This story would favor the color-blind theory, as Ingres apparently saw color neither in the original nor the copy.
An hour later Delacroix came to watch the work of his pupil, and after a few minutes exclaimed: "I am so happy, my dear girl, to see that you have the true and only spirit of art. Never forget that in Nature there is no line, no outline; everything is color!"
In 1852 Mme. Thurwanger was in Philadelphia and remained more than two years. She exhibited her pictures, which were favorably noticed by the Philadelphia Enquirer. In July of the above year her portraits were enthusiastically praised. "Not a lineament, not a feature, however trivial, escapes the all-searching eye of the artist, who has the happy faculty of causing the expression of the mind and soul to beam forth in the life-like and speaking face."
In October, 1854, her picture of a "Madonna and Child" was thus noticed by the same paper: "For brilliancy, animation, maternal solicitude, form, grace, and feature, it would be difficult to imagine anything more impressive. It is in every sense a gem of the pictorial art, while the execution and finish are such as genius alone could inspire."
Tirlinks, Liewena. Born in Bruges, a daughter of Master Simon. This lady was not only esteemed as an artist in London, but she won the heart of an English nobleman, to whom she was given in marriage by Henry VIII. Her miniatures were much admired and greatly in fashion at the court. Some critics have thought the Tirlinks to be the same person with Liewena Bennings or Benic, whose story, as we know it, is much the same as the above.
Tormoczy, Bertha von. Diploma of honor, Budapest and Agram. Born at Innspruck, 1846. Pupil of Hausch, Her, and Schindler. Among her pictures are "Girl in the Garden," "Blossoming Meadows," "Autumn Morning," and a variety of landscapes.
Toro, Petronella. A painter of miniatures on ivory which have attained distinction. Among those best known are the portraits of the Prince of Carignano, Duke Amadeo, and the Duchess d'Aosta with the sons of the Prince of Carignano. She has painted a young woman in an antique dress and another in a modern costume. Her works are distinguished by firmness of touch and great intelligence. She has executed some most attractive landscapes.
Treu, or Trey, Katharina. Born at Bamberg. 1742-1811. A successful painter of flowers and still-life. Her talent was remarkable when but a child, and her father, who was her only master, began her lessons when she was ten years old. When still young she was appointed court painter at Mannheim, and in 1776 was made a professor in the Academy at Düsseldorf. Her pictures are in the Galleries of Bamberg and Carlsruhe, and in the Darmstadt and Stuttgart Museums.
Urrutia de Urmeneta, Ana Gertrudis de. Member of the Academy of Fine Arts, Cadiz, 1846. Born in Cadiz. 1812-1850. She began the study of drawing with Javier, and after her marriage to Juan José de Urmeneta, professor of painting and sculpture and director of the Cadiz Academy, continued her work under his direction. A "St. Filomena" and "Resurrection of the Body," exhibited in 1846, are among her best pictures. Her "St. Jeronimo" is in the new cathedral at Cadiz, and the Academy has shown respect to her memory by placing her portrait in the room in which its sessions are held.
Viani, Maria. Born at Bologna. 1670-1711. I find no reliable biographical account of this artist, whose name appears in the catalogue of the Dresden Gallery as the painter of the "Reclining Venus, lying on a blue cushion, with a Cupid at her side."