N 653(2) Ms UC-NRLF B M 501 75^ Hf .'* :*. "J :•:"•*•• n /? FOREWORD. This bulletin is the result of an increased public demand for biogra- phies of American artists and other information relative to the growth of art in America. An examination of the list of material to which reference has been made will show the faithful work which has been done by the compiler. Miss Helen L. Earle, of this department. MARY C. SPENCER, State Librarian. 266109 TABLE OF CONTENTS Abbreviations - - 17 Bibliography - - — 239 Biographical sketches . 21 Etchers.- - - - — ._ 13 - 12 . -. 15 .. - .-._ 16 14 - 14 9 11 Illustrators. - - Members of the Legion of Honor Michigan artists. — Miniature painters . .. Mural painters and stained glass designers. Painters — Sculptors - rORTR.VITS John White Alexander Edwin Austin Abbey George Inness " John LaFarge.... " J. Gari Melchers " Elizabeth Nourse " Augustus Saint-Gaiidens. " John Singer Sargent " Henry Ossawa Tanner . " James Abbott McNeill Whistler •' Frontispiece Facing Page. 21 115 127 145 158 186 188 207 231 PAINTERS Abbey, Edwin Austin Alexander, John White Alls ton, Washington Anschutz, Thomas Pollock Armstrong, D. Maitland Baker, Elizabeth Gowdy Baker, Ellen Kendall Barlow, Myron Beaux, Cecilia Beckwith, James Carroll Belcher, Hilda Bellows, George Wesley Benson, Frank Weston Bierstadt, Albert Bisbing, H. Singleton Blakelock, Ralph Albert Blashfield, Edwin Rowland Blum, Robert Frederick Blumenschein, Ernest Leonard Blumenschein, Mary Shepard Green Bogert, George Borglum, J, Gutzon M. Bouguereau, Elizabeth Gardner Bowen, Benjamin James Breckenridge, Hugh Henry Breuer, Henry Joseph Bridges, Fidelia Bridgman, Frederick Arthur Browne, George Elmer Brush, George DeForest Carlsen, Emil Carpenter, Francis Bickwell Cassatt, Mary Champney, James Wells Chapman, John Gadsby Chase, William Merritt Church, Frederick Edwin Church, Frederick Stuart Clarke, Thomas Shields Cole, Thomas Coman, Charlotte Buell Cooper, Colin Campbell Cooper, Emma Lampert Copley, John Singleton Couse, Eanger Irving Cowles, Genevieve Almeda Cox, Kenyon Cox, Louise Crane, Bruce Crowninshield, Frederic Curran, Charles Courtney Dabo, Leon Dabo, Theodore Scott Daingerfield, Elliott Dannat, William T. Da vies, Arthur B. Davis, Charles Harold Deakin, Edwin Dearth, Henry Golden DeCamp, Joseph Rodefer DeHaven, Frank DeKay, Helena Deming, Edward Willard Dessar, Louis Paul Dewey, Charles Melville Dewing, Maria Oakey Dewing, Thomas Wilmer Dillaye, Blanche Dodson, Sarah Paxton Ball Donoho, Gaines Ruger Dougherty, Paul Dufner, Edward Dunlap, Mary Stewart Duveneck, Frank Eakins, Thomas Eaton, Charles Harry Eaton, Wyatt Elliott, Charles Loring Elliott, John Enneking, John Joseph P^arny, Henry Fenn, Harry Fisher, William Mark Foote, Will Howe 10 Forbes, Edwin Foster, Ben Fournier, Alexis Jean Fowler, Frank Frieseke, Frederic Carl Fromuth, Charles Henry Fuller, George Garber, Daniel Gaul, William Gilbert Gay, Walter Genth, Lillian Matilda Gibson, Charles Dana Gies, Joseph W. Giflford, Robert Swain Glackens, William J. Grayson, Clifford Provost GroU, Albert Lorey Gruppe, Charles Paul Guerin, Jules Gutherz, Carl Haggin, Ben Ali Harding, Chester Harding, George Harrison, Lovell Birge Harrison, Thomas Alexander Hassam, Childe Hawthorne, Charles Webster Healy, George Peter Alexander Henri, Robert Higgins, Eugene Hitchcock, George Homer, Winslow Hopkin, Robert Horton, William Samuel Hovenden, Thomas Howe, William Henry Hubbell, Henrj' Salem Hunt, William Morris Hutchens, Frank Townsend Inman, Henry Innesfi, George ^1 v InncKs, George, Jr. Isham, Samuel Ives, Halsey Cooley Ive«, Percy JohantKm, John Christen Johnson, Eastman JohuHon, Marshall Johnston, John Humphreys Jones, Hugh Holton Keith, William Kendall, William Sergeant Kirk, Maria \a)U\hc Knight, Daniel Ridgway Kost, Frederick LaFarge, John Lauber, Joseph Leroy, Anita Leutze, Emanuel Lie, Jonas Little, J. Wesley Loeb, Louis Longpre, Paul de Low, Will H. Lucas, Albert Pike Luks, George Benjamin MacCameron, Robert MacEwen, Walter McLane, M. Jean MacMonnies, Frederick W. Macomber, Mary L. Marin, John Marshall, William Edgar Martin, Homer Dodge Melchers, J. Gari Metcalf, Willard Leroy Miller, Richard Millet, Francis Davis Minor, Robert Crannell Mitchell, John James Monks, John Austin Sands Mora, F. Luis Moran, Edward Moran, Peter Moran, Thomas Mosler, Henry Murphy, John Francis Nast, Thomas Newcomb, Maria Guise NichoUs, Rhoda Holmes Nordfeldt, Bror J. Olsson Nourse, Elizabeth Ochtman, Leonard Osthaus, Edmund Henry Page, Walter Gilman Palmer, Walter Launt Pape, Eric Parker, Edgar Parrish, Stephen Par ton, Arthur Paulus, Francis Petrus Pax ton, William McGregor Peale, Charles Watson Pearce, Charles Sprague Peixotto, Ernest Clifford Penfold, Frank C. 11 Perrault, I. Marie PickncU, William Lamb Piatt, Alethea Hill Pope, Alexander Potthast, Edward Henry- Powell, William Henry Prellwitz, Edith Mitchell Prellwitz, Henry- Proctor, Alexander P. Pyle, Howard Ranger, Henry Ward Redfield, Edward Willis Reid, Robert Remington, Frederic Reuterdahl, Henry Richards, William Trost Robinson, Theodore Rolslioven, Julius Ryder, Albert Pinkham Sargent, John Singer Sartain, William Schille, Alice Schneider, Otto J. Schofield, W. Elmer Scott, Emily Maria Spaford Shannon, James Jebusa Shinn, Everett Shirlaw, Walter Shulz, Adolph Robert Simmons, Edward Emerson Sloan, John Smedley, William Thomas Smillie, James D. Smith, Francis Hopkinson Smith, Jessie Willcox Smith, Letta Crapo Sonntag, William Louis Stanley, James M. Steele, Helen McKay Sterne, Maurice Sterner, Albert E. Stewart, Julius L. Stuart, Gilbert Sully, Thomas Tanner, Henry Ossawa Tarbell, Edmund C. Taylor, William Ladd Thayer, Abbott Henderson Tiffany, Louis Comfort Trumbull, John Tryon, Dwight William Turner, Ross S. Twachtman, John Henry Ulrich, Charles Frederick Vail, Eugene Van Elten, Kruseman Vedder, Elihu Vinton, Frederic Porter Volk, Douglas Vonnoh, Robert William Walden, Lionel Walker, Henry Oliver Walker, Horatio Walter, Martha Watkins, Susan Waugh, Frederick J. Webster, Herman Weeks, Edwin Lord Weir, Julian Alden Wendt, Julia M. Bracken Wendt, William Wentworth, Cecile de Whistler, James Abbott McNeill White, Thomas Gilbert Whittredge, Worthington Wiggins, Carleton Wiles, Irving Ramsey Williams, Frederick Ballard Woodbury, Charles Herbert Woodwell, Joseph R. Wyant, Alexander Helwig SCULPTORS. Adams, Herbert Aitken, Robert I. Ball, Thomas Barnard, George Grey Bartlett, Paul Wayland Baxter, Martha Wheeler Beach, Chester Bitter, Karl Theodore Blumenschein, Mary Shepard Green Borglum, John Gutzon M. Borglum, Solon Hannibal Boyle, John J. Brenner, Victor David Cadwalader-Guild, Emma Marie 12 Clarke, Thomas Shields Couper, William Crunelle, Leonard Dallin, Cyrus Edwin Donoghue, John Donoho, Gaines Ruger Duveneek, Frank Eberle, Abastenia St. Leger El well, Frank Edwin Ezekiel, Moses Jacob Eraser, James Earle French, Daniel Chester Grafly, Charles Hosmer, Harriet Hyatt, Anna Vaugh Kelly, James Edward Kemeys, Edward Konti, Isidore Ladd, Anna Coleman Lamb, Ella Condie Lauber, Joseph Lewis, Edmonia Longman, Evelyn Beatrice Lopez, Charles Albert Lucas, Albert Pike Macdonald, James Alexander Wilson MacMonnies, Frederick W. MacNeil, Carol Brooks MacNeil, Hermon Atkins Mears, Helen Farnsworth Ney, Elizabeth Niehaus, Charles Henry Pope, Alexander Potter, Edward Clark Potter, Louis Pratt, Bela L. Proctor, Alexander P. Remington, Frederic Rhind, J. Massey Rogers, John Roth, Frederick G. R. Ruckstuhl, Frederick Wellington Saint Gaudens, Augustus Scudder, Janet Taft, Lorado Vedder, Elihu Vonnoh, Bessie Potter Ward, John Q. A. Warner, Olin L. Weinman, Adolph Alexander Wendt, Julia M. Bracken Yandell, Enid Young, Mahoni ILLUSTRATORS. Abbey, Edwin Austin Ahrens, Ellen W. Bellows, George W. Birch, Reginald Bathurst Blashfield, Edwin H. Blum, Robert F. Blumenschein, Ernest Leonard Borglum, J. Gutzon M. Chandler, (Jeorge W. Christy, Howard Chandler Church, Frederick S. Clark, Walter Appleton Cory^ Fatuiy Y. Cox, Kenyon Cox, I^uifie CrownitiHhield. Frederic Daingerfield. Elliott Deming. lulward William Dewing, Muria Oakey Dielman, Fre' of the "Holy Grail" is the most popular wall-painting in America. Caffin says of these scenes: "They are presented with, an archeological exactness of costume and accessories and with much dramatic action and regard for individual characterization." In 1909 he was commissioned to paint the coronation scene of King Edward VII. This painting now hangs in Windsor Castle. He declined the in- vitation to paint the ofl&cial picture of Isjng George's coronation. ilr. Abbey was honored by membership in the leading art societies of Europe and America and received decorations from several European gov- ernments in recognition of his artistic ability. He had a marvelous techni- que, was an illustrator of the greatest power and originality and has been mentioned as one of the four greatest draughtsmen of the 19th centur3^ Of his brushwork, Heniy Strachey says: "He knows how to wield the magic of the brush so that his painting apart from its color or form is elo- quent." At the time of his death he was engaged upon the commission from the state of Pennsylvania for decorative panels in the state capitol at Harrisburg; less than half of the work had been accomplished. Royal Cortissoz, the art critic, says: "He was veiy gay and likeable, you felt in him honesty and force and you could see just how his sterling nature poured itself into his work. In it he sought the truth, he wanted to make it live; with all his strength and with all his conscience he strove 21 22 for a reality that would touch men, making them think and feel. He achieved this aim and made his best monument in the decorations at Harrisburg." In a late number of the Craftsman, Louis A. Holman, closes an article on the late Mr. Abbey and his work as follows: "I feel confident Abbey will hold his place as one of America's foremost colorists, as one of her rarest draughtsmen, as the most poetic painter of mediaeval subjects in his time and as the greatest illustrator that America has yet produced." Adams, Herbert, (S.) b. West Concord, Vt., January 28, 1858. Studied sculpture five years under Mercie, Paris. On his return to the United States in 1890, he engaged as art instructor in the Pratt Institute, Brooklyn, N. Y., where for eight years he criticised the modeling. Is a member of the Society of American Artists and vice president of the National Academy of Design. Associate member National Academy of Design, 1898; full member, 1899. Hartmann says: "The best bust ever made in America is, in my opinion, Herbert Adams' bust of his wife." Taft in his "History of American sculpture," says: "In Mr. Herbert Adams, the whole fraternity recognizes a master almost unequaled in a certain form of sculpture as rare as it is exquisite — the creation of beautiful busts of women There is nothing so distinctive in his figures of men." Mr. Adams' experiments in coloring his busts are exceedingly interesting. He has sho^ATi a beautiful color bust of "St. Agnes," a "Portrait of a young lady" in tinted marble in bronze decorations, and the "Rabbi's daughter" in pink marble, with dress and ample wide spread sleeves in wood with gold decorations. "It is in his choice and treatment of these heads that Mr. Adams reveals his true personality." (Lorado Taft.) In his love of details he is closely akin to M. Dampt and M. Riviere-Theo- dore, the French sculptors. Ahrens, Ellen Wetherald, (Min P., 1) b. Baltimore, Md., June 6, 1859. Pupil Boston Museum of Fine Arts under Grundemann; Pennsylvania Aca- demy of the Fine Arts under Eakins; Drexel Institute under Pyle. Received second Toppan prize School of Pennsylvania Academy of the Fine Arts, 1884, and other prizes for oil painting and miniatures. Aid, George Charles, (Min P.) b. Quincy, 111. A pupil of Laurens and Benjamin-Constant in Paris. Received silver medal at St. Louis Exposition, 1904. A member of the Paris American Artists Association and the American Miniature Painters. AiTKK.v, Robert I., (S.) b. San Francisco, California,^! ay 8, 1878. Pupil of Mark Hopkins In.stitute, San Francisco. Won the Barnett prize of the National Academy of Design, 1908. Is a member of the National Sculpture 23 Society and was elected an associate member of the National Academy in 1909. Mr. Aitken began his art work by painting. After studying sculpture for six months under a French master, he decided to work alone. Later he went to Paris. His monuments to the navy and to President McKinley are among the finest works of art in San Francisco. He has completed a statue of the late Frederic Remington to be placed at the new station of the Boston, Westchester & N. Y. R. R., which runs through the Remington property at New Rochelle, N. Y. (American Club Woman, Nov., 1912.) Alexander, John White, (P., Mural P.) b. Allegheny, Pa., October 7, 1856. Pupil of Prof. Benczur of the Royal Academy, Munich, and of Frank Duveneck in INIunich, Venice and Florence. Has been awarded many medals and won much distinction at home and abroad. Was elected chevalier of the Legion of Honor, 1901 ; is member of Societe Nationale des Beaux Arts, Paris, Munich Secessionists, International Society of Artists, London, and Vienna Society of Painters; president of the National Society of Mural Paint- ers; associate member of National Academy of Design, 1901; full member, 1902, and later president. Mr. Alexander is a painter of portraits, of mural decorations and of many figure pictures with a distinct decorative purpose. His "Woman in gray" hangs in the Luxembourg; ''The green bow" and "The picnic" have also been purchased by the French government. His "Pot of basil" reveals his talent for ideal figure subjects. Of his "Sunlight" which was awarded first-class medal at the 1911 spring exhibition of the Carnegie Institute, it was said: "For grace of lines, relative beauty of color and tone, and illusion of light — sheer necromancy of the painter — this work is without a peer in the exhibition." Other characteristic pictures are: "The mirror " "A butterfly " " Woman in pink " "A rose " "Flowers" "Pandora" " The piano " " Quiet hour " "A summer day" "In the cafe" " A ray of sunHght " "A little mother " " Peonies " " Study in black and white " " The blue bowl " " The ring " "Memories" "Autumn" "Tenth muse" "A meadow flower" "A toiler" "The gossip" His artistic instinct is decorative, but his portraits of Mrs. Alexander, August Rodin, Walt Whitman, Prof. Chandler of Columbia, Mrs. Wheaton and others, show he can also master character. 24 Armand Dayot, the French critic, says: "From simply caressing the canvas, his brush has become penetrating and the pictures he now shows us possess — and this we consider the highest praise that can be bestowed upon his talent — not only the charm of life but also an intensity of thought." "He sees, as did Constable, only the beautiful, and the beautiful life is normal." His mural paintings, "Apotheosis of Pittsburgh" in the Carnegie Institute, and "The evolution of the book" in the Library of Congress (both represent the glorification of labor) are among the noteworthy achievements of this branch of art in America. His combination of piquancy of form and piquancy of color is known as the "Alexander liquid style." "This liquidity is simply music expressed in terms of painting." With Mr. Alexander the real subject is a pictorial harmony based on the human form. (Outl. 95:171.) "The distinguishing traits of Mr. John W. Alexander as a painter of por- traits are quality of line, candor of impression and novelty of tone." (Har- rison S. Morris, Scrib. 25:340.) Allston, Washington, (P.) b. Waccamaw, S. C, November 5, 1779; d. Cambridge, Mass., July 9, 1843. At six years of age his favorite amuse- ment was making little landscapes about the roots of an old tree near his home. In 1800 he graduated from Harvard and in company with Edward Green Malbone soon after went to London where through the assistance of Benjamin West, who was then president of the Royal Academy, he studied at that school. In 1804 he visited Paris and spent four years in Rome where he obtained the name of the "American Titian." His first work of importance, "The dead man revived" gained a prize of 200 guineas from the British Institute and was purchased by the Pennsyl- vania Academy of the Fine Arts. This was followed by "St. Peter liberated by the angel," "Uriel and the sun," "Jacob's dream" and several smaller pictures which are in private galleries in England. In 1818 he opened a studio in Boston and spent the remainder of his life in his native country. The most choice of his works were done after he returned to the United States, and are now in Boston. His wonderful wealth of color was his great distinction. AUston's reputation as a poet and novelist was second only to that he enjoyed as a painter. Anschutz, Thomas Pollock, (P.) b. Newport, Ky., October 5, 1851; d. Fort Wa.shington, Pa., June 16, 1912. Studied art at the National Academy of Design, New York, and at the Pennsylvania Academy of the Fine Arts, Philadelphia; also with Doucet and Bouguereau in Paris. Was a member of the faculty of the Pennsylvania Academy of the Fine Arts, and had served the institution for an uninterrupted period of thirty-two years. Received 25 medals and prizes for his canvases shown in competitive exhibitions and was the painter of the popular Sketch Club portraits which form the artistic frieze of the club room in Philadelphia. Mr. Anschutz painted in pastels, water color and oils but devoted his time mainly to teaching. As a teacher his popularity was almost without prece- dent. The Pennsylvania Academy of the Fine Arts owns two of his finest works: "The Tanagra" and "Becky Sharp." Armstrong, D. Maitland, (P., Stained glass designer,) b. Newburg, N. Y., June 12, 1836. Graduated at Trinity College, Hartford, Conn., 1858; prac- ticed law a few years. Studied art in Paris and Rome. Was United States Consul to Italy. Director American Art Department, Paris Exposition, 1878. Chevalier of the Legion of Honor of France. IMember of the Society American Artists, 1879; also of Architectural League. Associate member National Academy, 1906. Mr. Armstrong is now a professional decorative artist, speciaUzing in stained glass work. The round dome of opal and amber glass, also the side windows of the court room in the New York appellate court building are his work, and rank with the best in this line of art produced in America. Backer, Otto, (E.) b. Cleveland, O., March 31, 1856; d. Lawrence Park Bronxville, N. Y., August 16, 1909. Began his career as an art student in 1874. In September, 1874, he went abroad and spent some time at Munich, from there he went to Venice with Mr. Duveneck and his band of pupils. His first experiments in etching were made in 1876, and were not successful. He established himself in Europe and again took up the work in 1879, this time with success. Member of Society of Painter-Etchers, London; associate member of National Academy of Design, 1906. His first etchings were mostly of picturesque German villages and bits; but later works portray the beauties of Venice. He has produced a large plate of Milan cathedral; one of the interior of Saint Marks and another of the Grand canal, Venice. Mr. Bacher was one of our ablest etchers. Sir Seymour Haden said that his series of Venetian etchings evinced a strong artistic feeling and was characterized by "bold and painter-like treatment." The London Times speaks of him as "a most formidable rival to Whistler." Knaufft says: "Celebrated as an etcher, draws landscape in pen and ink that nearly equals his etching, and he is unsurpassed in pen renderings of still life." UnUke Mr. Duveneck, he dwells more upon the human than upon the architectural elements in the Venetian panorama. His most character- istic plates show work people of the sea-city at their labors, show lace-makers and bead stringers and washerwomen, either in some dim interior or in some sunny courtyard, or under some shadowy archway by the water." 26 Baer, William J., (Min P.) b. Cincinnati, O., Januaiy 29, 1860. Pupil of I^oefftz in ^lunich Royal Academy. The histoiy of miniature-painting of the present generation in this country began with the woi-k done in this field by Miss Laura C. Hills and ^Ir. ^^■illiam J. Baer, both of whom were inspired by a love of small things, and admiration for the paintings of the old masters which is more or less reflected in their work. There was a revival of a demand for portraits on ivory and in 1899 the American Society of Miniature Painters, was founded. In ^Ir. Baer's "Primavera" he combines many of the best qualities of a good oil painting with a luminosity and brilliancy of texture only to be achieved on ivory. This and such productions as his "Golden hours" will no doubt in time rank with the best work of iVIalbone, while his only rivals in portraiture today are Josephi, Miss Beckington and the late Theodora W. Thayer. (Int. studio 33 :c.) "In his ideal pictures, such as "A girl Avith a rabbit" he accomplishes much of his best work. (Critic 47:522.) His flesh tints are exquisite. He has chosen to erect a very high standard in miniature painting. At a recent exhibition of the American Society of Miniature Painters, "Mr. Baer showed one large ivory — a full-length female figure, entitled "Egeria" painted in richer, heavier colors than is his custom, also four small portraits done in his usual masterly style. The likeness of Mrs. Wil- liam Arrindell Shearson in lavender and white lace revealed his skill in exquisite finish and delicac}' of touch." (Int. studio 43:sup. xxi.) Baker, Elizabeth Goavdy, (P., :M: n. P.) b. Xenia, O., 1860. Pupil of the Cooper Union, Art Students' League of New York, New York School of Art, Pennsylvania Academy of the Fine Arts, Cowles Art School, Boston; under Frederick Freer, William ^I. Chase and H. Siddons Mowbray. Received medal at Cooper Union; is a member of the Boston Art Students' Association and Art Workers Club for Women, New York. Mrs. Baker's specialty is portraits in water-color. She is especially suc- cessful with pictures of children. In her work she uses a heavy imported paper and claims that her method enables her to get the strength of oil Avith the daintiness of Avater-colors. Mrs. Baker rarely exhibits and her portraits are in private homes. liAKKK, Kllex Kkndall (Mrs. Harry Thompson), (P.) b. Fairfield, N. Y. Studied in I'aris under (,'harlcs Miiller, Paul Soyer, and Harry Thompson, an English artist, whom she married in 1896. Mrs. Thompscm has exhil)ited in the Paris salons since 1879, also at ^Munich, St. Petersburg, New York, Philadelphia, Chicago and Detroit, and is repre- sented in liuffalo, Detroit and Minneapolis. A characteristic painting is "The young artist." 27 Baker, Martha Susan, (Min P.) b. Evansville, Ind., December 25, 1871. Pupil of the Chicago Art Institute. Won ^Municipal Art League Purchase prize. Art Institute, Chicago, 1895; first prize for miniature in the Arche salon Chicago, 1897; bronze medal for miniature painting at St. Louis Ex- position 1904; silver medal Art Institute, Chicago. 1905. Received honor- able mention for oil painting at the Carnegie Institute, Pittsburgh, 1904. A well-known writer in a review of her work, says: ''Her subsequent pro- gress has been as steady and brilliant as it has been well-desened." She is now instructor both in the Art Institute and at the Academy of Fine Arts. She was one of the four Chicago artists represented at the Paris Exposition in 1900. At the 12th annual exhibition of the American Society of Miniature Painters, she exhibited a large composition entitled "Springtime" — a nude child pla}-ing with chrysanthemums on the floor. This showed the artist's ability to cope successfully with a difficult subject and also retain the fine propor- tions of her material. Two small heads were also exhibited — " blaster Gilford Ewing" and "Miss Marion Tooker" painted against pure ivorj' backgi'ound. Although less ambitious, these miniatures were more repre- sentative of ^liss Baker s gift for strong penetration of character and showed her indixidual technique. She has also done some mural work — decorations in the hall of the Fine Arts Building, Chicago. A gem in water-colors is her "Lake front — Chicago." "Her style is characterized by an almost mascuUne force and directness, a naive obedience to truth and a deUghtful simplicity. Her knowledge of form is ably expressed in her unerring draughtmanship." (Int. studio 21:85.) Ball, Thomas, (S.) b. Charleston, Mass., June 3, 1819; d. December 11, 1911. His first studies were devoted to portrait painting and his most celebrated painting is a full length portrait of Daniel Webster. He also painted several scripture subjects which were highly praised for fine color- ing. Among his first works in sculpture was a small bust of Jenny Lind. After studying in Europe he returned to America and made busts of Rufus Choate, statuettes of Webster and Clay and the equestrian statue of Washington for Boston. ;Mr. Ball returned to Florence, Italy, in 1865 where he resided until 1897. His works to be considered his best are the colossal Webster in Central Park, New York, Edwin Forrest as "Coriolanus" in Philadelphia, Governor John A. Andrews of Massachusetts in Boston and the gi'oup " Eman- cipation" in Washington, D. C. As a musician, Mr. Ball ranked high and for years was knoA\Ti as a famous baritone singer. During his early struggles in art he supported liimself entirely by his musical talents. 28 Ballin, Hugo, (Mural P.) b. New York City, 1879. His father was a manufacturer but his grandfather had been a court artist and very early he was encouraged to take up painting. After studying at the Art Students' League of New York, he went abroad to continue his art studies in Italy. While there he was privileged to travel with Robert Blum and to study with him the mural decorations in Lombardy and Umbria. Since his return to the United States he has won many medals and prizes. Is a member of the Society of American Artists; associate member National Academy of De- sign, 1906. His works have been reproduced in the Critic, Century and International studio. In writing of his art, H. St. G. (Critic 47:497) says: "Though in theory Ballin lays greater stress on color and composition than on draAving in decora- tive work, yet for the most part in practice he applies his skill as a draftsman to aid in conveying his museful conceptions His drawing discloses in place of assertion an elusiveness and insinuation of contour. The fluency of his lines and the masses of his broad and simple drapery never become angular or extravagant or pale." Barlow, Myron, (P.) b. Ionia, Michigan, 1873. Pupil of Art Institute, Chicago; G6rome and Ecole des Beaux Arts in Paris. Received his first medal in 1894 when he exhibited at the Academie Colarossi. He w^as elected a member of the Soci^te Nationale des Beaux Arts in 1907 and was the only American to receive the honor at that time. He is a member of the Paris American Artists Association. One of his salon pictures, "The fisherman's pride" has brought Mr. Barlow much favorable comment. Lena M. McCauley in writing of the twenty-third exhibition of the Chicago Art Institute (Art and Progress 2:49), says: "The blue-toned interiors with figures — "Fatigue," "A chat," and "Embarrassing question," — by Myron Barlow, have been displayed with discriminating tact which permitted none of their delicacy to be lost. They are novelties in color but so har- monious and individual that they are a pleasure to look upon." E. A. Taylor in writing of American artists in Paris (Int. Studio 46:290) says of Mr. liarlow's art: "To simplify an understanding of his art, I might say he paints the luxury of the poor Mr. Barlow designs his work; he is not a slave to nature ready-made; his work is always decorative, not decorated, and his color, broad and simple; though bright at times, it is never disturbing by a lack of harmony." Mr. Barlow's home is at Etaples, France, where he finds his favorite sub- jects — the French peasants. Barnard, George Grev, (S.) b. Bellefonte, Pa., May 24, 1863. As a youth he developed a taste for natural history; became familiar with birds and their habits and, self-taught, attained skill as a taxidermist. Appren- 29 ticed to a local jeweler, he became a skilled letterer and engraver. At the age of sixteen he went to Chicago and entered the Chicago Art Institute. With $350 which he was paid for a portrait bust, he went to Paris and studied in the Ateher Cavelier. After three years he took up a studio at Vaugirard, near the port of Versailles, where in 1885 he finished the "Boy" in marble and in 1887 began the "Brotherly love" for a Norwegian monument. He began the group called "Two natures" (suggested by a line from one of Victor Hugo's poems) in 1890, and put it into marble in 1894. That j^ear his work was exhibited in the salon of the Champs de Mars and he was im- mediately elected an associate of the Soci^te Nationale des Beaux Arts. The Figaro said: "Mr. Barnard is possessed of verj'^ great qualities, the first of which is the freshness of eternal youth." M. Thiebault-Sisson, art critic of the Temps, said: "We have a new- comer, George Grey Barnard, who possesses all the qualities of a great master." Mr. Barnard returned to the United States in 1896 and made a public display of his works in the Logerot Gardens, New York. His " Pan " placed in Central Park, New York, has been pronounced "one of the strongest and most original things yet done in sculpture." "The hewer" shows not only sculptural "bigness" but "reveals an unusual emphasis in the matter of straight lines and planes, which gives it remarkable carrying power." The "Rose maiden," a memorial figure, is a work in which a new and tender element has entered. "The figure is a poem of sweetness and mysterj-, and grows fragrant with the dew of spring." William A. Coffin says: "He is an analyst in thought, and a synthesist in execution. His work shows decided psychological bent. He apparently cares more for force and vitahty than for so-called beauty The splendid vigor and pure artistic power of his work entitles it to be received with enthusiasm." His latest triumph is his statues — two groups composed of more than thirty heroic figures — for the facade of the Pennsylvania capitol. Bartlett, Paul Waylaxd, (S.) b. New Haven, Conn., 1865. As a boy modeling in the garden of his home at Marly, France, he attracted the at- tention of the famous sculptor Fremiet who gave him instructions in his class in animal sculpture and drawing in the Jardin des Plantes in Paris. At the age of fourteen he exhibited in the salon a bust of his grandmother, and a year later he entered the Ecole des Beaux Arts; at twenty-two his group "The Bohemian bear tamer" was shown in the salon. He did some remarkable things in bronze casting, and a collection of his bronzes was exhibited in the salon of 1895 and won for him honors. Later achievements occupy places of honor in the United States. In the reading room of the Librar}' of Congress are three well-knowTi statues by him — "Law," "Colum- bus" and "Michael Angelo." Of the last mentioned, the editor of "The artist," says: "One of the noblest modem statues in America is undoubt- edly that of ^lichael Angelo by Paul Wa)dand Bartlett, in the Library of Congress." 