Mrs. Charlotte Cheves is an amateur artist who might have gained celebrity had her life been given to the study of painting. She was Miss M‘Cord, and was born in Columbia, South Carolina. She married Mr. Langdon Cheves, and resides on his rice plantation nearly opposite Savannah. She paints miniatures on ivory, some of them excellent likenesses, and finished with great delicacy. She has also painted pictures in oil, and excels in pastels and pencil-sketches. She is a musician, too, and possesses a very fine voice.
Ellen Cooper, the youngest daughter of the celebrated Dr. Thomas Cooper, was a native of Columbia, South Carolina. She had a fine taste and much skill in painting and ornamental work, and was remarkable for intellectual culture and knowledge of general literature. She lived some years in Mobile with her sister, and there married Mr. James Hanna, who took her to reside on his sugar plantation near Thibodeaux, in Louisiana. She died in October, 1858. Her sister is one of the most accomplished amateur artists in the Southern States.
About seven years ago a School of Design for Women was started by Miss Hamilton, which, supported by voluntary contributions, met with encouraging success. It has now been adopted by the trustees of the Cooper Institute, and a sum is allowed annually for the support of teachers. The attendance of pupils in 1859 has been double that of any former year.
Mary Ann Douglas, now Mrs. Johnson, is a native of Westfield, Massachusetts, where she at present resides. She was married at eighteen, and had been a wife four years before her artist-life commenced. While a prisoner in her room, on account of sickness, she amused herself by copying a landscape in oil-colors. The success of this attempt opened to her a new source of activity and pleasure. She devoted herself to the study of painting, and labored with such earnestness and fidelity that her efforts were crowned with success beyond her anticipations. Her attention was directed especially to portraits. For the last four or five years she has worked in crayon almost exclusively, and has found employment abundantly remunerative. A visit to New London, Connecticut, was prolonged to nine months’ stay, so great was the popularity of her works in that place; and during a trip into Central New York she painted many portraits in oil at excellent prices. Her indefatigable patience in the execution of details, the fidelity of her likenesses, and the delicate perfection of finish in her pictures, are remarkable. In the relations of social life Mrs. Johnson has shown herself amiable and self-sacrificing. She has not an acquaintance who does not rejoice in the triumphs so worthily won in spite of many discouragements.
CHAPTER XX.
THE NINETEENTH CENTURY.
Emma Stebbins.—Favorable Circumstances of her early Life to the Study of Art.—Specimens of her Skill shown in private Circles.—Receives Instruction from Henry Inman.—Correctness of her Portraits.—“A Book of Prayer.”—Revives Taste for Illuminations.—Her crayon Portraits.—Copies of Paintings.—Cultivates many Branches of Art.—Becomes a Sculptor.—Abode in Rome.—Instruction received from Gibson and Akers.—Late Work from her Chisel.—“The Miner.”—Harriet Hosmer.—Dwelling of the Sculptor Gibson in Rome.—His Studio and Work-room.—“La Signorina.”—The American Sculptress.—Her Childhood.—Physical Training.—School-life.—Anecdotes.—Studies at Home.—At St. Louis.—Her Independence.—Trip on the Mississippi.—“Hesper.”—Departure for Rome.—Mr. Gibson’s Decision.—Extract from Miss Hosmer’s Letter.—Original Designs.—Reverse of Fortune.—Alarm.—Resolution.—Industry, Economy, and Success.—Late Works.—Visit of the Prince of Wales.
EMMA STEBBINS.
Few lady artists of this or any country have been surrounded with circumstances more favorable to the development of genius. Her childhood was passed among those who possessed culture and refined taste, and she was familiar with the elegant adornments of life. She learned early to embody the delicate creations of her fancy in song or pictures, as well as to imitate what pleased her. Her family and nearest circle of friends were ready—as is not always the case—to appreciate and encourage her efforts. But, though she had no early difficulties to struggle with, the steep and rugged path to eminent success could not be smoothed by the hand of affection, and she has gone through all the lessoning and exercise of powers demanded for the achievement of greatness, as well from those favored of fortune as those to whom the capricious goddess has proved a step-dame.
Miss Stebbins is a native of the city of New York, where, till within a few years, she employed the rare skill she had acquired in different branches of art for the gratification of her friends or for charitable purposes. Several artists noticed in the beautiful specimens which were shown in various circles as her work the evidence of more than ordinary talent. Among these was Henry Inman, the distinguished painter. He invited the young girl to visit his studio, and offered to give her instruction in oil-painting. She had never before taken lessons, and was pleased with the prospect of study. She improved under the directions of her teacher, and to this aid some of her friends attributed the masterly correctness and grace displayed in her portraits, and for which afterward her crayon sketches were so much admired.
One of Miss Stebbins’s early works was a volume to which she gave the title, “A Book of Prayer.” It contains some beautiful specimens of her poetry, but is chiefly remarkable for its exquisite illuminations. It was one of the first among the efforts to revive that style of illustration; and the originality, grace, and beauty of the designs, with the delicate and elaborate finish of the execution, made it quite a curiosity of art. Some other books were illuminated by Miss Stebbins in the same manner.