ASSCHE, ISABEL CATHERINE VAN. She was born at Brussels, 1794. Landscape painter. She took a first prize at Ghent in 1829, and became a pupil of her uncle, Henri van Assche, who was often called the painter of waterfalls. As early as 1812 and 1813 two of her water-colors were displayed in Ghent and Brussels respectively, and she was represented in the exhibitions at Ghent in 1826, 1829, and 1835; at Brussels in 1827 and 1842; at Antwerp in 1834, 1837, and 1840; and at Luettich in 1836. Her subjects were all taken from the neighborhood of Brussels, and one of them belongs to the royal collection in the Pavilion at Haarlem. In 1828 she married Charles Leon Kindt.



ATHES-PERRELET, LOUISE. First prize and honorable mention, class Gillet and Hebert, 1888; class Bovy, first prize, 1889; Academy class, special mention, 1890; School of Arts, special mention, hors concours, 1891; also, same year, first prize for sculpture, offered by the Society of Arts; first prize offered by the Secretary of the Theatre, 1902. Member of the Union des Femmes and Cercle Artistique. Born at Neuchatel. Studies made at Geneva under Mme. Carteret and Mme. Gillet and Professors Hebert and B. Penn, in drawing and painting; M. Bovy, in sculpture; and of various masters in decorative work and engraving. Has executed statues, busts, medallion portraits; has painted costumes, according to an invention of her own, for the Theatre of Geneva, and has also made tapestries in New York. All her works have been commended in the journals of Geneva and New York.



AUSTEN, WINIFRED. Member of Society of Women Artists, London. Born at Ramsgate. Pupil of Mrs. Jopling-Rowe and Mr. C. E. Swan. Miss Austen exhibits in the Royal Academy exhibitions; her works are well hung—one on the line.

Her favorite subjects are wild animals, and she is successful in the illustration of books. Her pictures are in private collections. At the Royal Academy in 1903 she exhibited "The Day of Reckoning," a wolf pursued by hunters through a forest in snow. A second shows a snow scene, with a wolf baying, while two others are apparently listening to him. "While the wolf, in nightly prowl, bays the moon with hideous howl," is the legend with the picture.



AUZON, PAULINE. Born in Paris, where she died. 1775-1835. She was a pupil of Regnault and excelled in portraits of women. She exhibited in the Paris Salon from 1793, when but eighteen years old. Her pictures of the "Arrival of Marie Louise in Compiegne" and "Marie Louise Taking Leave of her Family" are in the Versailles Gallery.



BABIANO Y MENDEZ NUNEZ, CARMEN. At the Santiago Exposition, 1875, this artist exhibited two oil paintings and two landscapes in crayon; at Coruna, 1878, a portrait in oil of the Marquis de Mendez Nunez; at Pontevedra, 1880, several pen and water-color studies, three life-size portraits in crayon, and a work in oil, "A Girl Feeding Chickens."



BAILY, CAROLINE A. B. Gold medal, Paris Exposition, 1900; third-class medal, Salon, 1901.

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BAKER, ELIZABETH GOWDY. Medal at Cooper Union. Member of Boston Art Students' Association and Art Workers' Club for Women, New York. Born at Xenia, Ohio. Pupil of the Cooper Union, Art Students' League, New York School of Art, Philadelphia Academy of Fine Arts, Cowles Art School, Boston; under Frederick Freer, William Chase, and Siddons Mowbray.

This artist has painted numerous portraits and has been especially successful with pictures of children. She has a method of her own of which she has recently written me.



She claims that it is excellent for life-size portraits in water-colors. The paper she uses is heavier than any made in this country, and must be imported; the water-colors are very strong. Mrs. Baker claims that in this method she gets "the strength of oils with the daintiness of water-colors, and that it is beautiful for women and children, and sufficiently strong for portraits of men."

She rarely exhibits, and her portraits are in private houses.



BAKHUYZEN, JUFFROUW GERARDINA JACOBA VAN DE SANDE. Silver medal at The Hague, 1857; honorary medal at Amsterdam, 1861; another at The Hague, 1863; and a medal of distinction at Amsterdam Colonial Exhibition, 1885. Daughter of the well-known animal painter. From childhood she painted flowers, and for a time this made no especial impression on her family or friends, as it was not an uncommon occupation for girls. At length her father saw that this daughter, Gerardina—for he had numerous daughters, and they all desired to be artists—had talent, and when, in 1850, the Minerva Academy at Groningen gave out "Roses and Dahlias" as a subject, and offered a prize of a little more than ten dollars for the best example, he encouraged Gerardina to enter the contest. She received the contemptible reward, and found, to her astonishment, that the Minerva Academy considered the picture as belonging to them.

However, this affair brought the name of the artist to the knowledge of the public, and she determined to devote herself to the painting of flowers and fruit, in which she has won unusual fame. There is no sameness in her pictures, and her subjects do not appear to be "arranged"—everything seems to have fallen into its place by chance and to be entirely natural.

Gerardina Jacoba and her brother Julius van de Sande Bakhuyzen, the landscape painter, share one studio. She paints with rapidity, as one must in order to picture the freshness of fast-fading flowers.

Johan Gram writes of her: "If she paints a basket of peaches or plums, they look as if just picked by the gardener and placed upon the table, without any thought of studied effect; some leaves covering the fruit, others falling out of the basket in the most natural way. If she paints the branch of a rose-tree, it seems to spring from the ground with its flowers in all their luxurious wantonness, and one can almost imagine one's self inhaling their delightful perfume. This talented artist knows so well how to depict with her brush the transparency and softness of the tender, ethereal rose, that one may seek in vain among a crowd of artists for her equal.... The paintings are all bright and sunny, and we are filled with enthusiasm when gazing at her powerful works."

This artist was born in 1826 and died in 1895. She lived and died in her family residence. In 1850, at Groningen, she took for her motto, "Be true to nature and you will produce that which is good." To this she remained faithful all her days.



BALDWIN, EDITH ELLA. Born at Worcester, Massachusetts. Studied in Paris at Julian Academy, under Bouguereau and Robert-Fleury; at the Colarossi studios under Courtois, also under Julius Rolshoven and Mosler.

Paints portraits and miniatures. At the Salon of the Champ de Mars she exhibited a portrait in pastel, in 1901; at exhibitions of the Society of American Artists in 1898 and 1899 she exhibited miniatures; also pictures in oils at Worcester, 1903.



BALL, CAROLINE PEDDLE. Honorable mention at Paris Exhibition, 1900. Member of the Guild of Arts and Crafts and of Art Students' League. Born at Terre Haute, Indiana. Pupil at the Art Students' League, under Augustus St. Gaudens and Kenyon Cox.

This sculptor exhibited at Paris a Bronze Clock. She designed for the Tiffany Glass Company the figure of the Young Virgin and that of the Christ of the Sacred Heart.

A memorial fountain at Flushing, Long Island, a medallion portrait of Miss Cox of Terre Haute, a monument to a child in the same city, a Victory in a quadriga, seen on the United States Building, Paris, 1900, and also at the Buffalo Exhibition, 1901, are among her important works.



BANUELOS, ANTONIA. At the Paris Exposition of 1878 several portraits by this artist attracted attention, one of them being a portrait of herself. At the Exposition of 1880 she exhibited "A Guitar Player."



BARRANTES MANUEL DE ARAGON, MARIA DEL CARMEN. Member of the Academy of San Fernando, Madrid, 1816. This institution possesses a drawing by her of the "Virgin with the Christ-Child" and a portrait in oil of a person of the epoch of Charles III.



BASHKIRTSEFF, MARIE. Born in Russia of a noble family. 1860-84. This remarkable young woman is interesting in various phases of her life, but here it is as an artist that she is to be considered. Her journal, she tells us, is absolutely truthful, and it is but courteous to take the story of her artistic career from that. She had lessons in drawing, as many children do, but she gives no indication of a special love for art until she visits Florence when fourteen years old, and her love of pictures and statues is awakened. She spent hours in galleries, never sitting down, without fatigue, in spite of her delicacy. She says: "That is because the things one loves do not tire one. So long as there are pictures and, better still, statues to be seen, I am made of iron." After questioning whether she dare say it, she confides to her readers: "I don't like the Madonna della Sedia of Raphael. The countenance of the Virgin is pale, the color is not natural, the expression is that of a waiting-maid rather than of a Madonna. Ah, but there is a Magdalen of Titian that enchanted me. Only—there must always be an only—her wrists are too thick and her hands are too plump—beautiful hands they would be on a woman of fifty. There are things of Rubens and Vandyck that are ravishing. The 'Mensonge' of Salvator Rosa is very natural. I do not speak as a connoisseur; what most resembles nature pleases me most. Is it not the aim of painting to copy nature? I like very much the full, fresh countenance of the wife of Paul Veronese, painted by him. I like the style of his faces. I adore Titian and Vandyck; but that poor Raphael! Provided only no one knows what I write; people would take me for a fool; I do not criticise Raphael; I do not understand him; in time I shall no doubt learn to appreciate his beauties. The portrait of Pope Leo X.—I think it is—is admirable, however." A surprising critique for a girl of her age!

When seventeen she made her first picture of any importance. "While they were playing cards last night I made a rough sketch of the players—and this morning I transferred the sketch to canvas. I am delighted to have made a picture of persons sitting down in different attitudes; I copied the position of the hands and arms, the expressions of the countenance, etc. I had never before done anything but heads, which I was satisfied to scatter over the canvas like flowers."

Her enthusiasm for her art constantly increased. She was not willing to acknowledge her semi-invalidism and was filled with the desire to do something in art that would live after her. She was opposed by her family, who wished her to be in fashionable society. At length she had her way, and when not quite eighteen began to study regularly at the Julian Academy. She worked eight and nine hours a day. Julian encouraged her, she rejoiced in being with "real artists who have exhibited in the Salon and whose pictures are bought," and declared herself "happy, happy!" Before long M. Julian told her that she might become a great artist, and the first time that Robert-Fleury saw her work and learned how little she had studied, and that she had never before drawn from a living model, he said: "Well, then, you have extraordinary talent for painting; you are specially gifted, and I advise you to work hard."

