ANNA MARY FREEMAN (MADAME GOLDBECK).
has a high rank among miniature-painters in this country. She is the daughter of an American painter, though she was born in Manchester, England, where her parents resided for some years. She came to the United States when very young, and early devoted herself to the pursuits of art, from which she has for ten years derived her support. She is gifted in various ways; she has written some excellent poetry and stories, and is known as an accomplished elocutionist, having given readings in New York and elsewhere with success. Her powers as a painter, however, have been exercised most profitably.
Julia du Pré, a native of Charleston, South Carolina, was educated at Mrs. Willard’s school in Troy, New York. On leaving the school, she accompanied her mother and sister to Paris. Mrs. du Pré wished to cultivate to the utmost her daughter’s talents for music and painting, and gave her the advantage of the best foreign masters. They had been three years in France when a sudden reverse deprived them of their ample fortune; yet, with reduced means, they remained a year longer, that Julia might devote herself to the study of painting in oil. On their return to Charleston, Mrs. du Pré and her daughters opened a school for young ladies, which was attended with success. The continual occupation of teaching, however, deprived Julia of time and opportunity for the severe study necessary to perfect herself in the art to which she had wished to devote her life. Every hour of leisure she could command was given to portrait-painting, and to making copies of admired works. Many of these were executed with great skill, and drew praise from Sully and other eminent critics. One of her best portraits is that of Count Alfred de Vigny, who had been intimate with her family during their residence in Paris. Miss du Pré also made a fine copy from Parmegiano, of a Virgin and Child, and a Dido on the Funeral Pile, from Giulio Romano. These, and other paintings, gained her considerable repute as an artist. She married Henry Bonnetheau, a miniature-painter of acknowledged merit, and continues to reside in Charleston. She spent the summer of 1856 in Paris, for the sake of improving herself in pastel-painting, and has lately finished some exquisite works in that style. “The Love-letter,” in the possession of her brother-in-law, Dr. Dickson of Philadelphia, “The Liaisons,” and “L’Espagnole” have been highly praised among these.
Mrs. Bonnetheau’s gifts are crowned with the loveliest traits of woman’s character. She is esteemed and beloved by a large circle of friends in Charleston, among whom are some of the best educated men in this country.
The Misses Withers, of Charleston, South Carolina, paint in oil and water colors, and cut cameos with much ability and skill. They have also modeled groups and figures with success, and are devoted to these branches of art.
Mrs. Charlotte Cheves is an amateur artist who might have gained celebrity had her life been given to the study of painting. She was Miss M‘Cord, and was born in Columbia, South Carolina. She married Mr. Langdon Cheves, and resides on his rice plantation nearly opposite Savannah. She paints miniatures on ivory, some of them excellent likenesses, and finished with great delicacy. She has also painted pictures in oil, and excels in pastels and pencil-sketches. She is a musician, too, and possesses a very fine voice.
Ellen Cooper, the youngest daughter of the celebrated Dr. Thomas Cooper, was a native of Columbia, South Carolina. She had a fine taste and much skill in painting and ornamental work, and was remarkable for intellectual culture and knowledge of general literature. She lived some years in Mobile with her sister, and there married Mr. James Hanna, who took her to reside on his sugar plantation near Thibodeaux, in Louisiana. She died in October, 1858. Her sister is one of the most accomplished amateur artists in the Southern States.
About seven years ago a School of Design for Women was started by Miss Hamilton, which, supported by voluntary contributions, met with encouraging success. It has now been adopted by the trustees of the Cooper Institute, and a sum is allowed annually for the support of teachers. The attendance of pupils in 1859 has been double that of any former year.
Mary Ann Douglas, now Mrs. Johnson, is a native of Westfield, Massachusetts, where she at present resides. She was married at eighteen, and had been a wife four years before her artist-life commenced. While a prisoner in her room, on account of sickness, she amused herself by copying a landscape in oil-colors. The success of this attempt opened to her a new source of activity and pleasure. She devoted herself to the study of painting, and labored with such earnestness and fidelity that her efforts were crowned with success beyond her anticipations. Her attention was directed especially to portraits. For the last four or five years she has worked in crayon almost exclusively, and has found employment abundantly remunerative. A visit to New London, Connecticut, was prolonged to nine months’ stay, so great was the popularity of her works in that place; and during a trip into Central New York she painted many portraits in oil at excellent prices. Her indefatigable patience in the execution of details, the fidelity of her likenesses, and the delicate perfection of finish in her pictures, are remarkable. In the relations of social life Mrs. Johnson has shown herself amiable and self-sacrificing. She has not an acquaintance who does not rejoice in the triumphs so worthily won in spite of many discouragements.
CHAPTER XX.
THE NINETEENTH CENTURY.
Emma Stebbins.—Favorable Circumstances of her early Life to the Study of Art.—Specimens of her Skill shown in private Circles.—Receives Instruction from Henry Inman.—Correctness of her Portraits.—“A Book of Prayer.”—Revives Taste for Illuminations.—Her crayon Portraits.—Copies of Paintings.—Cultivates many Branches of Art.—Becomes a Sculptor.—Abode in Rome.—Instruction received from Gibson and Akers.—Late Work from her Chisel.—“The Miner.”—Harriet Hosmer.—Dwelling of the Sculptor Gibson in Rome.—His Studio and Work-room.—“La Signorina.”—The American Sculptress.—Her Childhood.—Physical Training.—School-life.—Anecdotes.—Studies at Home.—At St. Louis.—Her Independence.—Trip on the Mississippi.—“Hesper.”—Departure for Rome.—Mr. Gibson’s Decision.—Extract from Miss Hosmer’s Letter.—Original Designs.—Reverse of Fortune.—Alarm.—Resolution.—Industry, Economy, and Success.—Late Works.—Visit of the Prince of Wales.