It is manifestly impossible, in a work of this kind, to include even the names of all the women artists who are worthy of remembrance. Among those of the present day are many who have not yet had sufficient experience to do justice to their own powers, and any criticism of their productions would be premature and unfair.
No attempt has been made in the following pages to give elaborate critiques or a connected history of art. The aim has been simply to show what woman has done, with the general conditions favorable or unfavorable to her efforts, and to give such impressions of the character of each prominent artist as may be derived from a faithful record of her personal experiences. More may be learned by a view of the early struggles and trials, the persevering industry and the well-earned triumphs of the gifted, than by the most erudite or fine-spun disquisition. Should the perusal of my book inspire with courage and resolution any woman who aspires to overcome difficulties in the achievement of honorable independence, or should it lead to a higher general respect for the powers of women and their destined position in the realm of Art, my object will be accomplished.
E. F. E.
CONTENTS.
| [CHAPTER I.] | |
| THE EARLY AGES. | |
| Women in Art.—Kind of Painting most practiced by them.—Feminine Employments in early Ages.—The fair Egyptians.—Women of Assyria and Babylon.—Grecian Women.—Sculpture and Painting in Greece.—The Daughter of Dibutades.—The Lover’s Profile.—The first Bas-relief.—Timarata.—Helena.—Anaxandra.—Kallo.—Cirene.—Calypso.—Other Pupils of Grecian Art.—The Roman Women.—The Paintress Laya.—Lala.—Influence of Christianity on Art.—Adornment rejected by the early Christians.—Art degraded for Centuries.—Female Influence among the Nations that rose on the Ruins of Rome.—Wise and clever Princesses.—Anna Comnena.—The first Poetess of Germany.—The first Editress of a Cyclopædia.—The Art of Illuminating.—Nuns employed in copying and painting Manuscripts.—Agnes, Abbess of Quedlinburg.—Princesses at work.—Convent Sisters copying and embellishing religious Works.—The Nuns’ Printing-press.—The first Sculptress, Sabina von Steinbach.—Her Works in the Cathedral of Strasburg.—Elements that pervade the Sculpture of the Middle Ages.—Painting of the Archbishop crowning Sabina. | [Page 21] |
| [CHAPTER II.] | |
| THE FIFTEENTH CENTURY. | |
| Commencement of the History of modern Art.—Causes of the Barrenness of this Century in female Artists.—The Decline of Chivalry unfavorable to their mental Development.—Passing away of the Ideal and Supernatural Element in Art.—New Feeling for Nature.—New Life and Action in Painting.—Portrayal of Feelings of the Heart.—Release of Painting from her Trammels.—Severer Studies necessary for Artists.—Woman excluded from the Pursuit.—Patronage sought.—One female Artist representing each prominent School.—Margaretta von Eyck.—Her Miniatures.—Extensive Fame.—Her Decoration of Manuscripts.—Work in Aid of her Brothers.—“The gifted Minerva.”—Single Blessedness.—Another Margaretta.—Copies and illuminates MSS. in the Carthusian Convent.—Eight folio Volumes filled.—Caterina Vigri.—Her Miniature Paintings.—Founds a Convent.—“The Saint of Bologna.”—Miraculous Painting.—The warrior Maiden Onorata.—Decorates the Palace at Cremona.—Insult offered her.—She kills the Insulter.—Flight in male Attire.—Soldier Life.—Delivers Castelleone.—The mortal Wound. | [32] |
| [CHAPTER III.] | |
| THE SIXTEENTH CENTURY. | |