Her masters always assured her of her talent, but she was much of the time depressed. She admired the work of Mlle. Breslau and acknowledged herself jealous of the Swiss artist. But after a year of study she took the second prize in the Academy, and admitted that she ought to be content.

Robert-Fleury took much interest in her work, and she began to hope to equal Breslau; but she was as often despondent as she was happy, which no doubt was due to her health, for she was already stricken with the malady from which she died. Julian wondered why, with her talent, it was so difficult for her to paint; to herself she seemed paralyzed.

In the autumn of 1879 she took a studio, and, besides her painting, she essayed modelling. In 1880 her portrait of her sister was exhibited at the Salon, and her mother and other friends were gratified by its acceptance.

At one time Mlle. Bashkirtseff had suffered with her eyes, and, getting better of that, she had an attack of deafness. For these reasons she went, in the summer of 1880, to Mont-Dore for treatment, and was much benefited in regard to her deafness, though not cured, and now the condition of her lungs was recognized, and what she had realized for some time was told to her family. She suffered greatly from the restrictions of her condition. She could not read very much, as her eyes were not strong enough to read and paint; she avoided people because of her deafness; her cough was very tiresome and her breathing difficult.

At the Salon of 1881 her picture was well hung and was praised by artists. In the autumn of that year she was very ill, but happily, about the beginning of 1882, she was much better and again enthusiastic about her painting. She had been in Spain and excited admiration in Madrid by the excellence of her copy of "Vulcan," by Velasquez. January 15th she wrote: "I am wrapped up in my art. I think I caught the sacred fire in Spain at the same time that I caught the pleurisy. From being a student I now begin to be an artist. This sudden influx of power puts me beside myself with joy. I sketch future pictures; I dream of painting an Ophelia. Potain has promised to take me to Saint-Anne to study faces of the mad women there, and then I am full of the idea of painting an old man, an Arab, sitting down singing to the accompaniment of a kind of guitar; and I am thinking also of a large affair for the coming Salon—a view of the Carnival; but for this it would be necessary that I should go to Nice—to Naples first for the Carnival, and then to Nice, where I have my villa, to paint it in open air."

She now met Bastien-Lepage, who, while he was somewhat severe in his criticism of her work, told her seriously that she was "marvellously gifted." This gave her great pleasure, and, indeed, just at this time the whole tone of the journal and her art enthusiasm are most comforting after the preceding despairing months. From this time until her death her journal is largely occupied with her health, which constantly failed, but her interest in art and her intense desire to do something worthy of a great artist—something that Julian, Robert-Fleury, and, above all, Bastien-Lepage, could praise, seemed to give her strength, and, in spite of the steady advance of the fell tuberculosis from which she was dying, she worked devotedly.

She had a fine studio in a new home of the family, and was seized with an ardent desire to try sculpture—she did a little in this art—but that which proved to be her last and best work was her contribution to the Salon of 1884. This brought her to the notice of the public, and she had great pleasure, although mingled with the conviction of her coming death and the doubts of her ability to do more. Of this time she writes: "Am I satisfied? It is easy to answer that question; I am neither satisfied nor dissatisfied. My success is just enough to keep me from being unhappy. That is all."

Again: "I have just returned from the Salon. We remained a long time seated on a bench before the picture. It attracted a good deal of attention, and I smiled to myself at the thought that no one would ever imagine the elegantly dressed young girl seated before it, showing the tips of her little boots, to be the artist. Ah, all this is a great deal better than last year! Have I achieved a success, in the true, serious meaning of the word? I almost think so."

The picture was called the "Meeting," and shows seven gamins talking together before a wooden fence at the corner of a street. Francois Coppee wrote of it: "It is a chef d'oeuvre, I maintain. The faces and the attitudes of the children are strikingly real. The glimpse of meagre landscape expresses the sadness of the poorer neighborhoods."

Previous to this time, her picture of two boys, called "Jean and Jacques," had been reproduced in the Russian Illustration, and she now received many requests for permission to photograph and reproduce her "Meeting," and connoisseurs made requests to be admitted to her studio. All this gratified her while it also surprised. She was at work on a picture called "Spring," for which she went to Sevres, to paint in the open.

Naturally she hoped for a Salon medal, and her friends encouraged her wish—but alas! she was cruelly disappointed. Many thought her unfairly treated, but it was remembered that the year before she had publicly spoken of the committee as "idiots"!

People now wished to buy her pictures and in many ways she realized that she was successful. How pathetic her written words: "I have spent six years, working ten hours a day, to gain what? The knowledge of all I have yet to learn in my art, and a fatal disease!"

It is probable that the "Meeting" received no medal because it was suspected that Mlle. Bashkirtseff had been aided in her work. No one could tell who had originated this idea, but as some medals had been given to women who did not paint their pictures alone, the committee were timid, although there seems to have been no question as to superiority.

A friendship had grown up between the families Bashkirtseff and Bastien-Lepage. Both the great artist and the dying girl were very ill, but for some time she and her mother visited him every two or three days. He seemed almost to live on these visits and complained if they were omitted. At last, ill as Bastien-Lepage was, he was the better able of the two to make a visit. On October 16th she writes of his being brought to her and made comfortable in one easy-chair while she was in another. "Ah, if I could only paint!" he said. "And I?" she replied. "There is the end to this year's picture!"

These visits were continued. October 20th she writes of his increasing feebleness. She wrote no more, and in eleven days was dead.

In 1885 the works of Marie Bashkirtseff were exhibited. In the catalogue was printed Francois Coppee's account of a visit he had made her mother a few months before Marie's death. He saw her studio and her works, and wrote, after speaking of the "Meeting," as follows:

"At the Exhibition—Salon—before this charming picture, the public had with a unanimous voice bestowed the medal on Mlle. B., who had been already 'mentioned' the year before. Why was this verdict not confirmed by the jury? Because the artist was a foreigner? Who knows? Perhaps because of her wealth. This injustice made her suffer, and she endeavored—the noble child—to avenge herself by redoubling her efforts.

"In one hour I saw there twenty canvases commenced; a hundred designs—drawings, painted studies, the cast of a statue, portraits which suggested to me the name of Frans Hals, scenes made from life in the open streets; notably one large sketch of a landscape—the October mist on the shore, the trees half stripped, big yellow leaves strewing the ground. In a word, works in which is incessantly sought, or more often asserts itself, the sentiment of the sincerest and most original art, and of the most personal talent."

Mathilde Blind, in her "Study of Marie Bashkirtseff," says: "Marie loved to recall Balzac's questionable definition that the genius of observation is almost the whole of human genius. It was natural it should please her, since it was the most conspicuous of her many gifts. As we might expect, therefore, she was especially successful as a portrait painter, for she had a knack of catching her sitter's likeness with the bloom of nature yet fresh upon it. All her likenesses are singularly individual, and we realize their character at a glance. Look, for example, at her portrait of a Parisian swell, in irreproachable evening dress and white kid gloves, sucking his silver-headed cane, with a simper that shows all his white teeth; and then at the head and bust of a Spanish convict, painted from life at the prison in Granada. Compare that embodiment of fashionable vacuity with this face, whose brute-like eyes haunt you with their sadly stunted look. What observation is shown in the painting of those heavily bulging lips, which express weakness rather than wickedness of disposition—in those coarse hands engaged in the feminine occupation of knitting a blue and white stocking!"



BAUCK, JEANNA. Born in Stockholm in 1840. Portrait and landscape painter. In 1863 she went to Dresden, and studied figure work with Professor Ehrhardt; later she moved to Duesseldorf, where she devoted herself to landscape under Flamm, and in 1866 she settled in Munich, where she has since remained, making long visits to Paris, Venice, and parts of Switzerland. Her later work is marked by the romantic influence of C. Ludwig, who was for a time her instructor, but she shows unusual breadth and sureness in dealing with difficult subjects, such as dusky forests with dark waters or bare ruins bordered with stiff, ghost-like trees. Though not without talent and boldness, she lacks a feeling for style.



BAUERLE, MISS A.

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BAXTER, MARTHA WHEELER.

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BEALE, MARY. 1632-97. This artist was the daughter of the Rev. Mr. Cradock. She married Mr. Beale, an artist and a color-maker. She studied under Sir Peter Lely, who obtained for her the privilege of copying some of Vandyck's most famous works.

Mrs. Beale's portraits of Charles II., Cowley, and the Duke of Norfolk are in the National Portrait Gallery, London, and that of Archbishop Tillotson is in Lambeth Palace. This portrait was the first example of an ecclesiastic represented as wearing a wig instead of the usual silk coif.

Her drawing was excellent and spirited, her color strong and pure, and her portraits were sought by many distinguished persons.

Several poems were written in praise of this artist, in one of which, by Dr. Woodfall, she is called "Belasia." Her husband, Charles Beale, an inferior artist, was proud of his wife, and spent much time in recording the visits she received, the praises lavished on her, and similar matters concerning her art and life. He left more than thirty pocket-notebooks filled with these records, and showed himself far more content that his wife should be appreciated than any praise of himself could have made him.



BEAURY-SAUREL, MME. AMELIE. Prize of honor at Exposition of Black and White, 1891; third-class medal, Salon, 1883; bronze medal, Exposition, 1889. Born at Barcelona, of French parents. Pupil of Julian Academy. Among her principal portraits are those of Leon Say, Felix Voisin, Barthelemy Saint-Hilaire, Mme. Sadi-Carnot, Coralie Cohen, Princess Ghika, etc. She has also painted the "Two Vanquished Ones," "A Woman Physician," and a "Souvenir of a Bull-Fight," pastel, etc.

