One of her instructors was Lenbach, and she is said by some critics to have appropriated his peculiarities as a colorist and his shortcomings in drawing, without attaining his geniality and power of divination. In 1891 her portrait of Count von Moltke, begun shortly before his death and finished afterward, was sent to the International Exposition at Berlin, but was rejected. The Emperor, however, bought it for his private collection, and at his request it was given a place of honor at the Exposition, the incident causing much comment. She exhibited a portrait of the Emperor William at Berlin in 1893, which Rosenberg called careless in drawing and modelling and inconceivable in its unrefreshing, dirty-gray color.
In January, 1895, she gave an exhibition of one hundred and four of her works, mostly portraits, including those of the Emperor, Caprivi, von Moltke, and Kossuth, which had previously been exhibited in Berlin, Munich, and Paris. The proceeds of this exhibition went to the building fund of the Emperor William Memorial Church.
Of a portrait exhibited in 1896, at Munich, a critic said that while it was not wholly bad, it was no better than what hundreds of others could do as well, and hundreds of others could do much better.
Pasch, Ulricke Friederika. Member of the Academy of Fine Arts of Sweden. Born in Stockholm. 1735-1796. A portrait of Gustavus-Adolphus II. by this artist is in the Castle at Stockholm. She was a sister of Lorenz Pasch.
Pascoli, Luigia. This Venetian painter has exhibited in various Italian cities since 1870, when she sent a "Magdalen" to Parma. "First Love" appeared at Naples in 1877, and "The Maskers"—pastel—at Venice in 1881. A "Girl with a Cat," a "Roman Girl," and a "Seller of Eggs"—the latter in Venetian costume—are works of true value. Her copies of Titian's "St. Mark" and of Gian Bellini's "Supper at Emmaus" have attracted attention and are much esteemed.
Passe, Magdalena van de. Born at Utrecht about 1600; she died at the age of forty. This engraver was a daughter of Crispus van de Passe, the elder. She practised her art in Germany, England, Denmark, and the Netherlands, and was important as an artist. Her engraving was exceedingly careful and skilful. Among her plates are "Three Sibyls," 1617; an "Annunciation," "Cephalus and Procris," "Latona," and landscapes after the works of Bril, Savery, Willars, etc.
Pattison, Helen Searle. Born in Burlington, Vermont. Daughter of Henry Searle, a talented architect who moved to Rochester, New York, where his daughter spent much of her girlhood. She held the position of art teacher in a school in Batavia, New York, while still a girl herself.
About 1860 she became the pupil of Herr Johan Wilhelm Preyer, the well-known painter of still-life, fruit, and flowers. Preyer was a dwarf and an excellent man, but as a rule took no pupils. He was much interested in Miss Searle, and made an exception in her case. She soon acquired the technique of her master and painted much as he did, but with less minute detail, finer color, and far more sentiment.