| This Century rich in great Painters.—Not poor in female Artists.—Memorable Period both in Poetry and Painting.—Fruits of the Labor of preceding Century now discernible.—Female Disciples in all the Schools of Italian Art.—Superiority of the Bolognese School.—Properzia Rossi.—Her Beauty and finished Education.—Carving on Peach-stones.—Her Sculptures.—The famous Bas-relief of Potiphar’s Wife.—Properzia’s unhappy Love.—Slander and Persecution.—Her Works and Fame.—Visit of the Pope.—Properzia’s Death.—Traditional Story.—Isabella Mazzoni a Sculptor.—A female Fresco Painter.—Sister Plautilla.—Her Works for her Convent Church.—Other Works.—Women Painters of the Roman School.—Teodora Danti.—Female Engravers.—Diana Ghisi.—Irene di Spilimberg.—Her Education in Venice.—Titian’s Portrait of her.—Tasso’s Sonnet in her Praise.—Poetical Tributes on her Death.—Her Works and Merits.—Vincenza Armani.—Marietta Tintoretto.—Her Beauty and musical Accomplishments.—Excursions in Boy’s Attire with her Father.—Her Portraits.—They become “the Rage.”—Invitation from the Emperor.—From Philip of Spain.—The Father’s Refusal.—Her Marriage and Death.—Portrait of her.—Women Artists of Northern Italy.—Barbara Longhi and others.—The Nuns of Genoa. | [38] |
| [CHAPTER IV.] | |
| THE SIXTEENTH CENTURY. | |
| The six wonderful Sisters.—Sofonisba Anguisciola.—Her early Sketches.—Painting of three Sisters.—Her Success in Milan.—Invitation to the Court of Madrid.—Pomp of her Journey and Reception.—The Diamond.—Paints the Royal Family and the Flower of the Nobility.—Her Present to Pope Pius.—His Letter.—Her Style.—Lucia’s Picture.—Sofonisba Governess to the Infanta. Marriage to the Lord of Sicily.—His Death at Palermo.—The Widow’s Voyage.—The gallant Captain.—Second Love and Marriage.—Her Residence at Genoa.—Royal Visitors.—Loss of Sight.—Vandyck her Guest.—Her Influence on Art in Genoa.—Her Portrait and Works.—Sofonisba Gentilesca.—Her Miniatures of the Spanish Royal Family.—Caterina Cantoni.—Ludovica Pellegrini.—Angela Criscuolo.—Cecilia Brusasorci.—Caterina dei Pazzi.—Her Style shows the Infusion of a new Element of religious Enthusiasm into Art.—Tradition of her painting with eyes closed.—Her Canonization.—Women in France at this period.—Isabella Quatrepomme.—Women in Spain.—A female Doctor of Theology.—Change wrought by Protestantism in the Condition of Woman.—Its Influence on Art.—An English Paintress.—Lavinia Benic.—Catherine Schwartz in Germany.—Eva von Iberg in Switzerland.—Women Painters in the Netherlands.—Female Talent in Antwerp.—Albert Durer’s Mention of Susannah Gerard.—Catherine Hämsen.—Anna Seghers.—Clara de Keyzer.—Liewina Bennings’ and Susannah Hurembout’s Visits to England.—The Engraver Barbara.—The Dutch Engraver.—Constantia, the Flower Painter. | [48] |
| [CHAPTER V.] | |
| THE SEVENTEENTH CENTURY. | |
| New Ground presented for Progress.—Greater Diversity of Style.—Naturalism.—The Caracci instrumental in giving to Painting the Impetus of Reform.—Their Academy.—One opened by a Milanese Lady.—The learned Poetess and her hundredth Birthday.—Female Painters and Engravers.—Lavinia Fontana.—The hasty Judgment.—Lavinia a Pupil of Caracci.—Character of her Pictures.—Honors paid to her.—Courted by Royalty.—Her Beauty and Suitors.—A romantic Lover.—Lavinia’s Paintings.—Close of the Period of the Christian Ideal in Art.—Lavinia’s Chef-d’Œuvre.—Her Children.—Professional Honors.—Her Death.—Female Disciples of the Caracci School.—Pupils of Domenichino, Lanfranco, and Guido Reni.—The churlish Guercino a Despiser of Women.—The Cardinal’s Niece and Heiress.—Her great Paintings.—Founds a Cloister.—Artemisia Gentileschi, a Pupil of Guido.—Her Portraits.—Visit to England.—Favor with Charles I.—Luxurious Abode in Naples.—Her Correspondence.—Judgment of her Pictures.—Elisabetta Sirani.—Her artistic Character.—Her household Life.—Industry and Modesty.—Her Virtues and Graces.—Envious Artists.—Defeat of Calumny.—Her mysterious Fate.—Conjectures respecting it.—Funeral Obsequies.—Her principal Works.—Her Influence on female Artists.—Her Pupils.—Other Women Artists of Bologna. | [59] |
| [CHAPTER VI.] | |
| THE SEVENTEENTH CENTURY. | |