This artist has also contributed to several magazines. At the Salon of the Artistes Francais, 1902, she exhibited a portrait and a picture of "Hamlet"; in 1903 a picture, "In the Train." Mme. Beaury-Saurel is also Mme. Julian, wife of the head of the Academy in which she was educated.



BEAUX, CECILIA. Mary Smith prize at the Pennsylvania Academy of Fine Arts, 1885, 1887, 1891, 1892; gold medal, Philadelphia Art Club, 1893; Dodge prize, National Academy of Design, 1893; bronze medal, Carnegie Institute, 1896; first-class gold medal, $1,500, Carnegie Institute, 1899; Temple gold medal, Pennsylvania Academy, 1900; gold medal, Paris Exposition, 1900; gold medal, (?) 1901. Associate of National Academy of Design, member of Society of American Artists, associate of Societe des Beaux-Arts, Paris. Born in Philadelphia. Studied under Mrs. T. A. Janvier, Adolf van der Weilen, and William Sartain in Philadelphia; under Robert-Fleury, Bouguereau, and Benjamin-Constant, in Paris.

Her portraits are numerous. In 1894 she exhibited a portrait of a child at the Exhibition of the Society of American Artists, which was much admired and noticed in the Century Magazine, September, 1894, as follows: "Few artists have the fresh touch which the child needs and the firm and rapid execution which allows the painter to catch the fleeting expression and the half-forms which make child portraits at once the longing and the despair of portrait painters. Miss Beaux's technique is altogether French, sometimes reminding me a little of Carolus Duran and of Sargent; but her individuality has triumphed over all suggestions of her foreign masters, and the combination of refinement and strength is altogether her own."

Seven years later, in the International Studio, September, 1901, we read: "The mention of style suggests a reference to the portraits by Miss Cecilia Beaux, while the allusion to characterization suggests at the same time their limitation. The oftener one sees her 'Mother and Daughter,' which gained the gold medal at Pittsburg in 1899 and the gold medal also at last year's Paris Exposition, the less one feels inclined to accept it as a satisfactory example of portraiture. Magnificent assurance of method it certainly has, controlled also by a fine sobriety of feeling, so that no part of the ensemble impinges upon the due importance of the other parts; it is a balanced, dignified picture. But in its lack of intimacy it is positively callous. One has met these ladies on many occasions, but with no increase of acquaintanceship or interest on either side—our meetings are sterile of any human interest. So one turns with relief to Miss Beaux's other picture of 'Dorothea and Francesca'—an older girl leading a younger one in the steps of a dance. They are not concerned with us, but at least interested in one another; and we can attach ourselves, if only as outsiders, to the human interest involved.

"These pictures suggest a moment's consideration of the true meaning of the term 'style' as applied to painting. Is it not more than the mere ableness of method, still more than the audacity of brush work, that often passes for style? Is it possible to dissociate the manner of a picture from its embodiment of some fact or idea? For it to have style in the full sense of the word, surely it must embody an expression of life as serious and thorough as the method of record."—Charles H. Caffin.

In the International Studio of March, 1903, we read: "The portrait of Mrs. Roosevelt, by Miss Cecilia Beaux, seemed to me to be one of the happiest of her creations. Nothing could exceed the skill and daintiness with which the costume is painted, and the characterization of the head is more sympathetic than usual, offering a most winsome type of beautiful, good womanhood. A little child has been added to the picture—an afterthought, I understand, and scarcely a fortunate one; at least in the manner of its presentment. The figure is cleverly merged in half shadow, but the treatment of the face is brusque, and a most unpleasant smirk distorts the child's mouth. It is the portrait of the mother that carries the picture, and its superiority to many of Miss Beaux's portraits consists in the sympathy with her subject which the painter has displayed."—Charles H. Caffin.

A writer in the Mail and Express says: "Miss Beaux has approached the task of painting the society woman of to-day, not as one to whom this type is known only by the exterior, but with a sympathy as complete as a similar tradition and an artistic temperament will allow. Thus she starts with an advantage denied to all but a very few American portrait painters, and this explains the instinctive way in which she gives to her pictured subjects an air of natural ease and good breeding."

Miss Beaux's picture of "Brighton Cats" is so excellent that one almost regrets that she has not emulated Mme. Ronner's example and left portraits of humans to the many artists who cannot paint cats!

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BECK, CAROL H. Mary Smith prize at Pennsylvania Academy of Fine Arts, 1899. Fellow of above Academy and member of the Plastic Club, Philadelphia. Born in Philadelphia. Studied in schools of Pennsylvania Academy, and later in Dresden and Paris.

Miss Beck paints portraits and her works have been frequently exhibited. Her portraits are also seen in the University of Pennsylvania, in the Woman's Medical College, Philadelphia, in Wesleyan College, at the capitols of Pennsylvania and New Jersey, and other public places, as well as in many private homes.

Miss Beck edited the Catalogue of the Wilstach Collection of Paintings in Memorial Hall, Fairmount Park, Philadelphia.



BECKINGTON, ALICE.

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BEERNAERTS, EUPHROSINE. Landscape painter. In 1873 she won a medal at Vienna, in 1875 a gold medal at the Brussels Salon, and still other medals at Philadelphia (1876), Sydney (1879), and Teplitz (1879). She was made Chevalier de l'Ordre de Leopold in 1881. Mlle. Beernaerts was born at Ostend, 1831, and studied under Kuhner in Brussels. She travelled in Germany, France, and Italy, and exhibited admirable landscapes at Brussels, Antwerp, and Paris, her favorite subjects being Dutch. In 1878 the following pictures by her were shown in Paris: "Lisiere de bois dans les Dunes (Zelande)," "Le Village de Domburg (Zelande)," and "Interieur de bois a Oost-Kapel (Holland)." Other well-known works are "Die Campine" and "Aus der Umgebung von Oosterbeck."



BEGAS, LUISE PARMENTIER. Born in Vienna. Pupil of Schindler and Unger. She travelled extensively in Europe and the Orient, and spent some time in Sicily. She married Adalbert Begas in 1877 and then established her studio in Berlin. Her subjects are landscape, architectural monuments, and interiors. Some of the latter are especially fine. Her picture of the "Burial Ground at Scutari" was an unusual subject at the time it was exhibited and attracted much attention.

Her rich gift in the use of color is best seen in her pictures of still life and flowers. In Berlin, in 1890, she exhibited "Before the Walls of Constantinople" and "From Constantinople," which were essentially different from her earlier works and attracted much attention. "Taormina in Winter" more nearly resembled her earlier pictures.

Fraeulein Parmentier also studied etching, in which art Unger was her instructor. In her exquisite architectural pictures and landscapes she has represented Italian motives almost exclusively. Among these are her views of Venice and other South Italian sketches, which are also the subjects of some of her etchings.



BELLE, MLLE. ANDREE. Member of the Societe Nationale des Beaux Arts. Born in Paris. Pupil of Cazin. Paints in oils and pastels, landscapes especially, of which she exhibited seventeen in June, 1902. The larger part of these were landscape portraits, so to speak, as they were done on the spots represented with faithfulness to detail. The subjects were pleasing, and the various hours of day, with characteristic lighting, unusually well rendered.

At the Salon des Beaux Arts, 1902, this artist exhibited a large pastel, "A Halt at St. Mammes" and a "Souvenir of Bormes," showing the tomb of Cazin. In 1903 she exhibited a pastel called "Calvary," now in the Museum at Amiens, which has been praised for its harmony of color and the manner in which the rainbow is represented. Her pictures of "Twilight" and "Sunset" are unusually successful.



BENATO-BELTRAMI, ELISABETTA. Painter and sculptor of the nineteenth century, living in Padua since 1858. Her talent, which showed itself early, was first developed by an unknown painter named Soldan, and later at the Royal Academy in Venice. She made copies of Guido, Sassoferrato and Veronese, the Laokoon group, and the Hercules of Canova, and executed a much-admired bas-relief called "Love and Innocence." Among her original paintings are an "Atala and Chactas," "Petrarch's First Meeting with Laura," a "Descent from the Cross" for the church at Tribano, a "St. Sebastian," "Melancholy," a "St. Ciro," and many Madonnas. Her pictures are noble in conception and firm in execution.



BENITO Y TEJADA, BENITA. Born in Bilboa, where she first studied drawing; later she went to Madrid, where she entered the Escuela superior. In the Exposition of 1876 at Madrid "The Guardian" was shown, and in 1881 a large canvas representing "The First Step."



BERNHARDT, SARAH. In 1869 this famous actress watched Mathieu-Meusnier making a bust. She made her criticisms and they were always just. The sculptor told her that she had the eye of an artist and should use her talent in sculpture. Not long after she brought to him a medallion portrait of her aunt. So good was it that Mathieu-Meusnier seriously encouraged her to persevere in her art. She was fascinated by the thought of what might be possible for her, took a studio, and sent to the Salon in 1875 a bust, which attracted much attention. In 1876 she exhibited "After the Tempest," the subject taken from the story of a poor woman who, having buried two sons, saw the body of her last boy washed ashore after a storm. This work was marvellously effective, and a great future as a sculptress was foretold for the "divine Sara." At the Salon of 1878 she exhibited two portrait busts in bronze.

This remarkable woman is a painter also, and exhibited a picture called "La jeune Fille et la Mort." One critic wrote of it: "Sarah's picture shows very considerable feeling for color and more thought than the vast majority of modern paintings. The envious and evil speakers, who always want to say nasty things, pretend to trace in the picture very frequent touches of Alfred Stevens, who has been Sarah's master in painting, as Mathieu-Meusnier was in sculpture. However that may be, Sarah has posed her figures admirably and her coloring is excellent. It is worthy of notice that, being as yet a comparative beginner, she has not attempted to give any expression to the features of the young girl over whose shoulder Death is peeping."

