Women in the fine arts from 7 to 20th Century by Clara Erskine Clement - HTML preview

was exhibited in Paris, London, Brussels, and Ghent, and attracted much attention.

[Illustration: LA VIERGE AU ROSIER

SADIE WATERS]

Her picture of the "Vierge aux Rosiers," reproduced here, was in the Salon, 1899, and in the exhibition of Religious Art in Brussels in 1900, after which it was exhibited in New York; and wherever seen it was especially admired.

Miss Waters' pictures were exhibited in the Salon Francais, Champs Elysees, from 1891 until her death. From the earliest days of childhood she was remarkable for her skill in drawing and in working out, from her own impressions, pictures of events passing about her. If at the theatre she saw a play that appealed to her, she made a picture symbolic of the play, and constantly startled her friends by her original ideas and the pronounced artistic temperament, which was very early the one control ing power in her life. Mr. Carl Gutherz thus speaks of her good fortune in studying with M. Merson.

"As the Master and Student became more and more acquainted, and the great artist found in the student those kindred qualities which subsequently made her work so refined and beautiful,... he took the utmost care in developing her drawing--the fidelity of line and of expression, and the ever-pervading purity in her work. The sympathy with al good was reflected in the student, as it was ever present with the master, and only those who are acquainted with M. Merson can appreciate how fortunate it was for Art that the young artist was under a master of his character and temperament."

One of her pictures, called "La Chrysantheme," represents a nude figure of a young girl, seated on the ground, leaning against a large basket of chrysanthemums, from which she is plucking blossoms. The figure is beautiful, and shows the deep study the artist had made, although still so young.

The following estimate of her work is made by one competent to speak of such matters: "In this epoch of feverish uncertainty, of heated discussions and rivalries in art matters, the quiet, calm figure of Sadie Waters has a peculiar interest and charm generated by her tranquil and persistent pursuit of an ideal--an ideal she attained in her later works, an ideal of the highest mental order, mystical and human, and so far removed from the tendencies of our time that one might truthful y say, it stands alone. Her talents were manifold. She was endowed with the best of artistic qualities. She cultivated them diligently, and slowly acquired the handicraft and skill which enabled her to express herself without restriction. In her miniatures she learned to be careful, precise, and delicate; in her work from nature she was human; and in her studies of illuminating she gained a perfect understanding of ornamental painting and forms; and the subtle ambiance of the beautiful old churches and convents where she worked and pored over the ancient missals, and softly talked with the princely robed Monsignori, no doubt did much to develop her love for the Beautiful Story, the delicate myth of Christianity--and all this, all these rare qualities and honest efforts we find in her last picture, The Virgin.

"The beauty and preciseness of this composition, the divine feeling not without a touch of motherly sentiment, its delicacy so rare and so pure, the distinction of its coloring, are al past expression, and give it a place unique in the nineteenth century."--_Paul W. Bartlett_, Paris, 1903.

<b>WEGMANN, BERTHA.</b> Honorable mention, Paris Salon, 1880; third-class medal, 1882; Thorwaldsen medal at Copenhagen; small gold medal, Berlin, 1894. Born at Soglio, Switzerland, 1847. Studied in Copenhagen, Munich, Paris, and Florence.

She paints portraits and genre subjects. Her pictures, seen at Berlin in 1893, were much admired. They included portraits, figure studies, and Danish interiors. At Munich, in 1894, her portraits attracted attention, and were commended by those who wrote of the exhibition. Among her works are many portraits: "Mother and Child in the Garden," and "A Widow and Child," are two of her genre subjects.

<b>WEIS, ROSARIO.</b> Silver medal from the Academy of San Fernando, 1842, for a picture cal ed "Silence." Member of the Academy. Pupil of Goya, who early recognized her talent. In 1823, when Goya removed to Burdeos, she studied under the architect Tiburcio Perez. After a time she joined Goya, and remained his pupil until his death in 1828. She then entered the studio Lacour, where she did admirable work. In 1833, for the support of her mother and herself, she made copies of pictures in the Prado on private commissions.

In 1842 she was appointed teacher of drawing to the royal family, in which position she did not long continue, her death occurring in 1843.

Among her pictures are "Attention!" an allegorical figure; "An Angel"; "A Venus"; and "A Diana." Among her portraits are those of Goya, Velasquez, and Figaro.

<b>WIEGMANN, MARIE ELISABETH</b>; family name Hancke. Smal gold medal, Berlin. Born 1826 at Solberberg, Silesia; died, 1893, at Duesseldorf. In 1841 she began to study with Stilke in Duesseldorf; later with K. Sohn.