| School of the Academicians after Caravaggio.—Unidealized Nature.—Rude and violent Passions delineated.—Dark and stormy Side of Humanity.—Dark Coloring and Shadows.—The gloomy and passionate expressed in Pictures appeared in the Lives of Artists.—The Dagger and Poison-cup common.—Aniella di Rosa.—The Pupil of Stanzioni.—Character of her Painting.—Romantic Love and Marriage.—The happy Home destroyed.—The hearth-stone Serpent.—Jealousy.—The pretended Proof.—Phrensy and Murder.—Other fair Neapolitans.—The Paintress of Messina.—The Schools of Bologna and Naples embrace the most prominent Italian Paintings.—Commencement of Crayon-drawing.—Tuscan Ladies of Rank cultivating Art.—The Rosalba of the Florentine School.—Art in the City of the Cæsars.—The Roman Flower-painter.—Engravers.—Medallion-cutters.—A female Architect.—A Roman Sculptress.—Women Artists of the Venetian School.—At Pavia.—The Painter’s four Daughters.—Chiara Varotari.—Shares her Brother’s Labors.—A skillful Nurse.—Her Pupils.—Other female Artists of this time.—The Schools of Northern Italy.—Their Paintresses.—Giovanna Fratellini. | [74] |
| [CHAPTER VII.] | |
| THE SEVENTEENTH CENTURY. | |
| Contrast between the Academicians and Naturalists, and between the French and Spanish Schools of Painting.—Peculiarities of each.—Ladies of Rank in Madrid Pupils of Velasquez.—Instruction of the royal Children in Art.—The Engraver of Madrid.—Every City in the South of Spain boasts a female Artist.—Isabella Coello.—Others in Granada.—In Cordova.—The Sculptress of Seville.—Luisa Roldan; her Carvings in Wood.—The Canons “sold.”—Invitation to Madrid.—Sculptress to the King.—Other Women Artists in Spain.—In France Woman’s Position more prominent than in preceding Age.—Corruption of court Manners.—Unworthy Women in Power.—Women in every Department of Literature.—Mademoiselle de Scudery.—Madame de la Fayette.—Madame Dacier.—Women in theological Pursuits.—Their Ascendency in Art not so great.—Miniature and Flower Painters.—Engravers.—Elizabeth Sophie Chéron.—A Leader in Enamel-painting.—Her Portraits and History-pieces.—Her Merits and Success.—Her Translations of the Psalms.—Musical and Poetical Talents.—Honors lavished on her.—Love and Marriage at three-score.—Her Generosity to the needy.—Verses in her Praise.—Historical Tableaux.—Madelaine Masson.—The Marchioness de Pompadour. | [85] |
| [CHAPTER VIII.] | |
| THE SEVENTEENTH CENTURY. | |
| Two different Systems of Painting in the North.—The Flemish School represented by Rubens.—The Dutch by Rembrandt.—Characteristics of Rubens’ Style.—No female Disciples.—Unsuited to feminine Study.—Some Women Artists of the first Part of the Century.—Features of the Dutch School.—A wide Field for female Energy and Industry.—Painting de genre.—Its Peculiarities.—State of Things favorable to female Enterprise.—Early Efforts in Genre-painting.—Few Women among Rembrandt’s immediate Disciples.—Genre-painting becomes adapted to female Talent.—“The Dutch Muses.”—Another Woman Architect.—Dutch Women Painters and Engravers.—Maria Schalken and others.—“The second Schurmann.”—Margaretta Godewyck.—The Painter-poet.—Anna Maria Schurmann.—Wonderful Genius for Languages.—Early Acquirements.—Her Scholarship and Position among the learned.—A Painter, Sculptor, and Engraver.—Called “the Wonder of Creation.”—Royal and princely Visitors.—Journey to Germany.—Embraces the religious Tenets of Labadie.—His Doctrines.—Joins his Band.—Collects his Followers, and leads them into Friesland.—Poverty and Death.—Visit of William Penn to her.—Her Portrait.—Her female Contemporaries in Art.—Flower-painting in the Netherlands.—Its Pioneers.—Maria Van Oosterwyck.—Her Birth and Education.—Early Productions.—Celebrated at foreign Courts.—Presents from imperial Friends.—Enormous Prices for her Pictures.—Royal Purchasers.—The quiet Artist at work.—The Lover’s Visit.—The Lover’s Trial and Failure.—Style of her Painting.—Rachel Ruysch.—The greatest Flower-painter.—Early Instruction.—Spread of her Fame.—Domestic Cares.—Professional Honors.—Invitations to Courts.—Her Patron, the Elector.—Her Works in old Age.—Her Character.—Rarity of her Paintings.—Personal Appearance. | [94] |
| [CHAPTER IX.] | |
| THE SEVENTEENTH CENTURY. | |