One of the numerous ephemeral journals which the young and old jeunesse of the Latin Quarter is constantly creating has made a very clever caricature of the picture in a sort of Pompeian style. Death is represented by the grinning figure of Coquelin aine. The legend is "'La Jeune Fille et la Mort,' or Coquelin aine, presenting Sarah Bernhardt the bill of costs of her fugue." In other words, Coquelin is Death, handing to Sarah the undertaker's bill—300,000 francs—for her civil burial at the Comedie Francaise.



BETHUNE, LOUISE. This architect, whose maiden name was Blanchard, was born in Waterloo, New York, 1856. She studied drawing and architecture, and in 1881 opened an office, being the first woman architect in the United States. Since her marriage to Robert A. Bethune they have practised their art together. Mrs. Bethune is the only woman holding a fellowship in the American Institute of Architects.

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BEVERIDGE, KUeHNE. Honorable mention in Paris twice. Born in Springfield, Illinois. Studied under William R. O'Donovan in New York, and under Rodin in Paris.

Among her works are a statue called "Rhodesia," "Rough Rider Monument," a statue called "Lascire," which belongs to Dr. Jameson, busts of Cecil Rhodes, King Edward VII., Grover Cleveland, Vice-President Stevenson, Joseph Jefferson, Buffalo Bill, General Mahon, hero of Mafeking, Thomas L. Johnson, and many others.

Miss Beveridge was first noticed as an artist in this country in 1892, when her busts of ex-President Cleveland and Mr. Jefferson called favorable attention to her.

In 1899 she married Charles Coghlan, and soon discovered that he had a living wife at the time of her marriage and obtained a divorce. Before she went to South Africa Miss Beveridge had executed several commissions for Cecil Rhodes and others living in that country.

Her mother is now the Countess von Wrede, her home being in Europe, where her daughter has spent much time. She has married the second time, an American, Mr. Branson, who resides at Johannesburg, in the Transvaal.



BIFFIN, SARAH. 1784-1850. It seems a curious fact that several persons born without arms and hands have become reputable artists. This miniature painter was one of these. Her first teacher, a man named Dukes, persuaded her to bind herself to live in his house and give her time to his service for some years. Later, when the Earl of Morton made her acquaintance, he proved to her that her engagement was not legally binding and wished her to give it up; but Miss Biffin was well treated by the Dukes and preferred to remain with them.

The Earl of Morton, however, caused her to study under Mr. Craig, and she attained wonderful excellence in her miniatures. In 1821 the Duke of Sussex, on behalf of the Society of Arts, presented her with a prize medal for one of her pictures.

She remained sixteen years with the Dukes, and during this time never received more than five pounds a year! After leaving them she earned a comfortable income. She was patronized by George III. and his successors, and Queen Victoria and the Prince Consort were her generous patrons, as well as many other distinguished persons.

After the death of the Earl of Morton she had no other friend to aid her in getting commissions or selling her finished pictures, and she moved to Liverpool. A small annuity was purchased for her, which, in addition to the few orders she received, supported her until her death at the age of sixty-six. Her miniatures have been seen in loan collections in recent years. Her portrait of herself, on ivory, was exhibited in such a collection at South Kensington.



BILDERS, MARIE. Family name Van Bosse. Born in Amsterdam, 1837; died in Wiesbaden, 1900. Pupil of Van de Sande-Bakhuyzen, Bosboom, and Johannes W. Bilders. Settled in Oosterbeck, and painted landscapes from views in the neighborhood. This artist was important, and her works are admired especially by certain Dutch artists who are famous in all countries. These facts are well known to me from good authority, but I fail to find a list of her works or a record of their present position.[1]

[Footnote 1: See Appendix.]

BILINSKA, ANNA. Received the small gold medal at Berlin in 1891, and won distinguished recognition at other international exhibitions in Berlin and Munich by her portraits and figure studies. She was born in Warsaw in 1858, and died there in 1893. She studied in Paris, where she quickly became a favorite painter of aristocratic Russians and Poles. Her pictures are strong and of brilliant technique.



BIONDI, NICOLA. Born at Capua, 1866. This promising young Italian painter was a pupil of the Institute of Fine Arts in Naples. One of her pictures, called "Una partita," was exhibited at Naples and attracted much attention. It was purchased by Duke Martini. Another, "Ultima Prova," was exhibited in Rome and favorably noticed.



BLAU, TINA. Honorable mention in Paris, 1883, for her "Spring in the Prater." Her "Land Party" is in the possession of the Emperor of Austria, and "In Spring-time" belongs to the Prince Regent of Bavaria. This talented landscape painter was born in Vienna, 1847. She was a pupil of Schaeffer in Vienna, and of W. Lindenschmitt in Munich. After travelling in Austria, Holland, and Italy, she followed her predilection for landscape, and chose her themes in great part from those countries. In 1884 she married Heinrich Lang, painter of battle scenes (who died in 1891), and she now works alternately in Munich and Vienna. In 1890 she gave an exhibition of her pictures in Munich; they were thought to show great vigor of composition and color and much delicacy of artistic perception. Her foreign scenes, especially, are characterized by unusual local truth and color. Among her best works are "Studies from the Prater in Vienna," "Canal at Amsterdam," "Harvest Day in Holland," "The Arch of Titus in Rome," "Street in Venice," and "Late Summer."



BLOCH, MME. ELISA. Honorable mention, 1894. Officer of public instruction, Commander of the Order of the Liberator; Chevalier of the Order of the Dragon of Annam. Born at Breslau, Silesia, 1848. Pupil of Chapu. She first exhibited at the Salon of 1878, a medallion portrait of M. Bloch; this was followed by "Hope," the "Golden Age," "Virginius Sacrificing his Daughter," "Moses Receiving the Tables of the Law," etc. Mme. Bloch has made numerous portrait busts, among them being the kings of Spain and Portugal, Buffalo Bill, C. Flammarion, etc.

At the Salon of the Artistes Francais, 1903, Mme. Bloch exhibited a "Portrait of M. Frederic Passy, Member of the Institute."



BOCCARDO, LINA ZERBINAH. Rome.

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BOEMM, RITTA. A Hungarian artist. Has been much talked of in Dresden. She certainly possesses distinguished talents, and is easily in the front rank of Dresden women artists. Her gouache pictures dealing with Hungarian subjects, a "Village Street," a "Peasant Farm," a "Churchyard," exhibited at Dresden in 1892, were well drawn and full of sentiment, but lacking in color sense and power. She works unevenly and seems pleased when she succeeds in setting a scene cleverly. She paints portraits also, mostly in pastel, which are spirited, but not especially good likenesses. What she can do in the way of color may be seen in her "Village Street in Winter," a picture of moderate size, in which the light is exquisite; unfortunately most of her painting is less admirable than this.



BOISSONNAS, MME. CAROLINE SORDET. Honorable mention at the Salon of Lyons, 1897. Member of the Exposition Permanente Amis des Beaux-Arts, Geneva. Born in Geneva. Pupil of the School of Fine Arts, Geneva, under Prof. F. Gillet and M. E. Ravel.

This artist paints portraits principally. She has been successful, and her pictures are in Geneva, Lausanne, Vevey, Paris, Lyons, Marseilles, Dresden, Naples, etc.



BOMPIANI-BATTAGLIA, CLELIA. Born in Rome, 1847. Pupil of her father, Roberto Bompiani, and of the professors in the Academy of St. Luke. The following pictures in water-colors have established her reputation as an artist: "Confidential Communication," 1885; the "Fortune-Teller," 1887; "A Public Copyist," 1888; and "The Wooing," 1888.



BONHEUR, JULIETTE—MME. PEYROL. Born at Paris. Sister of Rosa Bonheur, and a pupil of her father. Among her pictures are "A Flock of Geese," "A Flock of Sheep Lying Down," and kindred subjects. The last-named work was much remarked at the Salon of 1875. In 1878 she exhibited "The Pool" and "The Mother's Kiss."

Mme. Peyrol was associated with her famous sister in the conduct of the Free School of Design, founded by Rosa Bonheur in 1849.



BONHEUR, MARIE ROSALIE. 1822-99. Member of Antwerp Institute, 1868. Salon medals, 1845, 1848, 1855, 1867; Legion of Honor, 1865; Leopold Cross, 1880; Commander's Cross, Royal Order of Isabella the Catholic, 1880. Born in Bordeaux. She was taught drawing by her father, who, perceiving that she had unusual talent, permitted her to give up dressmaking, to which, much against her will, she had been apprenticed. From 1855 her fame was established; she was greatly appreciated, and her works competed for in England and the United States, as well as in European countries.

Her chief merit is the actual truthfulness with which she represented animals. Her skies might be bettered in some cases—the atmosphere of her pictures was sometimes open to question—but her animals were anatomically perfect and handled with such virility as few men have excelled or even equalled. Her position as an artist is so established that no quoted opinions are needed when speaking of her—she was one of the most famous women of her century.

Her home at By was near Fontainebleau, where she lived quietly, and for some years held gratuitous classes for drawing. She left, at her death, a collection of pictures, studies, etchings, etc., which were sold by auction in Paris soon after.

Her "Ploughing in the Nivernais," 1848, is in the Luxembourg Gallery; "The Horse Fair," 1853, is seen in the National Gallery, London, in a replica, the original being in the United States, purchased by the late A. T. Stewart. Her "Hay Harvest in the Auvergne," 1855, is one of her most important works. After 1867 Mlle. Bonheur did not exhibit at the Salon until 1899, a few weeks before her death.

One must pay a tribute to this artist as a good and generous woman. She founded the Free School of Design for Girls, and in 1849 took the direction of it and devoted much of her valuable time to its interests. How valuable an hour was to her we may understand when we remember that Hamerton says: "I have seen work of hers which, according to the price given, must have paid her a hundred pounds for each day's labor."

The story of her life is of great interest, and can be but slightly sketched here.