30 His " Dying lion " is a work of appealing strength and beauty. His statue of General Warren, the early martyr of the revolution, is at Roxbury. The "Death of Warren" in low relief on the pedestal, has been called "a funeral march in bronze." His equestrian statue of Lafayette, which the school children of the United States presented to France, stands in the court of the Tuileries, "the most coveted site in Paris." Carries, the French potter-sculptor, says of him: "He reminds me of those artesans of the renaissance who had nothing but art in view and mind." (New England M. 33:369.) "Mr. Bartlett is primarily a sculptor of the specific. What he most de- lights in is the presentation of actual characters of history or of definite emotions." (Craftsman 16:437.) The French have showered upon this American sculptor nearly every honor in their gift ; he was elected chevalier of the Legion of Honor at the age of thirty, since which time his works have been hors concours in the Paris salons. Baxter, Martha Wheeler, (Min. P., S.) b. Vermont, 1869. A pupil of the Pennsylvania Academy of the Fine Arts and the Art Students' League of New York under Mowbray, Cox, Beckwith and F. V. DuMond. Studied miniature painting under ]\Ime. de Billemont-Chardon and Mile. Schmitt in Paris and Mme. Behenna in London. Received honorable mention at the Paris Exhibition of 1900. Is a teacher. Bayliss, Lillian, (Min. P.) Has received recognition as a miniature painter. Her ivory work of Madame Gabrielli displays a distinct power of characterization As a whole she produces results peculiar for a refinement, a simplicity of tone and surface and a dignity of the use of color. (Critic 47:527.) Beach, Chester, (S.) b. San Francisco, Cal., 1881. Pupil of Verlet and Roland in Paris. Received Barnett prize N. A. D., 1909. Associate member National Academy, 1908; also member Paris American Artists Association and National Sculpture Society. Of his small bronzes, a critic writes: "His expression is symbolic to a considerable degree and is the outcome of a serious and thoughtful mind. His statuettes suggest beautiful pictures that direct themselves principally to the imagination and by their gentle and graceful motion remind one of passages of music beautifully phrased and perfect in rhythm. (Arts. & D. 2:106.) Beatty, John W., (E.) b. Pittsburgh, Pa., July 8, 1851. Director of Fine Arts, (Carnegie Institute, Pittsburgh since 1896. Student of Munich Academy of Fine Arts. Member jury on painting for Pennsylvania and New York 31 at Columbian Exposition, 1893, member National advison- board Paris Exposition, 1900, fine arts committee Pan-American Exposition, Buffalo, 1901, and National advisor}- committee St. Louis Exposition, 1904. Executed the etching "Return to labor." His two well-known landscapes are ''Plymouth hills" and "Chiltonville." Author: "An appreciation of Augustus Saint-Gaudens." Beaux, Cecilia, (P.) b. Philadelphia, Pa., 1863, and is of French descent. ^Irs. Thomas A. Jan\ier gave her her first lessons in drawing; she was also a pupil of William Sartain and won general recognition as an able portrait painter. The first of her works to bring her fame was "Last days of in- fancy," which was exhibited at the Philadelphia Academy in 1885, and won the prize for the best painting by a resident woman artist; won the same prize in 1887. 1891, 1892. :Miss Beaux spent the winter of 1889-90 in Paris studying in the life classes of the Academic Julien under Bouguereau, Robert- Fleun- and Benjamin-Constant; also at Colarossi's where her dra^^ings were criticised by Courtois and Dagnan-Bouveret. Spending the summer at Concarneau. she was aided by suggestions from Alexander Harrison and Charles Lasar. After a visit to Italy and England she returned to Phil- adelphia. In 1893 she won the gold medal of the Philadelphia Art Club for the portrait of Dr. Grier; also the Dodge prize of the National Academy of Design for her portrait of ilrs. Stetson. Miss Beaux was the seventh woman to whom the honor of an election to membership in the Societj- of Ameri- can Artists was awarded. In 1894 she was elected associate of the National Academy of Design, being the third woman to gain admission; elected full member in 1902. She is recognized here and abroad as the most distinguished of living women painters. To the salon of the Champs de ^lai-s, Paris, 1896, she sent six paintings. These were hung in a group, an unusual distinction and brought to her an election as an associate of the Societe Nationale des Beaux Arts. (Nat. Cy. Am. Biog.) Her figures are usually represented in repose or at least in arrested action, but "Dorothea and Francesca" shows her power of rendermg motions with equal success. Her portrait of Mrs. Roosevelt is one of her happiest creations. "The dreamer," "New England woman," "Sita and Sarita," "The C}Tithia," "Emesta and her Uttle brother," are all portraits. ^liss Beaux's portraits are never composite; they are not in any sense t\^es. Her individuality is developed in two characteristics: brilliancy and refinement. (Int. Studio 41 :337.) Her "Banner bearer" is referred to as "a work of compelling strength and convincing simplicity — a work utterly without mannerism." Giles Edgerton says: "It is not once in a generation that a woman so subverts her essentially characteristic outlook on life to her work that her art impulse becomes universal as that of the greatest men often is. One 32 feels that Cecilia Beaux has done this in her portrait work, as George Eliot did in her stories." Beckington, Alice, (Min. P.) b. St. Charles, Mo., July 30, 1868. Pupil of Art Students' League, New York; Lefebvre, Benjamin-Constant and Lazar, Paris. Received honorable mention Pan-American Ex. Buffalo, 1901; bronze medal St. Louis Ex. 1904. Mem. N. Y. Woman's Art Club, also American Society Miniature Painters. Instructor at Art Students' League, New York. Miss Beckington's work reveals a feeling for the impressionistic and a charming application of it. The portrait of Mrs. Buford is the best example of her work. "She treats her sitters with a clear directness and absence of nonsense, selecting and refining her essentials with sanity and taste Her portraits increase steadily in naturalness and an unwavering yet delicate definition of facial character. (Critic. 47:525.) Beckwith, James Carroll, (P.) b. Hannibal, Mo., September 23, 1852. Studied painting in Chicago where his father was a merchant. Began his art studies in 1868 under Walter Shirlaw and in 1873 entered the studio of Carolus-Duran, subsequently studying at the Ecole des Beaux Arts. Re- turned to the United States in 1878, opened a studio in New York and began his profession as a portrait painter. He was at once elected an instructor in the Art Students' League. An associate member of the National Academy, 1886; academician, 1894. Mr. Beckwith received honorable mention in the Paris salon of 1887, and has painted portraits of many distinguished residents of New York. His works are always signed "Carroll Beckwith." At the Paris Exhibition in 1878, he exhibited "The falconer" painted when he was only twenty-five years old. His portrait of Mrs. R. H. Mc- Curdy, shown at the Academy Exhibition of 1879, gave him a definite posi- tion among the painters of New York; that of Captain Joseph Lentilhon, exhibited in the Paris salon of 1887 and at the Universal Exposition of 1889, received awards in both cases. His picture "The authoress" has been called a modem Mona Lisa. In "A baptism at Onteora" all the figures are portraits, and the artist and his wife are viewing the procession from the shadow of the chimney to the right. Mr. Beckwith's skill in figure drawing is shown in the following: " La Cigale " " Under the lilacs " " The nautilus " "The Christian martyr " " Danse antique " " Mother and child " " The awakening " "The blacksmith " "The falconer" "Judith" "Azalia" 33 "Mr. Beckwith's work is distinguished by a breadth of style and an un- erring grace which is rarely met with outside of continental schools." (Ameri- can artists.) Belcher, Hilda, (P.) b. Pittsford, Vermont. Studied at the New York School of Art. The International Studio (46:237) writes of her "Little Boston girl": It is one of those delightful portrayals of the ingenuous child character that are always acceptable as subjects of the painter's analj'tical study." A few of her best paintings are : "Sibyl" "Unrepentant" "The checkered dress" "Young girl in white" " Portrait of Miss P " " The old ladies " " The mother " " Fellow traveler " " Red mitts " " Listening " "Speculation" "The fairy book" " Auburn and white " Bellows, George Wesley, (P.) b. Columbus, O., August 12, 1882. A. B. Ohio State University in 1905. Studied in New York School of Art under Robert Henri. Exhibited at International Exposition, Venice; Royal Academy, Berlin; Royal Society, Munich; Kensington Museum, London; and in principal cities of the United States. Elected an associate member of the National Academy in 1908. Mr. Bellows is one of the modem impressionists. He shows a Uking for the sharp contrasts of snow and water, snow and houses and snow and dis- tant hills. An example of his work is "The Palisades" snow-covered. Critics compare this snowscapist to the old painters of Holland. His "Polo game" and "Foot-ball game" are extraordinary examples of action in art — full of strength and power as well as action. "Blackwell's bridge" is a well-known painting of his. Benson, Frank Weston, (P., Mural P.)'b. Salem, Mass., March 24, 1862. Studied art at the Boston Museum of Fine Arts, also under Boulanger and Lefebvre in Paris. He has been the recipient of a remarkable number of artistic distinctions, the chief significance of which is that they have been awarded by the artistic profession. Is a member of Ten American Painters. Since 1892 he has been instructor in drawing in the Boston Museum of Fine Arts. Was elected to full membership in the National Academy in 1905. His Ust of honors and prizes received is a long one. He has also won dis- tinction b)^ his sympathetic and understanding interpretation of child life. • Open-air work is the most familiar side of Benson's art, and figure subjects in the open air have made him a student of the sea as well as landscape, and especially of both viewed imder the effect of sunhght. 5 34 "Against the sky," which ]Mr. Benson considers one of the best things that he has ever done, like "Eleanor," has the quality of freedom for which the "Ten" seceded. His "Moonlight at sea" has all the beauty of romance and technique. "Summer " is one of his most successful decorative paintings. A few of his representative canvases are : " Orpheus " " My little girl " " Winter storm " "LampHght" • " Girl with veil " ' ' Girl with black hat " "Portrait of three sisters" . " Calm morning " " In an old garden " "Girl playing solitaire" " Woman reading " "' In the spruce trees " "The hill top " " Portrait in white " (his wife.) " Summer afternoon " "The note of Frank Weston Benson's work in painting is a sustained and spontaneous gaiety, which is expressed through beautifully cheerful color, in a style combining animation with refinement. He sets before us visions of the free hfe in the open air, with figures of gracious women and lovely children, in a landscape drenched in sweet sunlight and cooled by refreshing sea breezes. The purity and charm of the sentiment match the purity and charm of the color." (Arts and D. 1 :195.) Mr. Benson's paintings (apart from his portraits) have much shimmering color and radiance of Ught, a subtle effect of seeking the decorative in nature herself." (Int. Studio 35:xcix.) His paintings of women have something of the sweetness of the old-fash- ioned ideals of high-bred feminine grace and loveliness, with the breadth and looseness of the modem style of workmanship. His pictures have the re- finement of the 18th century English female types with the freedom and vivacity of the 19th century American girl." (Brush & P. 6:145.) Mr. Benson's touch is light and there is a painter-like quality in all his work which lends potency to interest as well as to charm. His work is broad, simple and direct; he uses clear, fresh color and selects almost invariably very agreeable subjects." (Art & P, Nov., 1912.) Mr. Benson has also done mural painting, "The graces" and "The seasons" in the Librarj' of Congress, being his work. BiERSTADT, Albert, (P.) b. Diisseldorf, Germany, January 7, 1830; d. New York, February 18, 1902. When one year old he was taken to New Bedford where his youth was spent. At twenty-four he returned to his native town in Germany and studied art under Lessing for four years, and in Home for one year, making summer sketching tours to Switzerland. He returned to the United States in 1859 hut made frequent trips to Europe. In 1857 accompanied General F. W. Lander's expedition to the Rock\' Mountains and collected material for his most important pictures. "Settlement of Calif omia by the Spanish priest, Father Junipero Serra" and "The discovery of the Hudson river" in the Capitol at Washington, "View on the Kem river" and "Sunset among the Sierra Nevada moun- tains" at the Hermitage, St. Petersburg, "Great trees of California" in the Imperial palace, Berlin, "Estes Park" owned by the earl of Dunraven, "Laramie Peak" in the Academj- of Fine Arts, Buffalo, and "A mountain peak" in the Corcoran gallery at Washington, are among some of his best known works. Tuckerman says: "No more genuine and grand American work has been produced than Bierstadt's "Rocky mountains." ^ledals were awarded to him in Austria, German}-, Bavaria and Belgium. He was made a chevalier of the Legion of Honor of France, received the order of St. Stanislaus of Russia and the Imperial order of the Madjidi from the sultan of Turkey. Elected member of the National Academy of Design, 1860. Birch, Reginald Bathurst, (I.) b. London, England, May 2, 1856; came to the United States at the age of sixteen; later studied art in Munich and Italy. Has drawn much \s'ith the pen, mostly for "St. Nicholas." He may, indeed be called the "Children's Gibson." Illustrated "Little Lord Fauntleroy," "Lady Jane," and "The story of Betty." Is the illustrator par excellence for children's stories and iairy tales. His line is graceful and his use of blacks exceedingly skilful. BiSBiNG, H. Singleton, (P.) — American cattle painter — b. Philadelphia, Pa., January 31, 1849. Began his artistic career bj' studj-ing wood-engraving. In 1872 he was employed on Appleton's Art Journal. He entered upon a course of study under Profs. Barth and Loefftz at Munich in 1876 and three years later became a pupil of J. H. L. deHaas, the celebrated animal painter of Brussels. In 1884 he removed to Paris where he continued his studies under Felix du Vuillefroy, also a noted animal painter. His pictures, mostly animal subjects, have been exhibited at the Paris salon. Received third-class medal at Paris salon in 1891; Temple gold medal at the exhibition of Pennsylvania Academy of Fine Arts in 1892. Was made a chevaUer of the Legion of Honor of France in 1902. Works are in Pennsylvania Academy of the Fine Arts, Philadelphia, Berlin National Gallery and in private collection of royal familj' of Saxony. Mr. Bisbing is a member of the Paris Society of American Painters and his paint- ings are hors concours at the Paris salon. "Bisbing paints large landscapes, saturated by light and air, with cows somnolently resting in the sun." (Miither.) 36 Bitter, Karl Theodore, (S.) b. Vienna, Austria, December 6, 1867. Studied art in the Vienna Academy of Fine Arts. From the age of sixteen he made efforts to come to America but did not receive the consent of his parents until 1889 when he sailed for New York. The first year in New York, unknown and practically friendless, he won in competition the order for one of the Astor memorial gates, of Trinity Church. Mr. Bitter was connected with the Columbian Exposition as a decorator and with the Pan-American and St. Louis expositions as official director of sculpture. Of his "Standard bearers" in heroic size (a personal contribution to the Pan-American Exposition), Lorado Taft says: "They were the finest things ever devised for any exposition." His "Villard memorial" and "Hubbard memorial" "are beautifully modeled and have about them an atmosphere of poetic gravity quite unfamiliar in Mr. Bitter's sculpture." His bust of Dr. Pepper, provost of the University of Pennsylvania, is a gratifying success and shows beyond its admirable workmanship a subtle union of kindliness and reserve which makes it a convincing expression of individuality." Among Mr. Bitter's works are many figures and figure reliefs for the resi- dences of the Vanderbilts, C. P. Huntington, John Jacob Astor and others. More numerous are his decorations for public buildings, libraries, churches, stores, etc. Notable are the enormous reliefs for the Broad street station of the Pennsylvania Railroad at Philadelphia. His groups of children are happy ideas for small fountains. Elected an associate member of the National Academy of Design, New York, in 1902; academician, 1903. Member of the National Sculpture Society, New York Arch. League and Society of American Artists. Blakelock, Ralph Albert, (P.) b. New York, October 15, 1847. The son of a physician he was educated with a view to adopting his father's pro- fession but he was naturally gifted in the line of music and painting and the science and practice of medicine did not attract him. Renouncing the career of a physician and resolving to take up the profession of painting, with no art training whatever, without guidance or assistance, he opened a studio in New York. The story of his life is a pitiful one — one of the saddest in the history of American art. The hardships and privations which he en- dured unsettled his mind and he was confined in an insane asylum for several years. An exhibition of his paintings was held in New York in 1902, since which time public appreciation has been more just. Characteristic examples of his work are: " Moonrise " " October sunshine " ! "At nature's mirror" "Redwoods, California" "Solitude" " Indian girl, Uinta tribe" "Sunset, Nevarra Ridge" "Navajo blanket makers" "The mountain brook" "Indian fisherman" " Sunset off the coast " " Bannoch ^^dgwam in peaceful vale " "Sunset through the wood" "The captive" "Morning" "The canoe builder" "Moonlight" "Abode of the stately deer" "Cool wooded shades " " Storj- of the buffalo hunt " "The oak tree" "Blakelock's canvases are little less than a revelation of his wide range of expression and of his varjing moods They include peaceful and poetical pastorals, sunsets glowing even to the point of the garish, moon- light suffused with a bewitching silver}' sheen, landscapes in which there is no suggestion of human life, Indian groups for which the landscape S3rves but as a setting .... The canvases convey the impression of a strong poetic temperament dominated ^^dth a moodiness which struggles with and finally extinguishes free, glad, artistic expression. "He was essentially a colorist, and the pecuhar charm of liis work lies in the fact that he had the audacity to attempt and the ability to obtain tonal effects that at once stamped his canvases as remarkable It has been said of him that he stands quite alone among American artists as an original creative genius whose endowment was unusually artistic and whose sense of the beautiful was peculiarly acut€." (Brush & P. 9:257.) Blashfield, Edwin Rowland, (Mural P., I.) b. New York, December 15, 1848. Was educated in Boston Latin School. Studied in Paris, 1867, under Leon Bonnat, also received advice from Gerome and Chapu. Exhibited at the Paris salon 1874-9, 1881, 1891, 1892; also several years at Royal Academy, London. Returned to the United States 1881. A member of the National Academy of Design, New York, since 1888. President National Society of Mural Painters. Has exhibited genre pictures, portraits and decorations and lectured on art at Columbia, Harvard and Yale and in prominent cities of the United States, his lecture of "Municipal art" being regarded one of the best lectures on art ever given in this country. In collaboration with his wifo he prepared .aumerous illustrated articles for Scribnev, Century and other leading magazines on subjects connected with m.ediaeval or renaissance art, or noted places of the old world. Among the most noteworthy and interesting of these may be mentioned: "With Romola in Florence," "The man at arms," "Castle life," "A day with a Florentine artist of the loth century," "Ravenna and its mosaics," "The Paris of the musketeers," "Afloat on the Nile." Most notable of his paintings are: " Christmas bells " " All souls day " " The choir boj's " "Inspiration" "The angel of the flaming sword" "Young poet" " Spring time " " Toreador " 38 Mr. Blashfield's strength lies in decorative painting in which his drawing is as elegant as his color is fragile in tone. His best mural work is seen in the Library of Congress, Washington; court house, Baltimore and the Minnesota and low^a state houses. He painted the design for the dome piece for the new state capitol at Madison, Wis., said to be the largest canvas ever painted in America, and the figure which typifies the state of Wisconsin is thirteen feet sitting, the largest figure ever painted. " In his art he demonstrates his understanding of drawing, elevated without losing strength, of refined felicitous light, of controlling unified tone, of the grace, sweetness and reticence in simple gesture and of the power in an organized whole." (Int. Studio 35:lxix.) Blum, Robert Frederick, (P., I., E., Mural P.) b. Cincinnati, O., July 9, 1857; d. New York, June 8, 1903. Was apprenticed in lithographing shop in 1871 and attended night classes at McMicken Art School of Design, Cin- cinnati. Studied nine months at the Pennsylvania Academy of the Fine Arts, Philadelphia. Went to New York in 1879. Made trips to Europe during the years 1880-89. In 1890 he accompanied Sir Edwin Arnold to Japan in order to illustrate his " Japonica." His "Lace makers" won a medal at the Paris Exposition in 1889; "Bead stringers" occasioned his election as an associate of the National Academy, and the exhibition of his "Ameya" ("Itinerant candy vender") brought him into full membership of the academy in 1893. At his election he was the youngest member of the association. Upon his return from Japan in 1892, after completing his Japanese draw- ings and paintings, he took up mural decoration and reached the highest perfection of art in the magnificent decorations in Mendelssohn Hall, New York, illustrating the "Moods of music." The charm of Blum's pictures lies in the execution rather than in the subjects which are chosen from every land except America. His "Itin- erant candy vender" in the Metropolitan Museum of New York is full of color, with exactitude of hne and a charming sense of foreign parts. (Isham.) His pen drawings of Venice, dated 1880, have, in all the progress of that special art, never been excelled. "He paints Japanese street scenes full of sunlight and lustrous color." (Miither.) A few Japanese pictures are: " Flower market, Tokio " " Musee-night " "The geisha" "Siesta" " Cherry blossoms " "The terrace" "The bath" While Mr. Blum's reputation as an illustrator and etcher was well es- 39 tablished, it is probable that he will be longest remembered by his work as a colorist. Blumenschein, Ernest Leonard, (P., I.) b. Pittsburgh, Pa., May 26, 1874. Pupil of Gncimiati Art Academy; Art Students' League of New York; Benjamin-Constant, Laurens and CoUin of Paris. IMember of Society of Il- lustrators and Paris American Artists Association. Illustrator for Centur\', Scribner's, McClure's, Harper's, American and other magazines and books; also portrait painter and teacher. Blumenscheix; Mary Shepard Green, (P., S.) (Mrs. E. L. Blumen- schein) b. New York. Pupil of Herbert Adams of New York, Collin of Paris. Received third-class medal in the Paris salon of 1900; second-class medal in salon of 1902; silver medal of St. Louis exposition 1904. Mrs. Blumenschein was the first American woman to receive a medal of the second class from the Societe des Artistes Francois. BoGERT, George, (P.) b. New York, 1864. Pupil of National Academv, also of PuN-is de Chavannes, Aims Morot and E. Boudin, Paris. Received honorable mention at the Pennsylvania Academy of the Fine Arts, 1892; Webb prize. Society American Artists, 1898; first Hallgarten prize National Academy, 1899. Associate member of National Academy of Design, 1899. "October moonhght" is much admired, as is also "Approach of evening, Venice," ablaze with the \dbrating colors of the sky at sunset. "He has done a great amount of work, much varied not only in subject — landscapes, marines, \dews of cities chosen from all over the world — ^but also in handUng and in color scheme." (Isham.) His work is largely reminiscent, the works of Constable, Diaz, Maris, being reflected in his canvases; but his two most interesting canvases, "Approach- ing storm" and "Day after the storm" are strong works and derived evidently from independent study and a personal outlook. (The artist, 24:lxi.) "His technique is strong, and if his ideals were simpler and more direct, his art could be enthusiastically admired. He has force, dramatic quality, and knows how to put a picture together." (Brush & P. 4:125.) ' ' Eventide " " Rainbow at sea " "The last rays" "Summer morning, Manomet" "Chateau Gaillard, moonrise" BoRGLUM, John Gutzon Mothe, (S., P., I.) b. California, March 25, 1867. Pupil of San Francisco Art Association and Academie JuUen in Paris. Is a member of the Royal Society of British Artists and Society Nationale des Beaux Arts, Paris. As a lad in a western Jesuit college he carved crucifixes on his slates and copied in his books reproductions of pictures by the old masters. 40 After studying in Paris and spending a year in Spain he returned to the United States but in 1896 went to London and remained there until 1901; settled in New York in 1902. His earlier works in sculpture were western in subject — "Indian scouts," "Death of a chief," "Apaches pursued by U. S. troops." Later works are "The seer," "The Boer," "Remorse," gargoyles for dormitory building at Princeton, bronze statuette of John Ruskin and portrait bust of Lincoln. Of this bust of Lincoln a writer on works of art says: "In profound insight into character and in subtleness of portrayal, Gutzon Borglum's "Head of Lincoln" must be accounted among the greatest achievements in portrait sculpture that have been made by any American artist." (Craftsman 14:26.) The masterly rendering of "The mares of Diomedes" places this group among the great works of art. Here he has given movement — the fury of high-strung steeds. In 1898 he was commissioned to make the decorations for the Queen's Hotel at Leeds and chose for his subject the story of "Pan." Here his real personality showed itself and his special genius came into play. In his New York studio he painted a series of mural decorations for the Midland Hotel Concert Hall at Manchester, England — subject: "The coming of Guinevere," also painted twelve panels illustrating "Mid-summer night's dream " for a private residence in New York. His statuette of John Ruskin evinces that broad thought with which he approaches his subject. In writing of the art of the Metropolitan Museum of New York (where are his "Mares of Diomedes" and the bronze statuette of Ruskin) David C. Preyer says: "Nothing could be in more striking contrast — the mad stam- pede of the tumbling mass of horses and the quiet dignified repose of the writer and thinker." A contributor to the International Studio says: "A certain impressionistic tendency shows itself in ^Ir. Borglum's recent work." His works are so varied and his manner so versatile that classification and general exposition is almost out of the question. "The reason for building any work of art," he says: "can only be for the purpose of fixing in some desirable form a great emotion, or a great idea, of the individual or the people." BoRGLUM, Sr)LON H.vNNiii.xL, (S.) b. Ogden, Utah, December 22, 1868. Was reared among the frontiersmen in a typical prairie town and worked on a stock ranch while young. In 1893 he decided to give up ranch life and to study art; became a student in the Cincinnati Art School and studied under Louis Rebisso and Fremiet in Paris. Associate member of National Academy of Design, 1911. When he went to Cincinnati he obtained admission to the U. S. stables and began to model his first group which, when exhibitetl in the annual 41 school exhibit, won him a special prize of $50, and during his second year at the art school he won the prize of a scholarehip. In Paris his groups were accepted by the salon and he received encouraging words of approval from Fremiet, the French sculptor. His gioup called, "Lassoeing wild horses" was his first exhibit in the Paris salon; "Stampede of wild horses" was next, and "The lame horse" brought him honorable mention. Returning to the United States in 1900, he made a special study of w^estem life, living among cow-boys and Indians. "In such works as "The last round-up," "Our slave" and "On the bor- der of white man's land," Mr. Borglum has hit upon a veiy large and im- pressive treatment which is distinctly sculptural in its inspiration; while in the tiny "Burial on the plains" there is a mysterious emotional note which has been touched by few indeed of our sculptors, a sentiment that might easily have been dissipated by a more insistent technic." (Taft's "History of American sculpture.") "There is that in his work which challenges the shams and insincerities of our drawing rooms and which makes the money-getting occupation of our trammeled lives seem suddenly trite. His art is not the expression of his personality, but of that part of the universe by which he was environed and is therefore as untrammelsd as nature." "He stands pre-eminently as a sculptor of American life in one of its distinctive phases .... His groups embody in marble and bronze the free primitive life of the great west." (Craftsman 12:382.) BouGUEREAU, ELIZABETH Gardxer, (P.) (Madame W. A. Bouguereau), b. Exeter, X. H., 1851. Received honorable mention in Paris salon, 1879; gold medal, 1889; hors concour. Her professional life has been spent in Paris where she was a pupil of Hugues Merle, Lefebvre and Bouguereau whom she married. When Miss Gardner went to Paris to study art women were not admitted to the JuUen Academy and determined to have the benefit of the teaching there given, she donned boy's clothes. Bouguereau was her teacher and his interest and kindness won from her a confession of her secret. The great French artist's sense of justice was aroused and through his efforts the doors of the famous academy were opened to women, and the name of the first woman artist to be enrolled in the academy was that of Elizabeth Gardner of the United States. Twenty years later, after the death of Bou- guereau's mother who opposed the marriage, he and Miss Gardner were married. (Cur. lit. 39:391.) BowEX, Benjamin James, (P.) b. Boston, Mass., February 1, 1859. After receiving his education he went into business for some time. Later became the pupil of Lefebvre, Robert-Fleurj^ and Carriere in Paris and after studying the works of the old masters in the various art galleries of Europe he took 42 a studio at Concameau, France, and there painted his first successful picture. He has exhibited in the Salon des Artistes Francais and in America. "The first thing that strikes us in Mr. Bowen's pictures is the skillful management of light — fine shadow masses illumined with bursts of light; this is admirably illustrated in his three salon pictures: "Le mousse bless6," "Mending the sail" and "Pardon de Notre Dame de la joie." "His work is honest and strong, and in looking at his pictures one seems to share the simple homeliness of the life they reveal." (English Illustrated Magazine, April, 1912.) Boyle, John J., (S.) b. New York, January 12, 1852. Pupil of Pennsyl- vania Academy of the Fine Arts, Philadelphia, under Thomas Eakins; Ecole des Beaux Arts under Dumont, Thomas and E. Millet in Paris. Received honorable mention Paris salon 1886, and has also won many medals. liorado Taft says: "His most valuable contribution to our national art is imdoubtedly in his favorite field of aboriginal subjects For the expression of power, for monumental simplicity and integrit}^ of conception his groups "The alarm" in Lincoln Park, Chicago, and "The stone age," in Fairmount Park, Philadelphia, have not been surpassed." Breckenridge, Hugh Henry, (P.) b. Leesburg, Va., October 6, 1870. Pupil of the Pennsylvania Academy of the Fine Arts, Philadelphia, and Bouguereau, Doucet and Ferrier in Paris. Honorable mention at Paris Exposition in 1900 and several prizes and medals since that time. Member of the Philadelphia Water Color Club and instructor and secretary of the faculty of P. A. F. A. since 1894. Mr. Breckenridge's portrait of Dr. James Tyson was exhibited at the 107th annual exhibition of the Pennsylvania Academy of the Fine Arts and the International Studio says that it "was painted mth thoroughly masterful technique and was decidedly the most creditable example of the artist's work ever seen on the Academy walls and certainly added tremendously to his reputation." Other representative paintings are "A thread of scarlet" " The nautilus " "Autumn" Portrait of Dr. Edgar Fohs Smith "Moonlight" Portrait of Howard B. French. Brenner, Victor David, (S.) b. in Russia, 1871; came to America at the age of nineteen. Later in Paris he studied under the great Roty and soon reached a high stage of proficiency in the art of the medallist. "In honor of motherhood" is characteristic of his work and excellent in itself. "For the expression of a large idea, indeed, a medal is to sculpture what'a 43 sonnet is to poetrj-, and each calls for the greatest ability of the artist or the poet." (Warren Wilmer Bro^^-n, Arts & D. 2:24.) The Motherhood medal is the fourth of a series being struck under the auspices of this circle of connoisseurs and admirers of this expression of art." Breuer, Henry Joseph, (P., I.) b. Philadelphia, Pa., August 18, 1860. Began his art studies in Buffalo. X. Y. Was a Rockwood potterj- decorator in Cincinnati, 1880-2: hthogi-aphic designer, 1882-4; mural decorator, Xew York, 1884-8: illustrator San Francisco Chronicle, 1890-2; art editor CaU- fomia magazine, 1892-3 : landscape painter since 1893. Is a member of the Society of American Artists of Paris. Studied in Paris where he came under the influence of the Barbizon school and was especially impressed by Corot. "As an aid to development along indi\ddual and original lines he has spent many yeai"s in California where the '* atmosphere '' is indi\'idualistic in all acti\'ities, and he was there isolated to an extent from the "schools" and of necessity studied nature more than art." "Ha^'ing a splendid eye for detail, he apphes it in a creative imagination evidenced in his synthetic method, which gives a balance and sense of com- pleteness to his compositions." (Int. studio. 