| Unfavorable Circumstances for Painting in Germany.—Effects of the Thirty Years’ War.—The national Love of Art shown by the Signs of Life manifested.—Influence of the Reformation.—Inferiority of German Art in this Century.—Ladies of Rank in Literature.—A female Astronomer.—The Fame of Schurmann awakens Emulation.—Distinguished Women.—Commencement of poetic Orders.--Zesen, the Patron of the Sex.—Women who cultivated Art.—Paintresses of Nuremberg.—Barbara Helena Lange.—Flower-painters and Engravers.—Modeling in Wax.—Women Artists in Augsburg.—In Munich.—In Hamburg.—The Princess Hollandina.—Her Paintings.—Maria Sibylla Merian.—Early Fondness for Insects.—Maternal Opposition.—Her Marriage.—Publication of her first Work.—Joins the Labadists.—Returns to the Butterflies.—Curiosity to see American Insects.—Voyage to Surinam.—Story of the Lantern-flies.—Return to Holland.—Her Works published.—Republication in Paris afterward.—Her Daughters.—Her personal Appearance.—The Danish Women Artists.—Anna Crabbe.—King’s Daughters.—The Taste in Art in Denmark and England governed by that of foreign Nations.—Female Artists in England.—The Poetesses most prominent.—Miniaturists.—Portrait-painters.—Etchers.—Lady Connoisseurs.—The Dwarf’s Daughter.—Anna Carlisle.—Mary Beale.—Pupil of Sir Peter Lely.—Character of her Works.—Rumor of Lely’s Attachment to her.—Poems in her Praise.—Mr. Beale’s Note-books.—Anne Killegrew.—Her Portraits of the Royal Family.—History and still-life Pieces.—Her Portrait by Lely.—Her Character.—Dryden’s Ode to her Memory.—Her Poems published.—Mademoiselle Rosée.—The Artist in Silk.—Wonderful Effects.—Her Works Curiosities.—The Artist of the Scissors.—Her singular imitative Powers.—A Copyist of old Paintings.—Her Cuttings.—Views of all kinds done with the Scissors.—Royal and imperial Visitors.—Her Trophy for the Emperor Leopold.—Poems in her Praise.—The Swiss Paintress Anna Wasser.—Her Education and Works.—Commissions from Courts.—Her Father’s Avarice.—Sojourn at a Court.—Return home.—Fatal Accident.—Her literary Accomplishments. | [110] |
| [CHAPTER X.] | |
| THE EIGHTEENTH CENTURY. | |
| General Expansion and Extension of Art-culture.—More Scope given to the Tendencies originated in preceding Age.—Reminiscences of past Glories of Art active during the first half of the Century.—The Flemish and Italian Schools in vogue.—Eclecticism.—Influences of the French School mingled with those of the great Masters.—The Rococo Style.—The Aggregate of Woman’s Labor greater than ever before.—Not accompanied by greater Depth.—Less Individuality discernible.—The greatest artistic Activity among Women in Germany.—In France next.—In Italy next.—In other Countries less.—Rapid Growth of Art in Berlin.—In Dresden.—Scholarship and literary Position of Women during the first half of the Century.—Poets and their Inspirations.—Princesses the Patrons of Letters.—Nothing new or striking in Art.—A Revolution in the latter half of the Century.—Instruction in Art a Branch of Education.—Dilettanti of high Rank.—Female Pupils of Painters of Note.—Mengs and Carstens.—Carstens the Founder of modern German Art.—His Style not adapted to female Talent.—A lovely Form standing between him and Mengs.—A female Stamp-cutter.—An Artist in Wax-work.—In Stucco-work.—In cutting precious Stones.—Barbara Preisler.—Other female Artists.—Fashionable Taste in Painting.—Marianna Hayd.—Miniaturists.—Anna Maria Mengs.—Her Works.—Miniature and Pastel-painting.—Flowers and Landscapes a Passion.—Imitators of Rachel Ruysch and Madame Merian.—Celebrities in Flower-painting.—Copper-engraving. Lady Artists of high Rank.—Other Devotees to Art. | [132] |
| [CHAPTER XI.] | |
| THE EIGHTEENTH CENTURY. | |
| Angelica Kauffman.—Parentage and Birth.—Beautiful Scenery of her native Land.—Early Impulse to Painting.—Adopts the Style of Mengs.—Her Residence in Como.—Instruction.—Music or Painting?—Beauty of Nature around her.—Angelica’s Letter about Como.—Escape from Cupid.—Removal to Milan.—Introduction to great Works of Art.—Studies of the Lombard Masters.—The Duke of Modena her Patron.—Portrait of the Duchess of Carrara.—Success.—Return to Schwarzenberg.—Painting in Fresco.—Homely Life of the Artist.—Milan and Florence.—Rome.—Acquaintance with Winkelmann.—Angelica paints his Portrait.—Goes to Naples.—Studies in Rome.—In Venice.—Acquaintance with noble English Families.—In London.—A brilliant Career.—Fuseli’s Attachment to her.—Appointed Professor in the Academy of Arts.—Romantic Incident of her Travel in Switzerland.—The weary Travelers.—The libertine Lord.—The Maiden’s Indignation.—Unexpected Meeting in the aristocratic Circles of London.—The Lord’s Suit renewed.—Rejected with Scorn.—His Rank and Title spurned.—Revenge.—The Impostor in Society.—Angelica deceived into Marriage.—She informs the Queen.—Her Father’s Suspicions.—Discovery of the Cheat.—The Wife’s Despair.—The false Marriage annulled.—The Queen’s Sympathy.—Stories of Angelica’s Coquetry.—Marriage with Zucchi.—Return to Italy.—Her Father’s Death.—Residence in Rome.—Circle of literary Celebrities.—Angelica’s Works.—Criticisms.—Opinions of Mengs and Fuseli.—The Portraits in the Pitti Gallery.—Death of Zucchi.—Invasion of Italy.—Angelica’s Melancholy.—Journey and Return.—Her Death and Funeral. | [144] |
| [CHAPTER XII.] | |
| THE EIGHTEENTH CENTURY. | |
| Female Artists in the Scandinavian Countries.—In Sweden.—Ulrica Pasch.—Danish Women Artists.—A richer Harvest in the Netherlands.—The Belgian Sculptress.—Maria Verelst.—Her Paintings and Attainments in the Languages.—Residence in London.—Curious Anecdote.—Walpole’s Remark.—Women Artists in Holland.—Poetry.—Henrietta Wolters.—Her Portraits.—Invitation from Peter the Great.—Dutch Paintresses.—The young Engraver.—Caroline Scheffer.—Landscape and Flower Painters.—A Follower of Rachel Ruysch.—An Engraver.—In England.—Painting suited to Women.—Literary Ladies.—Effect of the Introduction of a new Manner in Art.—Numerous Dilettanti.—Female Sculptors.—Mrs. Samon.—Mrs. Siddons and others.—Mrs. Damer.—Aristocratic Birth.—Early love of Study and Art.—Horace Walpole her Adviser.—Conversation with Hume.—First Attempt at Modeling.—The Marble Bust and Hume’s Criticism.—Surprise of the gay World.—Miss Conway’s Lessons and Works.—Unfortunate Marriage.—Widowhood.—Politics.—Walpole’s Opinion of Mrs. Damer’s Sculptures.—Darwin’s Lines.—Sculptures.—Envy and Detraction.—Going abroad.—Escape from Danger.—Noble Ambition.—Return to England.—Politics and Kissing.—Private Theatricals.—The three Heroes.—Friendship with the Empress.—Walpole’s Bequest.—Parlor Theatricals, etc.—Removal.—Project for improving India.—Mrs. Damer’s Works.—Opinions of her. | [164] |
| [CHAPTER XIII.] | |
| THE EIGHTEENTH CENTURY. | |
| Mary Moser.—Nollekens’ House.—Skill in Flower-painting.—The Fashions.—Queen Charlotte.—Patience Wright.—Birth in New Jersey.—Quaker Parents.—Childish Taste for Modeling.—Marriage.—Widowhood.—Wax-modeling.—Rivals Madame Tussaud.—Residence in England.—Sympathy with America in Rebellion.—Correspondence with Franklin.—Intelligence conveyed.—Freedom of Speech to Majesty.—Franklin’s Postscript.—“The Promethean Modeler.”—Letter to Jefferson.—Patriotism.—Art the Fashion.—Aristocratic lady Artists.—Princesses Painting.—Lady Beauclerk.—Walpole’s “Beauclerk Closet.”—Designs and Portrait.—Lady Lucan.—Her Illustrations of Shakspeare.—Walpole’s Criticism.—Other Works.—Mary Benwell and others.—Anna Smyters and others.—Madame Prestel.—Mrs. Grace.—Mrs. Wright.—Flower-painters.—Catherine Read and others.—Maria Cosway.—Peril in Infancy.—Lessons.—Resolution to take the Veil.—Visit to London.—Marriage.—Cosway’s Painting.—Vanity and Extravagance.—The beautiful Italian Paintress.—Cosway’s Prudence and Management.—Brilliant evening Receptions.—Aristocratic Friends.—The Epigram on the Gate.—Splendid new House and Furniture.—Failing Health.—France and Italy.—Institution at Lodi.—Singular Occurrence.—Death of Cosway.—Return to Lodi.—Maria’s Style and Works. | [181] |
| [CHAPTER XIV.] | |
| THE EIGHTEENTH CENTURY. | |
| Close of the golden Age of Art in France.—Corruption of Manners.—Influence of female Genius.—Reign of Louis XVI.—Female Energy in the Revolution.—Charlotte Corday.—Greater Number of female Artists in Germany.—Reasons why.—French Women devoted to Engraving.—Stamp-cutters.—A Sculptress enamored.—A few Paintresses.—The Number increasing.—Influence of the great French Masters.—Sèvres-painting.—Genre-painting.—Disciples of Greuze.—Portrait-painting in vogue.—Caroline Sattler.—Flower-painters, etc.—Engravers.—Two eminent Paintresses.—Adelaide Vincent.—Marriage.—Portraits and other Works.—The Revolution.—Elizabeth Le Brun.—Talent for Painting.—Her Father’s Delight.—Instruction.—Friendship with Vernet.—Poverty and Labor.—Avaricious Step-father.—Her Earnings squandered.—Success and Temptation.—Acquaintance with Le Brun.—Maternal Counsels to Marriage.—Secret Marriage.—Warnings too late.—The Mask falls.—Luxury for the Husband, Labor and Privation for the Wife.—Success and Scandal.—French Society.—Friendship with Marie Antoinette.—La Harpe’s Poem.—Evening Receptions.—Splendid Entertainments.—Scarcity of Seats.—Petits Soupers.—The Grecian Banquet.—Reports concerning it.—Departure from France.—Triumphal Progress.—Reception in Bologna.—In Rome.—In Naples.—In Florence.—Madame Le Brun’s Portrait.—Goethe’s Remarks.—New Honors.—Reception at Vienna.—An old Friend in Berlin.—Residence in Russia.—Return to France.—Loyalty.—Her Pictures.—Death of her Husband and Daughter.—Advanced Age.—Autobiography.—An emblematic Life. | [199] |
| [CHAPTER XV.] | |
| THE EIGHTEENTH CENTURY. | |
| Women Artists in Spain.—Their Participation a Test of general Interest.—Female Representatives of the most important Schools.—That of Seville.—Of Madrid.—The Paintress of Don Quixote.—Ladies of Rank Members of the Academy.—Maria Tibaldi.—Two female Artists besides two Poetesses in Portugal.—The Harvest greater in Italy.—Few attained to Eminence.—Learned Ladies.—Female Doctors and Professors.—Degrees in Jurisprudence and Philosophy conferred on them.—Examples.—The Scholar nine Years old.—A lady Professor of Mathematics.—Women Lecturers.—Comparison with English Ladies.—Brilliant Devotees of the Lyre.—Female Talent in the important Schools of Art.—Women Artists in Florence.—Engravers and Paintresses.—In Naples.—Kitchen-pieces.—In the Cities of northern Italy.—In Bologna.—Princesses.—In Venice.—Rosalba Carriera.—Her childish Work.—Her Genius perceived.—Instruction.—Takes to Pastel-painting.—Merits of her Works.—Celebrity.—Invitations to Paris and Vienna.—Visit from the King of Denmark.—Invited by the Emperor and the King of France.—Portrait for the Grand Duke of Tuscany.—The King of Poland her Patron.—Unspoiled by Honors.—Her moral Worth.—Residence in Paris.—Her Pictures.—The Lady disguised as a Maid-servant.—Want of Beauty.—Anecdote of the Emperor.—Rosalba’s Journal.—Visit to Vienna.—Presentiment of Calamity.—The Portrait wreathed with gloomy Leaves.—Blindness.—Loss of Reason.—Death and Burial.—Her Portrait.—Other Venetian Women. | [221] |
| [CHAPTER XVI.] | |
| THE NINETEENTH CENTURY. | |
| More vigorous Growth of the Branches selected for female Enterprise.—Progress accelerated toward the Close of last Century.—Still more remarkable within the last fifty Years.—Great Number of Women active in Art.—Better intellectual Cultivation and growing Taste.—Increased Freedom of Woman.—Present Prospect fair.—Growing Sense of the Importance of Female Education.—Women earning an Independence.—The Stream shallows as it widens.—Few Instances of pre-eminent Ability.—Fuller Scope of the Influence of the French Masters in the nineteenth Century.—David, the Republican Painter.—His female Pupils.—Angélique Mongez.—Madame Davin and others.—Disciples of Greuze.—Female Scholars of Regnault.—Pupils of the Disciples of David.—Pupils of Fleury and Cogniet.—Madame Chaudet.—Kinds of Painting in Vogue.—The Princess Marie d’Orleans.—Her Statue of the Maid of Orleans.—Her last Work.—Promise of Greatness.—Sculpture by Madame de Lamartine.—“Paris is France.”—Painting on Porcelain.—Madame Jacotot and others.—Condition of Art in Germany.—Carstens.—Women Artists.—Maria Ellenrieder.—Louise Seidler.—Baroness von Freiberg.—Madame von Schroeter.—Female Artists of the Düsseldorf School.—The greatest Number in Berlin.—Rich Bloom of Female Talent in Vienna and Dresden.—Changes in Italy.—Prospect not fair in Spain and Scandinavia.—In England, Sculpture and Painting successfully cultivated.—Fanny Corbeaux.—Superior in Biblical Scholarship.—The Netherlands in this Century.—Encouragement for Women to persevere.—Dr. Guhl’s Opinion.—History the Teacher of the Present. | [233] |
| [CHAPTER XVII.] | |
| THE NINETEENTH CENTURY. | |
| Felicie de Fauveau.—Parentage.—Her Mother a Legitimist.—The Daughter’s Inheritance of Loyalty.—Removals.—Felicie’s Studies.—Learns to Model.—Resolves to be a Sculptor.—Labor becoming to a Gentlewoman.—Her first Works.—Early Triumphs.—Social Circle in Paris.—Evening Employments.—Revival of a peculiar Taste.—Mediæval Fashions.—The bronze Lamp.—Equestrian Sketch.—Effect of the Revolution of 1830.—The two Felicies leave Paris.—A rural Conspiracy.—A domiciliary Visit.—Escape of the Ladies.—Discovery and Capture.—The Stratagem at the Inn.—Escape of Madame in Disguise.—Imprisonment of Mademoiselle.—Works in Prison.—Return to Paris.—Politics again.—Felicie banished.—Breaks up her Studio.—Poverty and Privation.—Residence in Florence.—Brighter Days.—Character of Felicie.—Personal Appearance.—Her Dwelling and Studio.—Her Works.—The casting of a bronze Statue.—Industry and Retirement.—“A good Woman and a great Artist.”—Rosa Bonheur.—Her Birth in Bordeaux.—Her Father.—Rosa a Dunce in Childhood.—Her Parrot.—Rambles.—The Spanish Poet.—Removal to Paris.—Revolution and Misfortune.—Death of Madame Bonheur.—The Children at School.—Rosa detests Books and loves Roaming.—Remarriage of Bonheur.—Rosa a Seamstress.—Hates the Occupation.—Prefers turning the Lathe.—Her Unhappiness.—Placed at a Boarding-school.—Her Pranks and Caricatures.—Abhorrence of Study.—Mortification at her Want of fine Clothes.—Resolves to achieve a Name and a Place in the World.—Discontent and Gloom.—Return home.—Left to herself.—Works in the Studio.—Her Vocation apparent.—Studies at the Louvre.—Her Ardor and Application.—The Englishman’s Prophecy.—Rosa vowed to Art.—Devoted to the Study of Animals.—Excursions in the Country in search of Models.—Visits the Abattoirs.—Study of various Types.—Visits the Museums and Stables.—Resorts to the horse and cattle Fairs in male Attire.—Curious Adventures.—Anatomical Studies.—Advantages of her Excursions.—Her Father her only Teacher.—The Family of Artists.—Rosa’s pet Birds and Sheep.—Her first Appearance.—Rising Reputation.—Takes the gold Medal.—Proclaimed the new Laureat.—Death of her Father.—Rosa Directress of the School of Design.—Her Sister a Professor.—“The Horse-market.”—Rosa’s Paintings.—Bestows her Fortune on others.—Her Farm.—Drawings presented to Charities.—Demand for her Paintings.—Her Right to the Cross of the Legion of Honor.—The Emperor’s Refusal to grant it to a Woman.—Description of her Residence and her Studio.—Rosa found asleep.—Her personal Appearance.—Dress.—Her Character.—Her Industry.—Mademoiselle Micas.—Mountain Rambles.—Rosa’s Visit to Scotland.—Her Life in the Mountains.—At the Spanish Posada.—Threatened Starvation.—Cooking Frogs.—The Muleteers.—Rosa’s Scotch Terrier.—Her Resolution never to marry. | [246] |
| [CHAPTER XVIII.] | |
| THE NINETEENTH CENTURY. | |