She was afoot betimes in the morning, and often walked ten or twelve miles and worked hard all day. The difficulty of reaching her models proved such a hindrance to her that she conceived the idea of visiting the abattoirs, where she could see animals living and dead and study their anatomy.

It is not easy to imagine all the difficulties she encountered in doing this—the many repulsive features of such places—while the company of drovers and butchers made one of the disagreeables of her pursuits. Her love for the animals, too, made it doubly hard for her to see them in the death agony and listen to their pitiful cries for freedom.

In all this experience, however, she met no rude or unkind treatment. Her drawings won the admiration of the men who watched her make them and they treated her with respect. She pursued her studies in the same manner in the stables of the Veterinary School at Alfort and in the Jardin des Plantes.

At other times she studied in the country the quiet grazing herds, and, though often mistaken for a boy on account of the dress she wore, she inspired only admiration for her simplicity and frankness of manner, while the graziers and horse-dealers respectfully regarded her and wondered at her skill in picturing their favorite animals. Some very amusing stories might be told of her comical embarrassments in her country rambles, when she was determined to preserve her disguise and the pretty girls were equally determined to make love to her!

Aside from all this laborious study of living animals, she obtained portions of dead creatures for dissection; also moulds, casts, and illustrated anatomical books; and, in short, she left no means untried by which she could perfect herself in the specialty she had chosen. Her devotion to study and to the practice of her art was untiring, and only the most engrossing interest in it and an indomitable perseverance, supplemented and supported by a physically and morally healthful organization, could have sustained the nervous strain of her life from the day when she was first allowed to follow her vocation to the time when she placed herself in the front rank of animal painters.

A most charming picture is drawn of the life of the Bonheur family in the years when Rosa was making her progressive steps. They lived in an humble house in the Rue Rumfort, the father, Auguste, Isidore, and Rosa all working in the same studio. She had many birds and a pet sheep. As the apartment of the Bonheurs was on the sixth floor, this sheep lived on the leads, and from time to time Isidore bore him on his shoulders down all the stairs to the neighboring square, where the animal could browse on the real grass, and afterward be carried back by one of the devoted brothers of his mistress. They were very poor, but they were equally happy. At evening Rosa made small models or illustrations for books or albums, which the dealers readily bought, and by this means she added to the family store for needs or pleasures.

In 1841, when Rosa was nineteen years old, she first experienced the pleasures, doubts, and fears attendant upon a public exhibition of one's work. Two small pictures, called "Goats and Sheep" and "Two Rabbits," were hung at the Salon and were praised by critics and connoisseurs. The next year she sent three others, "Animals in a Pasture," "A Cow Lying in a Meadow," and "A Horse for Sale." She continued to send pictures to the Salon and to some exhibitions in other cities, and received several bronze and silver medals.

In 1845 she sent twelve works to the Salon, accompanied by those of her father and her brother Auguste, who was admitted that year for the first time. In 1848 Isidore was added to the list, exhibiting a picture and a group in marble, both representing "A Combat between a Lioness and an African Horseman." And, finally, the family contributions were completed when Juliette, now Madame Peyrol, added her pictures, and the works of the five artists were seen in the same Exhibition.

In 1849 Rosa Bonheur's "Cantal Oxen" was awarded the gold medal, and was followed by "Ploughing in the Nivernais," so well known the world over by engravings and photographs. When the medal was assigned her, Horace Vernet proclaimed her triumph to a brilliant assemblage, and also presented to her a magnificent vase of Sevres porcelain, in the name of the French Government. This placed her in the first rank of living artists, and the triumph was of double value to her on account of the happiness it afforded her father, to see this, his oldest child, of whose future he had often despaired, taking so eminent a place in the artistic world.

This year of success was also a year of sorrow, for before its end the old Raymond had died. He had been for some time the director of the Government School of Design for Girls, and, being freed from pecuniary anxiety, he had worked with new courage and hope. After her father's death Rosa Bonheur exhibited nothing for two years, but in 1853 she brought out her "Horse Fair," which added to her fame.

She was perfectly at home in the mountains, and spent much time in the huts of charcoal burners, huntsmen, or woodcutters, contented with the food they could give her and happy in her study. Thus she made her sketches for "Morning in the Highlands," "The Denizens of the Mountains," etc. She once lived six weeks with her party on the Spanish side of the Pyrenees, where they saw no one save muleteers going and coming, with their long lines of loaded mules. Their only food was frogs' legs, which they prepared themselves, and the black bread and curdled milk which the country afforded. At evening the muleteers would amuse the strangers by dancing the national dances, and then repose in picturesque groups just suited to artistic sketching. In Scotland and in Switzerland, as well as in various portions of her own country, she had similar experiences, and her "Hay-Making in Auvergne" proves that she was familiar with the more usual phases of country life. At the Knowles sale in London, in 1865, her picture of "Spanish Muleteers Crossing the Pyrenees," one of the results of the above sojourn in these mountains, sold for two thousand guineas, about ten thousand dollars. I believe that, in spite of the large sums of money that she received, her habitual generosity and indifference to wealth prevented her amassing a large fortune, but her fame as an artist and her womanly virtues brought the rewards which she valued above anything that wealth could bestow—such rewards as will endure through centuries and surround the name of Rosa Bonheur with glory, rewards which she untiringly labored to attain.



BONSALL, ELIZABETH F. First Toppan prize, and Mary Smith prize twice, at Pennsylvania Academy of Fine Arts. Member of Plastic Club, Philadelphia. Born at Philadelphia. Studied at the above-named Academy and in Paris; also at the Drexel Institute, Philadelphia, under Eakins, Courtois, Collin, and Howard Pyle.

Miss Bonsall is well known for her pictures of cats. She illustrated the "Fireside Sphinx," by Agnes Repplier. Her picture of "Hot Milk" is in the Pennsylvania Academy; her "Suspense," in a private gallery in New York.

An interesting chapter in Miss Winslow's book, "Concerning Cats," is called "Concerning Cat Artists," in which she writes: "Elizabeth Bonsall is a young American artist who has exhibited some good cat pictures, and whose work promises to make her famous some day if she does not 'weary in well-doing.'"

Miss Bonsall has prepared a "Cat Calendar" and a "Child's Book about Cats," which were promised to appear in the autumn of 1903.



BONSALL, MARY M. First Toppan prize at Pennsylvania Academy of Fine Arts. Member of the Plastic Club, Philadelphia. Studied at above academy under Vonnoh, De Camp, William Chase, and Cecilia Beaux.

This artist paints portraits, which are in private hands.



BONTE, PAULA. Born in Magdeburg, 1840, and from 1862 to 1864 was a pupil of Pape in Berlin. She travelled and studied in Northern Italy and Switzerland, and from these regions, as well as from Northern Germany, took her subjects. She has exhibited pictures at various exhibitions, and among her best works should be mentioned: "The Beach at Clovelly in Devonshire," "From the Bernese Oberland," "The Riemenstalden Valley," etc.



BOOTT, ELIZABETH. Born in Cambridge. Miss Boott was one of those pupils of William M. Hunt to whom he imparted a wonderful artistic enthusiasm, energy, and devotion. After studying in Boston she studied in Paris under Duveneck—whom she afterward married—and under Couture. Her subjects were genre, still-life, and flowers, and were well considered. Among her genre pictures are "An Old Man Reading," an "Old Roman Peasant," and a "Girl with a Cat." When in Italy she painted a number of portraits, which were successful. Miss Brewster, who lived in Rome, was an excellent critic, and she wrote: "I must say a few words about a studio I have lately visited—Miss Boott's. I saw there three very fine portraits, remarkable for strength and character, as well as rich coloring: one of Mr. Boott, one of Bishop Say, and the third of T. Adolphus Trollope, the well-known writer and brother of the novelist, Anthony Trollope. All are good likenesses and are painted with vigor and skill, but the one of Mr. Trollope is especially clever. Trollope's head and face, though a good study, are not easy to paint, but Miss Boott has succeeded to perfection. His head and beard are very fine. The face in nature, but for the melancholy, kindly look about the eyes and mouth, would be stern; Miss Boott has caught this expression and yet retained all the firm character of the countenance. It is remarkable that an artist who paints male heads with such a vigorous character should also give to flowers softness, transparency, and grace. Nothing can be more lovely than Miss Boott's flower studies. She has some delicious poppies among wheat, lilies, thistles. She gets a transparency into these works that is not facile in oil. A bunch of roses in a vase was as tender and round and soft-colored as in nature. Among all the many studios of Rome I do not know a more attractive one than Miss Boott's."



BORTOLAN, ROSA. Born at Treviso. She was placed in the Academy at Venice by her family, where she had the benefit of such masters as Grigoletti, Lipparini, Schiavoni, and Zandomeneghi. She early showed much originality, and after making thorough preliminary studies she began to follow her own ideas. She was of a mystical and contemplative turn of mind, and a great proportion of her work has been of a religious nature. Her pictures began to attract attention about 1847, and she had many commissions for altar-pieces and similar work. The church of Valdobbiadene, at Venice, contains "San Venanziano Fortunatus, Bishop." "Saint Louis" was painted as a commission of Brandolin da Pieve; "Comte Justinian Replying to Bonaparte in Treviso" was a subscription picture presented to Signor Zoccoletto. Portraits of the Countess Canossa-Portalupi and her son, of Luigia Codemo, and of Luigi Giacomelli are thought to possess great merit; while those of Dr. Pasquali (in the Picture Gallery at Treviso) and Michelangelo Codemo have been judged superior to those of Rosalba Carriera and Angelica Kauffmann. Her sacred pictures, strong and good in color, are full of a mystical and spiritual beauty. Her drawing is admirable and her treatment of detail highly finished.



BORZINO, LEOPOLDINA. Milanese water-color painter. Has shown excellent genre pictures at various exhibitions. "The Holiday" and the "Return from Mass" were both exhibited and sold at Rome in 1883; "The Way to Calvary" was seen at Venice in 1887. "The Rosary," "Anguish," and "Going to the Fountain" are all distinguished by good color as well as by grace and originality of composition.