She travelled extensively in Germany, England, Hol and, and Italy, and settled with her husband, Rudolph Wiegmann, in Duesseldorf. In the Museum at Hanover is "The Colonist's Children Crowning a Negro Woman," and in the National Gal ery at Berlin a portrait of Schnaase. Some children's portraits, and one of the Countess Hatzfeld, should also be mentioned among her works.

In portraiture her work was distinguished by talent, spirit, and true artistic composition; in genre--especially the so-called ideal genre--she produced some exquisite examples.

<b>WENTWORTH, MARQUISE CECILIA DE.</b> Gold medal, Tours National Exposition, Lyons and Turin; Honorable mention, Paris Salon, 1891; Bronze medal, Paris Exposition, 1900; Chevalier of the Legion of Honor, 1901.

Born in New York. Pupil of the Convent of the Sacred Heart and of Cabanel, in Paris. This artist has painted portraits of Leo XIII., who presented her with a gold medal; of Cardinal Ferrata; of Challemel-Lacour, President of the Senate at the time when the portrait was made, and of many others. Her picture of "Faith" is in the Luxembourg Gal ery. At the Salon des Artistes Francais, 1903, Madame de Wentworth exhibited the "Portrait of Mlle. X.," and "Solitude."

[_No reply to circular_.]

<b>WHEELER, JANET.</b> First Toppan Prize and Mary Smith Prize at Academy of Fine Arts, Philadelphia; Gold medal, Philadelphia Art Club. Fel ow of Academy of Fine Arts, and member of Plastic Club, Philadelphia. Born in Detroit, Michigan. Pupil of Academy of Fine Arts, Philadelphia, and of the Julian Academy in Paris.

This artist paints portraits almost entirely, which are in private hands.

I know of but one figure picture by her, which is cal ed "Beg for It."

She was a miniaturist several years before taking up larger portraits.

<b>WHITE, FLORENCE.</b> Silver medal at Woman's Exhibition, Earl's Court; silver medal for a pastel exhibited in Calcutta. Born at Brighton, England. Pupil of Royal Academy Schools in London, and of Bouguereau and Perrier in Paris.

In 1899 this artist exhibited a portrait in the New Gal ery; in 1901 a portrait of Bertram Blunt, Esq., at the Royal Academy; and in 1902 a portrait of "Peggy," a little girl with a poodle.

She has sent miniatures to the Academy exhibitions several years; that of Miss Lyall Wilson was exhibited in 1903.

<b>WHITMAN, SARAH DE ST. PRIX.</b> Bronze medal at Columbian Exposition, Chicago, 1893; gold and bronze medals at Atlanta Exposition; diploma at Pan-American, Buffalo, 1901. Member of the Society of American Artists, New York; Copley Society, Boston; Water-Color Club, Boston. Born in Baltimore, Maryland. Pupil of William M. Hunt and Thomas Couture.

Mrs. Whitman has painted landscapes and portraits, and of recent years has been much occupied with work in glass. Windows by her are in Memorial Hal , Cambridge; in the Episcopal Church in Andover, Massachusetts, etc.

An altar-piece by her is in Al Saints' Church, Worcester.

Her portrait of Senator Bayard is in the State Department, Washington.

<b>WHITNEY, ANNE.</b> Born in Watertown, Massachusetts. Made her studies in Belmont and Boston, and later in Paris and Rome.

Miss Whitney's sculptures are in many public places. A heroic size statue of Samuel Adams is in Boston and Washington, in bronze and marble; Harriet Martineau is at Wellesley Col ege, in marble; the "Lotos-Eaters"

is in Newton and Cambridge, in marble; "Lady Godiva," a life-size statue in marble, is in a private col ection in Milton; a statue of Leif Eriksen, in bronze, is in Boston and Milwaukee; a bust of Professor Pickering, in marble, is in the Observatory, Cambridge; a statue, "Roma,"

is in Albany, Wel esley, St. Louis, and Newton, in both marble and bronze; Charles Sumner, in bronze of heroic size, is in Cambridge; a bust of President Walker, bronze, is also in Cambridge; President Stearns, a bust in marble, is in Amherst; a bust of Mrs. Alice Freeman Palmer is in Cambridge; a bust of Professor Palmer is on a bronze medal; the Cal a Fountain, in bronze, is in Franklin Park; and many other busts, medals, etc., in marble, bronze, and plaster, are in private collections.

