in thought.
Joris, Signorina Agnese—pseudonym, Altissimi. Was accorded the title of professor at the Institute of the Fine Arts, Rome, 1881. She was successful in a competition for a position in the Scuole Tecniche, Rome, 1888. Honorable mention, Florence, 1890; same at Palermo, 1891 and 1892; silver medal of first class and diploma of silver medal, Rome, 1899 and 1900. Member of the Società Cooperativa, Rome. Born in the same city, and pupil of the Institute of Fine Arts and of her brother, Cavaliere Professore Pio Joris.
This artist writes that a list of her works would be too long and require too much time to write it. They are in oils, pastel, and water-colors, with various applications of these to tapestries, etc. She also gives lessons in these different methods of painting. In a private collection in New York is her "Spanish Scene in the Eighteenth Century."
She painted a "portrait of the late King Humbert, arranged in the form of a triptych surrounded by a wreath of flowers, painted from some which had lain on the King's bier." She sent this picture to Queen Margharita, "who not only graciously accepted it, but sent the artist a beautiful letter and a magnificent jewel on which was the Royal Cipher."
Kaerling, Henriette.Born about 1832. Daughter of the artist, J. T. Kaerling, who was her principal teacher. She practised her art as a painter of portraits, genre subjects, and still-life in Budapest during some years before her marriage to the pianist Pacher, with whom she went to Vienna. She there copied some of the works of the great painters in the Gallery, besides doing original work of acknowledged excellence. In addition to her excellent portraits, she painted in 1851 "The Grandmother"; in 1852, "A Garland with Religious Emblems"; in 1855, "A Crucifix Wound with Flowers."
Kalckreuth, Countess Maria.Medal at Chicago Exposition, 1893. Member of the Society of Women Artists in Berlin. Born at Düsseldorf. 1857-1897. Much of her artistic life was passed in Munich. Her picture at Chicago was later exhibited at Berlin and was purchased for the Protestant Chapel at Dachau. It represented "Christ Raising a Repentant Sinner"—a strong work, broadly painted. Among her important pictures are "In the Sunshine," "Fainthearted," "Discontented," and several portraits, all of which show the various aspects of her artistic talent.
Kauffman, Angelica.An original member of theLondon Academy. She was essentially an Italian artist, since from the age of eleven she lived in Italy and there studied her art. Such different estimates have been made of her works that one may quote a good authority in either praise or blame of her artistic genius and attainment.
Kugler, a learned, unimpassioned critic, says: "An easy talent for composition, though of no depth; a feeling for pretty forms, though they were often monotonous and empty, and for graceful movement; a coloring blooming and often warm, though occasionally crude; a superficial but agreeable execution, and especially a vapid sentimentality in harmony with the fashion of the time—all these causes sufficiently account for her popularity."