BOUGUEREAU, MME. ELIZABETH JANE. See Gardner.



BOULANGER, MME. MARIE ELIZABETH. Medals at the Paris Salon in 1836 and 1839. Born in Paris, 1810. Her family name was Blavot, and after the death of M. Boulanger she married M. Cave, director of the Academy of the Beaux-Arts. Her picture of "The Virgin in Tears" is in the Museum of Rouen; and "The Children's Tournament," a triptych, was purchased by the Government.



BOURRILLON-TOURNAY, MME. JEANNE. Medal of the second class at Exposition Universelle at Lyons; silver medal at Versailles; honorable mention at Paris Salon, 1896; the two prizes of the Union des Femmes Peintres et Sculpteurs—les Palmes Academique, 1895; the Rosette of an Officer of the Public Instruction in 1902. Member of the Societe des Artistes Francais, of the Union des Femmes Peintres et Sculpteurs, and of the Association de Baron Taylor. Born at Paris, 1870. Pupil of Ferdinand Humbert and G. C. Saintpierre.

This artist paints portraits, and among them are those of a "Young Girl," which belongs to the general Council of the Seine; one of the Senator Theophile Roussel, of the Institute, and a portrait of an "Aged Lady," both purchased by the Government; one of M. Auguste Boyer, councillor of the Court of Cassation, and many others.

At the Salon des Artistes Francais, 1902, Mme. Bourrillon-Tournay exhibited two portraits, one being that of her mother; in 1903, that of M. Boyer and one of Mme. B.



BOWEN, LOTA. Member of Society of Women Artists, London, the Tempera Society, and the "91" Art Club. Born at Armley, Yorkshire. Studied in Ludovici's studio, London; later in Rome under Santoro, and in the night classes of the Circolo Artistico.

Her pictures are principally landscapes, and are chiefly in private collections in England. Among the most important are "On the Venetian Lagoons," "Old Stone Pines, Lido, Venice," "Evening on Lake Lugano," "Evening Glow on the Dolomites," "The Old Bird Fancier," "Moonrise on Crowborough, Sussex." All these have been exhibited at the Academy.

"Miss Lota Bowen constantly receives most favorable notices of her works in magazines and journals. She is devotedly fond of her art, and has sought subjects for her brush in many European byways, as well as in North Africa, Turkey, and Montenegro. She paints portraits and figure subjects; has a broad, swinging brush and great love of 'tone.' Miss Bowen has recently built a studio, in Kensington, after her own design. She is in London from Christmas time to August, when she makes an annual journey for sketching."



BOZZINO, CANDIDA LUIGIA. Silver medal at Piacenza. Born at Piacenza, 1853. Pupil of her father. Her portrait of Alessandro Manzoni was her prize picture. The "Madonna of the Sacred Heart of Jesus" was painted on a commission from the Bishop of Piacenza, who presented it to Pope Pius IX.; after being exhibited at the Vatican, it was sent to the Bishop of Jesi, for the church of Castelplanio. Other celebrated works of hers are a "Holy Family," the "Madonna of Lourdes," and several copies of the "Via Crucis," by Viganoni.

In 1881 this artist entered the Ursuline Convent at Piacenza, where she continues to paint religious pictures.



BRACKEN, JULIA M. First prize for sculpture, Chicago, 1898; appointed on staff of sculptors for the St. Louis Exposition. Member of Arts Club, Western Society of Artists, Municipal Art League, and Krayle Workshop, Chicago. Born at Apple River, Ill., 1871. Pupil of Chicago Art Institute. Acted as assistant to Lorado Taft, 1887-92. Was much occupied with the decorations for the Columbian Exposition, and executed on an independent commission the statue of "Illinois Welcoming the Nations." There are to be five portrait statues placed in front of the Educational Building at St. Louis, each to be executed by a well-known artist. One of these is to be the work of Miss Bracken, who is the only woman among them. Miss Bracken has modelled an heroic portrait statue of President Monroe; beside the figure is a globe, on which he points out the junction of the Mississippi and Missouri rivers.

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BRACQUEMOND, MME. MARIE. Pupil of Ingres. A portrait painter, also painter of genre subjects. At the Salon of 1875 she exhibited "The Reading"; in 1874 "Marguerite." She has been much occupied in the decoration of the Haviland faience, a branch of these works, at Auteuil, being at one time in charge of her husband, Felix Bracquemond. In 1872 M. Bracquemond was esteemed the first ceramic artist in France. An eminent French critic said of M. and Mme. Bracquemond: "You cannot praise too highly these two artists, who are as agreeable and as clever as they are talented and esteemed."

Mme. Bracquemond had the faculty of employing the faience colors so well that she produced a clearness and richness not attained by other artists. The progress made in the Haviland faience in the seventies was very largely due to Mme. Bracquemond, whose pieces were almost always sold from the atelier before being fired, so great was her success.



BRANDEIS, ANTOINETTA. Many prizes at the Academy of Venice. Born of Bohemian parents in Miscova, Galitza, 1849. Pupil of Iavurek, of Prague, in the beginning of her studies, but her father dying and her mother marrying again, she was taken to Venice, where she studied in the Academy several years under Grigoletti, Moja, Bresolin, Nani, and Molmenti. Although all her artistic training was received in Italy and she made her first successes there, most of her works have been exhibited in London, under the impression that she was better understood in England.

Annoyed by the commendation of her pictures "as the work of a woman," she signed a number of her canvases Antonio Brandeis. Although she painted religious subjects for churches, her special predilection is for views of Venice, preferably those in which the gondola appears. She has studied these in their every detail. "Il canale Traghetto de' San Geremia" is in the Museum Rivoltella at Trieste. This and "Il canale dell' Abbazia della Misericordia" have been much commended by foreign critics, especially the English and Austrians. Other Venetian pictures are "La Chiese della Salute," "Il canale de' Canalregio," and "La Pescaria."



BRESLAU, LOUISA CATHERINE. Gold medal at Paris Exposition, 1889; gold medal at Paris Exposition, 1900. Chevalier of the Legion of Honor, 1901. Member of the Societe Nationale des Beaux-Arts. A Swiss artist, who made her studies at the Julian Academy under Robert-Fleury.

She has painted many portraits. Her picture "Under the Apple-Tree" is in the Museum at Lausanne; the "Little Girls" or "The Sisters" and the "Child Dreamer"—exhibited at Salon, 1902—are in the Gallery of the Luxembourg; the "Gamins," in the Museum at Carpentras; the "Tea Party," at the Ministry of the Interior, Paris.

At the Salon of 1902 Mlle. Breslau exhibited six pictures, among which were landscapes, two representing September and October at Saint-Cloud; two of fruit and flowers; all of which were admired, while the "Dreamer" was honored with a place in the Luxembourg. In the same Salon she exhibited six pictures in pastel: four portraits, and heads of a gamin and of a little girl. The portrait of Margot is an ideal picture of a happy child, seated at a table, resting her head on her left hand while with the right she turns the leaves of a book. A toy chicken and a doll are on the table beside her. In the Salon of 1903 she exhibited five pictures of flowers and another called the "Child with Long Hair."

I was first interested in this artist by the frequent references to her and her work in the journal of Marie Bashkirtseff. They were fellow-pupils in the Julian Academy. Soon after she began her studies there Marie Bashkirtseff writes: "Breslau has been working at the studio two years, and she is twenty; I am seventeen, but Breslau had taken lessons for a long time before coming here.... How well that Breslau draws!"

"That miserable Breslau has composed a picture, 'Monday Morning, or the Choice of a Model.' Every one belonging to the studio is in it—Julian standing between Amalie and me. It is correctly done, the perspective is good, the likenesses—everything. When one can do a thing like that, one cannot fail to become a great artist. You have guessed it, have you not? I am jealous. That is well, for it will serve as a stimulus to me."

"I am jealous of Breslau. She does not draw at all like a woman."

"I am terrified when I think of the future that awaits Breslau; it fills me with wonder and sadness. In her compositions there is nothing womanish, commonplace, or disproportioned. She will attract attention at the Salon, for, in addition to her treatment of it, the subject itself will not be a common one."

The above prophecy has been generously fulfilled. Mlle. Breslau is indeed a poet in her ability to picture youth and its sweet intimacies, and she does this so easily. With a touch she reveals the grace of one and the affectations of another subject of her brush, and skilfully renders the varying emotions in the faces of her pictures. Pleasure and suffering, the fleeting thought of the child, the agitation of the young girl are all depicted with rare truthfulness.



BREWSTER, ADA AUGUSTA.

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BRICKDALE, MISS ELEANOR FORTESCUE.

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BRICCI OR BRIZIO, PLAUTILLA. Very little is known of this Roman artist of the seventeenth century, but that little marks her as an unusually gifted woman, since she was a practical architect and a painter of pictures. She was associated with her brother in some architectural works in and near Rome, and was the only woman of her time in this profession.

She is believed to have erected a small palace near the Porta San Pancrazio, unaided by her brother, and is credited with having designed in the Church of San Luigi de' Francesi the third chapel on the left aisle, dedicated to St. Louis, and with having also painted the altar-piece in this chapel.



BRIDGES, FIDELIA. Associate of the National Academy of Design in 1878, when but three other women were thus honored. Born in Salem, Massachusetts. Studied with W. T. Richards in Philadelphia, and later in Europe during one year. She exhibited her pictures from 1869 in Philadelphia, New York, and Boston. Her subjects were landscapes and flowers. In 1871 she first painted in water-colors, which suited many of her pictures better than oils. She was elected a member of the Water-Color Society in 1875. To the Philadelphia Exposition, 1876, she sent a "Kingfisher and Catkins," a "Flock of Snow Birds," and the "Corner of a Rye-Field." Of the last a writer in the Art Journal said: "Miss Bridges' 'Edge of a Rye-Field,' with a foreground of roses and weeds, is a close study, and shows that she is as happy in the handling of oil colors as in those mixed with water."