<b>WILSON, MELVA BEATRICE.</b> Prize of one hundred dollars a year for three successive years at Cincinnati Art Museum. Honorable mention, Paris Salon, 1897. Born in Cincinnati, 1875. Pupil of Cincinnati Art Museum, under Louis T. Rebisso and Thomas Noble; in Paris, of Rodin and Vincent Norrottny.

By special invitation this sculptor has been an exhibitor at the National Sculpture Society, New York. Her principal works are: "The Minute Man,"

in Corcoran Art Gal ery, Washington, D. C.; "The Volunteer," which was given by the State of New York as a military prize to a Vermont Regiment; an equestrian statue of John F. Doyle, Jr.; "Bul and Bear" and the "Polo Player" in bronze, owned by Tiffany & Co.; "Retribution" in a private collection in New York.

Miss Wilson has been accorded the largest commission given any woman sculptor for the decoration of the buildings of the St. Louis Exposition.

She is to design eight spandrils for Machinery Hal , each one being twenty-eight by fifteen feet in size, with figures larger than life. The design represents the wheelwright and boiler-making trades. Reclining nude figures, of colossal size, bend toward the keystone of the arch, each holding a tool of a machinist. Interlaced cog-wheels form the background.

<b>WIRTH, ANNA MARIE.</b> Member of the Munich Art Association. Born in St.

Petersburg, 1846. Studied in Vienna under Straschiripka--commonly known as Johann Canon--and in Paris, although her year's work in the latter city seems to have left no trace upon her manner of painting. The genre pictures, in which she excels, clearly show the influence of the old Dutch school. A writer in "Moderne Kunst" says, in general, that she shows us real human beings under the "precieuses ridicules," the languishing gallants and the pedant, and often succeeds in individualizing all these with the sharpness of a Chodowiecki, though at times she is merely good-natured, and therefore weak.

Sometimes, like Terborch, by her anecdotical treatment, she can set a whole romantic story before you; again, in the manner of Gerard Dow, she gives you a penetrating glimpse into old burgher life--work that is quite out of touch with the dilettantism that largely pervades modern art.

The admirers of this unusual artist seek out her genre pictures in the exhibitions of to-day, much as one turns to an idyl of Heinrich Voss, after a dose of the "storm and stress" poets. Most of her works are in private gal eries.

One of her best pictures will be seen at the St. Louis Exposition.

<b>WISINGER-FLORIAN, OLGA.</b> Bavarian Ludwig medal, 1891; medal at Chicago, 1893. Born in Vienna, 1844. Pupil of Schaeffer and Schwindler.

She has an excel ent reputation as a painter of flowers. In the New Gal ery, Munich, is one of her pictures of this sort; and at Munich, 1893, her flower pieces were especial y praised in the reports of the exhibition.

She also paints landscapes, in which she gains power each year; her color grows finer and her design or model ing stronger. At Vienna, 1890, it was said that her picture of the "Bauernhofe" was, by its excellent color, a disadvantage to the pictures near it, and the shore motive in "Abbazia"

was full of artistic charm. At Vienna, 1893, she exhibited a cycle, "The Months," which bore witness to her admirable mastery of her art.

Among her works are some excellent Venetian subjects: "On the Rialto";

"Morning on the Shore"; and "In Venice."

<b>WOLFF, BETTY.</b> Honorable mention, Berlin, 1890. Member of the Association of Women Artists and Friends of Art; also of the German Art Association. Born in Berlin, where she was a pupil of Karl Stauffer-Bern; she also studied in Munich under Karl Marr.

Besides numerous portraits of children, in pastel, this artist has painted portraits in oils of many well-known persons, among whom are Prof. H. Steinthal, Prof. Albrecht Weber, and General von Zycklinski.

<b>WOLTERS, HENRIETTA</b>, family name Van Pee. Born in Amsterdam.

1692-1741. Pupil of her father, and later made a special study of miniature under Christoffel le Blond. Her early work consisted largely in copies from Van de Velde and Van Dyck. Her miniatures were so highly esteemed that Peter the Great offered her a salary of six thousand florins as his court painter; and Frederick William of Prussia invited her to his court, but nothing could tempt her away from her home in Amsterdam. She received four hundred florins for a single miniature, a most unusual price in her time.

<b>WOOD, CAROLINE S.</b> Daughter of Honorable Horatio D. Wood, of St.

Louis. This sculptor has made unusual advances in her art, to which she has seriously devoted herself less than four years. She has studied in the Art School of Washington University, the Art Institute, Chicago, and is now a student in the Art League, New York.

