Her pictures at the Exposition at Toulouse, spring of 1903, were much admired. In one she had most skilfully arranged "Peaches and Grapes." The color was truthful and delicate. The result was a most artistic picture, in which the art was concealed and nature alone was manifest. A second picture of "Zinnias" was equally admirable in the painting of the flowers, while that of the table on which they were placed was not quite true in its perspective.
Of a triptych, called the "Life of Roses," exhibited at the Salon des Artistes Français, 1903, Jules de Saint Hilaire writes: "Mme. Faux-Froidure was inspired when she painted her charming triptych of 'Rose Life.' In the compartment on the left the roses are twined in a crown resembling those worn in processions; in the centre, in all its dazzling beauty, the red rose, the rose of love, is enthroned; while the panel on the right is consecrated to the faded rose—the souvenir rose, shrivelled, and lying beside the little casket which it still perfumes with its old-time sweetness."
Fischer, Clara Elizabeth. Born in Berlin, 1856. Studied under Biermann six years, and later under Julius Jacob. Her pictures are portraits and genre subjects. Among the latter are "What Will Become of the Child?" 1886; "Orphaned," "In the Punishment Corner," and "Morning Devotion."
Fischer, Helene von. Born in Bremen, 1843. She first studied under a woman portrait painter in Berlin; later she was a pupil of Frische in Düsseldorf, of Robie in Brussels, and of Hertel and Skarbina in Berlin.
She makes a specialty of flowers, fruit, and still-life; her fruit and flower pieces are beautiful, and her pictures of the victims of the chase are excellent.
Flesch-Brunnengen, Luma von. Born in Brünn in 1856. In Vienna she worked under Schöner, the interpreter of Venetian and Oriental life, and later in Munich she acquired technical facility under Frithjof Smith. Travels in Italy, France, and Northern Africa furnished many of her themes—mostly interiors with figures, in which the entering light is skilfully managed. "The Embroiderers," showing three characteristic figures, who watch the first attempt of their seriously earnest pupil, is full of humor. In sharp contrast to this is a "Madonna under the Cross," exhibited at Berlin in 1895, in which the mother's anguish is most sympathetically rendered. "Devotion," "Shelterless," and the "Kitchen Garden" are among the paintings which have won her an excellent reputation as a genre painter.
Fleury, Mme. Fanny.
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Focca, Signora Italia Zanardelli. Silver medal at Munich, 1893; diploma of gold medal at Women's Exhibition, London, 1900. Member of Società Amatorie Pittori di Belle Arti, of the Unione degli Artisti, and of the Società Cooperativa, all in Rome.