39:xlix.) He was commissioned to paint pictures of the Arroyo Seco of the San Gabriel ^'^ alley for the St. Louis Exposition in 1904. Characteristic works are: " Yosemite valley " "A California simset" "Mt. Brewer in the Sierras" Bridges, Fidelia, (P.) b. Salem, Mass., May 19, 1834. One of the few pupils of the late WiUiam T. Richards. Was elected associate member of the National Academy, 1874. At the forty-fifth annual exhibition of the American Water Color Society she exhibited two paintings of characteristic charm and finesse; "Flowers in the beach grass" and "A wide beach." "^Miss Bridges is unique in her remarkable apphcation of the principles of Japanese art in landscape painting and in the delineation of flowers and birds, the last, indeed, being as inseparable from her name as are cats from the name of Henriette Ronner." Bridgal\n, Frederic Arthur, (P.) b. Tuskegee, Ala., November 10, 1847* Was apprentice in the engra\Tng department of the American Bank Note Company, New York, 1864-5. Studied in Brooklyn Art School and National Academy Xew York and was a pupil of Gerome and at the Ecole des Beaux Arts, Paris, 1866-71. Since then he has had a studio in Paris, occasionally visiting New York. A member of the National Academj' since 1881. 44 Mr. Bridgman has a well-established reputation for his Oriental and arch- aeological pictures. He paints almost exclusively scenes from Algiers. The first picture by which he became widely known was "The burial of the mum- my." This won for him the decoration of the Legion of Honor. Of this picture the severe critic of the Paris Figaro said: "Gerome himself might have signed it, so high is the merit." This painting with "The pastime of an Assyrian king" and "The procession of the sacred bull Apis" are his chief pictures. He has made special study of Algiers, Egypt and Nubia and the Nile, and is regarded as the authorized painter of the south shore of the Mediterranean. In 1881 he brought together in all 330 pictures of the East at an exhibition in New York. His favorite studies are curious mixtures of Arab camel drivers, French zouaves and cosmopolitan tourists. These pictures belong to what is called Mr. Bridgman' s salon manner. " White draperies, dark skin tints, shining marble and keen blue atmosphere, ethnographical accuracy and a taste for anecdote are the leading character- istics of his pictures." (Miither's "History of modem painting.") Some of his Brittany studies, chiefly landscapes, are more interesting — they possess a different quality. The effects of light are subdued and ver>' delicate. (The Artist, 29:138.) His works are now hors concours in the Paris Salon. Well-known paintings are: " Up early " ' ' Girls in the way " "Apollo bearing off Gyrene" "Interior of the harem" "Illusions of high life" "Bringing in the corn" "The American circus in Paris" "A Moorish interior" " In the Pyrenees " " Tete-a-tete in Cairo " "Chapel — noon" "Bay of Dinard, moonlight" "Greek girls on the seashore" "Hour of reverie" " The morning bath " " In the silence of the evening " " Lady of Cairo visiting " " Gathering seaweed " Brown, George Lorino, (P., E.) b. Boston, Mass., February 2, 1814; d. Maiden, Mass., June 25, 1889. At the age of twelve he was apprenticed to Alonzo Hartwell, an artist, to learn the art of wood-engraving; when sixteen he went to Europe with money eame^l by painting and through the influence and assistance of John Cheney, an American engraver living in London, he was enabled to study in Paris, enduring many hardships, how- ever. Two years later he returned to Boston, opened a studio and worked with Washington AUston. In 1840 he went to Paris again and studied under Isabey, then took up his residence in Rome where his brilliant and poetical pictures found ready sale. 46 Among his famous paintings are: " Doge's palace and Grand canal " " Bay of Naples " "Doge's palace at sunrise" "Foimtain of Trevi" "Palenno" "Niagara by moonlight" "Atranti" The Art Museum in Rome owns his "Moonlight scene" (a prize picture) and the late King Edward VII bought his "Crown of New England" when, as the Prince of Wales, he \-isit«d the United States. Art Journal, May 1875: "Brown's Sunset, Genoa," is one of those gor- geous idealized, hazy Italian scenes for which this artist is so much noted in the vein of Turner." His etchings executed in Rome are much freer in handling and more sug- gestive in color than are those of John Gadsby Chapman. Browne, George Elmer, (P.) b. Gloucester, Mass., May 6, 1871. Studied at ^luseum of Fine Arts and at Cowles Art School, Boston, and Academic Julien, Paris. Has exhibited in Paris salon and been represented at nearly all prominent American exhibitions. Received medal at the Charitable Mechanics Association, Boston, 1895, and the Inness Jr. prize, Salmagimdi Club, New York, 1901. His painting entitled "SelUng bait at Cape Cod," exhibited in the Paris salon 1904, was purchased by the French government. Popidar paintings are : " Fishing boats at Boulogne-sur- "On the beach at Scheveningen " mer " " The old gate at Moret " "A peasant's cottage" "The wain team" \ " Storing the grain " Many of his best subjects have been the depicting of city life and scenery along the water front and streets of New York, also life and scenery along the Seine, from the Parisian boulevards, the banks of the Thames and the canals of Holland. The eminent art critic, W. Lewis Eraser, in Brush and Pencil, Vol. 14:107 says: "The charm of his pictures is the tender elusiveness of their somewhat somber airtones." Correctness of line enables him to express unmistakably what he wants to say. Brush, George de Forest, (P.) b. Shelbyville, Tenn., September 28, 1855. Pupil of Gerome. Received first Hallgarten prize of the National Academy of Design, New York, 1888; Temple gold medal of the Pennsylvania Academy of-the Fine'Arts, 1897; gold medal at the Paris Exposition, 1900; Saltus medal i/ 46 of the National Academy of Design, New York, 1909. A member of the academy since 1901. Began as a genre painter of Indians and in his stoiy-telling pictures of Indians he represents the most poetical treatment of the subject that has yet been achieved. Best examples are, " Silence broken," " Mourning her brave," "The Indian hunter," "The Indian and the lily." For a number of years he has confined himself lo one subject — the modern madonna, his wife and children serving as his models. His "Madonna" in the Corcoran Gallery of Art. Washington, is one of his strongest works. "In the garden" and "The family " are more pictorial. Technically Brush's work does not attract, but intellectually it is full of beauty. (Brush & P. 11.) "His drawing is strong and distingue and his figures are interpreted with truth of expression." (Hartmann.) Another critic says: "He has not yet solved the mysterious affinity be- tween certain colors and certain emotions." Kenyon Cox says: "George deForest Brush is one of the few painters outside the ranks of the mural decorators who concerns himself primarily with line and a severe conception of form. He has often fine color, also in a restrained key, and always a profound feeling for character and for the beauty of childhood. In its composition of long flowing lines, its firm clean drawing, its subtle modeling and above all in the beautifully expressive heads and the radiant charm of blond infancy, his "In the garden" is worthy of one of those fifteenth-century Florentines with whom Mr. Brush has much more affinity than with the average painter." "In his "Madonna pictures" he shows the pathos of motherly love," Cadwalader-Guild, Emma Marie, (S.) was bom in New England but most of her work has been done in England and Germany, and is better known there than here. Ambassador White after seeing her work in Gennany urged her to return to the United States and make a bust of President McKinley. Through correspondence, sittings were agreed upon; she came but they were not given; she then modeled the bust from prints. Mr. Hanna entered a bill in Congress for the purchase of the bust, so pleased was he with it, and it is now in the president's room of the Capitol at Washington. Mrs. Guild has also made a striking bust of Lincoln. John Hay said of it: "The power of the head is remarkable. It is a great expression of the personality of the man." Her two busts of Gladstone — one in bronze, one in marble, are the only one.s for which Mr. Gladstone gave sittings. When her bust of George Frederick Watts was completed he said: " When I look at that bust I can understand how that man could have painted that picture" (pointing to one of his own.) 47 Mrs. Guild numbers royalty among her distinguished patrons. Her idealistic heads and statues are as remarkable as her portraits. Of her "Lotos," the Gennan Times says: "This psychic masterpiece stamps Mrs. Guild imequi vocally as an artist of the very first rank." A bronze statuette called "Freed" has been exhibited in the Paris salon, at the Royal Academy, London, and at Munich. Her " Head of St. Monica, the mother of St. Augustine " is a charming study. The German government purchased her "Electron" and placed it in the Post-museum at Berlin. The pose of her "End^Tuion" is not to be found in either modern or ancient sculpture. "Mrs. Guild is careful in her anatomical study but works without model: and her results strengthen the suspicion that in poses involving a repre- sentation of movement, however slight, the appearance of a stationan,' model is false in detail to the exact appearance in motion." "Mrs. Guild is a painter as well as scupltor and known abroad as one of superior merit." Carlsex, E^ul, (P.) b. Copenhagen, Denmark, October 19, 1853. Was educated in his native city and came to the United States in 1872. He has what the late Frank Fow^ler has described as a kind of speciaUzed vision, ver}' charming and verj"- fine. Coming from Denmark he brought with liim the old Vikings love of the great waters. His poetic interpretation of their beauty has met with universal recognition. Medals and prizes have been awarded him in many exhibitions and he was elected a member of the National Academy in 1906. "He contents himself with quiet middle tones, never forcing his gamut to extremes of light or shades, but his surfaces are lovely, his paintings in- variably mature." (Int. Studio 39:10.) "His landscape work was the quaUtj'^ of his still-life studies of game or fish: broad unbroken masses of color strongly reUeved against each other, whether simht trees against a deep blue sky or a white swan against a dead wall, the contrast not being relied on alone for the effect, — ^but the color being made as absolutely true as in his vigorous works." (Isham.) Admired paintings are: "The quiet sea " " Wild swan " " Meeting of the seas " " Maj^ morning " ' ' The open sea " " The panel " Kenyon Cox says: "Beauty is his aim, and the facts and the force of nature are both subordinated to decoration. In the "Open sea" it is the exquisitely varied blues and grays of sky and water that have charmed him. while in his "Surf" it is not crash and roar that we are made to feel, but the bold pattern of black and white and blue." Carpenter, Francis Bickwell, (P.) b. Homer, N. Y., August 6, 1830; d. 48 New York May 23, 1900. He was a pupil of Sanford Thayer at Syracuse, N. Y. Won much fame as a painter and also possessed much literary ability. His painting "Arbitration," representing the signing of the treaty of Washington, was accepted by Queen Victoria and hung in her private col- lection. His portrait of President Fillmore was purchased by the city of New York and hangs in the City Hall. "First reading of the Emancipation proclamation before the cabinet" now hangs on the stairway of the House of Representatives, Washington. Mr. Carpenter was elected associate member of the National Academy in 1852. Cassatt, Mary, (P., E.) b. Pittsburgh, Pa., 1855. Her first studies in art were at the Pennsylvania Academy of the Fine Arts, Philadelphia. After traveling extensively in Spain, Italy and Holland she settled in Paris, and Degas, convinced of her ability and sincerity, consented to take her as a pupil and for fifteen years she studied and worked with him, achieving in time a position not far below his own. At various intervals Miss Cassatt has devoted herself to painting in oils and pastels, to color-etching, dry point and even lithography. While her range of expression is wide, her choice of motive is restricted. For the most part she transcribes the intimate relationship of mother and child. She always avoids a sentimental version of child life. "Beauty is there, but not a sugary, waxen beauty." Among her most characteristic works are: "The Toilet" "Women and child" Eltrlier works are: "The caress" "Baby arises" "At the French theater" "The cup of tea" "After the bullfight" " The reading lesson " " Music lesson " "Children playing with a cat" "On the balcony" "Mother and child" "Supper-time" Miss Cassatt, a follower of the School of Manet, sends her canvases to the Impressionists' exhibitions in Paris, but she refuses to exhibit in the salons, and in her indifference to their applause she stands alone. All other Parisian American artists have regularly displayed their works in the great com- jjetitive exhibitions. Miss Cassatt is a member of the Legion of Honor of France, and her work takes rank beside that of the foremost modem masters. " Her work is resolute, thoughtful and lucid. Much of her master's strength of line is there, and much also of his solemn, almost classic restraint. Miss Cassatt has never faltered in her allegiance to the tenets of Impressionists." (Int. studio 27:8up, 1.) 4? " She has succeeded m creating a new style and lending to prose and realism a decorative quality best displayed in her colored etchings. In sheer force and breadth of view few men artists could rival her "Mother and child" pictures." (Hartmann.) Perception of and sympathy for the wonderfully initmate relation existing between mother and child are the qualities which stand out prominently in the work of Miss Cassatt. (Elizabeth Anna Semple.) Chief distinction of Miss Cassatt's art is closeness of intei'pretation united to the impressionist's care for the transitory- aspect of things. (Elizabeth Luther Car}\) "The secret of compressed statement is hers, of condensed significance. (Frank Weitenkampf.) Champney, James Wells, (P.) b. Boston. Mass., July 16, 1843; d. New York, May 1, 1903. Began his art education with a wood engraver in Boston. Studied in Europe under Edouard Frere, Paris, and at Antwerp under Van Lerius, 1868-9. In 1882 he was made associate member of National Academy. Was an exhibitor of oil paintings at the Centennial Exhibition, 1876, and of pastels at World's Columbian Exposition, 1893. On account of the number of Boston artists bearing his surname, he signed his early pictures "Champ," but later gave his full name. Early and popular pictures: " Not as ugly as he looks " "The best scholar " "Boy shelUng peas " " Which is umpire " "Hearts and diamonds" "Grandma's pet" "The sear leaf " " Don't touch " " Your good health " " Children roasting apples " "Speak, sir" The most successful paintings are genre subjects, quiet and simple in their nature. During the last few years of his Ufe, Mr. Champney made a specialty of pastel pictures and achieved remarkable success in this branch of art. A few of his later pictures are : "The squire's daughter" "The fioAver of New England" "Ophelia" "Sylvia" ' ' Indian summer " " Mignon " "A song without words" "Little Mistress Dorothj^" "The best scholar" Chandler, George W., (E., I.) b. Milwaukee, Wis. Early evinced 7 y 60 artistic tendencies and was employed as an illustrator on the NewYork daily papers. After some foreign travel, entered the Academie Jiilien, Paris in the classes of Jean Paul Laurens. In 1908 received honorable mention at the salon. India forms the setting for some of his finest plates: "The minarets, Benares" "The burning ghats, Benares" Parisian scenes: "Les travaux du Metro" "Le dejeuner" "Dans I'Avenue de Saxe" "Aux bords de la Seine" Evidence of his versatiUty, as well as his understanding of pastoral beauties may be found in "Le Moulin Moret," "The old lock," "Cour de Cerf " and "Cour h pont I'Arche"; "Le portail de St. ]Maclou, Rouen," is an expression of sombre beauty. "He gives us not only the lacy fretwork of the vaulted doorway, but we enter with him into the shadow of a dim interior, heavy with the incense of a by-gone age." (Marie Bruette.) Chapman, John Gadsby, (E., P.) b. Alexandria, Va., December 8, 1808; d. Brooklyn, N. Y., July 6, 1890. One of the most important of the early etchers in the United States, made his first attempt at etching in 1843 ; etched in Rome from 1852 to 1857, where he studied art. First became knoAvn as an etcher in New York City where he did much good work for Harper & Bros. His versatility was remarkable — portraits, landscapes, engraving and etching being alike within the compass of his ability. For fifty-three years he was a member of the National Academy of Design. His "Baptism of Pocahontas" in the rotunda of the Capitol at Wash- ington, is the painting by which he is best known. Mr. Chapman was the first American to write on etching. Chase, William Merritt, (P.) b. Franklin, Ind., November 1, 1849. At the age of nineteen began the study of art in Indianapolis; also studied in New York, later in the Munich Royal Academy and afterwards had Alexander Wagner for a teacher; also was a pupil of Karl von Piloty. He refused a professorship in the Munich Royal Academy and returned to America. In 1885 he was elected president of the Society of American Artists and re- elected every year thereafter for ten years. After conducting winter classes at the Art Students' League for eighteen years, in 1897 he organized a distinct school of his own known as the "Chase School for Art." Aside from his work in New York, he has taught for a number of years at the Pennsylvania Academy of the Fine Arts and at the Hartford Art School. His summer 51 school at Shinnecock. L. I., is famous. His influence as an instructor is the most far-reaching of any artist in America and probably of any country-, and his traveling classes abroad are a feature in the progress of American art. He is one of the foremost landscapists and portraitists, and the best "still- life" painter in America. A member of the National Academj* of Design since 1890. The beginning of his reputation as a painter was made when he exhibited his "Court jester" in 1876; his "Smoker" (the portrait of Frank Duveneck) won for him honorable mention in the Paris salon and at a Munich exposition. His most famous portraits are those of his mother, "My daughter Helen," Mrs. Tyler, Dr. Osier and Thomas Dolan. Among his fanciful pictures are "AUce," "Dorothy and her sister," "The red box," "Rmg toss," "Girl with dog," "Ready for the ride," "The gray kimona," "The open Japanese book." These ser\^e well to illustrate the distinctive quaUty of Chase's color sense. (Craftsman 18:33.) Mr. Chase is world-famous for his painting of brass and other metals; and he paints the gold frame of the picture within his picture with sufficient skill to stand comparison ^vith the real frame. Of his brush work, Hartmann says: "There are passages in some of his pictures which even brush magicians like Whistler and Zom cannot surpass. Chase is always clever. "Clever" is a word often misused. It is well appUed to him." ^Ir. Chase's portrait hangs in the Uffizi, Florence, Italy, in the famous gallery devoted to the portraits of painters hj themselves. This is an em- phatic recognition of his achievement and his standing in the profession of art. Only two other American artists have been thus honored — Healy and Sargent. In 1903 he was elected a member of "Ten American Painters" to fill the vacancy caused by the death of John Henr\- Twachtman. Kenyon Cox says: "His picture in the Heam collection, with its somber glow of copper in the dark backgroimd, its iiidescent, gleaming fish, its one red apple, and its two wonderfully painted green peppers, is a masterpiece which no h^^ng painter could surpass in its own way." Christy, Howard Chandler, (I.) b. Morgan county, Ohio, January 10, 1873. Was educated at Duncan Falls, Ohio. At the age of twenty he entered the National Academy of Design, New York, and in two months had won honorable mention and one bronze medal. He studied under WiUiam M. Chase and later became instructor in Cooper Union, the Chase School, New York School of Art and the Art Students League. During the Spanish-American war was with the Rough Riders before Santiago and established his reputation by his Cuban pictures and tjrpes of the navy and army men. He wrote war stories and illustrated them 52 for Scribner's and Leslie's Weekly, and has made hundreds of illustrations for other publications. Among his best known and most popular works were his pictures illustrating "Miles Standish" and "Evangeline." Mr. Christy is famous as the painter of the American girl. His art is of a high romanticism in conception and academic in its execution. y Church, Frederick Edwin, (P.) b. Hartford, Conn., May 4, 1826; d. New York, April 7, 1900. The pupil of Thomas Cole, he resided with him at Catskill, N. Y., thus gaining the first inspirations along the shores of the Hudson and amid the beautiful regions of the legendary Catskills. Es- tablished a studio in New York and was elected an academician of the National Academy in 1849. Made sketching tours in South America in 1853 and 1857; later, on the coast of Labrador and in Jamaica. In 1868 visited Europe and the Holy Land. Visited Mexico in 1883. Church's "Niagara" was immediately recognized as the first satisfactory delineation in art of one of the greatest natural wonders of the western world, and this is in itself extraordinary praise. It received medal at the Paris Exposition of 1867. When Ruskin first saw this painting he pointed out an effect upon water which he declared he had often seen in nature among the Swiss waterfalls, but never before on canvas. Among his works sketched on his extensive tours are: " Icebergs " " Rainy season in the tropics " " A South American landscape " " Heart of the Andes " "The afterglow" "El Khasn6 Petra" "Andes of Ecuador" . . "Cotopaxi" "Chimborazo" "Twilight in the wilderness" " Morning in the Cordilleras " " View of Quebec " "Jerusalem" - "Aurora borealis" Church's works are generally composite rather than a transcription of actual landscape. Church, Frederick Stuart, (P., I., E.) b. Grand Rapids, Mich., December 1, 1842. Studied in the Chicago Academy with Walter Shirlaw and later in the National Academy of Design and Art Students' League of New York, and for some years has occupied a studio in that city. His first popularity was gained b}' his drawing in Ijlack and white; he furnished book and maga- zine illustrations for Scribner's and other publication houses; then oil and water-color work attracted his attention. Is a member of the National Academy of Design, New York, Society of Painter-Etchers, London, and the New York and Philadelphia etching clubs. "Una and the lion," "The lion in love," "Beauty and the beast," "The 53 black orchid," "The sorceress," and "Twilight" are familiar examples of his graceful realization of purely fanciful themes. Of his works, Isham in his "History of American painting," says: "The}' are not profound, they are not subtle yet if they have the simphcity of a story told to children, they have also freshness and charm. If the draAxnng is loose, it is also graceful." There are probably no more popular etchings than his, w^herein a graceful and humorous fancy charms us all. His "Mermaid" is a well-known plate. Clark, Walter Appletox, (I.) b. Worcester, Mass., June 24, 1876; d. New York City, December 27, 1906. With a purely local art training of some three years, he established himself as one of the leading illustrators of the day. Taught classes at the Art Students' League and Cooper Union, N. Y. and at the Pennsylvania Academy of the Fine Arts. A picture of his on the wall of the Art Students' League, while a student, attracted the attention of the art editor of Scribner's magazine; this led to his being employed to illustrate one of Kipling's stories. Among his latest works was the illustration of the modern version of "Canterburj- Tales" by Percy Mackaye. "Mr. Clark's strong point is his execution, he has a nice clean dexterity of touch, employed with nobiUty and ease." "In finish he obtains the feeling noticeable in the color work of Vibert and his compositions are handled with the adroitness of Fortunj-, with less dash, however, but with more delicate s\Tnpathy and refinement." Clarke, Thomas Shields, (S., P.) b. Pittsburgh, Pa., April 25, 1860. Graduated at Princeton University in 1882. While a student at the Art League in New York, he made illustrations for magazines. Going to Paris, he studied drawing under Boulanger and Lefebvre, modeling under Chapu and painting under Gerome in the Ecole des Beaux Arts; later was instructed by Dagnan-Bouveret ; also studied art in Florence, Rome and Venice. As- sociate member of National Academy of Design, 1902. His paintings and sculpture have brought him honor at home and abroad, he having been represented at international expositions at Berlin, Madrid, London and Paris. His "Night market in Morocco" received official recognition at the Berlin Exposition in 1891; "A fool's fool" was shown at the Paris salon, and upon its merits he was admitted to membership in the Society of American Artists, New York. "A gondola girl," "Morning, noon and night" and other Vene- tian works are attractive. His bronze group — fountain design — "The cider press," displayed at the Madrid Exposition, brought him a medal of honor, presented personally by the King of Spain. Four caryatides — "The seasons" — on the New York Appellate Court 54 building are dignified and graceful. His more important work in sculpture is "Alma Plater and her son Alumnus," for Princeton University. "These figures are splendidly modeled and thoughtfully conceived." Mr. Clarke has also done some notable mural decoration. (Brush & P. 6:195.) \/ Cole, Thomas, (P.) b. Bolton-le-Moor, Lancashire, England, February 1, 1801; d. Catskill, N. Y., Februarys 11, 1848. Was of American parentage, and in 1819 the family returned to America taking up their residence at Stubenville, Ohio, where he began the study of painting under a portrait painter named Stein. Not successful in portrait work, he took up landscape painting. In 1825 he went to New York, subsequently became intimately acquainted with Durand and Trumbull. He was one of the founders of the National Academy of Design and had a picture at its first exhibition in 1826. A patron sent him to Europe in 1829 to complete his art education and he remained there about three years sketching and painting in England, France and Italy. After his return he painted two allegorical series, "The course of empire" and "Voyage of life." These soon won him great contemporary popularity. • (Noble's "Life and works of Thomas Cole.") These paintings were exhibited in the rooms of the New York Art Union in 1848 and were visited by a half milhon people. Other paintings depict scenes from an extreme range of landscape. "All are remarkable for imagination, composition and the most refined and picturesque truth to the details, as facts and influences of nature." (Tuckerman.) His most beautiful illustrations of Italian scenery are "T Allegro" and "II Penseroso," companion pieces. Of American views one of the most attractive is "The hunter's return." One of his most highly finished works is a picture illustrating Mrs. Hemans' poem "The cross in the wilderness." "The tone of the picture is quite Claude-Uke." (Tuckerman.) Caffin says: "Cole forms a link between the new enthusiasm for nature study and the older predilection for historical and "grand style" subjects." According to this authority his more enduring claim, however, to be remembered consists in his having aroused an appreciation of the pictorial possibilities of the Catskill, and of American landscape in general. He makes nature the vehicle for moral allegories. CoMAN, Charlotte Buell, (P.) b. Waterville, New York, 1833. Studied in Paris with Harry Thompson and Emile Vernier; spent six years in France and Holland and exhibited at the Paris salons for two years. Mrs. Coman's specialty in painting is landscapes and she was thirty years of age before she commenced the study of art. She received the Shaw memorial i)rize of the Society of American Artists, second prize of the Washington Society of Artists, 1906. Was elected associate member National Academy of Design, 55 1910. Is represented in the Evans collection, Washington, D. C, the Metro- politan jNIuseum, Xew York, and in the permanent collections of several western clubs. "Clearing off" is one of her strongest, and "A misty morning at the farm" is one of her best. Craftsman 21:491: "But to return to the academy walls one seeks again and again Charlotte Coman's beautiful painting of hills and clouds. What sunlight pours over the friendly little house nestling in the shadowy meadows, a deUghtful study, tenderly painted, a thing to remember and to rejoice in." Critics of high repute declare that ifrs. Coman is doing her best work now at the age of eighty. Cooper, Colin Campbell, (P.) b. Philadelphia, Pa. Studied in Pennsyl- vania Academy of the Fine Arts, Philadelphia, Academie .Tulien and other art schools in Paris. Is a member of many leading art clubs in this country', and has been awarded many medals and prizes. Is an associate member of the National Academy. Has spent much time in Europe painting figure and architectural subjects, architecture and street scenes being his specialty. *'Beauvis cathedral," one of the notable historical structures of France, is considered his finest work. Mr. Cooper's notable achievement is his long series of canvases depicting the picturesque charm of the modern sky-scraper; he began this work in 1902. He sees beauty, subUmity and grandeur in the structures that the average person is wont to call monstrosities. He handles water-colors on canvas so cleverly that his water-colors can scarcely be distinguished from oils. "Broad street, Xew York," "Rush hour Brooklyn bridge," "Broadway," "The chain gate," "The Flatiron building," "Walton hotel, Philadelphia," and a scene in Penn Square, are additional proof of his skill in clothing the common place brick and mortar of the business block ^^'ith rich warm colors of their owti. "That Cooper has the natural gift of seeing the beauty of what to most people are prosaic structures, and the patience and persistence to perfect his delineation of street and building, is the secret of his success as an archi- tectural painter." (Brush & P. 18:72.) Cooper, Emma Lampert (Mrs. Colin Campbell Cooper), (P.) b. Nunda, New York. Began the study of art at the Cooper Union and Art Students' League in New York and later was the pupil of Harrj' Thompson in Paris, J. Kever in Holland and William M. Chase in New York; has also studied in Italy. Mrs. Cooper has had charge of the art department at Foster School, Chfton Springs, also of the painting classes at ^lechanics Institute, New York. Interiors and street scenes from France, Holland, Belgium, Italy and Switzerland, painted in oils and water colors, are her favorite subjects. 50 Representative pictures are: " Morning near Riverdale " " News of the day " " High noon, Cape Ann " " Weaving homespun " " Mother Claudia's fireside " " Swiss fireplace " "The breadwinner" " Canal at Lisieux " "Breton bakery" " Old dye house " Xy^ Copley, John Singleton, (P.) b. Boston, Mass., July 3, 1737; d. London, England, September 9. 