She has been commissioned by the State of Missouri to make a statue to represent "The Spirit of the State of Missouri," for the Louisiana Purchase Exposition.

[_No reply to circular_.]

<b>WOODBURY, MARCIA OAKES.</b> Prize at Boston Art Club; medals at Mechanics' Association Exhibition, Atlanta and Nashville Expositions.

Member of the New York and Boston Water-Color Clubs. Born at South Berwick, Maine. Pupil of Tommasso Juglaris, in Boston, and of Lasar, in Paris.

Mrs. Woodbury paints in oils and water-colors; the latter are genre scenes, and among them are several Dutch subjects. She has painted children's portraits in oils. Her pictures are in private hands in Boston, New York, Chicago, and Cincinnati. "The Smoker," and "Mother and Daughter," a triptych, are two of her principal pictures.

<b>WOODWARD, DEWING.</b> Grand prize of the Academy Julian, 1894. Member of Water-Color Club, Baltimore; Charcoal Club, Baltimore; L'Union des Femmes Peintres et Sculpteurs de France. Born at Williamsport, Pennsylvania.

Pupil of Pennsylvania Academy a few months; in Paris, of Bouguereau, Robert-Fleury, and Jules Lefebvre.

Her "Hol and Family at Prayer," exhibited at the Paris Salon, 1893, and

"Jessica," belong to the Public Library in Williamsport; "Clam-Diggers Coming Home--Cape Cod" was in the Venice Exhibition, 1903; one of her pictures shows the "Julian Academy, Criticism Day."

She has painted many portraits, and her work has often been thought to be that of a man, which idea is no doubt partly due to her choosing subjects from the lives of working men. She is of the modern school of colorists.

<b>WRIGHT, ETHEL.</b> This artist contributed annually to the exhibitions of the London Academy from 1893 to 1900, as follows: In 1893 she exhibited "Milly" and "Echo"; in 1894, "The Prodigal"; in 1895, a water-color, "Lilies"; in 1896, "Rejected"; in 1897, a portrait of Mrs.

Laurence Phillips; in 1898, "The Song of Ages," reproduced in this book; in 1899, a portrait of Mrs. Arthur Strauss; and in 1900, one of Miss Vaughan.

[_No reply to circular_.]

<b>WRIGHT, MRS. PATIENCE.</b> Born at Bordentown, New Jersey, 1725, of a Quaker family. When left a widow, with three children to care for, she went to London, where she found a larger field for her art than she had in the United States, where she had already made a good reputation as a modeller in wax. By reason of this change of residence she has often been called an English sculptress.

Although the imaginative and pictorial is not cultivated or even approved by Quakers, Patience Lovell, while still a child, and before she had seen works of art, was content only when supplied with dough, wax, or clay, from which she made figures of men and women. Very early these figures became portraits of the people she knew best, and in the circle of her family and friends she was considered a genius.

Very soon after Mrs. Wright reached London she was fully employed. She worked in wax, and her ful -length portrait of Lord Chatham was placed in Westminster Abbey, protected by a glass case. This attracted much attention, and the London journals praised the artist. She made portraits of the King and Queen, who, attracted by her brilliant conversation, admitted her to an intimacy at Buckingham House, which could not then have been accorded to an untitled English woman.

[Illustration: From a Copley Print.

THE SONG OF AGES

ETHEL WRIGHT]

Mrs. Wright made many portraits of distinguished people; but few, if any, of these can now be seen, although it is said that some of them have been careful y preserved by the families who possess them.

To Americans Mrs. Wright is interesting by reason of her patriotism, which amounted to a passion. She is credited with having been an important source of information to the American leaders in the time of the Revolution. In this she was frank and courageous, making no secret of her views. She even ventured to reprove George III. for his attitude toward the Colonists, and by this boldness lost the royal favor.

She corresponded with Franklin, in Paris, and new appointments, or other important movements in the British army, were speedily known to him.

Washington, when he knew that Mrs. Wright wished to make a bust of him, replied in most flattering terms that he should think himself happy to have his portrait made by her. Mrs. Wright very much desired to make likenesses of those who signed the Treaty of Peace, and of those who had taken a prominent part in making it. She wrote: "To shame the English king, I would go to any trouble and expense, and add my mite to the honor due to Adams, Jefferson, and others."

Though so essential y American as a woman, the best of her professional life was passed in England, where she was liberally patronized and ful y appreciated. Dunlap cal s her an extraordinary woman, and several writers have mentioned her power of judging the character of her visitors, in which she rarely made a mistake, and chose her friends with unusual intel igence.

