HERMINIE DASSEL.
Mrs. Dassel was a native of Königsberg, Prussia. Her father’s name was Borchard; he was a banker, and at one time a man of fortune, which enabled him to secure to his children an excellent education. He lost his property in 1839, in consequence of financial troubles in America; the liquidation of his affairs reduced his possessions to a small farm, depriving his family of teachers, servants, horses and carriages, and all the comforts which they had enjoyed. Upon the elder children devolved the duties of housekeeping, and the cultivation of the farm to some extent, as well as the instruction of the younger members of the family. At this time Herminie devoted herself to the art of painting as a profession, hoping to derive from it a support for herself and family. She would attend to her household duties in the morning, and then, with port-folio in hand, wander off over the dusty or muddy road to the city, and again return to attend to the flowers and cabbages, and the making of cheese and butter. She soon had the satisfaction of receiving a commission for a full-sized portrait of a clergyman; this she painted in the church, with her model on the altar, the country folk standing about, astonished and wondering that such a tiny little girl could accomplish such a marvel.
She soon went to Düsseldorf, attracted thither by the pictures of Sohn, which she saw in an exhibition in her native city. She studied with this artist four years, supporting herself entirely by her own exertions. Her pictures found ready sale, consisting of such subjects as “Children in the Wood,” “Peasant Girls in a Vineyard,” “Children going to the Pasture with Goats,” etc.
After her return home she applied herself again to portrait-painting, in order to obtain money sufficient for a tour to Italy, which was the great end of her ambition. She was fortunate enough to be able to accumulate in one year a thousand dollars. Out of this sum she furnished her brother with an amount large enough to secure his promotion to a doctor’s degree, as she wanted to have him accompany her as a traveling companion.
A journey to Italy was much opposed by all her relatives; a girl so young, fresh, and diminutive could not protect herself; she would inevitably encounter serious misfortunes. But her mind was made up; she packed her things, took leave of her friends, and one morning started off on the way to Vienna, directing her brother to follow her. She was never in want of friends; every where persons took an interest in her; without money one day, it was sure to come on the next; and her faith was never shaken by any accident or hardship. In Vienna she began her studies, seeking models in the streets, and taking them to her room. From Vienna she passed into Italy. Of her studious life in Italy many sketches bear witness.
The breaking out of the revolution in 1848 obliged Herminie to leave Italy, and as the route to Germany was unsafe, and she feared becoming a burden to her friends, she resolved to go to the United States. An opportunity presented itself to travel in company with a family in whose house she lived after her brother had been called home by the government. She rolled up her sketches, put them in a tin box, and repaired to Leghorn. When about to pay her passage, the draft she presented was refused. She sat weeping over the disappointment, with letters before her from friends in Rome and Germany, imploring her to abandon this suicidal plan of emigration; representing strongly the dangers of the journey, the hardships she would encounter in a foreign land, without money and without friends. She came down to supper. A traveler just arrived, observing her eyes red with weeping, was led to show an interest in her; she related her troubles, upon which the stranger examined the draft, and, finding it good, gave her the cash for it. This gentleman was an Italian, and she continued in correspondence with him. The next day she was on board a vessel bound for this country.
She arrived in February, 1849. The only letter of introduction she brought was to Mr. Hagedorn, of Philadelphia, in whom she subsequently found a friend and protector. She landed in New York, and at once began to paint. Her first pictures, representations of Italian life, exhibited in the Art Union, were much admired, and some of them were purchased by that institution. She found no difficulty in making friends.
Five months after her arrival she married Mr. Dassel. After her marriage she led a happy life, with cares and sorrows incidental to the care of a family, and to an arduous profession. She triumphed over all, however, and realized all the comforts which belong to success.
Mrs. Dassel was most successful in portraits in oil of children and pastel-portraits. Her painting of “Effie Deans” attracted much attention. Her latest works are copies of Steinbruck’s “Fairies” and the “Othello” in the Düsseldorf Gallery, which are unusually successful works of this class. She made steady progress in her art, and would have doubtless attained a prominent position had she lived to develop her powers by practice and study.