1815. At th^age of seventeen he produced his first grouped picture — an allegorical study of Mars, Venus and Vulcan. From that time he was recognized as a painter. Through the influence of Benjamin West his "Boy with the squirrel" was exhibited in London in 1766, and in 1772 he was elected a fellow of the Society of Artists. In 1774 he settled in London and became a notable painter of historical scenes. In 1776 he was elected associate of the Royal Academy, and in 1779, academician, and presented, on admission, his "Tribute money." His "Death of the Earl of Chatham" established his fame in England. He opposed the classical productions of the age by his vigorous repre- sentations of events of history and war. Among his numerous subjects in this line are: "Death of ^lajor Pierson," "Siege of Gibraltar," "Surrender of Admiral de Windt to Lord Camperdown," "Charles I demanding the five impeached members," "Charles I signing Strafford's death warrant," "Offer of crown to Lady Jane Grey," "Assassination of Buckingham." He also painted religious subjects and large portrait groups of noted English families. But of his earlier work — that done before he left Boston, which consists of a long series of portraits of our colonial dignitaries, divines, judges and mer- chants — Tsham says: "These paintings are the most authentic records of our pre-revoluntionary ancestors which have come down to us." Copley's best known portraits in America are those of John Adams and John Hancock. Caffin says: "Copley was the most distinguished in skill of craftsmanship of all the pre-revolutionary painters." Copley was not poetical, but he produced splendid prose. Cory, Fanny Young (Mrs. F. W. Cooney), (I.) b. Waukegan, 111., October 17, 1877. Studied art at the Metropolitan School and the Art Students' League of New York. Married to F. W. Cooney, 1904. Has made illustrations for the Century Company and Harper Bros, and illustrated nvmierous books, including "Alice in Wonderland," "Through the looking glass," etc. Favorite children pictures are: "Do you make saucer pies?" "Shoo!" "On the dark stair" 67 CouDERT, Amalia Kussxer. (Mill, p.) b. Terre Haute, Ind.. March 26, 1876; began her artistic career in Xew York in 1892 and aftein^ards went to London and painted miniature portraits of King Edward and most of the highest aristocracy of England; later she was summoned to Russia to paint portraits of the Czar and Czarina and the Grand Duchesses Vladimir and Ellen and also went to Africa to paint the portrait of the late Cecil Rhodes. Coupf:R, William, (S.) b. Norfolk, Va., September 20, 1853. Pupil of Thomas Ball and Cooper Institute in XeAv York; also studied in Munich and Paris. Lorado Taft says: "His Closes" in the appellate court building is a magnificent conception and justly admiretl, its onh' weakness is over-elabora- tion ....... Mr. Couper has made particular and sjTnpathetic study of winged figures. They are not merely pretty but they are beautiful, radiant creations, gracefully conceived, carefully drawn and exquisitely carved." ^Ir. Couper is a member of the National Sculpture Society. CousE, Eaxger Irving, (P.) b. Saginaw, Mich., 1866. Pupil of National Academy, New York, Bouguereau, Robert-Fleury and Ecole des Beaux Arts, Paris. Received the Shaw prize for black and white, at Salmagundi Club, 1899; second Hallgarten prize National Academy, 1900; Proctor prize, Salmagundi Club, 1900; honorable mention, Paris Exposition, 1900; first Hallgarten prize National Academy, 1902. Associate member National Academy of Design, 1902; academician, 1911. Devotes himself to the Pueblo or to^^n Indians of the southwest, painting them in their actuality or A\'ith ideal touch in their home in New Mexico. Part of the year he passes at Taos, for the portrayal of the Taos Indians is the art of Mr. E. Irving Couse. He had much difficult}' in securing interesting and picturesque models, as it is a matter of behef with these Indians and in fact with others, that the soul of the sitter passes out into the portrait when the picture is completed, and natural!}', until the prejudice is overcome, there is not much enthusiasm about posing. He paints the Indian not primarily as the actor in a wild savage drama, as Remington and Schre}'\'^ogel have, but as the peaceful dweller in primitive scenes, revealing them often as more poetical and philosophical than the more so-called ciA-ilized races. (Craftsman 18:619.) Admired works are: "The mountain hunter" "The wear}' hunter" " The magic forest " " Bear cubs " "Trout ripples" "Returning to camp" " An Indian shepherd " " Medicine fires " "The voice of the falls" "The trout streams" 58 "Elk-foot" "The brook" "San Juan pottery" "The torn torn maker" "Mending the war bonnet" At the winter exhibition of the National Academy of New York the Carne- gie prize of $500 for the most meritorious oil painting by an American artist went to Mr. Couse for his "Indian making potter^^" CowLES, Genevieve Almeda and Maud Alice (twin sisters), (Mural P. and stained-glass decorators) b. Farmington, Conn., Februaiy 23, 1871. Always lived in an atmosphere favorable to the cultivation of their naturally artistic tastes. They took up drawing at the age of seven ; a little later they were taken to Europe and in Florence, Giotto, Fra Angelico and Botticelli impressed their imaginations deeply. Their first series of children were drawn for Scribners. They have done much work for magazines, executed stained glass windows in various churches, also specialized in mural decora^ tion. Their mural decorations in Christ Church, New Haven, Conn., are es])ecially noteworthy. They represent: "Prayer of the prisoner," "Prayer of the soul in darkness," and "Prayer of old age." These are paintings of states of the soul and of deep emotions. They are records of human lives and not mere-imagination. Other works are. Memorial window and a decorative border for the chancel of Saint Michael's Church, Brooklyn; a window in memory of the dea- coness, Miss Stillman, in Grace Church, New York, Have executed many windows and other decorative Avork for churches. Miss Maud Alice died during the summer of 1905. Miss Genevieve writes: "I desire especially to work for prisons, hospitals and asylums — for those whose great need of beauty seems often to be for- gotten." She contributed to the Craftsman 10:97 a most interesting article on "Building a stained glass window." Cox, Kenyon, (P., I., Mural V.) b. Warren, O., October 27, 1856. Studied in Cincinnati and Philadelphia; also in Paris under Carolus-Duran and Gerome, 1877-82; returned to New York. Received second Hallgarten prize at the Academy exhibition in 1888, and the same year received two prizes for works at the Paris Universal Ex- position. His pictures are principally portraits and figures. Painted two decorations in the Library of Congress, one in Walker Art Gallery Bowdoin college, one in Iowa state capitol, frieze in court room of appellate court building, New York. As.sociate member of National Academy, 1900, full member. 1903; also member of American Academy Arts and Letters. "A lady in black" was exhibited in the salon during his Paris student 59 days and on the merits of this work he was elected to the Society of American Artists. Best known paintings are: "Jacob wrestling with the angel" "Painting and poetry" " Vision of moonrise " " FljHng shadows " Mr. Cox is regarded as colorist of distinction, but especially excels as- a draughtsman. He is also well known by his critical wiitings of art and by his work in black and white, including his illustrations to Rossetti's "Blessed damozel." (Int. studio 32:3.) Cox, Louise, (Mrs. Kenyon Cox) (P. and 1.) b. San Francisco, Cal., Jime 23, 1865. Pupil of the National Academy of Design; Art Students' League under Kenyon Cox in New York. Received third Hallgarten prize X. A. D., 1896; bronze medal Paris Exposition 1900. "Mi's. Cox makes a specialty of children's portraits and some of her hap- piest results have been obtained when her own charming children have acted as the models." (Overland monthly 40:111.) Craxe. Bruce, (P.) b. New York, October 17, 1857. Studied art under Alexander H. Wj-ant. At the age of seventeen while residing in Elizabeth, New Jersey, he entered the office of an architect and builder and there had actual experience as a practical draughtsman. In 1878 he went abroad \dsiting the galleries of Liverpool, London and Paris. Exhibited his first picture, "An old mill pond on Long Island," at the National Academy in 1879. The summer of 1882 he spent in the historic old town of Grez, near the forest of Fontainebleau. Received the ^^'ebb prize. Society American Artists, 1887; bronze medal, Paris Exposition, 1900; the George Inness memorial gold medal National Academy, 1901. An associate member of the National Academy in 1897, full member. 1901. He belongs distinctly to the plain air school of landscape painters and chooses only native subjects. As a teacher he has met with remarkable success. Mr. Crane has produced a long list of charming, poetic canvases, being one of America's most idylHc landscape painters. His most notable canvases are: "Winter" " Awakenmg hills " "A haystack " * ' November woods " "Apple blossoms " " Peace at night " " Brown and sere " "A black cloud " " Ripening grain " "Wasteland" " The gray hill " " ^^ hite fields " 60 "Rainbow" "A New England meadow" "Indian summer" "Harvest field" "After the rain" He writes: "A work of art is not a scientific statement. It is enough if it be true to itself, that is to say, harmonious." "It is by the simple selection of colors and the conscientious painstaking methods that Crane has achieved his notable successes." (Brush & P. 11:1.) Crunelle, Leonard, (S.) b. Lenz, France. His family emigrated to America and found work in the coal mines near Decatur, 111. Leonard amused himself after work by modeling figures out of coal. Lorado Taft, the sculptor, discovered him and later became his instructor in Chicago. Mr. Crunelle first won recognition through his models of babies. "The squirrel boy " is perhaps the most popular of his later studies. Christine Bennett says: "His work has made for itself a permanent place and his future promises a fulfilment that will rank him among the greatest of American sculptors." (Arts and D. 1:406.) "Crunelle's art," said Lorado Taft, "reminds me of the purity and sim- plicity of the old Florentines. He rejoices in youth and in the springtime of Ufe." Crowninshield, Frederic, (P., I., Mural and stained-glass designer) b. Boston, Mass., November 27, 1845. Mr. Crowninshield was educated at Harvard and studied art with Rowbotham in London. For a number of years he lived in Italy and in Rome studied with Jean Achille Benouville. For three years he lived in Siena where he learned the technical secrets of "buon fresco," almost a lost art. To this period belong many of his de- lightful water colors. He visited Paris frequently and studied under Cabanel at the Ecole des Beaux Arts and worked with Couture in his studio at V illers- le-Bel, near Paris. Shortly after his return to the United States in 1878 Mr. Crowninshield was appointed instructor of drawing, painting and decora- tive art in the school connected with the Boston Museum of P'ine Arts. This position he held until 1885 during which time he lectured on artistic anatomy. After moving to New York he executed a memorable series of stained glass windows. At this time he did his most important mural painting. During the past few years he has developed another side of his talent — landscape painting. Much of his time is devoted to guiding the activities of the art societies in New York. He has been president of the Fine Arts Federation of New York since 1900; is director of the American Academy at Rome and is an associate member of the National Academy of New York. His book "Mural painting" is a standard work. As a painter, poet, craftsman, illustrator, teacher, lecturer, after-dinner speaker, organizer, he holds an unique place in the art world of the United States. CuRRAN, Charles Courtney, (P.) b. Hartford, Ky., t'ebmary 13, 1861. Began to study art at the Cincinnati School of Design then became a pupil of the Art Students' League and the National Academy of Design of New York; later studied with Benjamin-Constant and Doucet in Paris. In 1900 he became a member of the American Arts Conunission at the Paris Ex- position and was assistant director of fine arts at the Pan-American Ex- position. Has taught at the Pratt Institute and Art Students' League. A member of the Society of American Artists and other art associations; elected associate member of the National Academy of Design, 1888; acade- mician, 1904. In 1888 his picture "A breezy day" received the third Hallgarten prize and his "Lotus lilies of Lake Erie" won honorable mention in the Paris salon of 1890. Among his most important canvases are: " The sirens " " The enchanted shore " ' ' The Peris " " The perfume of roses " " A deep sea fantasy " " Catching minnows " A series of twelve views of the Jungfrau. "His subjects include domestic genre and outdoor life, ideal groups and figures and compositions in which his imagination takes free plaj' in the depiction of the fancifid realms inhabited by the fairies." (Nat. C>'c. Am. Biog.) "He enacts the doctrine that the truest appeal of oil and canvas should be almost as abstract as that of musical sounds He neither lays an imdue emphasis on drawing nor on elaborate or super-refined coloring, though clean and well-controled in the former direction and clear and as a rule full of sunlight in the latter Rather he controls and marks his painting with the needed sentiment of peace and relish in man and nature." (Critic 48:39.) Dabo, Leon, (P.) b. Detroit, Mich., July, 1868, of French parents. Edu- cated at Saint Ann's school, Detroit; was also a student at Ecole des Arts Decoratifs and under Daniel Urabietta \'ierge, Paris, and received instruc- tions from Galliardi in Rome and Florence. Lived in Sicily, Sardinia and Coreica; returned to the United States in 1892. Is represented in collections at Berlin, Dresden, London National Gallerj', New York, Washington Museum of Art, Detroit and other American cities. The works of this "poet in color" have been uniformly rejected by the juries of all our American exhibitions as regularly as they have been sent. But when M. Leonre Benedite, director of the Luxembourg Museum, was in this countiy in 1907 he bore back to Paris in glad triumph for the Luxem- bourg one of Dabo's pictures that had been unifonnly rejected b}' all our exhibitions. 62 Artists like Edmond Aman-Jean and Auguste Rodin, critics like Paul Vallorbe and Camille Mauclair, poets like Maurice Maeterlinck and Anatole de Braz, and such responsible authorities as M. Leonre Benedite of the Luxom- bourg and Alexander D. Goltz, president of the Modern Society of Painters, Vienna, have joined in appreciative praise of this painter. (Craftsman 13 :261.) Most of Dabo's work has been done around New York bay and along the banks of the Hudson river. "Each picture is made up of a succession of harmonious tones which blend together in pleasing symphonic effects." (Brush & P. 17:3.) Dabo is a spiritual impressionist. He paints the landscape as one for whom it has been transfigured by some vision. A few of his works are: "The Hudson, Fort Lee" "The Hudson near Kingston" " The Hudson river " " The cloud " "The Hudson in winter " "The sea " "The Weehawken basin" "Early morning, Hudson river" " Evening on the Hudson " " Golden days " " His work represents a singleness of idea and manner to a degree unusual in modem art." Dabo, Theodore Scott, (P.) b. Detroit, Mich., 1870, of French parents. Was educated at Saint Ann's school, Detroit. When his father, Ignace Scott Dabo (himself an artist) died in 1885, the family moved to New York City. Leon, the oldest son, went to work for a decorator, that this gifted brother, T. Scott, might study without turning his talent to commercial profit. For sixteen years the paintings of the brothers Dabo were refused admission to the art exhibitions in this country. Edmond Aman-Jean, the French painter, was the first to recognize the artistic value of their work and took T. Scott to Paris where his canvases were accepted by the salon and he was greeted as an artist of rare individuality and strength. Hartmann says: "The highest quality in Dabo's work is the result of inner, not outer vision." M. Henri Pene DuBois says: "T. Scott Dabo's works are hymns to nature. They are skies with vermilion mists exhaling praise as from a censer, marshes of melancholy, rivers of peace and forgiveness, fairy spectacles of land and water." M. DuBois also suggests Poe as a source of inspiration. Another saw in his work the influence of Mallarme. Octave Mirbeau re- cently wrote that T. Scott Dabo had the charm of Puvis de Chavannes and the transparency of Carri^e. Reproductions can give no adequate idea of the depth of light and charm in color in T. Scott Dabo's " Tour St. Jacques in the rain," or his " Evening on the Seine." "We are the painters of atmospheric conditions," they say: "every thing 63 in nature moves, we therefore endeavor to paint movement." They make color a vehicle of music-like vibrations. (Int. studio 27:174.) Daingerfield, Elliott, (P., I., Mural P.) b. Harper's Ferry, Va., March 26, 1859. Studied drawing and painting in New York with a private teacher, also at the Art Students' League. First exhibited at National Academy of Design in 1880. Studied in Europe during 1897. Is professor of paintrag and composition at the Philadelphia School of Design. A member of the National Academy, 1906. A writer on art subjects. Mr. Daingerfield's productions are largely figure and landscape, and his studies are usuallj' taken from rural life, the toiler of the field being his fav- orite subject. In his paintings, color quality and depth of feeUng are the dominant features and pervade the rough exteriors in which his characters are dressed. (Nat. C3'c. Am. Biog.) Among his noted canvases are: "Two women shall be working "The lost sheep" in the fields " " The mother " "My lady rhododendron" "A madonna of the fields" " Child of Mary " " Christ in the wilderness " "A garden of dreams" "A wood-cutter" "Labor and plenty" "Story of the madonna" " Planting " " The tanagra " Was commissioned to paint the " Lady Chapel " of the Church of St. ^lary the Virgin, New York, in 1902. "He is an imaginative painter with a strong sense of decorative beauty and he subordinates realistic facts to the effect of the ensemble." Dallix, Cyrus Edwtcx, (S.) b. Springville, Utah, November 22, 1861. The first eighteen years of his life were spent in the mountains of Utah. When only seven years of age he attempted to model heads of his favorite Indian chiefs, and at the age of eighteen when sifting ore in the mines he modeled two heads in clay. These were so admired by the miners that they sent them to a fair in Salt Lake City. Two wealthy mining men in Utah saw the heads, became interested in the young genius, and made it possible for him to go to Boston where he commenced study with Truman H. Bartlett, the sculptor. Later he went to Paris and studied under Chapu and Dampt. ^A'hile in France he became acquainted with Rosa Bonheur and during the time that Buffalo Bill and his company of Indians were in Paris they — Dalhn and the great French artist — worked together, frequently from the same model. 64 Mr. Dalliii has made a remarkable series which tells the story of the Indian's relation to the white man : First, "Signal of peace;" the welcome. Second, "Medicine man;" the warning. Third, "The protest;" defiance. Fourth, "Appeal to the Great Spirit;" the last hope of the Indian. "This series is an example of the sculptor's synthetic insight and his skilful interpretation of psychological moments." His bas-relief of Julia Ward Howe is commented on as being "of exquisite sincerity of line, a reticent self-contained work and an accurate likeness." (New Eng. M. Nov. 1912, p. 408.) A bronze statue of "Don Quixote" was exhibited in the Paris salon and critics refer to it as "one of the most delightfully original and imaginative of American sculptures It is conceived in an absolutely ideal spirit and is enveloped in an atmosphere of romance which is completely in har- mony with that of Cervantes." He modeled the gilded bronze angel which surmounts the spire of the Mormon Temple in Salt Lake Cit)^; also modeled the statue of Sir Isaac Newton for the rotunda of the Library of Congress. His "Despair" is an extremely graceful nude. (New Eng. M. 21:196.) Dannat, William T., (P.) b. Hempstead, L. I., July 9, 1853. Going abroad at an early age, he was ed\icated in art at the Royal Academy of Munich; studied also in Italy and Spain, after which he settled in Paris. No foreign painter has ever received greater praise from the French people. His first picture to attract attention was his celebrated painting entitled "The quartette," exhibited in the salon of 1884. This picture was also exhibited at the Universal Exposition 1889 and was given a place of honor in the American section. It procured the artist the rank of chevalier in the Legion of Honor. He was elected officer, 1897; commander, 1900. Mr. Dannat is president of the Paris Society of American Painters and has been the recipient of numerous medals and diplomas. Popular paintings : " After the mass " " Mariposa " "Otera" "Une Saduc6enne"; woman in "Spanish women" white. "Aragonese smuggler" "Un profil blond"; study in red. "A sacristy in Aragon" "Degas is his ideal, and tlie .study, of artificial Kght his field of experiment." (Miither.) " In Mr. Dannat'8 work we find the qualities of the most gifted artists — 65 a vision of singular acuteness and sensitiveness, a refinement and delicate intelligence, perfect command of the means of drawing and painting and finally that taste and that aesthetic tact which enables him to avoid every excess whether of commonplace or of eccentricity — these two extremes on the verge of which the masterpiece is conceived and consummated." (Child's "Art and criticism.") Albert Wolff voiced the current opinion when he declared Dannat's "Quar- tette " to be the best piece of painting in the salon of 1884. Davies, Arthur B., (P.) b. Utica, N. Y., 1862. Received silver medal at Pan-American Exposition, Buflfalo, 1901. Is a member of the New York Water Color Club. An art critic recently writing on the American art of the MetropoUtan Museum of Art, Xew York, "refers to the strange somnambulistic intensity of his "Dreams" "with an entire absence of color audits great beauty of tone, the sense of slow continuous movement secured not by the drawing of the figure itself, but by the imaginative composition of the background." Davis, Charles Harold, (P.) b. Amesbury, Mass., Januarj' 7, 1856. Very early he displayed marked artistic ability. Was a pupil of Otto Grund- mann and the Museum of Fine Arts, Boston, three years; also studied under Lefebvre and Boulanger, Paris. Remained in France ten years and ex- hibited in the salons during that time. Has resided at Mystic, Conn., since 1890. Represented at Metropolitan Museum, Xew York, Corcoran Galler\' of Art, Washington, Pennsylvania Academy of the Fine Arts, Pliiladelphia, Art Institute, Chicago, Carnegie Institute, Pittsburgh. Has been awarded prizes and medals at manj' competitive exhibitions. Received honorable mention in the Paris salon and in 1889 a second-class medal at the Universal Exposition, thereby his works becoming hors de concours. A member of the National Academy since 1906. One of the strongest American landscape painters. He gives the actual tone of the hour, whether it be sunrise, noon or sunset, in which his own personalit}' while e\'ident does not crowd out the personality of nature. Among his most famous productions are: ' ' Winter evening " ' ' Rocky pasture " " Summer " " Oak boughs " " The brook " " The hillside " ' ' Twilight hour " ' ' Summer breeze " "The time of the red-wing black- "Autumn clouds" bird" Speaking of his works at a recent exhibition, a well-kno\\-n critic said: "Everyivhere is dash, freedom, personalitj-, nature, charm." 9 GG In his pictures, Mr. Davis intends to record artistic sensations. Each one has a particular motif which has been rendered in a fresh spontaneous and thoroughly pictorial fashion. "The science of his art is secondar}' to what he is trying to say, and in its entirety of science and art, of technique and sentiment, these pictures by Mr. Davis rank him among the great landscapists of the day." (Brush & P. 4:122.) Deakin, Edwi-v, (P.) b. Sheffield, England, 1840. Received early educa- tion in his native town. From the outset of his career he had a fondness for landscape and architecture. After following his art in England and France he came to America and settled in Berkeley, California, and selected the Spanish missions of California as a specialty. Mr. Deakin began his work in 1870 and the series, comprising twenty-one missions, was completed in 1899. The series of structures painted by Mr. Deakin was begun under Father Junipero Serra, the leader of the Franciscans, who came to California in 1769. (Brush & P. 15:1.) Dearth, Henry Golden, (P.) b. Bristol, R. I., April 22, 1863. Pupil of Ecole des Beaux Arts; also studied with Morot and Merson. Won Webb prize Society American Artists 1893; bronze medal, Paris Exposition, 1900; silver medal Pan-Ameiican Exposition, Buffalo, 1901. Elected associate member National Academy in 1902; academician in 1906. Mr. Dearth's specialtj' is landscapes on the Coast of Normandy. He has a home and a studio at Montreuil-sur-Mer in Pas-de-Calais, along the English Channel where he works several months each year. The keynote of his work is simplicity. He suggests details. This is most apparent in his "Sunset in Normandy." His pictures have dignity and poetry. (Cen- tury 48:157.) De Camp, Joseph Rodefer, (P.) b. Cincinnati, O., November 5, 1858. Studied art with Frank Duveneck, at the Cincinnati Academy and at the Royal Academy, ^lunich. Later accompanied Duveneck and Whistler to Florence and Venice. Won first prize city hall decorative competition Philadelphia; Temple gold medal, Pennsylvania Academy of the Fine Arts, 1889; received honorable mention at Paris Exposition 1900; gold medal at St. Louis Exposition 1904. Member of the society of Ten American Painters. Has been instructor in the Pennsylvania Academy of the Fine Arts and a member of the facility in the schools of the Boston ^luseum of Fine Arts. Mr. DeC'amp is known chiefly from his portrait and figure painting, al- though his landscapes are among the finest painted by American artists. For years he has had steady patronage from soldiers, statesmen, musicians, artists, writers and educators. His portrait of Col. Roosevelt which he was commissioned by a committee of the members of the class of 1880 at Harvard 67 to paint and which hangs in Memorial Hall at Cambridge, is considered a wonderful achievement. Mr. DeCamp's work is not frequenth' seen in New York except at exhibitions of the Ten American Painters. Arthur Hoeber, the art critic, says: "None of the modem painters, either in this country or in Europe is better equipped technically than is Joseph DeCamp He draws with academic correctness, has a thorough knowledge of anatomj^ and construction and for faciUty of brush work yields to no one." JuUa de Wolf Addison says that one of the best pictures ever painted by Joseph DeCamp is owned by the Boston Museum of Fine Arts — "Guitar player." Popular figure paintings are: "The blue cup " "The window " ' ' The pink feather " " The violmist " "The gray turban" DeHaven-, Frank, (P.) b. Bluffton, Ind., December 26, 1856. With money he earned at the age of sixteen he bought his first box of paints. In 1886 he went to New York and became a pupil of George H. Smillie. He won the Inness prize in 1900; Shaw prize, 1901, and received honorable mention at the Pan American Exposition, Buffalo, 1901. Elected associate member of National Academy in 1902. His "^loonrise and sunset" he regards as his most important work. It has warm color and a hazy glow — ^the russet of autumn, Ughted by the sinking sun. "Autumn twihght" with its deep clear blue sk>-, in which the evening star twinkles near the horizon, is full of mysterj-. "A Elaine farm" is a study of early autumn with the neutral atmospheric grays of the waning year. His "Winter night" and "Indian summer" are in direct antithesis. His versatiUt}' is simply another expression for his breadth of interest, and his various tonal schemes for his master}' of color. " His subjects are simple and poetical, the last glow of the sun, a windy day, a threatening sky, or struggling clouds throwing a stream of light on the plain, fuiTiish the principal themes of his pictures." — Hartmann. "His chief interest is to manipulate his color so as to make his canvas the means of imparting an emotion His scenes are bona fide scenes, simple bits in which he has seen beauty; and the emotion he seeks to arouse is the genuine emotion that he himself has experienced and that he strives to make others feel." (Brush & P. 17:179.) De Kat, Helena (Mrs. R. W. GUder), (P.). It was in Miss De Kay's studio that on June 1, 1877, she with Augustus Saint-Gaudens, Wyatt Eaton and Walter Shirlaw met and organized the Societj^ of American Artists. Mrs. Gilder has retired from the profession but Isham in writing of her 68 pictures says: "She showed a charming feeling for subtle color in her ideal heads and especially in her flower studies." Demin«, Edward Willard, (P., I., Mural P.) b. Ashland, Ohio, August 26, 1860. Studied in the Art Students' League and under Boulanger and Lefebvre, Paris. Mr. Deming's work divides itself into painting, mural decoration prin- cipally, and modeling. It is in his pictures illustrating Indian folk-lore that Mr. Deming takes the greatest interest. "The Hiawatha legends are the subject of his most charming canvases he delights in scenes in which there is the mystery of twilight." (Craftsman 10:150.) "Perhaps no one has more exquisitely revealed the first blush of dawn, the majesty of moonlight, the changing gray of twilight, the tragic depths of loneliness in the first daybreak in woods and prairies." . (Craftsman 21:456.) The buffalo frieze in the residence of Mr. Ernest Thompson Seton, by Mr. Deming, is a transcript of the open plain "under the unappeasable sun of the southwest." (Int. studio 27:xv.) Mr. Deming has illustrated many stories and books dealing with Indian Hfe. Dessar, Louis Paul, (P.) b. Indianapolis, Ind., 1867. Studied at the Na- tional Academy in 1886; later went to Paris and studied under Bouguereau and Robert-Fleuiy and at the Ecole des Beaux Arts. Awarded third-class medal salon 1891 ; received honorable mention Carne- gie Institute, Pittsburgh, 1897; second Hallgarten prize National Academy, 1900; bronze medal, Paris Exposition, 1900; an associate member National Academy, 1900; full member, 1906. An artist with a most delicate color sense. Paints the decorative landscape rather low in key, rich in color, and paint laid on solidly. It is by his sheep pictures that he is best known in this country. "Even- ing" was one of the prize pictures at the Columbian Exposition, Chicago, 1893. Among his well-known works are: " Going home " " Nocturne " " Return of the flock " " Moonrise " " The fold in the woods " " Clearing after the rain " "Ploughing" His wife is the original of the charming subject " Elizabeth." "He does not seem to care so much for composition or for assimilating the ingredients of the scene and representing them in synthetic form, as for surface play of color in certain portions of the picture. (The artist, 24:lix.) 69 "He is fond of the atmospheric eflFects of sunset and moonrise, and often finds an aid to his composition in his interest in animal life." (Int. studio 27:lxvi.) Dewey, Charles Melville, (P.) b. LowviUe, New York, July 16, 1851. As a child he displayed artistic talents, earning the money for his first painting materials by building the fire in the country schoolhouse. In 1874 he went to New York and became a pupil in the National Academy; two years later he went to Paris and entered the atelier of Carolus-Duran and was honored in being selected as one of three pupils to assist his master in the decoration of the "Plafond" of the Louvre. He returned to the United States and opened a studio in New York in 1878. He early became kno\ni as a truthful delineator of familiar phases of American landscape. "His landscapes are sj-nthetic in treatment, for he seeks to interpret, rather than to transcribe an eflFect." (Nat. Cyc. Am. Biog.) Characteristic paintings are: " Edge of the forest " " Gray robe of twilight " "The close of day " " River at night " "The queen of night" "Return of the hay boats" " An autimm pastoral " " The harvest moon " "The star and the shadows" His pictures have a liking for the subdued light of morning and evening, the trees massed dark against the sky, the depth and mistiness of the twilight foliage and the glow of the twilight sky. Dewixg, ^Iaria Oakley, (Mrs. T. W. Dewing) (P., I.) b. New York, October 27, 1857. Pupil of National Academy of Design and John LaFarge in New York; Ck)urtois in Paris. Received bronze medal at Pan-American Exposition, Buffalo, 1901. Specialty: Figure and flower pieces and portraits. Dewixg, Thomas Wilmer, (P., Mural P.) b. Boston, Mass., May 4, 1851. Pupil of Boulanger and Lefebvre in Paris. Won the Clarke prize. National Academy of Design, 1887; silver medal, Paris Exposition, 1889; Lippincott prize, Pennsylvania Academy of the Fine Arts, 1906; first medal, Carnegie Institute, 1908. Member of Ten American Painters. Mected a member of the National Academy of Design in 1888. "The exquisite poem 'In the garden' is one of the few perfect master- pieces which American figure painting has produced. 