Another critic wrote: "Her works are like little lyric poems, and she dwells with loving touches on each of her buds, 'like blossoms atilt' among the leaves."

Her pictures are in private collections, and are much valued by their owners.



BROOKS, MARIA.

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BROWNSCOMBE, JENNIE. Pupil of the National Academy and the Art Students' League, New York, and of Henry Mosler in Paris.

Paints genre subjects, among which are: "Love's Young Dream," "Colonial Minuet," "Sir Roger de Coverly at Carvel Hall," "Battle of Roses," etc.

The works of this artist have been reproduced in engravings and etchings, and are well known in black and white. Her water-colors, too, have been published in photogravure.

Miss Brownscombe exhibits at many American exhibitions and has had her work accepted at the Royal Academy, London.



BROWNE, MATILDA. Honorable mention at Chicago, 1893; Dodge prize at National Academy of Design, 1899; Hallgarten prize, 1901. Born in Newark, New Jersey. Pupil of Miss Kate Greatorex; of Carleton Wiggins, New York; of the Julian Academy, Paris; of H. S. Birbing in Holland, and of Jules Dupre on the coast of France. When a child this artist lived very near Thomas Moran and was allowed to spend much time in his studio, where she learned the use of colors.

She exhibited her first picture at the National Academy of Design when twelve years old, and has been a constant contributor to its exhibitions since that time; also to the exhibitions of the American Water-Color Society.

Her earliest pictures were of flowers, and during several years she had no teacher. At length she decided to study battle painting, and, after a summer under Carleton Wiggins, she went abroad, in 1890, and remained two years, painting in the schools in winter and out of doors in summer. Miss Browne exhibited at the Salon des Beaux-Arts in 1890, and many of her works have been seen in exhibits in this country. The Dodge prize was awarded to a picture called "The Last Load," and the Hallgarten prize to "Repose," a moonlight scene with cattle. Her pictures are in private collections.



BROWN, MRS. AGNES—MRS. JOHN APPLETON BROWN. Born in Newburyport. This artist paints in oils. Her subjects are landscapes, flowers, and still life. She has also painted cats successfully.

I have a winter landscape by Mrs. Brown which is unusually attractive and is often admired. She sends her works to the exhibitions of the Boston Art Club and to some exhibitions in New York.



BROWNE, MME. HENRIETTE. Born at Paris; 1829-1901. Pupil of Chaplin. The family name of this artist was Bouteiller, and she married M. Jules de Saux, but as an artist used the name of an ancestress. Her pictures of genre subjects very early attracted attention, especially in 1855, when she sent to the Salon "A Brother of the Christian School," "School for the Poor at Aix," "Mutual Instruction," and "Rabbits." Her works were popular and brought good prices. In 1868 "The Sisters of Charity" sold for L1,320.

In 1878 she exhibited "A Grandmother" and "Convalescence." Her Oriental scenes were much admired. Among these were "A Court in Damascus," "Nubian Dancing Girls," and a "Harem in Constantinople." Mme. Browne was also skilful as an engraver.

T. Chasrel wrote in L'Art: "Her touch without over-minuteness has the delicacy and security of a fine work of the needle. The accent is just without that seeking for virile energy which too often spoils the most charming qualities. The sentiment is discreet without losing its intensity in order to attract public notice. The painting of Mme. Henriette Browne is at an equal distance from grandeur and insipidity, from power and affectation, and gathers from the just balance of her nature some effects of taste and charm of which a parvenu in art would be incapable."

The late Rev. Charles Kingsley wrote of the picture of the "Sisters of Charity," of the sale of which I have spoken, as follows: "The picture which is the best modern instance of this happy hitting of this golden mean, whereby beauty and homely fact are perfectly combined, is in my eyes Henrietta Browne's picture of the 'Sick Child and the Sisters of Charity.' I know not how better to show that it is easy to be at once beautiful and true, if one only knows how, than by describing that picture. Criticise it, I dare not; for I believe that it will surely be ranked hereafter among the very highest works of modern art. If I find no fault in it, it is because I have none to find; because the first sight of the picture produced in me instantaneous content and confidence. There was nothing left to wish for, nothing to argue about. The thing was what it ought to be, and neither more nor less, and I could look on it, not as a critic, but as a learner only."

This is praise indeed from an Englishman writing of a Frenchwoman's picture—an Englishman with no temptation to say what he did not think; and we may accept his words as the exact expression of the effect the picture made on him.



BRUNE, MME. AIMEE PAGES. Medal of second class at Salon of 1831; first class in 1841. Born in Paris. 1803-66. Pupil of Charles Meynier. Painted historical and genre subjects. In 1831 she exhibited "Undine," the "Elopement," "Sleep," and "Awakening." In 1841 a picture of "Moses." She painted several Bible scenes, among which were the "Daughter of Jairus" and "Jephthah's Daughter."



BUECHMANN, FRAU HELENE. Her pictures have been seen at some annual exhibitions in Germany, but she is best known by her portraits of celebrated persons. Born in Berlin, 1849. Pupil of Steffeck and Gussow. Among her portraits are those of Princess Carolath-Beuthen, Countess Bruehl, Prince and Princess Biron von Kurland, and the youngest son of Prince Radziwill. She resides in Brussels.



BUTLER, MILDRED A. Associate of the Royal Society of Painters in Water-Colors and of the Society of Lady Artists. Pupil of Naftel, Calderon, and Garstin. Has exhibited at the Royal Academy and New Gallery. Her picture called the "Morning Bath," exhibited at the Academy in 1896, was purchased under the Chantry Bequest and is in the Tate Gallery. It is a water-color, valued at L50.

Miss Butler exhibited "A Corner of the Bargello, Florence," at the London Academy in 1903.

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BUTLER, LADY ELIZABETH. Born in Lausanne about 1844. Elizabeth Southerden Thompson. As a child this artist was fond of drawing soldiers and horses. She studied at the South Kensington School, at Florence under Bellucci, and in Rome. She worked as an amateur some years, first exhibiting at the Academy in 1873 her picture called "Missing," which was praised; but the "Roll-Call," of the following year, placed her in the front rank of the Academy exhibitors. It was purchased by the Queen and hung in Windsor Castle. She next exhibited the "Twenty-Eighth Regiment at Quatre Bras," the "Return from Inkerman," purchased by the Fine Art Society for L3,000. This was followed by kindred subjects.

In 1890 Lady Butler exhibited "Evicted," in 1891 the "Camel Corps," in 1892 "Halt in a Forced March," in 1895 the "Dawn of Waterloo," in 1896 "Steady the Drums and Fifes," in 1902 "Tent Pegging in India," in 1903 "Within Sound of the Guns."

In 1869 she painted a religious picture called the "Magnificat." In water-colors she has painted "Sketches in Tuscany" and several pictures of soldiers, among which are "Scot's Grays Advancing" and "Cavalry at a Gallop."

Lady Butler has recently appeared as an author, publishing "Letters from the Holy Land," illustrated by sixteen most attractive drawings in colors. The Spectator says: "Lady Butler's letters and diary, the outcome of a few weeks' journeyings in Palestine, express simply and forcibly the impressions made on a devout and cultivated mind by the scenes of the Holy Land."

In 1875 Ruskin wrote in "Notes of the Academy": "I never approached a picture with more iniquitous prejudice against it than I did Miss Thompson's—'Quatre Bras'—partly because I have always said that no woman could paint, and secondly because I thought what the public made such a fuss about must be good for nothing. But it is Amazon's work this, no doubt of it, and the first fine pre-Raphaelite picture of battle we have had; profoundly interesting, and showing all manner of illustrative and realistic faculty.... The sky is most tenderly painted, and with the truest outline of cloud of all in the Exhibition; and the terrific piece of gallant wrath and ruin on the extreme left, when the cuirassier is catching round the neck of his horse as he falls, and the convulsed fallen horse, seen through the smoke below, is wrought through all the truth of its frantic passion with gradations of color and shade which I have not seen the like of since Turner's death."

The Art Journal, 1877, says: "'Inkerman' is simply a marvellous production when considered as the work of a young woman who was never on the field of battle.... No matter how many figures she brings into the scene, or how few, you may notice character in each figure, each is a superb study."

Her recent picture, "Within Sound of the Guns," shows a company of mounted soldiers on the confines of a river in South Africa.

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CAMERON, KATHERINE. Member of the Royal Scottish Society of Painters in Water-Colors; Modern Sketch Club, London; Ladies' Art Club, Glasgow. Born in Glasgow. Studied at Glasgow School of Art under Professor Newbery, and at the Colarossi Academy, Paris, under Raphael Collin and Gustave Courtois.

Her pictures are of genre subjects principally, and are in private collections. "'The Sea Urchin,'" Miss Cameron writes, "is in one of the public collections of Germany. I cannot remember which." She also says: "Except for my diploma R. S. W. and having my drawings sometimes in places of honor, usually on the line, and often reproduced in magazines, I have no other honors. I have no medals."

In the Magazine of Art, June, 1903, her picture of a "Bull Fight in Madrid" is reproduced. It is full of action and true to the life of these horrors as I have seen them in Madrid. Doubtless the color is brilliant, as the costumes of the toreadors are always so, and there are two in this picture. This work was displayed at the exhibition of the Royal Scottish Academy, June, 1903—of which a writer says: "A feeling for color has always been predominant in the Scottish school, and it is here conspicuously displayed, together with a method of handling, be it in the domain of figure or landscape, which is personal to the artist and not a mere academic tradition."

In the Studio of May, 1903, J. L. C., who writes of the same exhibition, calls this picture "admirable in both action and color."