We should not be doing justice to this noble woman not to allude to the social virtues which endeared her to so many friends. With nothing to rely upon but her own exertions, with serious illness in her family, she was never so poor in time or money as not to interest herself in behalf of others more unfortunate than herself. Countless instances are known of her serviceable kind-heartedness. She exerted herself at the time of the dreadful shipwreck of the Helena Sloman, and obtained by personal efforts, in a few days, the sum of seven hundred dollars; and her ministrations among the poor were constant during the severe winter of 1853. She has, it is true, many peers in similar acts of benevolence, but few who practiced deeds of this kind in a position so little calculated to develop them.
Mrs. Dassel died on the 7th December, 1857, and was buried in Greenwood.
Jane Stuart was the youngest child of Gilbert Stuart, the eminent portrait-painter. Like many of her sisters in art, she inherited the genius she discovered in early life; but it was not till after her father’s death that the talent she had shown found development in the practice of art. She has resided for a long time at Newport, Rhode Island, in the enjoyment of the celebrity her talents have acquired.
Mrs. Hildreth of Boston deserves mention, especially for her portraits of children in crayon. Miss May painted landscapes in Allston’s style. Mrs. Orvis has been mentioned as a flower-painter of remarkable skill. Hoyt remarked that he knew nothing better in coloring than her autumn leaves and wild flowers. In this style, Mrs. Badger, of New York, has acquired reputation by her book of “The Wild Flowers of America,” published in 1859. The drawings were all made and colored from nature by herself.
Mrs. Hawthorne of Boston has painted many beautiful pieces. An “Edymion,” which was greatly admired, she presented to Mr. Emerson. She also modeled the head of Laura Bridgman. Mrs. Hill is a highly-successful miniature-painter.
Mrs. Greatorex is a landscape-painter of merit, and is rapidly acquiring distinction. She has a deep love of wild mountain and lake scenery, dark woods, and rushing waters; and her productions are marked by the vigor of tone and dashing, impetuous freedom of touch especially adapted to that kind of subjects. This felicitous boldness she has in a remarkable degree, and her works are marked by truthfulness as well as strength. She has painted many pieces of romantic scenery in Scotland and Ireland. Her amiable character, her ready sympathy and benevolence, have interested many friends in her success.
Mrs. George Woodman, the eldest daughter of Mr. Durand, has painted some excellent landscapes; also Mrs. Ruggles. Miss Gove’s crayon heads have been much noticed and admired. Miss Caroline May’s landscapes have proved her claim to the double wreath of artist and authoress. Miss Granbury’s flowers have attracted attention in the Academy exhibitions. Some pretty interior scenes were in the exhibition of 1859, painted by Miss Juliana Oakley. It is necessary to omit many names of artists who have not yet had experience enough to constrain public acknowledgment of the genius they possess.
CHAPTER XIX.
THE NINETEENTH CENTURY.
Mrs. Lily Spencer.—Early Display of Talent.—Removal to New York.—To Ohio.—Out-door Life.—Chase of a Deer.—Encounter with the Hog.—Lifting a Log.—Sketch on her bedroom Walls.—Encouragement.—Curiosity to see her Pictures.—Her Studies.—Removal to Cincinnati.—Jealousy of Artists.—Lord Morpeth.—Lily’s Marriage.—Return to New York.—Studies.—Her Paintings.—Kitchen Scenes.—Success and Fame.—Her Home and Studio.—Louisa Lander.—Inheritance of Talent.—Passion for Art.—Development of Taste for Sculpture.—Abode in Rome.—Crawford’s Pupil.—Her Productions.—“Virginia Dare.”—Other Sculptures.—Late Works.—Mary Weston.—Childish Love of Beauty and Art.—Devices to supply the Want of Facilities.—Studies.—Departure from Home.—Is taken back.—Perseverance amid Difficulties.—Journey to New York.—Sees an Artist work.—Finds Friends.—Visit to Hartford.—Return to New York for Lessons.—Marriage.—Her Paintings.—Miss Freeman.—Variously gifted.—Miss Dupré.—The Misses Withers.—Mrs. Cheves.—Mrs. Hanna.