Women artists in all ages and countries

by E. F. Ellet

This tempting offer was accepted. During the winter Miss Pillsbury devoted herself to copying paintings. Ere long she must have made the discovery that another feeling, besides the wish to foster genius, had led Mr. Weston to be so anxious for her presence. Suffice it to say that in three months she became his wife, with the understanding that she was to pursue the profession she had chosen without restraint.

For a few years Mrs. Weston exercised her skill in painting under circumstances tending to distract her attention. She became the mother of two children, and the care of them occupied most of her time. Several of her copies have great merit. Her large picture of the “Angel Gabriel and Infant Saviour,” from Murillo, is in the possession of Mr. Henry Stebbins, who married the daughter of Mr. Weston. She made a very fine copy of Titian’s “Bella Donna” and Guercino’s “Sibylla Samia.” That of “Beatrice Cenci” has been pronounced an admirable copy. She also painted a “Fornarina.”

One evening, at a watering-place, at the first ball Mrs. Weston had ever attended, she was struck by the appearance of a lady who passed her, leaning on her husband’s arm. The lovely features of this stranger, her pure and brilliant complexion, her eyes beaming with cheerful goodness, and an indefinable grace in all her movements, impressed the artist as if she had seen a vision. Some years afterward she met Mrs. Coventry Waddell, and recognized in her the charming ideal who had been enshrined in her memory. Her portrait of this lady belongs to Mr. George Vansandvoord, of Troy.

Mrs. Waddell’s appreciation of Mrs. Weston’s abilities, and her friendship, proved a valuable aid to the sometimes discouraged artist.

Mrs. Weston’s flesh tints are especially natural and beautiful, and she gives a high finish to her copies of paintings. Those from the old masters, and others, have such wonderful fidelity that her achievements in this line would alone suffice to make a reputation. “A Witch Scene,” from Teniers, is admirable. One of her own compositions is “A Scene from Lalla Rookh,” and she has painted both landscapes and portraits from nature. She still resides in New York.

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.