CARL, KATE A. Honorable mention, Paris Salon, 1890; Chevalier of the Legion of Honor, 1896; honorable mention, Paris Exposition, 1900. Associe de la Societe Nationale des Beaux-Arts. Born in New Orleans. Pupil of Julian Academy and of Courtois in Paris.

This artist's name has been made prominent by the fact of her being selected to paint a portrait of the Empress of China. Miss Carl has frequently exhibited at the Salon. In 1902 she sent portraits in both oil and water-colors. One of these works, called "Angelina," impresses one as a faithful portrait of a model. She is seated and gracefully posed—the face is in a full front view, the figure turned a little to one side and nude to the waist, the hands are folded on the lap and hold a flower, a gauze-like drapery falls about the left shoulder and the arms, but does not conceal them; the background is a brocade or tapestry curtain.

I have seen a reproduction only, and cannot speak of the color. The whole effect of the picture is attractive. For the purpose of painting the portrait of the Chinese Empress, Miss Carl was assigned an apartment in the palace. It is said that the picture was to be finished in December, 1903, and will probably be seen at the St. Louis Exhibition.

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CARLISLE, MISTRESS ANNE. Died in 1680. Was a favorite artist of King Charles I. It is said that on one occasion the King bought a quantity of ultramarine, for which he paid L500, and divided it between Vandyck and Mistress Carlisle. Her copies after the Italian masters were of great excellence.

She painted in oils as well as in water-colors. One of her pictures represents her as teaching a lady to use the brush. When we remember that Charles, who was so constantly in contact with Vandyck, could praise Mistress Carlisle, we must believe her to have been a good painter.

Mistress Anne has sometimes been confounded with the Countess of Carlisle, who was distinguished as an engraver of the works of Salvator Rosa, etc.



CARPENTER, MARGARET SARAH. The largest gold medal and other honors from the Society of Arts, London. Born at Salisbury, England. 1793-1872. Pupil of a local artist in Salisbury when quite young. Lord Radnor's attention was called to her talent, and he permitted her to copy in the gallery of Longford Castle, and advised her sending her pictures to London, and later to go there herself. She made an immediate success as a portrait painter, and from 1814 during fifty-two years her pictures were annually exhibited at the Academy with a few rare exceptions.

Her family name was Geddis; her husband was Keeper of the Prints and Drawings in the British Museum more than twenty years, and after his death his wife received a pension of L100 a year in recognition of his services.

Her portraits were considered excellent as likenesses; her touch was firm, her color brilliant, and her works in oils and water-colors as well as her miniatures were much esteemed. Many of them were engraved. Her portrait of the sculptor Gibson is in the National Portrait Gallery, London. A life-size portrait of Anthony Stewart, miniature painter, called "Devotion," and the "Sisters," portraits of Mrs. Carpenter's daughters, with a picture of "Ockham Church," are at South Kensington.

She painted a great number of portraits of titled ladies which are in the collections of their families. Among the more remarkable were those of Lady Eastnor, 1825; Lady King, daughter of Lord Byron, 1835; Countess Ribblesdale, etc.

Her portraits of Fraser Tytler, John Girkin, and Bonington are in the National Portrait Gallery, London. In the South Kensington Gallery are her pictures of "Devotion—St. Francis," which is a life-size study of Anthony Stewart, the miniature painter; "The Sisters," "Ockham Church," and "An Old Woman Spinning."



CARPENTIER, MLLE. MADELEINE. Honorable mention, 1890; third-class medal, 1896. Born in Paris, 1865. Pupil of Bonnefoy and of Jules Lefebvre at the Julian Academy. Since 1885 this artist has exhibited many portraits as well as flower and fruit pieces, these last in water-colors. In 1896 her pictures were the "Communicants" and the "Candles," a pastel, purchased by the city of Paris; "Among Friends" is in the Museum of Bordeaux.

At the Salon of the Artistes Francais, 1902, Mlle. Carpentier exhibited a picture called "Reflection," and in 1903 a portrait of Mme. L. T. and the "Little Goose-Herders."



CARRIERA, ROSALBA, better known as Rosalba. Born in Venice 1675-1757—and had an eventful life. Her artistic talent was first manifested in lace-weaving, which as a child she preferred before any games or amusements. She studied painting under several masters, technique under Antonio Balestra, pastel-painting with Antonio Nazari and Diamantini, and miniature painting, in which she was especially distinguished, was taught her by her brother-in-law, Antonio Pellegrini, whom she later accompanied to Paris and London and assisted in the decorative works he executed there.

Rosalba's fame in Venice was such that she was invited to the courts of France and Austria, where she painted many portraits. She was honored by election to the Academies of Rome, Bologna, and Paris.

This artist especially excelled in portraits of pretty women, while her portraits of men were well considered. Among the most important were those of the Emperor Charles, the kings of France and Denmark, and many other distinguished persons, both men and women.

The Grand Duke of Tuscany asked for her own portrait for his gallery. She represented herself with one of her sisters. Her face is noble and most expressive, but, like many of her pictures, while the head is spirited and characteristic, the rest of the figure and the accessories are weak. A second portrait of herself—in crayons—is in the Dresden Gallery, and is very attractive.

While in England Rosalba painted many portraits in crayon and pastel, in which art she was not surpassed by any artist of her day.

Her diary of two years in Paris was published in Venice. It is curious and interesting, as it sets forth the customs of society, and especially those of artists of the period.

Returning to Venice, Rosalba suffered great depression and was haunted by a foreboding of calamity. She lived very quietly. In his "Storia della Pittura Veneziana," Zanetti writes of her at this time: "Much of interest may be written of this celebrated and highly gifted woman, whose spirit, in the midst of her triumphs and the brightest visions of happiness, was weighed down by the anticipation of a heavy calamity. On one occasion she painted a portrait of herself, the brow wreathed with leaves which symbolized death. She explained this as an image of the sadness in which her life would end."

Alas, this was but too prophetic! Before she was fifty years old she lost her sight, and gradually the light of reason also, and her darkness was complete.

An Italian writer tells the following story: "Nature had endowed Rosalba with lofty aspirations and a passionate soul; her heart yearned for the admiration which her lack of personal attraction forbade her receiving. She fully realized her plainness before the Emperor Charles XI. rudely brought it home to her. When presented to him by the artist Bertoli, the Emperor exclaimed: 'She may be clever, Bertoli mio, this painter of thine, but she is remarkably ugly.' From which it would appear that Charles had not believed his mirror, since his ugliness far exceeded that of Rosalba! Her dark eyes, fine brow, good expression, and graceful pose of the head, as shown in her portrait, impress one more favorably than would be anticipated from this story."

Many of Rosalba's works have been reproduced by engravings; a collection of one hundred and fifty-seven of these are in the Dresden Gallery, together with several of her pictures.



CASSATT, MARY. Born in Pittsburg. Studied in Pennsylvania schools, and under Soyer and Bellay in Paris. She has lived and travelled much in Europe, and her pictures, which are of genre subjects, include scenes in France, Italy, Spain, and Holland.

Among her principal works are "La tasse de the," "Le lever du bebe," "Reading," "Mere et Enfant," and "Caresse Maternelle."

Miss Cassatt has exhibited at the Paris Salon, the National Academy, New York, and various other exhibitions, but her works are rarely if ever exhibited in recent days. It is some years since William Walton wrote of her: "But in general she seems to have attained that desirable condition, coveted by artists, of being able to dispense with the annual exhibitions."

Miss Cassatt executed a large, decorative picture for the north tympanum of the Woman's Building at the Columbian Exhibition.

A writer in the Century Magazine, March, 1899, says: "Of the colony of American artists, who for a decade or two past have made Paris their home, few have been more interesting and none more serious than Miss Cassatt.... Miss Cassatt has found her true bent in her recent pictures of children and in the delineation of happy maternity. These she has portrayed with delicacy, refinement, and sentiment. Her technique appeals equally to the layman and the artist, and her color has all the tenderness and charm that accompanies so engaging a motif."

In November, 1903, Miss Cassatt held an exhibition of her works in New York. At the winter exhibition of the Philadelphia Academy, 1904, she exhibited a group, a mother and children, one child quite nude. Arthur Hoeber described it as "securing great charm of manner, of color, and of grace."



CATTANEO, MARIA. Bronze medal at the National Exposition, Parma, 1870; silver medal at Florence, 1871; silver medal at the centenary of Ariosto at Ferrara. Made an honorary member of the Brera Academy, Milan, 1874, an honor rarely conferred on a woman; elected to the Academy of Urbino, 1875. Born in Milan. Pupil of her father and of Angelo Rossi.

She excels in producing harmony between all parts of her works. She has an exquisite sense of color and a rare technique. Good examples of her work are "The Flowers of Cleopatra," "The Return from the Country," "An Excursion by Gondola." She married the artist, Pietro Michis. Her picture of the "Fish Market in Venice" attracted much attention when it appeared in 1887; it was a most accurate study from life.



CHARPENTIER, CONSTANCE MARIE. Pupil of David. Her best known works were "Ulysses Finding Young Astyanax at Hector's Grave" and "Alexander Weeping at the Death of the Wife of Darius." These were extraordinary as the work of a woman. Their size, with the figures as large as life, made them appear to be ambitious, as they were certainly unusual. Her style was praised by the admirers of David, to whose teaching she did credit. The disposition of her figures was good, the details of her costumes and accessories were admirably correct, but her color was hard and she was generally thought to be wanting in originality and too close a follower of her master.



CHARRETIE, ANNA MARIA. 1819-75. Her first exhibitions at the Royal Academy, London, were miniatures and flower pieces. Later she painted portraits and figure subjects, as well as flowers. In 1872 "Lady Betty Germain" was greatly admired for the grace of the figure and the exquisite finish of the details. In 1873 she exhibited "Lady Betty's Maid" and "Lady Betty Shopping." "Lady Teazle Behind the Screen" was dated 1871, and "Mistress of Herself tho' China Fall" was painted and exhibited in the last year of her life.