'The south wind' is a very beautiful allegorical conception." 70 Characteristic paintings are: ' * Sorcerers " " Before sunrise " " The blue dress " " The carnation " ' ' After sunset " " The garland " "Yellow tulips" "The mirror" " Girl with lute " "Early portrait of the artist's "A lady playing the violincello" daughter" "The spinet" "The quality in Dewing's work which appeals to me [Hartmann] beyond every other, is its personal character; it reflects the man's mind, that of a refined epicureanism, choosing naturally to live among dainty surroundings and beautiful women." Caffin says: "The technical summary of Thomas W. Dewing's work is impressionism, based upon skilful draftsmanship and the facile interpreta- tion of a color sense, not catholic, but deeply felt." Dewing paints amber-toned interiors. DiELMAN, Frederick, (Mural P., I.) b. Hanover, Germany, December 25, 1847. Came to the United States in childhood. Graduated at Calvert College. His first artistic work that appeared was entitled "A scene from a confederate raid in Maryland," and this was published when he was sixteen years of age. He studied art under Diez at the Royal Academy, Munich, returned to New York in 1876 and opened a studio there. Mr. Dielman was one of the founders of the Society of American Artists, and was elected a member of the National Academy of Design in 1883 ; also was one of the founders of the New York Etching Club. Was president of the National Academy of Design 1889-1909; professor of descriptive geometry- and drawing in College of New York since 1903. He has contributed largely to the illustration of current fiction in leading magazines, and in editions de luxe of the works of Longfellow, Tennyson, Eliot, Hawthorne and others. Mr. Dielman is a well-known designer of mosaic and mural work; his panels "Law" and "History" in the Library of Congress, the large mosaic "Thrift" in the Albany Savings Bank and six mosaics in the state capitol at DesINIoines, la., rank with the best in this line of art in America. Mr. Dielman also paints in oil, the subjects chosen being usually genre or historical. A few are: "The marriage of Francis Le • " Old time favorites " Baron" "A girl I know" "The Mora player" His "Pomona," "Gabrielle" and "Christine" are dainty bits of execution. 71 DiLLAYE, Blanche, (P.. I., E.) b. Syracuse, X. Y. Educated at Miss Bonney's and Dillaye's school (now Ogontz). Studied art in the Pennsylvania Academy of the Fine Arts and in Paris; a pupil of Stephen Parrish in etching. Has exhibited both in Paris salons, and in England, as well as at all the prin- cipal exhibitions in the United States. Received silver medal for etching, at Atlanta Exposition, and at Universal Exposition at Lorient, France, 1903. Represented in art collection of Syracuse, N. Y. Vice-president of Phil- adelphia Water-color Club; first president of Plastic Club; member of Women's Art Club, New York; also of Women's Art Association in Paris. ^liss Dillaye has a penchant for odd nooks and narrow^ alleys — a "Quebec sail loft," being very characteristic. Dix, EuLABEE, (Min. P.) b. Illinois, October 5, 1879. Pupil of St. Louis School of Fine Arts, William J. Whittemore and I. A. Josephi in New York. "Jewel-like color resembling the earliest stained glass is the effect ^liss Dix has most zealously striven for. In the miniature of Mrs. Michael Dreicer the sitter is clothed in emerald green, a color which contrasts most effectively with her reddish brown hair. The miniature of Mark Twain in a gown of an Oxford doctor of letters shows a prevailing tone of gray, the broad red band of the gown lighting the whole picture. The miniature of Mrs. Purdon- Clarke is exceedingly beautiful Miss Dix's sense of color values is peculiarly happy." "^liss Dix thoroughly understands the art of miniature painting as dis- tinct from portrait painting '*in the large." (Int. studio 40:sup. xciv.) "Eulabee Dix paints in the careful style of the old miniatures." Dodge, William de Leftwich, (Mural P.) b. Liberty, Va., ^larch 9, 1867. Studied in !Munich and with Gerome in Paris. Received two third medals and prix d' atelier while studj'ing with Gerome; two medals Cours Yvon, medal at Paris salon, 1888. gold medal Prize fund exhibition, New York. 1886 ; bronze medal Paris Exposition 1889 ; also medal at Columbian Ex- position, 1893. Member Society of Plural Painters. Has executed mural paintings in the Libraiy of Congress and in many New York City hotelsv DoDsox, Sarah Paxtox Ball, (P.) b. Philadelphia, Pa., 1847; d. Brighton, England, August 8, 1906. First began art studies in the Pennsylvania Academy schools in 1872. Her training was continued in Paris where for three years she worketl under Evariate "N'ital Luminals and afterward under Jules Lefebvre, enjoying also the privilege at a later period on her career of criticism from Boutet de Monvel. Her first publicly exhibited work was "L'amour menetrier" shown in the Paris salon of 1877. Her decorative painting "Pax Patriae" was an especial feature of the Pennsylvania state building at the Columbian Exposition. "La dance" is an exemplification of her early style and " Deborah." recently acquired by the Corcoran Gallery 72 of Art, Washington, D. C, well represents the second period of her art de- velopment. Her most important historical work is "The signing of the Declaration of Independence in the state hoiise, Philadelphia, Fourth of July, 1776," and "The invocation of Moses" in Saint Bartholomew church, Brighton, England, is her most important decorative work. In her land- scapes "there is a marked delicacy of feeling." " Her limitations were the limitations of her temperament. In her painting there can be heard no strident call for recognition, but always the soft voice of beauty makes lasting appeal Through each succeeding step of her artistic growth there is a sympathetic intimacy with the more subtle truths of nature." (Int. studio 45:sup. xxxvii.) DoNOGHUE, John, (S.) b. Chicago, 111., 1853; d. New Haven, Conn., July 3, 1903. Of very humble parentage. Had a short period of art study at the Academy of Design, Chicago; later studied with Jouffroy in the Ecole des Beaux Arts, Paris. Exhibited a head "Phaedra" in the salon of 1880. Re- turned to Chicago the same year. When Oscar Wilde visited this country in 1882 he called attention to Donoghue's artistic promise and through his efforts Donoghue was able to return to Europe the following year. Received honorable mention in the Paris salon of 1886. In Rome he produced a number of remarkable works. "Young Sophocles" undoubtedly his highest in- spiration, stands among the most perfect examples of ideal sculpture yet produced by an American. It was Donoghue's dream to be represented in his native city by a great work of art. He conceived the idea for an immense statue to be known as "The spirit." (Milton is said to have been the inspiration.) This colossal statue was intended for the Columbian Exposition, 1893. Arriving too late, no arrangements were made to receive it in New York and it was left on the dock. The artist could not pay the transportation bill. This and the failure to show his work in public caused him grevious disappointment. He lost enthusiasm and ambition and but little was known of him until his dead body was found on the shores of Lake Whitney, near New Haven, Conn., he having committed suicide. (Taft's "History of American sculpture.") DoNOHO, G.MNES RuGER, (S., P.) b. Church Hill, Miss., 1857. Pupil of Art Students' League of New York and R. Swain Gifford, Lefebvre and Boulanger. Received silver medal at Paris Exposition 1889. Ken yon Cox says: "Mr. Donoho is a painter who has produced too little and exhibited too little of what he has produced, but this picture ["La Mar- cellerie '*] decoratively designed and closely studied shows us a talent at once robust and fine." Another critic refers to the same picture as fully up to the best salon standards and especially as "being beautifully painted." 73 Dougherty. Paul, (P.) b. Brooklyn, X. Y., September 6, 1877. Gradu- ated from the Xew York law school, 1898. Soon after he decided to abandon a legal career and pursue art. He studied perspective and form under Con- stantin Hertzberg and then traveled and studied art alone five years at Paris, London, Florence, Venice and Munich. It is by his marines that he won fame. International studio 36:iii says of him and his art: "Never anecdotal he is always picturesque He would in rock representation show compactness and texture so clearly that its geological history may be read by a scientist. He would in ocean convey a profound impression of its depth, its latent cruelty and its almost resistless and rhythmic power of wave. "Northern sky" suggests the tremendous speed of a high billow hurled at a towering rock mass with the fun.' of the whole ocean behind it. More wave historj^ is told in "The cleft." "The twisted ledge" is a study in perspective of rock form "The black wave" represents the dynamics of ocean currents The nearest approach to impres- sionism is "Sun and storm" Mr. Dougherty should not be judged entirely as a painter of maiine; cloud, mountain and plain as well as rock, sea and sky have been depicted by him.'; "Better than others has he intei-preted atmospheric efifeets on lumiaous spray — the evanescent charm of the ever-changing sea." (Art & P. 2:7.) His "Land and sea" is in the Corcoran Gallery of Art and his "Sun and mist " is in the National Galler}-. A member of leading art clubs; elected associate of the National Academy of Design, 1906; academician, 1907. DuFNER, Edward, (P.) b. Buffalo, New York. Studied art in Madrid, Spain, and was a pupil of Whistler and Laurens in Paris. Received honor- able mention in the Paris salon of 1902. Is a member of the Paris American Artists Association, New Y'ork Water Color Club, and many other leading art clubs. Elected associate member of the National Academy in 1910. Instructor in the Art Students' League of New York. Most important work is "Portrait of a young lady in pink." DuNLAP, Mary Stewart, (P.) b. in Ohio. Now resides in Pasadena, California. Her first art studies were in New York after which she spent four years in Paris at the academies Delecluse and Whistler. She sketched and painted in oil and watercolor through Brittam' and Normandy. Her work in Paris was followed by artistic pilgrimages to Rome and Florence. Returning to the United States she decided to make Southern California her home. "Her delineation is elusive to the point of impressionism; it is rather the spirit of a certain hour of a certain day that she wishes to record Nature in Miss Dunlap's paintings does not necessarily mean a hteral rep- 74 resentation of natural objects Her work suggests rather that the color and the atmospheric transitions of nature are a worthier subject. In Pasadena she found a field for a wider diversity of material she is most de- sirous of interpreting — the portrayal of transient color effect. (Int. studio 45:xxiii.) ^ DuvENECK, Frank, (P., S., E., Mural P.) b. Covington, Ky., 1848. When eighteen years of age he was employed by a church decorator in Cincinnati and soon became an exceedingly valuable assistant. In 1870 he went to Munich and entered the Royal Academy. After three months' work in the antique class under Strahuber, he was admitted to the painting class of Prof. von Dietz. His progress was looked upon as phenomenal; he took all prizes of the academy from antique drawing to composition. In 1878 he opened a school of painting in ^lunich which became so popular that when he de- cided to go to Florence, nearly half of his pupils insisted on going with him; so he continued his classes in Florence and Venice for two years. He has received a number of medals and honors of many kinds. He -was elected member of the National Academy of Design, New York, in 1906. Since returning to Cincinnati, he has devoted much time to teaching a paint- ing class in the Art Museum of that city. Tj^pical works are: " Turkish page " " The woman with forgetmenots " " Whistling boy " " Venetian shrine " " Man with ruff " '' Interior of St. :Marks, Venice " "Prof. Loeflftz" In addition to painting and etching, he has done some remarkable work in sculpture, receiving an award in the salon for a monument he made to his wife. His mural decoration in the new Catholic cathedral Covington, Ky., is spoken of as being a serious and dignified piece of work. "Duveneck's works with the paint brush are, with few exceptions, distinctly paintings in the complete and full sense of the word, because they are em- phatically made with paint and the paint brush and not drawn and colored. It is the expressive use of the paint brush itself that is a large factor in the artistic value of his work." (Arts and D, July, 1911.) y E.\KiN8, Thomas, (P.) b. Philadelphia, Pa., July 25, 1844. Studied art in Philadelphia, at the Ecole des Beaux Arts, the Atelier Bonnat, and under G^ronie and Dumont in Paris. Has received many medals and prizes. Was elected a member of the National Academy of Design, New York, in 1902. Instructor in the Pennsyl- vania Academy of the Fine Arts. Since his return to the United States he has taught in life classes, lee- 75 iNrvEBSlTY tured as demonstrator of anatomy and becom^j)r6le8soB*of jjiaipllng and director of the Pennsylvania academy. His pictures are ven* varied in their subjects. He has painted many small pictures of domestic scenes in the early days of America, of American sporting and athletic games, studies of the American negro character and also portraits. " Eakins with a like grasp of the personality of his subjects and an even greater enjojTnent of the picturesqueness of their attitudes and apparel, yet fails of the popular appreciation that he merits because of his neglect of the beauties and graces of painting — ^not the beauties and graces of his subjects." (Isham.) "Cello player'' and "Salutat" are finished paintings and better indicate his power as an artist than the "Dancing lesson" and portraits earher ex- hibited." (Brush & P. 6:130.) K^TOX, Charles Harry, (P.. I.) b. near Akron. 0-, December 13, 1850. d. Leonia, X. J., August 4, 1901. As a painter and illustrator, was self-taught. First exhibited at the National Academy of Design, New York, 1881. Re- ceived silver medal, Boston. Associate member of the National Academy, 1893. Won the Evans prize in 1898 with his painting "The brook," and received the gold medal of the Art Club of Philadelphia for his "Willows," in 1900. " Lily pond ' is another popular picture of his. K\Tox, Wyatt, (P.) b. PhiUpsburg. Province of Quebec, Canada, May 6, 1849. Studied art in New York at the National Academy of Design before going abroad in 1872. He spent a few weeks in London where he met Whist- ler, then went to Paris where he worked under Gerome: made the acquaint- ance of Millet, also Munkaczy. For four years his time was divided between Paris and Barbizon, in the forest of Fontainebleau. In his "Hay makers" we trace the influence of Millet and Bastien-Lepage. While in France he painted figure subjects, landscapes and portraits, exhibiting in the salon of 1874 his "Reverie'' and two years later his "Har- vesters at rest." In 1876 he returned to America and became a teacher in the life and antique classes in drawing at Cooper Institute and was active in the formation of the Society of American Artists. Upon his return to America his first important works were portraits from life of Brjant, Longfellow, Emerson, Whittier and Holmes. His portrait of Mrs. R. W. Gilder and painting entitled "Man and violin" have an un- disputed place among the best pictures produced in this countrj\ "His characteristic note was not strength but rather delicacy of feehng: feeling for tone and color in his "Reflection,"' feeling for grace in his little classic figures, feeling for character in the crayon heads that he did of Emerson and Holmes and Whittier and others." (Isham.) 76 Eberle, Abastexia St. Leger, (S.) b. in Iowa, April 16, 1878. Studied sculpture with George Grey Barnard and Gutzon Borglum. Miss Eberle was an accomplished musician which line of artistic endeavors she abandoned for sculpture. There is a touch of mystery and grace promi- nent in her small works, as in "The dancer" where the wind of her move- ments draws her flying draperies against her body. This work was sold at the International exhibition in Venice, 1909. In"L'Isolee" we have the nude; in "Bacchante" a classic theme; and in "Indian Fighting Eagle" we see the aboriginal portrayed in a dramatic manner. The rendering of motion especially appeals to Miss Eberle. She says: "If 1 were a painter, I would be an Impressionist." Her collaborations with Miss Anna Vaughn Hyatt have received com- mendation and praise from those qualified to pass upon their artistic merits. Giles Edgerton says: "One of the most impersonal of the women sculptors is Miss Abastenia St. Leger Eberle. Her work does not suggest an effort to overcome a feminine point of view or to ape the masculine way of achieve- ment. She just seems to present people, little children, old beggar women, Indians, more absolutely than individually." "Miss Eberle is interested in settlement work and makes many journeys to the East Side, and is perfectly acquainted with the youngsters whose natures she reveals to us in bronze. "Coal picker" and "Rag gatherer" give the somber aspect of her work." (Arts and D. 2:105.) Elliott, Charles Loring, (P.) b. Scipio, Cayuga Co., N. Y., December, 1812; d. Albany, N. Y., September 20, 1868. Became a pupil of Trumbull and painted portraits while still a young man; opened a studio in New York early in his career. Was elected associate member of the National Academy of Design in 1845, and full member in 1846. Is said to have painted more than seven hundred portraits of eminent people. At the exhibition of the National Academy in 1868-69 many of his paintings were shown, including: "Don Quixote" "Falstaff" "Andrew Van Corlear, the trumpeter" and "The head of Skaneateles Lake," the only landscape he ever painted. Tuckerman says: "No one can mistake the rich tints and vigorous expres-sion, the character and color which distinguish Elliott's portraits." Elliott stands among the first American portrait painters, especially for old and character heads. His portrait of Fletcher Harper is considered by artists and critics to be a masterpiece, and the committee who selected American pictures to be sent to the l^aris Exposition unanimously chose it as a typical and clever American portrait. Elliott, John, (P., I., Mural P.) b. England, April 22, 1858. A student 77 in the Julien Academy: also pupil of Carolus Duran and of Jose de Villegas at Rome. While in Rome he painted his first important mural decoration, and occupj-ing apartments with Mrs. Elliott's cousin, F. Marion Crawford who had collected many death masks, he was fascinated vath one of Dante. Two pictures of Dante in exile were the result; one of them now hangs in the living room of Queen Margherita of Italy, the other, in the home of Mrs. J. Montgomery Sears of Boston. A pastel study of Dante thrown into a waste basket and rescued by Mrs. Elliott, is now better known than either of his paintings, and in reproduction has gone all over the world. His great mural painting, "Diana of the tides" for the National Museum in Washington, D. C, was painted in Rome. "The vintage," frieze and ceilings in the home of Mrs. Potter Palmer, Chicago, and "The triumph of time," ceihng decoration for the children's room in the Boston Public Library are his most notable mural decorations in America. Twenty-four pastel drawings made to illustrate Mrs. Anderson's fairy tale "The great sea horse" were exhibited in America. Of his portrait of Julia Ward Howe, it is said: "The picture is utterly simple It is tender, reverential, a sweet and solenm glorification of old age, and of the old age of a distinguished spirit." He said "I was painting the author of "The battle hymn of the repubUc." Mr. Elliott made the well-known silver-point portrait of "the late King Humbert which Queen Margherita carries with her on all her journeys. (Everybodj^'s M. 23:95.) Mr. Elliott has been honored with several decorations. (Arts & D. 2:359.) Elwell, Frank Edwix, (S.) b. Concord, Mass., June 15, 1858. Studied in the United States under Daniel Chester French, and in Paris at the Ecole des Beaux Arts and under Jean Alexander Falguiere. Is a member of the Institute of France. Has exhibited in the Paris salon, Royal Academy, London, Royal Exhibition, Brussels, Philadelphia Art Club and Pennsylvania Academy of the Fine Arts, Philadelphia. Enjoys the distinction of being the first American sculptor who modeled in America a statue to be erected in Europe. Best known works are: "Death of strength," a monument at Edam, Holland; Bust of Lord Provost of Aberdeen; at Aberdeen, Scotland; Equestrian statue of General Hancock, at Gettysburg; Monument of Edwin Booth at Blount Auburn, Cambridge, Mass. ; Two foimtains — "C^res" and "Kronos" — at Pan-American Exposition; Statue of Dickens and Little Nell, Fairmount Park, Philadelphia; Busts of Levi P. Morton and Garret A. Hobart in the senate chamber at Washington, D. C. 78 Was associate editor of the Arena magazine and also compiler of the first history- of American sculpture. At an exhibition of the Cincinnati Art Club, of which Mr. Elwell is an honoraiy member, was shown his bronze statue "The orchid." ''A beautiful young woman in a dancing attitude is gracefully poised on one foot, which hardly seems to touch the earth. The upward action of the arms, the spring of the foot and the suggestive airiness of the drapery all tend to convey the idea that she is of the air, as is the orchid." (Brush & P. 6:76.) Emmet, Lydi.\ Field, (Min. P., I.) b. New Rochelle, N. Y., 1866. Pupil of Bouguereau, Giacomotti, Robert-Fleury, Collin and Mac]\Ionnies in Paris; Chase, Mowbray, Cox and Robert Reid in New York. Associate member National Academy of Design, 1909. Won many prizes and medals. "Miss Emmet's color is exquisite and her daring but positive use of ver- milion is unusual. Nearly every one of her miniatures might be called a flower of portraiture, for these dainty things suggest gardens of lilies and lilacs." (Brush & P. 6:26.) "She is a painter of aristocracy, of the American aristocracy, which is distinct from any other. Her women have intellect, her children health. . . . .... ^liss Emmet has successfully conquered the matter of grouping before which so many other painters have met with disaster." (Guy du Bois.) "Olivia" won honorable mention at the last exhibition of the Carnegie Institute. " Her child portraits invariably carry conviction and have pictorial charm Her brushwork is strong and her treatment of svn-faces and textures adequate." Enneking, John Joseph, (P.) b. Minster, O., October 4, 1841. Was edu" cated at Saint Mary's College, Cincinnati, receiving his first lessons in drawing from Bishop Rosecrans, then principal of the institute. Served in the U. S. army during the civil war. Took up mercantile pursuits in 1865. Went to Europe in 1872 and studied art with Schleich and Lier, Munich, and special figure painting with Bonnat and Daubigny, Paris; later took up landscape under the advice of the latter. Returned to Boston, 1874. Has won several silver and gold medals in America. He excels in depicting New England landscapes and among his best works may l^e mentioned: " Summer twilight " " Calf in the lane " "Cloudy day in summer" "The clam-digger" " Indian summer " " The brook " " Noveml^er twilight " " Sheep and lambs " " December thaw " 79 His earlier but much admired works are: "Moonlight on the Giudecca, "Farm yard scene in France" Venice" "The Obersee" (considered by some " Freshly picked " to be his best) ^Ir. Enneking is a colorist, but not a riotous colorist. He does not startle, he satisfies He is acknowledged to have created, artistically speaking, the "November twilight." He is one of the most individual of American painters, and withal one of the most developed and rounded of personalities. (Brush & P. 10:335.) Frederick W. Cobum says: "His ideal is the picture that shall be the perfect expression, not of a locality, but of a thought." EzEKiEL, ^losES Jacob, (S.) b. Richmond, Va., Oct. 28, 1844. Graduated at the Virginia !Militar\' Institute in 1866; studied anatomy at the Medical college of Virginia. In 1869 he went to Europe, entering the Royal Academy of Art in Berlin and remaining there until 1871, working later in the studio of Prof. Albert Wolf. In 1872 he was admitted into the Society of Artists, Berlin, on the merits of a colossal bust of "Washington," and in 1873 with his "Israel" he gained the ^lichaelbeer prize, a stipendium for two j'ears study and residence in Italy. He was the first foreigner to win this prize. The Emperor of Germany and the Grand Duke of Saxe-^Ieiningen have conferred upon him the cavalier crosses for merit in art and science; the King of Italy bestowed on him the cross of an " Officer of the Crown of Italy " ; he has won the gold medal of the Royal Association in Palermo, the Raphael medal at Urbino, and is a member of the Societies of Artists in Berlin and Rome, and of the Academy of Raphael in Urbino. Since 1874 he has resided in Rome, where his studio itself is a notable place. Mr. Ezekiel's first important work, a marble group representing "Religious Liberty" is now in Fainnount Park, Philadelphia. His "Thomas Jefferson" is in Louisville, Ky., and a series of eleven statues of famous artists, in Carrara marble, decorate the Corcoran Galleiy of Art, Washington, D. C. The development of patriotic themes is a specialty of this sculptor. "It is probable that in sounding this greatest and best chord of human nature, patriotism, Sir ^Moses Ezekiel touches and holds his highest level." (World's Work, Vol. 19:12255.) He has made many busts of beautiful women scattered throughout Europe and America, but none reallj' so perfect as that of the Dowager Queen of Italy. His "Napoleon" is a notable work. The late F. Marion Crawford called it the history of Napoleon, and Cesareo, the Sicilian poet and art critic, writes of it: "Rarely or never has the tragedy of Napoleon been signified 80 with more severe sorrow, with such intense truth, wdth more heroic grief, than in the sculpture of p]zekiel." Liszt, who had a personal acquaintance with all the best artists of Rome, selected Ezekiel to make his portrait-bust for the Academy of Music at Pesth. Cardinal Hohenlohe, an intimate friend of Liszt, also an authority on art, after having viewed the work critically, turned to it again on leaving the room, and said, "Adieu, Liszt! I thus hand thee down to posterity." An Italian publication, "Publica Opinione," closes a critical review of Mr. Ezekiel's works with these words: "We conclude this brief notice by expressing our admiration of the great American sculptor in whom we feel Italian pride because his genius was cultured beneath our sky, and was in- spired by our great men to become more great." Farny, Henry, (P.) a native of Alsace, was bom in Ribeauville in 1847 His family came to this country in 1853, and later took up their home in Cincinnati where his father died in 1865. His first efforts in art were decorations on water coolers. Afterwards became designer for lithographs, one of his widely known productions of that period being a caricature of the escape of Jefferson Davis. In 1867 he went to New York and entered the employ of Harper and Brothers; later worked his passage to Europe in a sailing vessel. In Rome he met Regnault, who engaged him to make the sketches which appeared in Francis Wey's elaborate work on Rome. Being a Frenchman by birth, Farny was admitted to fellowship of the French artists in Rome. Went to Diisseldorf, where he became the pupil of Munkaczy. Returning to America in 1870, and being unsuccessful . in disposing of his paintings executed abroad, he was compelled to gain support by making designs for the large showbills used by circus companies. Later gained considerable reputation as a cartoonist. In 1878 in company with Duveneck, Dengler and Twachtman he again went to Munich and there gained honorable mention in the competition for composition. For many years he has been chiefly engaged in Cincinnati in designing illustrations for school books and magazines. Farny has been most successful in his delineation of Indian life and char- acter; in this field he has done pioneer work. A popular specimen is "Song of the talking wire." "The silent guest" is perhaps the best of his works in oil. Farrkr, Henry, (E.) b. London, England, March 23, 1843; d. Brooklyn, N. Y., February 24, 1903. He came to America when he was nineteen years of age. His first serious attempts at etching were made about 1868. Neces- sity compelled him for a time to abandon etching for more lucrative pursuits, but at the fonnation of the New York Etching Club in 1877, he again took up the work. 81 In 1879 he became secretan' of the American Water Color Society and in 1881 president of the New York Etching Club. Was elected in 1882 a fellow of the Royal Society of Painter-Etchers, London, and in 1885 honoraiy member of the Philadelphia Society of Painter-Etchers. Among the best kno\Mi of Mr. Farrer's earlier works were a series of eleven plates illustrative of "Old New York." These have been withdrawn from publication. His most important and interesting plates are: ' ' Old oak tree, twilight " "On the marshes " "Chickens" "TwiUght" "The washerwoman" "October" "A cloudy day" "Sunset" " A November day " " Winter " " Twilight on the creek " " Staten Island shore " ' ' December " "On New York Bay " " Sunset, Coast of Maine " " Sandy Hook Ught " "Winter in the woods" "A shady spot on a sunny^road" "Old house b}' the roadside" "Simset on East River" "On the beach at Bay Ridge" (American Art Review, 1880.) Fenn, Hakry, (P., I., E.) b. Richmond, England, September 14, 1845; d. Montclair, N. Y., April 21, 1911. At the age of nineteen he came to America, ostensibly to see Niagara Falls. He remained in this country for six years and then went to Itah' to stud}'. Shortly after his return to the United States he illustrated his first book, WTiittier's "Snowbound," which was soon followed by the "Ballads of New England." These were the first illustrated gift books produced in this count ly and marked an era in the histoiy of book- making. In 1870 he made an extended tour of the United States to gather material for "Picturesque America." He was one of the founders of the American Water Color Society, a member of the New York Water Color Club, the Society of Illustrators and the Sal- magundi Club. (American Art Annual, Vol. 9.) Fisher, H.