Her eldest daughter married in America, and was well known as a model er in wax in New York. Her younger daughter married the artist Hoppner, a rival in portraiture of Stuart and Lawrence, while her son Joseph was a portrait painter. His likeness of Washington was much admired.

<b>WULFRAAT, MARGARETTA.</b> Born at Arnheim. 1678-1741. Was a pupil of Caspar Netscher of Heidelberg, whose little pictures are of fabulous value. Although he was so excel ent a painter he was proud of Margaretta, whose pictures were much admired in her day. Her "Musical Conversation"

is in the Museum of Schwerin. Her "Cleopatra" and "Semiramis" are in the Gal ery at Amsterdam.

<b>YANDELL, ENID.</b> Special Designer's Medal, Chicago, 1893; silver medal, Tennessee Exposition; Honorable Mention, Buffalo, 1901. Member of National Sculpture Society; Municipal Art Society; National Arts Club, all of New York. Born in Louisville, Kentucky. Graduate of Cincinnati Art Academy. Pupil of Philip Martiny in New York, and in Paris of Frederick McMonnies and Auguste Rodin.

The principal works of this artist are the Mayor Lewis monument at New Haven, Connecticut; the Chancellor Garland Memorial, Vanderbilt University, Nashville; Carrie Brown Memorial Fountain, Providence; Daniel Boone and the Ruff Fountain, Louisville.

Richard Ladegast, in January, 1902, wrote a sketch of Miss Yandell's life and works for the _Outlook_, in which he says that Miss Yandell was the first woman to become a member of the National Sculpture Society. I quote from his article as fol ows: "The most imposing product of Miss Yandel 's genius was the heroic figure of Athena, twenty-five feet in height, which stood in front of the reproduction of the Parthenon at the Nashville Exposition. This is the largest figure ever designed by a woman.

[Illustration: STATUE OF DANIEL BOONE

ENID YANDELL

Made for St. Louis Exposition]

"The most artistic was probably the little silver tankard which she did for the Tiffany Company, a bit of modelling which involves the figures of a fisher-boy and a mermaid. The figure of Athena is large and correct; those of the fisher-boy and mermaid poetic and impassioned.... The boy kisses the maid when the lid is lifted. He is always looking over the edge, as if yearning for the fate that each new drinker who lifts the lid forces upon him."

Of the Carrie Brown Memorial Fountain he says: "The design of the fountain represents the struggle of life symbolized by a group of figures which is intended to portray, according to Miss Yandel , not the struggle for bare existence, but 'the attempt of the immortal soul within us to free itself from the handicaps and entanglements of its earthly environments. It is the development of character, the triumph of intel ectuality and spirituality I have striven to express.' Life is symbolized by the figure of a woman, the soul by an angel, and the earthly tendencies--duty, passion, and avarice--by male figures. Life is represented as struggling to free herself from the gross earthly forms that cling to her. The figure of Life shows a calm, placid strength, wel calculated to conquer in a struggle; and the model ing of her clinging robes and the active muscle of the male figures is firm and life-like.

The mantle of truth flows from the shoulders of the angel, forming a drapery for the whole group, and serving as a support for the basin, the edges of which are ornamented with dolphins spouting water.

"The silhouette formed by the mass of the fountain is most interesting and successful from al points of view. The lines of the composition are large and dignified, especial y noticeable in the modelling of the individual figures, which is wel studied and technically excellent."

At Buffalo, where this fountain was exhibited, it received honorable mention.

Miss Yandel has been commissioned to execute a symbolical figure of victory and a statue of Daniel Boone for the St. Louis Exposition.

<b>YKENS, LAURENCE CATHERINE.</b> Elected to the Guild of Antwerp in 1659.

Born in Antwerp. Pupil of her father, Jan Ykens. Flowers, fruits, and insects were her favorite subjects, and were painted with rare delicacy.

Two of these pictures are in the Museo del Prado, at Madrid. They are a

"Festoon of Flowers and Fruits with a Medallion in the Centre, on which is a Landscape"; and a "Garland of Flowers with a Similar Medal ion."

<b>ZIESENSIS, MARGARETTA.</b> There were few women artists in the Scandinavian countries in the early years of the eighteenth century.

Among them was Margaretta Ziesensis, a Danish lady, who painted a large number of portraits and some historical subjects.

She was best known, however, for her miniature copies of the works of famous artists. These pictures were much the same in effect as the

"picture-miniatures" now in vogue. Her copy of Correggio's Zingarel a was much admired, and was several times repeated.

