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.
From Germany we now turn to the northern countries, to the Netherlands, and England, to glance at their female artists of the eighteenth century.
Few are found among the Scandinavian nations. Female talent had greatly aided to bring about the rise of literature in Sweden, as in the instance of Charlotte Nordenflycht and Ulrica Widström by their lyric poems, and Maria Lenngren by her dramatic productions; but only one artist of merit appears—the painter Ulrica Frederika Pasch, who, in 1773, was elected a member of the Academy at Stockholm.
In Denmark, where many women cultivated the muses, gaining celebrity for lyric and dramatic productions, a flower-painter, C. M. Ryding, and an engraver on copper, Alexia de Lodde, may be mentioned, as well as Margaretta Ziesenis, who devoted herself to painting portraits and historical pieces, and was somewhat famous for her copies in miniature, such as that of Correggio’s Zingarella.
A much richer harvest opens in the Netherlands, in which the number of women pursuing art as a profession was not less than it had been in the preceding century. Among the Belgians the name of the sculptress Anna Maria von Reyschoot of Ghent must not be omitted.
MARIA VERELST.
Maria Verelst was born in 1680, at Antwerp. She was the daughter of the painter Herman Verelst, and belonged to a family abounding in celebrated artists. She received instruction from her uncle, Simon Verelst, and was highly esteemed, not only for her very uncommon skill in small portraits, while she attempted historical pieces successfully, but also for her attainments in the languages and music. She went with her father to London, then, as before and afterward, the rendezvous of foreign talent, and died there in 1744.
Descampes mentions a curious anecdote of her proficiency in the languages. During her residence in London, one evening at the theatre, she chanced to sit near six German gentlemen of high rank. They were struck with her beauty and distinguished air, and expressed their admiration in conversation with each other, in the most high-flown terms which the German language could supply. The lady turned and addressed them in the same tongue, observing that such extravagant praise in the presence of a lady conveyed to her no real compliment. One of them soon after repeated his encomium in Latin. She again turned, and, replying in the same language, said, “It was unjust to deprive the fair sex of that classic tongue, the vehicle of so much true learning and taste.”
With increased admiration the strangers begged permission to pay their respects in person to a lady so singularly endowed. Maria answered that she was a painter by profession, and lived with her uncle, Verelst the flower-painter. They did not lose time in availing themselves of the opportunity of seeing the fair artist and her works. Each of the gentlemen sat for his portrait, for which he gave liberal compensation. The story spread abroad, and proved an introduction for Maria into the best society.
Walpole remarks of this artist that she painted in oil both large and small portraits, and drew small history-pieces. She spoke Latin, German, Italian, and other languages fluently.