\rriso-V, (I.) b. Brooklj-n, N. Y., July 27, 1875. Manifested his artistic inclinations at the age of six and was early instructed in drav^ing and painting by his father who was an artist. His family removed to San Francisco and he studied at the Mark Hopkins Institute of Art. At sixteen he did drawing for a San Francisco newspaper. Two sketches accepted by the editor of "Puck" secured him a staff position. I^ater he did serial work for the "Saturday Evening Post," and went abroad for material to furnish the pictorial part of some articles for McClure's magazine. He has illustrated for "Life," "Ladies' Home Journal," Scribner's, etc. 11 82 The creator of the "Fisher girl" it has been estimated has turned out of hand more than a thousand studies of the American girl. " In a personal way he reflects a boyish sincerity with a philosophic regard to essentials." (Bookman, 11:140.) Fisher, (William) Mark, (P.) b. in Boston of English and Irish parents; educated in the public schools; studied art at Lowell Institute, later was a pupil of George Inness at ^ledfield. Went to Paris at twenty and studied in Gleyre's atelier; settled in Boston, but had small success; went to England to live where he now is well known as landscape and animal painter, ex- hibiting at the Royal Academy and elsewhere. He is very highly regarded in England and his works are in the finest public and private collections. Best known paintings are: " The meadows " "A Scotch hillside " "On the Cam " " Early summer " "Noon" "Evening" "A canal jump on the Oise" George Moore in "Modern painting" says: "Mark Fisher's painting is optimistic. His skies are blue, his sunlight dozes in the orchard, his chestnut trees are in bloom. The melodrama of nature never appears in his pictures ; his lanes and fields reflect a gentle mind that has found happiness in observing the changes of the season." In Januar\% 1911, Mr. Fisher was elected associate member of the Royal Academy, London. Flagg, James Montgomery, (I.) b. Pelham Manor, Westchester Co., N. Y., June 18, 1877. Educated in New York public schools, Dr. Chapin's private school; studied at Art Students' League, New York, four years in Herkomer's Art School, Bushey, England, and also under Victor Maree in Paris. Became illustrator for St. Nicholas Magazine, 1890; has been drawing for "Judge" and "Life" since 1892; illustrator for the various magazines. Painted portraits in Paris, 1900; also in St. Louis and New York. Exhibited portraits in the Paris salon of 1900; also portraits in oil and water color in National Academy of Design and New York Water Color Club. Life member of the Lotus Club. Author: "Yankee girls abroad," "Tomfoolery," "If — a guide to bad manners," "Why they married," "All in the same boat," "City people." (Who's Who, 19i2.) Foote, Will Howe, (P.) b. Grand Rapids, Michigan, June 29, 1874. Pupil of the Art Institute, Chicago, Art Students' League of New York, Julien Academy under Laurens and Benjamin-Constant in Paris. Received honorable mention at the Pan-American Exposition, Buffalo, 1901, third 83 Hallgarten prize National Academy of Design, 1902, bronze medal at St. Louis Exposition, 1904. Member Paris American Art Association. In- structor at Art Students' League of New York. Forbes, Edwix, (P., E.) b. New York, 1839; d. Brooklyn. N. Y., March 6, 1895. Began the study of Art in 1857 and two years later became pupil of A. F. Tait. At first devoted himself to animal painting; afterwards gave more attention to genre and landscape. During the ci^-il war he was a special artist for Frank Leslie's Illustrated newspaper, and his studies of battle scenes were done in etchings, he being the first etcher in America. These etchings called "Life studies of the great army" have a value as a record of military- life during the civil war. General Sherman boug h the first proofs of these sketches for the V. S. government, and they are now in the war department, Washington. The most noted are: " The reliable contraband " " Coming through the lines " " The sanctuar}^ " " A night march " " Returning from picket duty " " The reveille " In New York in 1865 he produced "Lull bi the fight." This picture contains thirty figures and represents a scene in the battle of the wilder- ness. In 1878 he established a studio in Brookl\Ti, N. Y., and devoted himself mainly to landscape and cattle pieces. Honorary member London Etching Club. Foster, Bex, (P.) b. North Anson, Maine, July 31, 1852. When eighteen years of age he went to New York where he was employed in mercantile business until he was about thirty when he decided to devote himself to art. Studied with Abbot Thayer and at the Art Students' League of New York. Went to Paris in 1886 and continued his studies under 01i\ier ^lerson and Aime Morot; exhibited in the Paris salon; returned to New York in 1887; regularly represented at the exhibitions. Associate member National Academy of Design, 1901 ; full member, 1904. Mr. Foster has given much attention to the painting of landscapes and sheep; his favorite subjects are night effects and woodland scenes. His compositions are marked by a large feeling of unity. "He treats a morsel of landscape, but as a part of the big mysterious scheme of things." (The artist 29:xx.) Among his most important works in oil are: " A dreary road " " Fontainbleau forest " " A Maine hillside " " First days in spring " "All in a misty moonshine" "A windy night" 84 "The evening star" "A wet day in the pines" " Now the day is over " "Sunset in the Litchfield Hills" "In the Green Mountains" Also in water colors: "The day is done" "The laggard" "The shepherd" His painting "Lulled by the murmuring stream," exhibited at the Paris Exposition 1900, was purchased by the French government for the Luxem- bourg Gallery. In autumn of 1900 he was awarded the silver medal and the $1,000 at the Carnegie Institute, Pittsburgh, for "Misty moonlight," and in the spring 1901, at the exhibition of the Society of American Artists, he was awarded the Webb prize for the most meritorious landscape painted by an American. FouRNiER, Alexis Jean, (P., I.) b. St. Paul, Minn., July 4, 1865. At the age of fifteen, ambitious to accomplish something with brush and color, he found employment in a Minneapolis sign shop; soon after this he engaged to assist in scene-painting. In the fall of 1893 he went to France and entered the Acad^mie Julien, Paris; studied also under Jean Paul Laurens, Benjamin- Constant, Gustav Courtois and Henri Harpignies. One of his earliest paintings, "A spring morning near Minnehaha Creek" was exhibited in the salon of 1894. Of his last painting exhibited in the salon and which was hung next to a Gerome, the Figaro commenting on its merits, said that it was one of the best paintings in the room. In the summer of 1907, Mr. Foumier went to the village of Barbizon, France, to paint the studios and homes of the great French painters known as the "Men of 1830." These canvases, which are full of the atmosphere and spirit of the place, are: "Studio of Millet" "Home of Diaz" "Dupre's studio" Other characteristic works are: "Moonlight on the lagoons" "Old orchard, Normandy" "When golden evening fades" "Rousseau's cottage" "River Oise — Daubigny's houseboat" "Corot's home" "The shepherd's return" " Peaceful night, Normandy " "Sunset after rain" (particularly note- worthy) His "Crepuscule" exhibited in the Paris salon is called perfect in tone. "He is not a painter of ideal scenerj- but a painter of nature, interpreting 85 her moods with true poetic feeling. He believes the mission of a painter of out-of-doors is to show Nature in her fine moods — her harmony and music, as it were." (Brush & P. 4:243.) FoAVLER, Frank. (P., I.) b. Brooklyn, N. Y., July 12, 1852; d. New Canaan, Conn., August 18. 1910. Pupil of Edwin White in America, and Carolus- Duran and Ecole des Beaux Arts in Paris. Received bronze medal, Paris Exposition, 1889; bronze medal, Pan-American Exposition 1901. Elected a member of the National Academy of Design, New York, in 1900; member of the Society of American Artists, 1882. Specialty, portraits; among his noteworthy portraits are those of Governor Tilden, Governor Flowers, Wil- liam Dean Howells and ^ladame ^lodjeska. Mr. Fowler is also a teacher and the author of several works on art, among them being " Portrait and figure painting." Eraser, James Earle, (S.) b. Winona, Minn., November 4, 1876. When eighteen years of age he entered the Art Institute at Chicago and six months later went to Paris to enter the Ecole des Beaux Arts. "His work in the salon exhibit of 1897-98 not only won the prize offered to American artists but so impressed Saint-Gaudens who was a member of the committee of awards that he wrote to the young sculptor. The result was that Fraser went to Saint-Gaudens, returned to the United States with him in 1900 and worked with him until 1902 when he established himself in New York. At present he has the distinction of being the oldest resident in the artists colony in Macdougal Alley, and he is an instructor at the Art Students' League. Mr. Fraser is, perhaps, the first among the successful pupils of the late Au- gustus Saint-Gaudens. Helen Christine Bennett writes (Arts &T>.1 :375) : " The rehef of the TVTiit- ney children upon their horses is particularly attractive The bust of Cornelius Y. Whitney is that of a verj* handsome boy to whom the sculptor has done justice. The head of June Evans, especially in profile, shows great delicacy in handUng and a certain subdued piquancy of expression which indicates a depth of treatment not shown in the other two." A rehef of Horatio Hathawaj' Brewster was the first rehef portrait done by ^Ir. Fraser which caught the popular fancy. A bust of Theodore Roose- velt shows not only skilful but powerful treatment. An impression of ilary Garden as " Mehsande" reveals a poetic side of the work of the sculptor. French, Daniel Chester, (S.) b. Exeter, N. H., April 20. 1850. Was educated in his native town and at Cambridge, Amherst and Boston, ilass. At the age of eighteen he began to model and his efforts met wdth encourage- ment from Louisa il. Alcott who suggested that he seek systematic instruc- tion. His first subjects were animals, portrait reliefs and busts of friends. He attended Dr. Rimmer's lectures on artistic anatomv and studied the 86 antique sculptures in the Boston Athenaeum. Is honorary president of the National Sculpture Society. Mr. French received his commission for the "Concord Minute-man" when he was twenty-three years of age. This was finished in 1874 and he then went abroad for the first time. He studied two years in Florence with the American sculptor Thomas Ball. In 1886 he again went abroad, this time to Paris where he drew from the models in the class of M. L6on Glaize. Since his return to the United States in 1887 he has permanently resided in New York. Received honorable A. M. Dartmouth, 1898. Associate member National Academy of Design, 1900; full member, 1901. Busts of Ralph Waldo Emerson and Bronson Alcott, a frieze representing Greeks carrying offerings and several portraits in the round, low and high reliefs are his early works. In collaboration with Mr. Edward Clark Potter, ^Ir. French has produced three equestrian statues of high value. "Washington" presented to France by the Daughters of the Revolution, placed in the Place d'Lena, Paris, "General Grant" in Fairmount Park, Philadelphia, and "General Joseph Hooker " in Boston. Mr. French's monumental architectural reliefs are distinguished specimens of this new phase of art. "Death and the sculptor" — the ^lilmore memorial — won him a medal in the Paris salon of 1891. The John Boyle O'Reilly memorial, Boston, is a work of rare strength and beauty. In the "Alice Freeman Palmer memorial," Wellesley College, executed in Carrara marble, the technical details have been rarely wrought. The "Gallaudet group" at Washington, D. C, is one of his most pleasing portrait monuments. His imposing "Alma mater" now adorns the approach of the Library of Col- umbia University, New York, and he furnished two monumental groups for the Cleveland, Ohio, federal building. Other important creations are: A. R. Meyer monument, Kansas City, Francis Parkman monument, Boston; Melvin memorial monument. Concord, Mass.; Hunt memorial. New York; Marshall Field memorial, Chicago; statues of General Cass, John Harvard and Rufus Choate and Governor Oglethorpe of Georgia; bust of Phillips Brooks, the well-remembered "Statue of the Republic" at the Columbian Exposition, 1893, and the bronze doors of the Boston Public Library. Low relief work is one of the final tests of a sculptor's skill, and here Mr. French has shown his skill to be quite equal to his refined taste. Since the death of Augustus Saint-Gaudens, Daniel Chester French stands at the head of modem American sculpture. y/ Frikskke, Fr?:deric Carl, (P., Mural P.) b. Owosso, Mich., April 7, 1874. Studied at Chicago Art Institute and in Paris under l^enjamin-Constant, Laurens and Whistler. Exhibits in Europe and America. In 1904 one of his pictures, "Before the glass" — was purchased by the French government 87 for the Luxembourg Gallery. He is also represented in the Modern Gallery in Vienna ; is the possessor of a gold medal from Munich and won a prize from the Corcoran Gallery of Art, Washington, D. C. In 1908 he was elected societaire of the Societe Nationale des Beaux Arts, Paris, since which time his works are accepted by the salon without the inspection of a jury. In 1912 he was elected an associate member of the National Academy of New York City. Among ^Ir. Frieseke's figure subjects his decorative canvas "Youth" illustrates the firmness of his modeling, and "The Chinese parasol" and "The girl with bird cage " are also typical examples of his work. Other popular paintings are: " The green sash " " Repose at noonday " " Misty morn " " Among the hollyhocks '.' "Lady on a gold couch" "Autumn" ' ' Breakfast in the garden " " The toilet " " The yellow room " "One strong feature, more pleasing in the work of Frieseke than in that of many other members of the American colony in Paris, is his sense of design and balance." (Int. studio 43:273.) Brilliant sunshine has been his particular study for several years. He delights in rendering effects of sunlight upon green foliage. Clara MacChesney in waiting of the work of this artist, says: "The charm of Frieseke is in the light and color of his canvas. His color is purer and higher in key but lacks the mysteiy of Aman-Jean's. His pictures are more crowded as to composition, but decorative in desiga like Blanche's. Bril- liant garden scenes, palpitating with light and color, landscapes, interiors representing intimate scenes of the toilet or pictures of nude women, and mural decorations form his chief line of work He knows nothing about flowers and cares less, nor does he make a careful study of them nor of different kinds of gardens, but his one idea is to portray the dazzle of light and of color of flowers seen in sunlight." As a mural decorator he is best known for his large decorations at John Wanamaker's store in New York. Of his decorations in Hotel Shelbourne, Atlantic City, also of his mural painting in the Rodman Wanamaker Hotel and the Amphitheater of Music, New York, a correspondent and art critic says: "Frieseke's decorations are subdued and harmonious." ^Ir. Frieseke lives in France and has a charming home at Giverney, that haven of artists. Fromuth, Charles Henry, (P.) b. Philadelphia, Pa., Februarj'^ 23, 1861. Pupil of the Pennsylvania Academj' of the Fine Arts under Thomas Eakins. Received second class gold medal at the International Exposition of the Fine Arts, Munich, 1897; silver medal, Paris Exposition, 1900; gold medal S8 St. Louis Exposition, 1904. Associate Soci^te Nationale des Beaux-Arts, Paris, Member London Pastel Society, Society des Peintures de Marine, Paris; Berlin Secession Society of Painters. Specialty, marines. The English Illustrated ^Magazine for April, 1912, refers to Mr. Fromuth as "an artist of undisputed distinction, recently acknowledged to be the leading pastel painter in the world " "The works of this master of pastel are nearly all scenes in harbor and groups of sardine boats painted under varying conditions of light." "Mr. Fromuth's pictures reveal his extraordinary knowlege of wave movement and cloud form, his sensitiveness to light and shade and his com- plete masteiy of color and effect When a painter names his pictures "Fluid water at evening," "The mirror of the storm," "Harbor waters caressed by overhead clouds," "In the jungle of the sardine fleet," etc., we feel that the subjects are chosen for their spiritual meaning as well as their pictorial message." Frost, Arthur Burdett, (I.) b. Philadelphia, Pa., January 17, 1851. He began his career in a wood-engraver's establishment and later took up lithography at the same time devoting his evenings to the study of drawing. In 1872 he furnished a number of illustrations for "Out of the hurly-burly" by Charles Heber Clarke, which was very successful and since then he has illustrated works by various authors. Frank B' Stockton (whose works he illustrated) said of him. "By nature ^Ir. Frost is essentially a humorist." In 1877 he went to England to study and work, but preferring American life and atmosphere, returned in 1878. As a chronicler of phases of American life he has been called the Mark Twain of the illustrators. "His compositions are apparently done so easily, he realizes his scenes as perfectly himself and is so convincing in his placing of the accent that one has no hesitation in saying that it is that of a cheerful, healthy optimism bred in sunny American country life." "In his execution, he relies mainly upon sketches of white paper and an equal distribution of parallel-tint and cross-hatch shading." "How wonderful it is that week in and week out, drawing a hundred land- scapes to Ruysdael's one, a hundred tramps to Callot's and Ostade's one, he is able to suggest so vividly the effect of sunlight upon distant meadow, and the homely poses of what, were America the old world, would be called the peasant class." (Knaufft.) No one else drawing animals realistically can make them so truly funny. (Ind. 59:1397.) v/ FuLLKR, GK()R-ptian chimera." fie executed the main fountain "Man" for the Pan-American Exposition, Buffalo, 1901. Grayson, Clifford Provost, (P.) b. Philadelphia, Pa., July 14, 1859. Graduated from the University of Pennsylvania in 1878. After studying at the Pennsylvania Academy of the Fine Arts, he went to Paris the same year and studied in the Ecole des Beaux Arts and in the Atelier G^rome. Then he went to Pont Aven and Concameau where some of his most suc- cessful pictures were painted. Subsequently he opened a studio in Paris, and l)e('ame a regular contributor to the salon. 95 His first painting shown in the salon of 1882 was "A Breton idyl." This Avas followed by " Going to market." In 1883 his "Rainy day at Pont Aven " was hung in a most prominent place on the line and received favorable com- ment. "Ahoy," was exhibited in the salon of 1884, and "Fisherman's family," 1885. "Midday dreams" won $2,000 prize in 1886 at an art ex- hibition in New York. ^Ir. Grayson returned from Europe in 1891 to become director of the art department of Drexel Institute. In his work he reminds one of Jules Breton. Greatorex, Eliza, (E.) b. ^lanor-Hamilton, Ireland; d. Paris, France, 1897. In 1840 she came to New York with her family, and in 1849 married Henry W. Greatorex, a well-known musician and organist. Being early left a widow with three children she made art her profession and went to Paris where she studied under Lambinet for a j'ear and later at the Pina- kothek, ^lunich. After this period of study she returned to New York and in 1869 she was elected an associate member of the National Academy of Design, New York — an honor which at that time only one other woman, Mrs. Bogardus, shared Avith her; she was the first woman to be elected a member of the Artists Fund Society of New York. It is by her pen-and-ink draAnngs — a series of pictures of old New York — that she is perhaps most widely knoAvn. In 1873 she determined to take up etching and in 1878 settled in Paris and made etching her chief study. In the summer of 1880 she went to the valley of the Chevreuse (Seine et Oise) and at Chevreuse and Cernay-la-Ville etched directly from nature her "Pond at Cerney-le-Ville." Her "Old Dutch church" is most characteristic and attractive. The work of Mrs. Greatorex is delicate rather than strong in its inception as well as in its execution. (Koehler's "American etching.") She etched her famous plate "The old Bloomingdale tavern" in 1869. Green, Elizabeth Shippen, (Mrs. Huger Elliott) (I.) Studied at the Pennsylvania Academy of the Fine Arts, also with Howard Pyle; guided and encouraged in her childhood by her father, a lover of art, who with her mother lived also at the "Red Rose." Studied six years abroad. Began by illustrating for advertisements; then entered the wider field of drawing pictures for children's poems and stories. "Her love of the dainty mysteries of elves and fays has free expression." Her work appears especially in Harper's. Groll, Albert Lorey, (P.) b. New York, December 8, 1866. ^lost of his student years were spent in ]Munich where he studied at the Royal Academy. Has been a landscape painter since 1895. A member of the National Academy of Design, New York, 1910. In his student days he gave much attention to figure painting but there 90 came a time when he could not afford models for figure pieces; this forced him to find his models in the trees and rivers, hills and fields. His earlier pictures are studies of the familiar atmospheric effects of dawn, twiUght, moonlight, mist, sunrise and starlight as seen at Cape Cod, Sandy Hook and in New York City. Mr. Groll accompanied Prof. Stuart Culin of the Brooklyn Museum of Arts and Sciences on an exploration trip to New Mexico and Arizona and the sketches that he made of the Colorado desert furnished material for his now noted "desert" pictures. His "Arizona" won the gold medal in 1906 at the exhibition of the Pennsylvania Academy of the Fine Arts. "It is only a stretch of desert and sky and low'-lying hills, but it glows like a gem with the indescribable never-to-be-forgotten color of the Colorado desert." (Crafts- man 9:826) "The sandstorm" is another remarkable production; "The rainbow" still more daring. In "Clouds" he is seen at his best. "Laka Louise " was awarded the Inness gold medal. He shows the desert in all its moods, — placid and savage, bold and mellow. "Groll is the musical dreamer in colors." (Int. studio 27:lxvi.) Grover, Oliver Dennett, (Mural P.) b. Earlville, 111., January 29, 1861. Studied in Royal Academy, Munich; with Frank Duveneck in Florence, with Boulanger, Lefebvre and Laurens in Paris. Received the first Yerkes prize, Chicago, 1892, for his painting, "Thy will be done." Gruppe, Charles Paul, (P.) b. Pictou, Canada, September 3, 1860. Studied in Holland but is chiefly self-taught. Received gold medal at Rouen gold medal of American Art Society in 1902; two gold medals in Paris. Is a member of the Pulchre Studio, The Hague; Arti, Amsterdam; American Water-color Society, New Y^ork; Art Club of Philadelphia; New* Y'oik Water- color Club. Guerin, Jules, (P., L, Mural P.) b. St. Louis, Mo., November 18, 1866. Going abroad after preliminary studies, he entered the ateUers of Benjamin- Constant and Jean Paul liaurens in Paris. Received honorable mention at Paris Exposition 1900; also honorable mention at the Pan-American Ex- position, Buffalo, 1901, and silver medal at St. Louis Exposition 1904. Mr. Guerin is an architectural draughtsman, a successful decorative painter, and a well-known illustrator. In recent publications, he has collaborated with Robert Hichens, the author, using many of his subjects from Egypt and Palestine. Among his interesling paintings are series of French chateaux, Venetian scenes, and public buildings of historic interest in the United States. In estimating the artistic qualities of Mr. Guerin, the International Studio says: "He studies a building with the trained and informed intelligence, the assured restraint of an architectural draughtsman of the better sort .... 97 .... He is careful of design and bold, almost arbitrary in color, conven- tionalizing like a decorator." He has painted six enormous topographical landscapes as mural decorations for the new Pennsjdvania R. R. station in New York City. They represent chiefly the country traversed by that railway company. GuTHERz, Carl, (Mural P.) b. Schoeftland, Switzerland; d. Washington, D. C, February 7, 1907. Came to this country with his parents in 1851 and settled in Memphis, Tenn. He became a mechanical draughtsman. In 1868 he went to Paris and studied art with Cabason and Pils, and later with Stallaert and Robert in Brussels and Antwerp; finally settled in Rome in 1871 where he studied with Simonetti. There he executed his first im- portant work "The awakening of spring," and on the strength of this painting, he was elected in 1872 a member of the Cercle Artistique Internationale; after spending some time in Munich he returned to the United States in 1873 and became associated with Prof. Halsey G. Ives. In 1880 Mr. Gutherz married an accomplished and cult\n-ed lady of a distinguished Alabama family and they soon after remoVfed to Paris where they lived until 1896. While in Paris, Lefebvre, Boulanger, Gabriel Ferrier, Jules Breton, Oliver Merson and Puvis de Chavannes were among his intimate associates. He exhibited in ever>' salon and in 1876 he received a medal from France that rendered his works hors concours in the salon. His work assumed "that dignity and proportion of color symphonies, significant in mystic symbolism." Being awarded the commission for decorating the ceiling of the Representa- tives' reading room in the Library of Congress, led to his establishing his home in Washington where he was for many years connected with the art department of the Washington University. His mural paintings in the Library of Congress are seven panels representing "The spectrum of light." He also has a series of mural paintings in the Peoples' Church, St. Paul, ^linn., the theme being to represent allegorically life in both the physical and the spiritual worlds. In the Courthouse at Fort WajTie, Ind., he has a series of six splendid decorative panels. In portraiture Mr. Gutherz painted many distinguished men. Among his ideal works are the beautiful "Ad angelis" where two angels are bearing the etherial body to the realm of light, "The golden legend," "Ecce homo," "Sappho" and "Midsummer night's dream." Lilian Whiting says: "The story of Carl Gutherz is the stoiy of an ideal embraced in youth and followed in manhood with increasing fidelity. It is the story of a painter whose entire life has been singularly responsive to the artist's vision and the poet's dream." (Int. studio 24:lxxxi.) Haggin, Ben Ali. (P.). Won third Hallgarten prize of the National Academy of Design, 1909. His technical knowledge was acquired by study- ing the work of the masters. 13 "In his portrait of a "Japanese actress" the fabric of the gown and the manipulation of Hght is almost \^'histlerian, without being in the least like Whistler Another thing that Haggin has in common with Whistler is the handling of white. Few contemporary^ painters get the same quality in the lightness of the heavier white fabrics." "In his " Little dancer " the figure stands in the center of a stage, against a golden curtain that blends into the shadows of the dress — shadows that are golden, transparent and luminous, not dull gray or black. His blacks have the same harmonizing quality, for black is piled on black in a most bewilder- ing fashion." "He gives to all his portraits a ''dramatic efifect" " Perhaps the portrait of Mrs. Wilfred Buckland will be reckoned by a later generation of critics as one of the most essentially brilliant canvases which have ever emanated from his brush." "His charming portrait of Miss Kitty Gordon is now famous. Otis Skinner as Hajj, the beggar, is considered to be technically the best thing he has handled of late. This characterization was done at one sitting. (Arts & D. 2:320.) "He is obsessed with a sense of color It is in the painting of the nude, however, that Haggin has found his most complete expression .... The flesh is transparent, blue veined and coolly shadowed." H.\LLOWELL, George H., (Min. P.) b. Boston, Mass., December 5, 1872. Pupil of Benson, Tarbell and H. B. Warren in painting. At the tenth annual exhibition of the Society of Miniature Painters Mr. Hallowell showed an interesting group. "His paintings are representations of a more or less conventionalized nature, and he pays so much attention to the surface of his picture that he produces an effect not unlike the wonderful glaze of the porcelains of the Royal potteries at Copenhagen. His design is always beautiful and his color of an unimpeachable harmony, though purely arbitrary." Harding, Chester, (P.) b. Conway, Mass., September, 1772; d. in 1866. A remarkable personality. He was noted as an axeman — was imprisoned for debt — worked as a house painter — finally became a famous portrait painter. For a time was a student of art in the Academy- in Philadelphia. Finally settled in Boston where he achieved great popularity. Went to England in 1823 where he became popular. Returning to the United States he painted most of the political leadei-s of his time — Webster, Clay, Calhoun, Marshall and many more. (Bookm. 31:55.) Tuokerman in his "Book of the artists," says: "In 1823 Harding was the fashion in Boston; even Stuart was neglected and used to ask sarcastically "How goes the Harding fever?" 9» His portrait of Daniel Webster was much esteemed. His last work was a portrait of General Sherman. Harding, George, (I., P.) b. Philadelphia, Pa., 1882. Studied at Penn- sylvania Academy of the Fine Arts and with Howard Pyle. Member of the Philadelphia Water Color Club and Society of Illustrators. Representative pictures : "Coast of Cape Race" "The fisherwoman" "Busy day at the docks" "A wreck on Florida reefs" H.vRRisox, (Lovell) Birge, (P., I.) b. Philadelphia, Pa., October 28, 1854. Son of Apollos Wolcott and Margaret (Belden) Harrison. Known most widely as a paint«r of snow. Received an academic education. Went to Paris in 1876; entered the atelier of Carolus-Duran; two years later entered the Ecole des Beaux Arts and studied under Cabanel for four years. Going to Pont-Aven, Brittany, he painted his first important picture, "November" which was exhibited in the salon of 1882 and subsequently purchased by the French government. Associate member National Academy of Design, 1902; full member, 1910. His work is marked by a love of evanescent effects, — ^moonrise over a majestic shadowy landscape, winter twihght after snow, the harbor ice in moonUght. Important works are: "The return of the Mayflower" "Moonrise off Santa Barbara" " MoonUght on the snow " "Winter sunrise in New England" " ]^Ioming on the Eel river " " The sentinel " "Moonlight on the marshes" "The heights of LeAis" "The Flatiron after rain" "Woodstock meadows in winter" " Sunhght and mist " " Road near Santa Barbara " "The lower town, Quebec" "Madison avenue in winter" "A writer on his art, a teacher and experimenter, he has played with the whole gamut of high and low sunshine on snowj' fields." (Innes "Schools of painting," p. 375.) His paintings are hors concours in the Paris salon. Harrisox, Thomas Alexander, (P.) b. Philadelphia, Pa., Januarj- 17, 1853. Son of Apollos Wolcott and ^fargaret (Belden) Harrison. In 1879 he studied at the Ecole des Beaux Arts, also imder Bastien-Lepage and G^rome, Paris. The same year he joined the colony of artists at Pont-Aven, Brittany, and in 1880 he sent his first marine entitled "The Brittany coast" to the 100 Paris salon. His first popular success came in 1882 when he sent to the salon a charming picture called "Castles in Spain." In the salon of 1884 he again obtained great success with a marine called Cr^puscule" (Twilight). This he followed in the salon of 1885 with "The wave" for which he received honorable mention, and in the salon of 1886 he exhibited "Arcadia" which was later purchased by the French government for the Luxembourg. These four mentioned pictures all figured in the Universal Exhibition of 1889 and represent the artist's greatest and most successful efforts. Other representative paintings are: "The River Loing — evening" "Breton garden" "Nymph" " The amateurs " "Lunar mists" "Marine" "Shipwrecked" "Misty morning" " Harbor of Concarneau " * ' Golden sands " "Pebbly beach" Although demonstrating his ability to paint in many directions it is mainly by reason of his great power as a painter of the sea that Mr. Harrison's repu- tation stands, and in this work none approaches him in the delineation of light and movement and color of wave forms under sky effects .... "Very notable is the hue of the foam and curdle, not white but an attenuated tone of the same blue which pervades the mass of water." (Brush & P. 4:133.) "Of all American paintisrs of the sea, Alexander Harrison is the most scholarly." (Cafiin.) "The key note to Mr. Harrison's art is truth to nature; he is a disciple of the plein air movement and of the evolution which was determined in French art by Manet." He has a studio in Paris where he has large classes of students. His paintings have obtained for him medals and prizes in Paris, Munich, London, New York and Philadelphia. Is a member of popular art clubs in Paris, Munich, London, New York and Philadelphia. Was elected as- sociate member of the National Academy of Design, in 1898; full member in 1901. y H.\ss.