SUPPLEMENT

Containing names previously omitted and additions. The asterisk (*) denotes preceding mention of the artist.

*<b>BILDERS, MARIE VAN BOSSE.</b> This celebrated landscape painter became an artist through her determination to be an artist rather than because of any impel ing natural force driving her to this career.

After patient and continuous toil, she felt that she was developing an artistic impulse. The advice of Van de Sande-Bakhuyzen greatly encouraged her, and the candid and friendly criticism of Bosboom inspired her with the courage to exhibit her work in public.

In the summer of 1875, in Vorden, she met Johannes Bilders, under whose direction she studied landscape painting. This master took great pains to develop the originality of his pupil rather than to encourage her adapting the manner of other artists. During her stay in Vorden she made a distinct gain in the attainment of an individual style of painting.

After her return to her home at The Hague, Bilders established a studio there and showed a still keener interest in his pupil. This artistic friendship resulted in the marriage of the two artists, and in 1880 they established themselves in Oosterbeck.

Here began the intimate study of the heath which so largely influenced the best pictures by Frau Bilders. In the garden of the picturesque house in which the two artists lived was an old barn, which became her studio, where, early and late, in all sorts of weather, she devotedly observed the effects later pictured on her canvases. At this time she executed one of her best works, now in the collection of the Prince Regent of Brunswick. It is thus described by a Dutch writer in Rooses' "Dutch Painters of the Nineteenth Century":

"It represents a deep pool, overshadowed by old gnarled willows in their autumnal foliage, their silvery trunks bending over, as if to see themselves in the clear, still water. On the edge of the pool are flowers and variegated grasses, the latter looking as if they wished to crowd out the former--as if _they_ were in the right and the flowers in the wrong; as if such bright-hued creatures had no business to eclipse their more sombre tones; as if _they_ and _they_ alone were suited to this silent, forsaken spot."

Johannes Bilders was ful y twenty-five years older than his wife, and the failure of both his physical and mental powers in his last days required her absolute devotion to him. In spite of this, the garden studio was not wholly forsaken, and nearly every day she accomplished something there.

After her husband's death she had a long illness. On her recovery she returned to The Hague and took the studio which had been that of the artist Mauve.

The life of the town was wearisome to her, but she found a compensation in her re-union with her old friends, and with occasional visits to the heath she passed most of her remaining years in the city.

Her favorite subjects were landscapes with birch and beech trees, and the varying phases of the heath and of solitary and unfrequented scenes. Her works are al in private col ections. Among them are "The Forester's Cottage," "Autumn in Doorwerth," "The Old Birch," and the "Old Oaks of Wodan at Sunset."

<b>BOZNANSKA, OLGA.</b> Born in Cracow, where she was a pupil of Matejko.

Later, in Munich, she studied with Kricheldorf and Duerr. Her mother was a French woman, and critics trace both Polish and French characteristics in her work.

She paints portraits and genre subjects. She is skilful in seizing salient characteristics, and her chief aim is to preserve the individuality of her sitters and models. She skilfully manages the side-lights, and by this means produces strong effects. After the first exhibition of her pictures in Berlin, her "God-given talent" was several times mentioned by the art critics.

At Munich she made a good impression by her pictures exhibited in 1893

and 1895; at the Exposition in Paris, 1889, her portrait and a study in pastel were much admired and were generously praised in the art journals.

*<b>COX, LOUISE.</b> The picture by Mrs. Cox, reproduced in this book, illustrates two lines in a poem by Austin Dobson, called "A Song of Angiola in Heaven."

"Then set I lips to hers, and felt,--

Ah, God,--the hard pain fade and melt."

<b>DE MORGAN, EMILY.</b> Family name Pickering. When sixteen years old, this artist entered the Slade School, and eighteen months later received the Slade Scholarship, by which she was entitled to benefit for three years. At the end of the first year, however, she resigned this privilege because she did not wish to accept the conditions of the gift.

As a child she had loved the pictures of the precursors of Raphael, in the National Gal ery, and her first exhibited picture, "Ariadne in Naxos," hung in the Grosvenor Gallery in 1877, proved how closely she had studied these old masters. At this time she knew nothing of the English Pre-Raphaelites; later, however, she became one of the most worthy fol owers of Burne-Jones.

About the time that she left the Slade School one of her uncles took up his residence in Florence, where she has spent several winters in work and study.

One of her most important pictures is inscribed with these lines: