In this book she deplores her early devotion to literature and art. Other accounts add that she collected the followers of Labadie—called Labadists—and, continuing to disseminate his tenets, assumed the leadership of the band, and conducted them to Vivert in Friesland. She brought over Elizabeth—Princess Palatine—to these doctrines, and together they opened an asylum for the wandering disciples. True to the doctrines she professed, Anna Maria bestowed all her goods to feed the poor, and sank to the grave in poverty, dying in May, 1678, at the age of seventy-one.
William Penn mentions, in his “Journey in Germany,” a conversation he had at Vivert with this wonderful woman in 1677, noticing especially the gravity and solemnity of her tones in discourse.
Anna Maria Schurmann has left behind her not only the renown of her great learning and artistic culture, truly remarkable in one of either sex, but also a reputation for purity of heart and fervor of religious feeling, which can not be disturbed by her mistaken though sincere belief, and the fanatical enthusiasm with which she clung to absurd dogmas. In her portrait her hair is combed back from her forehead, with flowing side locks. The back knot is wreathed with ornaments. A large pointed collar closely encircles her throat. Her features are marked; her eyes keen and expressive; her Roman nose is large.
Among the contemporaries of Anna Maria Schurmann were the painters Clara Peters, Alida Withoos, Susanna von Steen, and Catharine Oostfries; with the copper-engravers Susanna Verbruggen, Anna de Koher, and Maria de Wilde, who etched a series of fifty pieces—gems in her father’s collection—and published them in 1700 at Amsterdam.
It was in the seventeenth century that flower-painting was carried to such perfection among the women of the Netherlands. Constantia of Utrecht and Angelica Pakman may be classed with the pioneers of this beautiful art—this truly feminine accomplishment.
MARIA VAN OOSTERWYCK
was the first eminent artist in this branch, and the precursor of one superior to her—Rachel Ruysch—who, esteemed in her day as the pride and honor of the Dutch school, was, indeed, worthy of being reckoned among those of whom the whole world is proud. Though not so great, Maria is justly numbered among the illustrious women of Holland. She was born at Nootdorp, near Delft, about 1630. She received her early instruction from the distinguished flower-painter, David Heem. Her father was a preacher of the Reformed religion, and took pains in cultivating his daughter’s intellectual powers. He did not fail to notice her remarkable inclination to painting, and her dissatisfaction, and even disgust, at the trifles that served to amuse other girls of her age. She always had the crayon in her hand.
Her early productions gained much praise, and it was not long before she obtained such exceeding skill as to become the rival of her teacher. Admiring connoisseurs carried her fame abroad, and she became celebrated at foreign courts. Her works were eagerly sought by the first princes of the time, after Louis XIV. of France had placed one of them in his magnificent collection. The Emperor Leopold and the empress sent for specimens of her powers, for which she received the portraits of their imperial majesties, set in diamonds, in token of their esteem. Her pieces commanded enormous prices. William III. of England paid her nine hundred florins for a picture, and the sovereigns of Europe seemed to vie with one another in heaping honors and fame on this gifted woman. The King of Poland purchased three of her pictures for two thousand four hundred florins. These sums were paid her with every mark of respect, as presents from her friends rather than professional remuneration.
In the midst of all these honors Maria led a quiet and peaceful life, undisturbed by excitement or change. She was surrounded by a pleasant circle of friends; she worked indefatigably, and was always found in her cabinet. To obtain more time to herself, she went to pay a visit to her grandfather at Delft. One day she received a visit from a young man, who announced himself as William van Aelst, and appeared anxious to see some of her works. His admiration of them, was blended with an ardent love for the artist. He at last summoned courage to declare his passion, but Maria replied that she was firmly resolved against matrimony. Her lively suitor, she thought, too, was unsuited to her grave and quiet nature.
Unwilling, however, to crush his hopes too suddenly and treat him with unkindness, she annexed a condition to her acceptance of her wooer, which she imagined would effectually deter him from prosecuting his suit, or at least wear out his constancy. She required that he should work ten hours of every day for a year. The young man promised readily; but, as she supposed, he had not perseverance enough to keep his word. His studio was opposite Maria’s; she watched him from her window, and failed not to mark on the sash the days he was absent from his labors.