\M, Childe, (P.) b. Boston, Mass., October 17, 1859. Educated in Boston public schools and studied art in Boston and Paris, 1886-9. Is the best known follower of Monet in this country — our foremost impressionist since the death of Theodore Robinson. Has been singularly successful in competition, winning medals in Paris, Munich, Chicago, Philadelphia, Pittsburgh, Buffalo and St. Louis, and awarded prizes by many American art clubs and societies. He is a member of the Ten American Painters, Soci6t^ Nationale des Beaux Arts, Paris, The Secessionists, Munich, and National Academy of Design, New York. "Subjects" he says, "suggest to me a color scheme, and I just paint; 101 ; ;;. . some one else might see a riot of color where I see only whites and drabs and buffs." "June" is one of his prize paintings. Other well-known works are: "Isles of Shoals series" "The green, New Haven" " Paris— winter " " Winter nightfall " " Inner harbor — Gloucester " " Plaza Cent rale — Havana " "Rue Lafayette on a winter even- "Gat boats — Newport" ing" "TheabilonesheU" " The Chinese merchants " " Summer sea " "North shore, moonlight" "Penelope" "October haze, Manhattan" "Lorelei" (prize painting) "A bowl of nasturtiums" "A New York window" "Improvisation" is a reverie in color based upon wistful expectancy. Its technique is mature and the sentiment unusually attractive and sincere. "He is primarily a gi-eat painter of air and soil, sea and sky. He feels the repose and beauty, the strength and immensity of nature in the simplest scenes. He has a definite aim, and every picture brings him nearer the goal." (Int. studio 29:267.) "When Coquelin, the French actor, was in America, he bought two of Hassam's impressionistic canvases to take back %nth him to France, declaring at the time of purchase that the artist was the most able impressionist painter. The compliment was not ill-advisedly spoken and Hassam will easily main- tain the rank assigned him." (Frederick W. Morton.) Kenyon Cox says: "With Mr. Hassam the subject matters nothing. Whether he paints the sea or the land, the cool nudity of white nymphs among rose-tinted laurel-blossoms or the canyons of lower New York, his art is of the same quality; and it is the freshness and vigor of his observa- tion, the solidity of his design, his sparkling hght and color and the deft embroidery of his touch that inevitably attract and deUght us." Mr. Hassam is a designer with a sense of balance and of classic grace al- most equal to that of Co rot, and he uses the impressionist method to express otherwise the shimmer of delicate foUage that Corot loved." Hawthorne, Charles Webster, (P.) b. Maine, 1872. Student of National Academy of Design and Art Students' League, New^ York. Teacher in New York schools of art; owner and instructor of Cape Cod School of Art, Province- town, Mass. Associate member National Academy, 1908. First painted still life, then figures; after a trip to Italy painted landscapes; also paints portraits. Hartmann says (Int. studio 26:261): "He is essentially a figure painter, a painter of "types" surrounded by a jumble of still life. The fishing folk of Cape Cod are his specialty In his men with oar and fishing tackle 102 and his Portuguese fisher boys, we feel a whiff of the ocean and their environ- ment is actually dripping with brine Hawthorne's art has not yet that expression of joy in expansive life which clings to Winslow Homer's figures, nor has it that anatomical grasp in character which is Eakin's strength. But it is just as vital, natural and wholesome." Arthur Hoeber writes (Int. studio 37:sup. Ixv): "The return" has a senti- ment rarely secured by modern men. The expression of the young lad is splendidly caught and is full of youth, hope and courage, while as craftsman- ship it is unsurpassed. "The auctioneer" is a type of the Provincetown fisherman that is to the life, while the painting is a veritable tour de force. One cannot mistake here the man's call to the arts, for the painter is obvious in eveiy brush stroke The little Venetian "Lemon girl" is a gem in its way." "The trousseau," now owned by the Metropolitan museum, was awarded the Clarke prize in 1911 on the first ballot without a dissenting voice — an unprecedented honor in the history of the National Academy of Design. Other representative pictures are: " Fisher boy " " The boatman " "Fisher children" "Home with the catch" " Portuguese fisher boys " "The auctioneer" "The fisherman's daughter" "The doyen of the fish market" "Youth" Healy, Geoijge Petfr Alexander, (P.) b. Boston, Mass., July 15, 1813; d. Chicago, 111., June 24, 1894. At the age of sixteen he began to copy prints and make likenesses of all who would sit for him. His first success was a copy on canvas of Guido Reni's "Ecce homo" which a Catholic priest purchased for $10 and placed in his church. He studied in Paris in 1836; went to Chicago in 1858; revisited Europe in 1869 and resided long in Rome. While in Rome painted portraits of Longfellow, Pope Pius IX, Princess Oldenberg and othei* distinguished persons. He also painted the portraits of Ijouis Philippe, Guizot, Thier, Gambetta, Webster, Clay, Lincoln and Grant, and many hundred more distinguished persons. The number of portraits that he painted was enormous. At his best, his heads are strong, dignified and characteristic. He also produced large historic pictures, his "Franklin before Louis XVI," w^on the third-class medal at the Paris salon in 1840 and his "Webster's reply to HajTie " now hangs in P^aneuil Hall, Boston. Heinigke, Otto, b. Brooklyn, New York, 1851. A mural painter, but makes a specialty of stained glass. Also a writer. Henri, Robert, (P.) b. Cincinnati, O., 1865. Received his education in the wastern cities and in New York. Studied art in the Pennsylvania Acad- 103 emy of the Fine Arts, also studied without instructions for yeai"S in France, Spain and Italy. Has exhibited at Paris salons and won several prizes at competitive exhibitions in the United States. ^leniber of the National Academy of Design, Xew York, since 1906. "The snow" was purchased in 1899 by the French government for the Luxembourg. "Girl in w'hite waist" was purchased by the Carnegie In- stitute, Pittsburgh, for the permanent collection. Other pictures are: "Girl with red hair" "Little giri holding her hat" "Happy Hollander" Isham says: "Mr. Robert Henri is the most characteristic of the younger group of painters his best works are from carefully chosen models His girls are modern, complex and rather mysterious. His work- manship is broad and sure, insistently masterly, vnXh. great richness of surface and harmony of tone in the simple scheme of black and wliite and flesh color." Hartmann says of Henri: "A street scene painter whose aim is rather to seize the mystery, the passion, the despair as well as the gaiety of a modem metropolis, than to describe its merely topographical features." "Woman w-ith cloak" is much admired by the artistic few; its soft and harmonious background suggests Whistler. (Brush & P. 4:200.) HiGGiNS, Eugene, (P.) b. Kansas City, Mo., February-, 1874. Attended the art school in St. Louis, ^lo., and later studied in Paris under Laurens, Benjamin-Constant, Gerome and at the Ecole des Beaux Arts. Poverty is ^Ir. Higgins' art inspiration and he is called the Maxim Gorky of painting. His mother died when he was four years of age and he thenceforth lived in cheap boarding houses with his father who was a stone-cutter by trade. Here "he came in close contact with types of dissolute and luckless humanity, such as he now loves to paint." When a lad of twelve, an article on Millet gave him his first impulse to be a painter. ^lillet and Victor Hugo have largely moulded his entire hfe. During his sojourn in Paris his paintings were shown in the exhibitions of the American Art Association and a few of his works were well himg in the New Salon. He returned to the United States in 1904. John Spargo, in the Craftsman 12:141, says: "The question has been raised w^hether such subjects as Mr. Higgins chooses are suited to the medium of canvas and paint or whether they do not belong rather to literature." He portrays the pathetic, the helpless, the ruined, the despised and the rejected of humanity. Hills, Laur.\ Coombs, (Min. P.) b. Newburyport, ^Mass., September 7, 104 1859. Pupil of Helen M. Knowlton, Art Students' League of New York and Cowles Art School in Boston. Received medal at Paris Exposition, 1900; second Corcoran prize, 1901; silver medal Pan-American Exposition, Buffalo, 1901; associate member National Academy, 1908; vice president American Society of Miniature Painters and the first miniature painter to be elected to the Society of Ameri- can Artists. Although never taught miniature painting, Miss Hills is recog- nized as a most skilful miniature painter and has gained honors both at home and abroad in this particular form of art. Her first exhibit was "Seven pretty girls of Newburyport." "The bride" a harmony in gray, gold and blue, was one of the most evanescently delicate pieces at a recent exhibition. "The black mantle," " Fire opal," " Butterfly " and "Goldfish" represent the most modern development of all, the essentially pictorial miniature. In these fanciful subjects she takes a place among color- ists of the first rank. Her miniature of Alice Brown is full of insight and penetration; the portrait of Mr. Arthur Harlow has all the breadth and dignity of a large portrait with the charm peculiar to the miniature; the charming little head of Dorothy S. is frank and altogether lovely; the por- trait of little Miss Hale is as wholly delightful a child portrait as one could ask. (Int. studio 41:xlvi.) Frances Duncan in writing of Miss Hills' work said: "Her portraits are not large portraits done small, but essentially miniature; they have that exquisite jewel-like quality peculiar to the miniature in the hands of the few masters of this exquisite and lovely art, the quality which will make miniature painting a thing apart." "She understands the emotion of color and by a graceful dexterity masters its adaptation to its subject." (Critic 47:523.) "Her portraits are always big in conception and she apjjears to be little hampered by the tiny brushes and the elusive quality of the ivory." The portrait of blaster Donald Moffat was the chef d'oeuvre at a recent exhibition of the Miniature Society. Alice T. Searle says: "Miss Hills is never dull but in the center one of her group of three large ovals [at a recent exhibition], the portrait of Miss Isobel da Costa Green, she outshone her own brilliant past." Hitchcock, Georgk, (P., I.) b. Providence, R. I., September 29, 1850. Graduated from Brown l^niversity in 1872 and from Harvard Law School in 1874; admitted to the bar both in Providence and in New York, he re- mained in the law until twenty-nine when he definitely gave over jurispru- dence for the palette. Was a pupil of Lefebvrc and Boulangor in Paris and of H. VV. Mesdag at The Hague. An academic painter in Paris and a marine painter under Mcsdag. he did not really discover himself until lie found the tulip fields of Egmond near Amsterdam. The Egmond school is the result 105 of his paintings. While he resided there seventeen studios sprang up and three hundred pupils came to him. 3Ir. Hitchcock's "Tulip culture'' was the foundation of his reputation in the Paris salon of 1887. "Few artists before him have been impressed as he was by the Haarlem tuUp be' teller" , " Passage Arabs " ''Vegetable dealers" " Marabout tombs " "The musicians" His French plates are enthusiastically regarded by those who love Paris: "Pont Neuf (rainy day)" "The old court in Rue Vercinge- " Buildings of the Quai " torix " "L'Hiver au Jardin du Luxem- "St. Nicholas des Champs" bourg " " Little balconies " "Cour des Reines" "Boulevard de Montpamasse" " La lettre d' Amour " Light heartedness of the Paris of the Boulevards, melancholy beauties of the Old Quarter, and the mystery w^hich pervades the life of the far East 108 are interpreted with equal facility. The "Lady aux Ambassadeurs," the "Model," "A la gaite, Montparnasse " give evidence of wide versatility. It is in comprehensive outlook that much of the strength of Mr. Hornby's plates lie; this keen interest of the life of the people combined with forceful powers of expression are the qualities that combine to make the great etcher. HoRTON, ^YlLLIAM Samuel, (P.) b. Grand Rapids, Michigan, November 16, 1865. Pupil of Art Students' League and National Academy of Design in New York; Laurens and Julien Academy in Paris. Received gold medal at the International Exposition at Nantes, 1904, and medal, second-class, at Orleans, France, 1905. Member of the New York Water Color Club; Cercle Volney and Salon d'Automne, Paris. Also a writer. HosMER, Harriet, (S.) b. Watertown, Mass., October 6, 1830; d. Water- town, Mass., February 21, 1908. Received her education in Lenox, Mass. Displayed a taste for art at an early age and studied drawing and modeling in Boston. In 1852 with her father and Charlotte Cushman she took passage for Italy. In Rome she became the pupil of the English sculptor Gibson with whom she remained seven years. Her first works were ideal heads — "Daphne" and "Medusa." They were exhibited in Boston in 1853 and highly praised by critics and con- noisseurs. Her "Beatrice Cenci" has much grace and its beauty is of a very intelligible kind; it is now in the Public Library of St. Louis. "Puck" was so popular that thirty copies of the original were made. The Prince of Wales and the Duke of Hamilton each ordered a copy. Its companion piece, "Will-o'-the-wisp" is pretty and fanciful. Nathaniel Hawthorne speaks of Miss Hosmer's "Zenobia" as "a very noble and remarkable statue indeed, full of dignity and beauty." Jarves, in his "Art idea," says: "She (Miss Hosmer) has no creative power, but has acquired no small degree of executive skill and force. " Hartmann says: "Miss Hosmer owed her success largely to her sex for until this century it had been exceedingly rare to see a woman modeling clay and chiseling marble." Miss Hosmer made a number of discoveries and inventions, including a process of giving Italian limestone the hardness of marble. HovE.NDEN, Thomas, (P.) b. Dunmanway, Ireland, December 28, 1840; was killed on August 14, 1895, in an unsuccessful effort to save an unknown child from being killed by a railway train. He studied in the Cork School of Design, ('ame to the United States in 1863 but it was not until 1872 that he began to follow art as a profession. In 1874 he went to Paris and entered the studio of Cabanel where he remained until 1880 when he re- turned to the United States. He was elected associate member of the Na- tional Academy of Design, New York, in 1881 ; academician, 1882. 109 His first notable painting was a "Breton interior of 1793." "Breaking home ties" was one of the most popular paintings at the Columbian Ex- position, 1893. "Last moments of John Brown" which hangs in the Metro- politan Museum of Art, New York, is an especially characteristic canvas. Critics concur in esteeming "Elaine" as his masterpiece. "As a powerful allegorical picture it stands unrivaled among the productions of American genius." Popular paintings are: " Jerusalem the golden " " Thinking of somebody " " The two lilies " " News from the conscript " "A Brittany woman spinning" "Pride of the old folks" " Pleasant news " "Peasant soldiers of La Vendee" "The image seller" His is the storj^-telling picture and the story is told clearly and beautifully. Howe, William Henry, (P.) b. Ravenna, O., 1846. Pupil of Otto de Thoren and F. de Vuillefroy in Paris. Received honorable mention, New Orleans, 1885; honorable mention, Paris salon, 1886; third-class medal. Paris salon, 1888; silver medal, Paris Exposition, 1889; Temple gold medal Penn- sylvania Academy of the Fine Arts, 1890; grand medal. Crystal Palace, London, 1890; officier d'Academie, Paris, 1896; chevalier Legion of Honor, 1899; member of National Academy of Design, New York, 1897. Mr. Howe has won fame as the painter of landscapes with cattle. His earlier work shows strongly the influence of such masters as Van Marcke and Trj'on. His later work is of rare quality and possesses a distinct per- sonal style. Among his best known paintings are: "The truants " " Korten Hof meadows " " In the orchard " " Cattle at rest " " Morning " " Returning from the heath " HuBBELL, Henry Salem, (P.) b. in the United States. Pupil of Art Institute Chicago, Whistler. Collin, Laurens and Benjamin-Constant in Paris. Received honorable mention in the Paris salon, 1901. Is a member of the Paris American Artists Association and Paris Society of American Painters. Was elected associate member of the National Academy, 1905. His original training was in illustration, and it was not until 1900, two years after his arrival in Paris, that he "entered upon the study of painting proper" and then visited Spain. In the salon of 1909 he was represented by two canvases — "Caprice" and "Autumn leaves." "Each of these com- positions presents a decorative pattern of forms and spaces and a color scheme that is choice and reserved." (Harp. 118:289.) 110 Of an exhibition of eleven canvases by this artist at the Art Institute, Chicago, Art and Progress (2:47) writes: "With the exception of an ex- quisitely painted interior and a study — "The black fan," all are portraits. His prize picture, "The departure," a life-size portrait of a lady in a long green cloak and a large hat enveloped with a veil, is a harmony in green with a setting of browns. Mr. Hubbell paints with virile and robust temper; and in the portrait of Miss B, a beautiful young woman in pink evening gown, in "Serena," a j'oung girl in gray in a shaded room, in "Sylvia," another young girl, in "Winthrop," a boy, and the extraordinary Ukeness of "Aunt Lizzie Aiken," there is a strength and truth as well as joyousness of inter- pretation, which command attention." Humphreys, Marie Champney, (Min. P.) b. Deerfield, Mass., 1867; d. New Rochelle, N. Y., December 1, 1906. Was married November 22, 1899, to John Sanford Humphreys. Was a miniature painter. Exhibited in Europe and America. ^ Hunt, William Morris, (P., Mural P.) b. Brattleboro, Vt., March 31, 1824; d. Appledore, Isles of Shoals, N. H., September 8, 1879. He began his art studies in the Royal Academy, London, and later went to Diisseldorf. Originally he intended to become a sculptor but abandoned this design and studied under Couture in Paris. While in Paris he was brought into intimate relations with Diaz, and at Barbizon was associated with Millet. In 1855 he returned to the United States and settled in Boston. The present admiration in this country for modern French art can be directly traced to his advocacy. In his art he Uked better to suggest form than to portray it with strong outlines. He painted many portraits of noted people and also made many original sketches of types of Parisian life; among them, "The street musician," "Girl at the fountain," "Child selling violets." Among his more important works are: "The drummer boy" "Bugle call" " Boy chasing a butterfly " " The Marguerites " " The morning star " " The belated kid " " Girl reading " " Girl with cap " Of Mr. Hunt's "Bathers" a well-known connoisseur has said: "It is one of the three or four paintings of the nude in the nineteenth century which a Greek would have understood and admired." In 1878 his mural paintings were put up in the Senate Chamber in the Albany state house, and in this work — "Flight of night" and "The dis- coverer," he had a true conception of mural painting. Liibke says: "He was the first American to give to the world large mural Ill paintings of artistic importance Many of his smaller pictures have great charm, and he is always a forceful technician." Hunt's place in art can never be overestimated for his power of person- aUty made him exert tremendous influence on the students that flocked around him. HuTCHENS, Frank Townsend, (P.) b. Canandaigua, X. Y., June 7, 1869. Pupil of the Art Students' Institute of New York under Wiles, Dumond and Mowbray; JuUen Academy under Benjamin-Ck)nstaQt and Laurens and Colarossi Academy in Paris. "Hutchens is a painter of moods. A pecuhar atmospheric condition, a sweep of wind across the landscape, or a sudden luminosity of sky is sufl&cient to him to lend a simple road or bit of forest land a peculiar and permanent fascination. He is particularly fond of sunhght, and its golden luster embellishes the simplest objects with a true touch of poetry. But it is the poetrj' of nature, of contrast and color, or in other words an expression of complete pictorial sanity." He is an excellent draughtsman — perhaps best shown in his figure work. Many of his canvases have hung on the walls of the Royal Academy, the ^,ew York Academy and th? leading galleries of America. "The marriage column" "A song in the sky" (Int. studio 47:160.) HuTT, Henry, (I.) b. Chicago, 111., December 18, 1875. After a short season in instruction at the Art Institute of Chicago, he opened a studio in New York City, his commissions warranting the step. His first important undertakings were the illustrations for a continued story for tha Saturday Evening Post; has illustrated many leading magazines and periodicals, books, etc. ^Ir. Hutt likes women and children for his subjects, depicting them with finesse and daintiness of execution. His characters suggest spontaneity and human naturalness but they are usually in a setting too decorative for reaUty. "His line is quaint and often whimsical with an almost picturesque en- semble, and he conveys his interpretation with sentiment and a redundant sense of beaut}'." "He makes clothes tell their portion of the story, but perhaps he is more an apostle of the well-dressed than is Mr. Fisher." (Bk-buyer 22:23.) Hyatt, Anna Vaughan, (S.) b. Cambridge, Mass., March 10, 1876. Pupil of Henr}' Hudson Kitson and Art Students' League, New York. A musician — an artistic performer on the violin — during an attack of ner\'ous prostration, Miss Hyatt found recreation in modeling clay. This diversion was the means of her abandoning her musical career, for upon 112 recovery of health, she chose sculpture for her life work. Wild animals are her specialty, she being the only American woman sculptor who studies nothing but animals. "Her animals are most assertive in character and away from the con- ventionalized forms we have seen for years by the hundreds .... Miss Hyatt seems to comprehend the psychology of each and every animal she models." (Arts and D. Jan., 1912.) "She divides her time about equally between horses and jungle beasts, and has exhibited many groups of elephants, tigers and lions which show not only breadth and depth of feeling but much strength in execution." Anna V. Hyatt's group of eight plunging horses is a remarkable piece of work and is accorded by critics a place of equality with Borglum's famous ":Mares of Diomedes." (Arts and D. 2:296.) Among other things Miss Hyatt has restored prehistoric animals for the Brooklyn Museum. Her most important bronzes are: "Winter," "A steep grade," "Colts playing," "Goats butting," etc. ]\Iiss Hyatt has collaborated with Miss Abastenia St. I^eger Eberle another American young woman who has abandoned music for sculpture. Their first group, " Men and bull " was awarded a medal at the St. Louis Exposition; " Boy and goat playing " is another fine group done in collaboration. (Crafts- man 8:623.) Hyde, Helen, (E.) b. Lima, N. Y., April 6, 1868; pupil of Emil Carlsen in New York; Raphael Collin in Paris, Skarbina in Berlin, and Kano Tom- anobu in Japan. Specialty: Japanese subjects in colored wood blocks and etching. Among the artists in Europe and America who have adopted the Japanese form of art for the expression of their own ideas, Miss Helen Hyde, a gifted young American, takes high rank. After devoting two years to the task of acquiring the Japanese method of wielding the brush she was rewarded when her Japanese master asked her to paint a kakemono for the annual spring exhibition. She did so, calling her picture "A monarch of Japan." This picture was awarded first prize on the strength of excellent handling of a particularly difficult brush — for it is by the merits or demerits of skilful brush work that Japanese pictures are chiefly valued. Miss Hyde reproduces her compositions in the form of color prints, and has become famous in this field of art. A few of her popular prints are : "Secrets" "A snowy day in Japan" " The lucky branch " " The bamboo fence " "The mirror" "Belated" "Happiness flower" "The blossom child" "The greeting" "Day dreams" 113 "Baby and toy " " Baby San " " Rainy evening " '' In his father's shoes '^ "Child of the people" One of Miss Hyde's most successful etchings is "Little cheny blossom." "Perhaps the greatest triumph in Miss Hyde's work lies in the successful rendering of atmosphere which is delicately suggestive of the flower-blossom country- In "The rainy day" we have this quality at its best." (Int. studio 24:239.) Inman, Henry, (P., Min. P.) b. Utica, X. Y., October 20, 1801; d. New York, January 17, 1846. He displayed talent for art as a lad but he inclined to a military career and had secured a commission to enter the West Point Academy when he saw Westmuller's famous "Danae" in the studio of John Wesley Jarvis in New York. He immediateh' presented himself as a candi- date for artistic instructions; was accepted and studied with Jarvis several years. For j^ears he executed miniature, cabinet and life-size portraits, practiced lithographic drawing and sketched scenerj^ with rare assiduity and success. Was one of the founders of the National Academy of Design in 1825 and was elected its first vice president. Mr. Inman went to Europe in 1845 and while in England painted the portraits of Woodsworth, Macauley, Dr. Thomas Chalmers and others; returning to America he also painted the portraits of many distinguished persons. His landscapes and genre compositions include: "Scenes from the Bride of Lam- "The news boj^ " mermoor " "The brothers " " Rydal Falls, England " " Woodland scene " ' ' Mumble-the-peg " ' ' Rip Van Winkle " "The sisters " " Boyhood of Washington " " Ruins of Brambletye house " " Lake of the Dismal Sv\-amp " "Biman wood" "In his happiest efforts at portraiture, wherein there was great inequaUty viewed as a whole, Inman has been compared to Sir Thomas Lawrence: his rapidity of execution was, uncommon; a "deUcate mottling" was often ad- mired in his color, a completeness and neatness of style in his landscapes, and skilful manipulation in the works undertaken con atnore, while it is con- ceded that he was the first American artist who attempted genre with suc- cess." (Tuckerman.) Inness, George, (P.) b. Xewburg, X. Y., May 1, 1825; d. Bridge of Allan, Scotland, August 3, 1894. At the age of sixteen he began to study engraving 15 GEORGE INNESS. 115 in New York; studied art in the studio of Regis Gignoux, New York; in 1846 he began the practice of landscape painting and in 1850 went abroad where he became acquainted with Corot and Rousseau, and enjoyed, for a time, the close companionship of Millet. He is generally considered our greatest landscape painter.^ ^American sunset" was selected in 1867 by the Paris salon as a representative work of American art. He was elected member of the National Academy of Design, New York, in 1868. "With him the inspiring idea is principal, form secondary being the out- growth of the idea. His pictures illustrate phases of mind and feelings. He uses nature's forms simply as language to express thought." (Tuckerman.) "Inness was a master of atmosphere, and added the poetrj- of color to the perfection of drawing He ideahzed all his creations A^-ith magical light effects. Such deep luminous hghts had never been seen before on American canvases." (Hartmann.) "Moonlight" fully represents Inness' idea of the night. He had a strong leaning to the occult and many of his paintings have a spiritual and allegorical significance. Inness' paintings stand in American art where those of Rous- seau and Corot do in that of France." (Nat. Cyc. Am. B.) "Inness gives with equal felicity the drowsy heat, hot shimmer and languid quiet of a summer noon, or the storm weighed atmosphere; its dark masses of vapor and the wild gathering of thunder clouds with their solemn hush before the tempest breaks. He uses sunlight sparingly, but it glows on his canvas and turns darkness into hope and joy." (Jan^es "Art idea.") "Delaware valley" is considered by many to be his masterpiece. Arthur Hoeber says: "At his [Inness'] best he yields to no man in his profession as an interpreter of nature out of doors." Van Dyke says: "Inness is more allied to Corot than to Meissonier. He never was the perfect master of the brush that we have heard him called, though he was an acceptable and often a ver\' satisfactory technician It was A\ith color, light and air that Inness scored his greatest success." "His subjects are related to human life and possibly our interest in his pictures is due to the fact that he shows thoughts, emotions and sensations comprehensible of humanity " "Inness must be ranked here as the discoverer of the American meadow and woodland — a new realm of beauty. It is possibly his most lasting title to fame And Inness found all the material he needed within fifty miles of New York. It was the original discovery of this material, his point of view regarding it, what he did ^^•ith it and what he made us see in it, that gives him high rank in the histor}' of American painting." Liibke says: "He was like Corot in his indifference to the minute facts of the country before him, and like Corot in his disposition to harmonize sombre foliage and pale distant sky into a lovely harmony, but he was more eager than was Corot to seize the brilliant color of sunset and to use his gi'ay- green trees as a solid frame for those glowing effects." 