| The Practice of Art in America.—Number of women Artists increasing.—Prospect flattering.—Imperfection of Sketches of living Artists.—Rosalba Torrens.—Miss Murray.—Mrs. Lupton.—Miss Denning.—Miss O’Hara.—Mrs. Darley.—Mrs. Goodrich.—Miss Foley.—Miss Mackintosh and others.—Mrs. Ball Hughes.—Mrs. Chapin.—Sketch of Mrs. Duncan.—The Peale Family.—Anecdote of General Washington.—Mrs. Washington’s Punctuality.—Miss Peale an Artist in Philadelphia.—Paints Miniatures.—Copies Pictures from great Artists.—She and her Sister honorary Members of the Academy.—Her prosperous Career.—Paints with her Sister in Baltimore and Washington.—Marriage and Widowhood.—Return to Philadelphia.—Second Marriage.—Happy Home.—Mrs. Yeates.—Miss Sarah M. Peale.—Success.—Removal to St. Louis.—Miss Rosalba Peale.—Miss Ann Leslie.—Early Taste in Painting.—Visits to London.—Copies Pictures.—Miss Sarah Cole.—Mrs. Wilson.—Intense Love of Art.—Her Sculptures.—Her impromptu Modeling of Emerson’s Head.—Mrs. Cornelius Dubois.—Her Taste for the Sculptor’s Art.—Groups by her.—Studies in Italy.—Her Cameos.—Her Kindness to Artists.—Miss Anne Hall.—Early Love of Painting.—Lessons.—Copies old Paintings in Miniature.—Her original Pictures.—Her Merits of the highest Order.—Groups in Miniature.—Dunlap’s Praise.—Her Productions numerous.—Mary S. Legaré.—Her Ancestry.—Mrs. Legaré.—Early Fondness for Art shown by the Daughter.—Her Studies.—Little Beauty in the Scenery familiar to her.—Colonel Cogdell’s Sympathy with her.—Success in Copying.—Visit to the Blue Ridge.—Grand Views.—Paintings of mountain Scenery.—Removal to Iowa.—“Legaré College.”—Her Erudition and Energy.—Her Marriage.—Herminie Dassel.—Reverse of Fortune.—Painting for a Living.—Visit to Vienna and Italy.—Removal to America.—Success and Marriage.—Her social Virtues and Charity.—Miss Jane Stuart.—Mrs. Hildreth.—Mrs. Davis.—Mrs. Badger’s Book of Flowers.—Mrs. Hawthorne.—Mrs. Hill.—Mrs. Greatorex.—Mrs. Woodman.—Miss Gove.—Miss May.—Miss Granbury.—Miss Oakley. | [285] |
| [CHAPTER XIX.] | |
| THE NINETEENTH CENTURY. | |
| Mrs. Lily Spencer.—Early Display of Talent.—Removal to New York.—To Ohio.—Out-door Life.—Chase of a Deer.—Encounter with the Hog.—Lifting a Log.—Sketch on her bedroom Walls.—Encouragement.—Curiosity to see her Pictures.—Her Studies.—Removal to Cincinnati.—Jealousy of Artists.—Lord Morpeth.—Lily’s Marriage.—Return to New York.—Studies.—Her Paintings.—Kitchen Scenes.—Success and Fame.—Her Home and Studio.—Louisa Lander.—Inheritance of Talent.—Passion for Art.—Development of Taste for Sculpture.—Abode in Rome.—Crawford’s Pupil.—Her Productions.—“Virginia Dare.”—Other Sculptures.—Late Works.—Mary Weston.—Childish Love of Beauty and Art.—Devices to supply the Want of Facilities.—Studies.—Departure from Home.—Is taken back.—Perseverance amid Difficulties.—Journey to New York.—Sees an Artist work.—Finds Friends.—Visit to Hartford.—Return to New York for Lessons.—Marriage.—Her Paintings.—Miss Freeman.—Variously gifted.—Miss Dupré.—The Misses Withers.—Mrs. Cheves.—Mrs. Hanna. | [317] |
| [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. | [346] |
WOMEN ARTISTS.
CHAPTER I.
THE EARLY AGES.
Women in Art.—Kind of Painting most practiced by them.—Feminine Employments in early Ages.—The fair Egyptians.—Women of Assyria and Babylon.—Grecian Women.—Sculpture and Painting in Greece.—The Daughter of Dibutades.—The Lover’s Profile.—The first Bas-relief.—Timarata.—Helena.—Anaxandra.—Kallo.—Cirene.—Calypso.—Other Pupils of Grecian Art.—The Roman Women.—The Paintress Laya.—Lala.—Influence of Christianity on Art.—Adornment rejected by the early Christians.—Art degraded for Centuries.—Female Influence among the Nations that rose on the Ruins of Rome.—Wise and clever Princesses.—Anna Comnena.—The first Poetess of Germany.—The first Editress of a Cyclopædia.—The Art of Illuminating.—Nuns employed in copying and painting Manuscripts.—Agnes, Abbess of Quedlinburg.—Princesses at work.—Convent Sisters copying and embellishing religious Works.—The Nuns’ Printing-press.—The first Sculptress, Sabina von Steinbach.—Her Works in the Cathedral of Strasburg.—Elements that pervade the Sculpture of the Middle Ages.—Painting of the Archbishop crowning Sabina.