116 A list of Inness' principal paintings in public collections, also bibliography and magazine article references are given in "Masters of Art," (Vol. 9.) Inness, George, Jr., (P.) b. Paris, France, January 4, 1854. The son of George Inness. Was a pupil of his father in Rome, 1870-4; studied one year with Bonnat in Paris. Obtained gold medal in Paris salon 1899; also gold and silver medals at various exhibitions in the United States. Has a studio in New York. Devotes himself to animal painting. Has exhibited at the National Academy of Design, New York, since 1877, when he sent "The ford" and "Patience." A few of his paintings are: " Monarch of the farm " "At the brook " "The pride of the dairy " "Abandoned " ' ' Waiting for the master " ' ' Maternity " " New born lamb " Member of the National Academy of Design, New York, since 1899; and of the French Academy since 1902. Of his landscapes and atmospheric effects, Miither says: "The 3'ounger Inness has a fondness for departing thunder showers, rainbows and misty red sunbeams penetrating in the form of wedges through a sea of mist, and resting upon stony fields." IsHAM, Samuel, (P.) b. New York, May 12, 1855. Graduated from Yale College in 1875. Had his first instruction in drawing in the art school under Professor Niemeyer. During a three years' sojourn in Europe he had draw- ing lessons from Jacquesson de la Chevreuse. On his return to the United States, he took up the study of law and practiced the profession for five years. In 1883 he again took up art and went to Paris and entered the Acaddmie Julien, studying four years under Boulanger and I^efebvre. ^lem- ber Society American Artists, 1891; associate member National Academy, 1900, academician, 1906. Author of "History of American painting." Ives, Halsey Cooley, (P.) b. Montour Falls, N. Y., October 27, 1847; d. London, England, May 5, 1911. Was a pupil of Alexander Piatowsky. In 1864 he entered the government service as a draughtsman and ih 1869 he began a study of decorative art; later he became an instructor in the Polytechnic school of St. Louis. In 1881, at the establishment of the Museum of Fine Arts, St. Louis, he became its director. He was decorated by King Oscar of Sweden with the Order of the Vasa and by King Christian of Den- mark with the Dannebrog Cross. He received a silver medal at the St. Louis Exposition for his landscape "Waste lands," and has received decora- tions and medals for art services in this countr}', France, Austria, Japan, 117 China, Portiigal, Belgium, Bulgaria, Sweden and Denmark. A member of the National Sculpture Society, the National Art Club, the Academy of Science and other organizations. (American Art Annual Vol. 9.) Ives, Percy, (P.) b. Detroit, Mich., June 5, 1864. At the age of eighteen he entered the Pennsylvania Academy of the Fine Arts. In 1885 he visited Europe, spending six months traveling in Scotland, England, the Nether- lands, Germany and Italy. He studied three years at the Academie Juhen, Paris, under Boulanger, Lefebvre, Benjamin-Constant and Cormon. After a second ^'isit to Paris in 1890 he was appointed dean of the Detroit Museum of Art. In 1893 he studied at the Ecole des Beaux Arts under Gerome and in the same year exhibited at the salon. Returning to Detroit in 1895 he resumed his position at the Museum of Art, since which time he has painted the portraits of many distinguished Americans; has also done some landscape work. Mr. Ives was one of the organizers of the Society of Western Artists and is an incorporator and trustee of the Detroit Museimi of Art. JoHAXSEN*, John Christen, (P.) b. Copenhagen, Denmark, November 25, 1876. Was brought to this country when an infant and had a course of art study at the Art Institute, Chicago, in early boyhood. He studied under Duveneck. Freer and Vanderpoel, then went to Paris and continued his art studies with Benjamin-Constant and Jean Paul Laurens; later entered the class of ^Miistler. In 1901 he returned to the United States to become a member of the faculty of the Art Institute, Chicago, and at about that time identified himself with the Society of Western Artists. Resigned as a teacher that he might devote more time to portrait painting, and in 1906 went to Italy sojourning long in Venice. On his return, a special exhibition of his Venetian pictures was held in London. Instant recognition came to him and several of the canvases found places in prominent British collections. Arthur Hoeber in writing of this exhibition says: "Mr. Johansen scorned precedent. He depicted Venice in a way entirely his own There were pictures of the city at da^Ti, under golden haze at sunset, in suggestive opal fogs and always there was palpitating color with admirable drawing and construction to her streets, buildings and canals .... And the compositions were so generaUzed that the spectator deUghted in their simpUcity, ser- iousness and beauty. The color which was used generously was piled on in simple masses, broken and vibrating." (Int. studio 42:sup. iii.) At a later exhibition of American art held in Chicago, Mr. Johansen had ten canvases. "Each specimen proclaimed its separate personahty," Avrites a critic. "At sundown" is remarkable for its unusual coloring. "The picture book" is a charming arrangement of light. "Autumn afternoon" is riotous in those subdued bright colorings with which Mr. Johansen is so clever. "When the day is done" is a poetic conception. "Evening calm" 118 is a majestic essay of the hour. "Golden mists" demonstrates his skill in rendering. (Int. studio 26:264.) "Mr. Johansen handles his architectural drawing firmly and well, but in a summary enough fashion to subordinate it to its more fluent, pictorial pur- pose." (Int. studio 40:lxxviii.) "Technique with Mr. Johansen is a medium of expression and in that guise is never employed to excite wonderment." As an illustrator Mr. Johansen has also been very successful and many consider that in this field he shows as much promise as in his pictorial pro- ductions. Johnson, Eastman, (P.) b. Lovell, Maine, July 29, 1824; d. New York, April 5, 1906. As a young man he began the practice of his profession by the execution of portraits in black and white, showing considerable skill and meeting with some success. In 1849 he went abroad and shared the studio of Emanuel Leutze at Diis- seldorf, Prussia. He studied art four years at The Hague and then pro- ceeded to Paris. Returned to the United States in 1856. His first important works were "Card players" and "Savoyard boy." He opened a studio in New York upon returning to the United States and was made a member of the National Academy of Design, New York, in 1860. Here he painted those pictures of American domestic and negro life in which he so decidedly excelled. In accurate delineation of character "The old Kentucky home" is hardly surpassed. Tuckerman says: "In his delineation of the negro, Eastman Johnson has achieved a pecuUar fame. One may find in his best pictures of this class a better insight into the normal character of that unfortunate race than ethnological discussion often yields." He was a power in American art life to the very last. He painted a large number of portraits, and his self-painted portrait, painted in 1899, is technical- ly superior to anything executed by him during the first fifty years of his life. (Artists of the Nineteenth Century.) Johnson, Marshall, (P.) b. Boston, Mass.; pupil of the Lowell Institute; member of the Boston Art Club and Copley Society. Address: 184 Boylston Street, Boston, Mass. Painter of "United States Frigate Constitution." Johnston, John HuMPHRpns, (P.) b. New York, November 2, 1857. Studied art under John LaFarge. In 1899 went to Paris where he studied under Lefebvre and Doucet, and later to Madrid. Has resided mainly in France and Italy since, and has a studio in Venice. One of his •pictures, "Domino Rose" is now owned in France, and the 119 portrait of his mother is in the Luxembourg. "Light nights in Norway" and " Myst«ry of the night " are characteristic paintings. In 1898 he painted the portrait of Sarah Bernhardt as "Lorenzaccio " and the "Vision of St. Paul at Lystra." Spain and Brittany have furnished many of the subjects he has used. Mr. Johnston was made a chevalier of the Legion of Honor in 1901. Is associate member of the Societe Nationale des Beaux Arts, Paris and Inter- national Society of Painters, Gravers, etc., London. Jones, Hugh Bolton, (P.) b. Baltimore, Md., October 20, 1848.' Studied art in France. Received bronze medal at Paris Exposition 1889; bronze medal at Paris Exposition 1900: Webb prize Society American Artists 1902; Shaw fund prize 1902; gold medal at St. Louis Exposition 1904. Is a member of the National Academy. Specialty, landscape. Visited Europe in 1876 and studied there four yeai-s. Became a member of the artists' colony at Pont Aven in Brittanj-. Traveled in Spain, France, England, Italy and Morocco. Principal paintings are: "Brittany " " The road through the poplars " " October " " Summer in the Blue Ridge " " On Herring Run " " Spring " Paintings are in the Metropolitan Museum, New York; Peabody Institute, Baltimore; Erie Art Club; Corcoran Galler\' of Art, Washington; Shaw col- lection, Philadelphia Art Club. " His work possesses sterhng quahties of color and drawing, belongs to the naturalistic school and is widely known at home and abroad. (Nat. C\'. Am. Biog.) JosEPHi, Isaac E., (Min. P.) b. New York City. Pupil of Art Students' League, New York; also of Leon Bonnat in Paris. First president of American Society of Miniature Painters; member Royal Society of Miniature Painters, London. Mr. Josephi is accredited with the conception of the American society. His "Portrait of a lady" shown at the first exhibition of the society was the subject of much controversy. Some miniaturists insisted that it was far too modern for their art's limitations, while others insisted that their art had no limitations. Keith, William, (P., I.) b. Aberdeen, Scotland, 1839; d. Berkeley*, Cali- fornia, March, 1911. When a lad came to this countrj- with his parents. Began his career in New York as a wood engraver; afterward worked for Harper. In 1859 Mr. Keith went to California and began his out of doors painting; ^^ 120 sketched in black and white and also did water color work. In 1869 he went to Diisseldorf, then to Spain. He was employed by the Northern Pacific Railroad Company to paint some of the characteristic scenes along its route. ''Some of his redwood pictures are very beautiful, giving vivid impressions of the magnificent scenery of California, but pastoral scenes with distant mountains are his characteristic subject, and these he has rendered under many varj'ing con- ditions of light and atmosphere." (Nat. Cy. Am. Biog.) "He delighted in rich strong color and in dramatic aspects of nature. His paintings ai' " " Little Boy Blue " " Queen of hearts " " Little Jack Homer " " This Uttle pig " Knight, Daniel Ridgway, (P.) b. Philadelphia, Pa., 1850: of Quaker parents. Few men who have won distinction with the palette and brush have started under less favorable auspices; a ban was placed under the parental roof on pictures and music. His grandfather was con\Tnced of his artistic talent, and through his influence Ridg\say was permitted to enter the classes of the Pennsylvania Academy of the Fine Arts. Later, with parental sanction and support, he was settled in Paris. He studied in the atelier Gleyre, then spent three years at the Ecole des Beaux Arts: later studied at the British Academy, Rome; returned to the United States and took a studio in Philadelphia for a time painting portraits and genre pict- ures and teaching. 124 In 1871 went to Paris and in 1873 with his family moved to Poissy where he met Meissonier. This acquaintance ripened into warm friendship, and Mr. Knight ever afterward acknowledged the great French painter as his master. He received honorable mention at the Paris salon of 1884; third-class gold medal, Paris salon, 1888; was honored with the Cross of the Legion of Honor, France, 1889, and with the Cross of Saint Michael of Bavaria, 1892. To the salon of 1873 he sent "The fugitives" and to the salon of 1875, '* Washerwomen." "The Shepherdess of Rolleboise," "A summer evening," "On the terrace," "The gardener's daughter," "July morning," "Quietude," and "Curiosity," are all salon pictures, and give a fair idea of the character of his work. "Those familiar with Knight's paintings will recognize in them a sort of family resemblance, due to likeness of models and similarity of landscape backgrounds." He is for the most part the painter of a single class of models — demure little peasant girls with their wooden shoes and picturesque costumes. "He glories in the fact .... that he is a painter of popular pictures, in which happy conceptions successfully worked out meet public approval and command public patronage." (Brush & P. 7:193.) KoxTi, LsiDORE, (S.) b. Vienna, Austria, July 2, 1862, of Hungarian parents. Entered the Imperial Academy at the age of sixteen; won several scholar- ships and finished his studies at Meisterschule of Prof. Karl Kundmann, Vienna. After two years in Rome he returned to Vienna and executed numerous works, including a marble bust of Emperor Francis Joseph. Came to the United States in 1890. As.sociate member of the National Academy in 1906; full member in 1909. Vice president of the National Sculpture Society; one of the directors of the Architectural League and a member of the leading art societies of the United States. Decorative monumental and ideal work is his specialty. Among the more important works which Mr. Konti has executed is "The despotic age," a monumental marble group in the Metropolitan Museum, N. Y. Another beautiful work, the "Edward Beale and Kit Carson" monu- ment, is now in the National jNIuseum in Washington, D. C. The McKinley monument in Philadelphia was executed in collaboration with the late Charles Lopez. (Int. studio 45:197.) Among Mr. Konti's ideal works may be mentioned the figures " Inspiration" and "Orpheus," the groups "Pan and Cupid," "Awakening of Spring," and a fountain symbolizing "The brook." "Mr. Konti is always refined, but this coy figure ("The brook") is a verit- able embodiment of sinuous grace." (Taft.) 125 KosT, Frederick W.. (P.) b. New York, May 15, 1861. Pupil National Academy of Design. Received honorable mention at Paris Exposition, 1900; bronze medal at Pan-American Exposition, Buffalo, 1901; silver medal at St. Louis Exposition, 1904. Associate member of National Academy, 1900; full member in 1906. Member Societv Landscape Painters, Brooklyn, N. Y. Specialty, landscapes and marines. Ladd, Anxa Colemax (Mi-s. Ma>-nard Ladd), (S.). Received her art education in Europe. She first exhibited in Boston, Philadelphia and New- York in 1907. Since then her work has been included in even.' American exhibit of sculpture. Mrs. Ladd prefers imaginative subjects but she has modeled a number of successful portrait-busts and reUefs. "The American," which first attracted thoughtful artists stands for the universal human qualities of strength, determination and moral force. • "Beast of prey" portrays the low earthside of man. "Pan" and "Youth" personify the American spirit of the woods. "The sundial" and "Bird fountain" stand in an Italian garden in Manchester-by-the-sea. "Her work has not only originality but strength and unusual significance. While it stirs the emotions it also provokes thought." (Anna Seaton- Schmidt in Art & P., July, 1911.) La Farge, Johx, (P., Mural and Stained glass designer) b. New York, March 13, 1835; d. Providence, R. I., November 14, 1910. His boyhood was spent in Newport, R. I., where his en\ironment was such as to foster and develop his strong sense of color. From his earhest youth flowers were his intimate and loving companions, and from them he learned the secret of dehcate gradation and harmony of color. At the age of twenty-one he went to Paris and entered the studio of Couture. ^Ir. LaFarge's work is so varied in subject, in feeling, in scale, it is executed in so many different mediums (he worked in oil, in water-color and on wood; was a mural decorator, a painter in stained glass and a sculptor) that gen- eralization is impossible. A member of the National Academj' of Design since 1869. He received the honorary degi-ee M. A. Yale, 1896; L. L. D. Yale, 1901; Princeton, 1904. He was an art- critic and lecturer, as well as the most learned painter of our times. From the mystics of early China to those of Barbizon, the historj* of painting was an open book to him. It was one of his strongest con\'ictions that color s}-mbolizes character and can be made to express the hidden meaning of things. In his pureh' imaginative works in oil, he drew from the realm of fairj'land and witchcraft for subjects: "The pied piper of HameUn," "The wolf JOHN LA FAROE 127 charmer/' ''The sorceress," "The fishermen and the genii," "The siren's song." At a London exhibition one of his landscapes was hung between a Rous- seau and a Delacroix, and the French government bestowed the insigna of the Legion of Honor upon him when he exhibited the Watson memorial window at the Paiis Exposition in 1889. A triumph in mural decoration are his four paintings in the Supreme court room in the Minnesota state house; and his "Ascension" in the Church of the Ascension, New York, is one of the most beautiful things done in modem religious mural painting. It was his color again that proclaimed his authority in glass, and recalls the richness and splendor of the old masters. He invented the "opaline glass" and his new method for making stained glass Avindows changed the entire art of the glass stainer. His masterpiece in glass work is the famous Peacock window now preserved in the Art Museum at Worcester, Mass. '"A gieat colorist who expressed in the language of color all the emotion of the human soul. He has placed an indelible mark upon American art." (Jarves "Art idea.") "With his masteiy of color he created new forms of devotional beauty unsurpassed since the renaissance." (Art and P. 3:379.) "He had probablj^ the most complex nature in our artistic history, and indeed he had in this respect no paraUel among the masters of his time Abroad." (Cortissoz.) Lamb, Charles Rollixsox, (Stained-glass designer) b. New York. Studied art at the Art Students' League of New York. Specialty: rehgious and municipal art. The artistic decoration of the Sage Memorial Chapel at Cornell University, was designed bj' ^Ir. Lamb. The lower wall surface in mosaic — a proces- sional — expresses the idea of education: the center subject is that of life and character, and the ceiling that of religion. The paintings and studies of detail in the processional were made by his wife, Ella Condie^amb, and the mural paintings on the ceiUng in the groined arches, by his brother, Frederick Stymatz Lamb. In describing this work, the Outlook 70:571 says: "This mosaic is one of the most important in size and character of any thing executed in the United States. It ranks with the work of W^ilham R. Richmond, of the Royal Academy, in St. Paul's Cathedral, London, the great processional by Charles Lehmair in the ^ladeleine Church, Paris, the panels of the new facade of the Cathedral in Florence, or what has been wTought by the late Sir Edward Bume- Jones in the American Church at Rome." Mr. Charles RolUnson Lamb has unusual quality as an artist-decorator. ^' He sees things 'in the whole,' with rare judgment and art feehng." (Crafts- man 13:420.) 128 Lamb, Ella Condie (Mrs. Charles R. Lamb), (Mural P., S., I.) b. New- York. Pupil of William M. Chase, C. Y. Turner, Walter Shirlaw in New York, Courtois and Collin in Paris, and Herkomer in England. Has received many prizes and medals for her work shown at various exhibitions in this* country. Mrs. Lamb specializes in decorative designs for public edifices. Among: her works are "The Advent angel," "The Christ child," for the Conrad memorial (in mosaic), St. Mary's church, Wayne, Pa., and "The Arts" and "The Sciences" for the memorial chapel at Cornell University in col- laboration with her husband, Mr. Charles RoUinson Lamb, who designed the elaborate interior decoration of this marvelous art tribute to Henry W. Sage and wife. Lamb, Frederick Stymatz, (Mural and stained-glass designer) b. Newr York, June 24, 1863. Pupil of Art Students' League of New York; also- studied under Lefebvre and Boulanger in Paris. Specialty: stained glass- Received honorable mention at the Columbian Exposition, Chicago, 1893;: medal from the French government for window at Paris Exposition 1900,. and was one of the four glass workers invited to represent the United States- at that exposition. Has received commissions for important mural decorations, among them a large canvas for the Bethlehem Presbyterian Church, Philadelphia, Pa.;: work for the Bethesda Church, Saratoga, New York, and St. Peter's Church,. New York. Designed the window in Emerson Memorial Chapel, Titusville,. Pa. — "Friendship" (David and Jonathan). "Religion" is an especially fine window in the Jones Memorial Library, Lynchburg, Va. ; also is his mural painting, "Gloria in excelsis" in the Sage Memorial Chapel at Cornell Uni- versity. His most important recent design is a series of eight windows in the old Plymouth Church, Brooklyn, N. Y.: "Hampden and Pym appeahng for the Bill of Rights before Charles I'^ "Milton writing the plea for the liberty of the press" "John Robinson's prayer on the Speedwell — Departure of the Pilgrims from Delf haven" " The signing of the Compact on board the Mayflower " "The landing of the Pilgrims " "Founding Harvard College" "George Eliot preaching to the Indians" "Cromwell announcing to George Fox personal liberty of worship." Besides these, are three other windows, showing in the central one, Abraham Lincoln as president; on one side, Henry Ward Beecher speaking on the platform of Exeter Hall, London, in favor of the anti-slavery bill, on the 12a other, Harriet Beecher Stowe in a group of women prominent in the move- ment for the higher education of women. This work is gorgeous in color and beautifully harmonizes with the architecture and decorative scheme of the church. "There is a human quaUty in the art of this artist and even where the utmost conventionaUty of form has to be respected, there is a story with picturesque surroundings." (Craftsman 13:420.) Lathrop, Francis, (Mural P.) b. at sea near 'the HaAvaiian Islands. June 22, 1849; d. Woodcliffe Lake, N. Y., October 18, 1909. In 1862 he went to Dresden, Germany, and studied painting at the Royal Academy of Fine Arts; afterv\'ards studied in London with Ford Madox- BroAA-n and Sir Edward Burne-Jones and acted as assistant to R. Spencer Stanhope and William Morris, devoting special attention to stained glass work. After 1873 was engaged in portrait and decorative painting. Among his chief decorative works are the mural paintings entitled: "The Light of the world" over the altar of St. Bartholomew's Church, "Apollo" over the proscenium of the Metropolitan opera house, New York; "Moses with the tablets of the Lord "a wall-painting in the Bowdoin chapel, Bruns- wick, Me. For the ^larquand memorial window in Princeton college chapel, he re- ceived a gold medal in 1889. . Mr. Lathrop executed many mural paintings and much stained glass work for numerous churches and residences in New York, Albany, Boston, Balti- more and other cities. A member of the National Academy of Design, 1906; also a member of the leading art societies and clubs. Lauber, Joseph, (P., S., E., Mural P. and stained glass designer) b. West- phaha, Gennany, August 31, 1856. Pupil of Walter Shirlaw and AVilliam M. Chase, in painting. Assisted John LaFarge in sculptural decorations of Cornelius Vanderbilt's residence, 1882; executed a number of etchings, 1887- 94, and has painted a conception of the Christ which has been widely noticed. Among his best-known mural painting and stained glass work are : "Redemption" window, Westminster Presbyterian church, Bloomfield, N.J. "The pilgrimage of hfe," First Congregational church, Montclair, N. J. "Christ's admonition to Thomas" window, Church of the Ascension, New York. "Christ before the doctors," Lutheran Church, New York. "Christ as the True Vine" window, Church of Transfiguration, New York. "The spirit of grace and the spirit triumphant" window, Trinity Church, Lancaster, Pa. 17 130 "Hope," Presbyterian Church, Lafayette avenue, Brooklyn, N, Y. "St. Agnes," St. Andrew's Methodist Episcopal Church, West 76th St., New York. "Te Deum" window, St. Paul's church, Richmond, Va. "Adoration" (painting) over the alter, Trinity Church, Ossining, N. Y. "Virtues of the upright judiciary," panels in court room, appellate court building, New York. "Psyche at the spring" window in library of J. P. Morgan. "Greek dance" mural painting in the library of Whitelaw Reid, New York. Le Roy, Anita, (P., I.). Studied at the Pennsylvania Academy of the Fine Arts, Philadelphia, and under Whistler in Paris. Has exhibited in the large cities of the United States. Member of the Plastic Club, Philadelphia. A few popular paintings are : "Dutch canal and boat" "Dutch fisherman" "Dutch children" "Dutch woman sweeping snow" 1/ Leutze, Emanuel, (P.) b. Emingen, near Reuthingen, in Wurtemberg, Bavaria, May 24, 1816; d. Washington, D. C, July 18, 1868. When a child came to Philadelphia with his parents. By the sale of numerous drawings, he realized enough money to carry him to Europe in 1841. He went to Diisseldorf and entered the academy there, and as a pupil of Lessing soon acquired a name in historical art — a branch to which all his tastes and talent inclined. Elected a member of the National Academy of Design, New York, in 1860. In 1860 he received a commission from Congress to decorate a stairway in the National capitol building, and painted the "Star of empire." "This painting stands quite alone in this country as an example of German deco- rative work." (Isham.) He painted a long series of historical compositions, many of American subjects. Among his most dramatic and elaborate pictures which have won popular favor are: " Washington crossing the Dela- " Knox and Mary Stuart " ware" "First mass of Mary Stuart in Scot- " The settlement of Maryland " land " "An Indian contemplating the "Landing of the Norsemen" setting sun" "Columbus before the queen" "The flight of the Puritans" "Cromwell and his daughter" "Henry VIII and Anne Boleyn" Among his portraits of eminent men, that of General Grant is a fine example. "In all his works, Leutze shows himself a typical Diisseldorfian, with the 131 enthusiasm and admirations of the German romantic period, expressed in a smooth, dull technique." He represents the culmination of a certain type of historical painting in America — ^that besides the story told, the picture shall have a moral sig- nificance. Leutze resembles Carlyle — both teach hero worship. (Tuckerman.) Lewis, Edmoxia, (S.) b. in the state of New York. Descended from both Indian and African ancestors. Comparatively untaught, she displayed a natural genius for sculpture and in 1865 exhibited in Boston a portnut- bust of Colonel Shaw which attracted much attention. In 1867 she exhibited a statue called "The f reed-woman." Soon after she went to Rome where she has since resided. She sent to the Centennial Exhibition in 1876 the • Death of Cleop&tra " in marble. Her '' Old arrow-maker and his daughter," 'Asleep," and terra-cotta busts of Sumner, Longfellow, John Brown and others are well-known to visitors ronze medal at St. Louis Exposition, 1904. A teacher. Among his recent works which have been notable are: " A string of pearls " "At the telephone " "The white sunshade" "The huntsman" "The bride" Frederick W. Coburn, New England Magazine 39:37, says: "Mr. Paxton became an interesting figure in American art a few years ago when it was announced that he takes account in his painting of the facts of binocular vision. It was observed during his large exhibition at the St. Botolph Club, lioston, in the winter of 1905, that he had undertaken to render nature as seen with both eyes, instead of as nearly every other painter has done, as seen with only one eye. A certain doubling of vertical lines, in other words,. 167 that are visible just outside of the visual focus has ordinarily been presented, if at all, simply by a de\'ice of blurring or lowering the tone of accessories. !Mr. Paxton, so far as I know, was the first painter to render naturaUstically this overlapping of images in such a manner as largely to increase the optical illusion " "Velasquez, Vermeer, Gainsborough and Ingres seem to be Paxton's masters so far as he is indebted to the past. As to affiliation w-iih present day artists he stands somewhat aloof, although generally accepted as one of the "Boston impressionists." Peale, Charles Watsox, (P.) b. Chest ertown, Md., April 16, 1741: d. Philadelphia, Pa., February 22, 1827. At thirteen he was apprenticed to a saddler and afterwards established himself in the business. Becoming interested in art he took lessons from a German painter to whom he gave a saddle for the privilege of seeing him paint. Influential friends pro\ided the funds necessary for him to go to England to continue his art studies. He studied under John Singleton Copley at Boston and in 1770 went to London and became a pupil of Benjamin West. Returning to the United States he established himself in Philadelphia in 1776. He commanded a corps of volunteers in the revolutionary war, became interested in pohtics and later lectured on natural history; Avas one of the founders of the Pennsylvania Academj- of the Fine Arts at Philadelphia in 1805. His fame rests mainly on his achievements as a portrait painter and the circumstances of his association with Washington, who gave him fourteen sittings. "He was the only portrait painter at that time and his genius was in great demand." The first of the fourteen portraits of Washington by Peale was in the uni- form of a Virginia colonel and is the only one now extant of those painted before the revolution and is highly valued as the first authentic likeness of him. His portraits gathered in Independence Hall, Philadelphia, — one hun- dred and seventeen. — include most of the celebrities, native and foreign, associated with American history and society. " His likenesses," says his son Rembrandt, " were strong but never flattered; in execution spirited and natural." Pearce, Charles Sprague, (P., Mural P.) b. Boston, Mass., October 13, 1851. Certain success as an amateur painter led him to regard art as a possible profession and after five years in mercantile business he took up painting as a profession. He went to Paris in 1873 and entered the school of Leon Bonnat, where he remained three 3'ears. Ill-health made it advisable for him to pass the winters in a warmer climate and he ^dsited Egj-pt, Nubia, Algeria, Italy and southern France. Since 1885 he has lived at Auvers-sur-Oise. His first painting pubhcly exhibited was shown at the Paris salon of 1876. 168 He has received prizes and medals from exhibitions and salons in the United States and Europe and been accorded the distinction of an election as a member of the Order of Dannebrog, Denmark, Order of the Red Eagle, Prussia, Order of Leopold, Belgium, and chevalier of the Legion of Honor, France; is a member of the Paris Society of American Artists and of the National Academy of Design, New York. He has painted portraits and figure subjects but has made his greatest success picturing the rustic landscape and the peasants of northern France. "His shepherdesses, peasant girls and women chopping wood or mind- ing their herds are the work of a man who acquired a forcible technique under Bonnat and studied Bastien-Lepage with understanding." (Muther.) "The shepherdess" is probably his masterpiece. Other works are: "Across the com-mons" "Abraham's sacrifice" " Death of the first born " " Pet of the harem " "Beheading of Saint John" "Water carrier" "Prelude" " Toiler of the sea " " Return of the flock " " Evening " " Saint Genevieve " " The shawl " "Un chemin a Auvers-sur-Oise " Peixotto, Ernest Clifford, (P., I., Min. and Mural P.) b. San Fran- cisco, Cal., 1869. Pupil of Benjamin-Constant, Lefebvre and Doucet in Paris. Received honorable mention in the Paiis salon of 1895. Elected associate member of the National Academy 1909. Instructor in the Art Institute, Chicago, 1907-8. Has illustrated Henry Cabot Lodge's "Story of the Rebellion;" Roose- velt's "Life of Cromwell," Hemstreet's "Nooks and corners of old New York" and numerous articles and stories in current magazines. Penfold, Frank C, (P.) b. Buffalo, N. Y. Received honorable mention in the Paris salon of 1889 and honorable mention at the Pan-American Ex- position, Buffalo, 1901. A good specimen of his work is "Stormy weather, North sea." Pennell, Joskph, (I., E.) b. Philadelphia, Pa., July 4, 1860. He was a pupil in the Pennsylvania Academy of the Fine Arts and his unusual ability in etching was early recognized by his instructor, James L. Claghorn. He has won honorable mention and medals at Philadelphia, Chicago, Paris and elsewhere and has acquired no small measure of fame as a public lecturer and as a critic and author. Associate member National Academy of Design, 1907; full member, 1909. Is represented in the Luxembourg Gallery, Paris, Cabinet des Estamps, France, I'ffizi (Jallery, Florence, Modern Gallery, Venice, Berlin National 169 Gallen', Dresden, Buda-Pesth, South Kensington galleries and in many coUections in the United States. As an illustrator for a time he worked in New Orleans in collaboration with Cable, the novelist ; in 1881 he went to Europe to illustrate some of the ItaUan writings of W. D. Howells. Here he received recognition from PhiUp Gilbert Hamerton who secured his services in illustrating a book on a tour along the River Saone. "The fame of his work soon brought him all the commissions he wished, and he collaborated with Henry James, Justin Mc- Carthy and Sir Walter Besant in illustrating the picturesque streets and buildings of London: with Andrew Lang in doing the same ser\ice for Edin- burgh; with Mrs. Schuyler Van Rensselaer in portraying the majesty and beauty of the English cathedrals; with his wife Elizabeth Robbins Pennell in recording the charms of European travel His drawings are legion in number and must be seen to be appreciated. His etchings (he has des- troyed all his early plates to prevent inferior prints from worn-out plates finding their way into the market), run up into the hundreds and have an average excellence rarely maintained by a devotee of the needle; his Philadel- phia, New Orleans, Italian and London series, all have their own charm and their own excellence." "No American illustrator has won for himself a more en\'iable fame than Joseph Pennell. His art is unique, peculiarly his owti. As a draughtsman the world has produced few equals and no superior. With rare exception everAthing he has done has in an eminent degree, the quality of the artistic." (Brush & P. 12:81.) "As Gibson is the leader among figure draughtsmen. Pennell is the leader among landscape draughtsmen." (Ernest Knaufft.) "Among modem etchers there are few whose work so consistently show the characteristic touch of a master etcher as does the work of Joseph Pennell. It has been said that he is the gieatest of contemporarj- etchei"s." (Canad. M. 38:334.) Hans Singer writing in the International Studio says that he personally places Pennell's architectural etchings even above WTiistler's. ^Ir. Pennell's latest work is a series of twenty-thi-ee lithographs of the Panama Canal. The Italian government has just purchased for the Uffizi galler}-, Mr. Pennell's lithographs of the Panama Canal, of the Grand Canyon and the Yosemite. It is the first time Uthographs have been acquired for the I'flBzi and confers distinction upon this popular American artist. Perr.\ult, I. Marie, (P.) b. Detroit, Mich. Studied at the Detroit Mu- seum of Art School and for the past seven years in Paris. The Hague and Brussels. Mrs. Perrault's work is veiy well thought of in Holland and she is well represented in the collections of that country. She is pre-eminently a painter 170 of children, her later work being influenced by Carriere. Member of several art clubs abroad. Her best works are: "Maternite" "The dream" "Springtime" "The yellow flower" At a special exhibition of her paintings and sketches held in Detroit, Michigan, October, 1911, Mrs. Perrault was represented by thirty-five in- teresting and characteristic canvases. PicKNELL, William Lamb, (P.) b. Hinesburg, Vt., October 23, 1854,* d. Marblehead, Mass., August 9, 1897. Went to Europe in 1874, studying with George Inness in Rome, later for a few months under Gerome in Paris. From Fi'ance he went to England and for a number of years was an exhibitor at the Royal Academy, London; also lived and painted in Brittany, working under Robert Wylie until the death of that artist. Received honorable mention in the Paris salon of 1880; awarded medals in Boston, Mass., 1881 and 1884; won Lippincott prize, Pennsylvania Academy of the Fine Arts, 1896. j\Iember of the Society of American Artists, New York, and the Society of British Artists, London; associate member of the National Academy of Design, New York, 1891. Mr. Picknell is represented in the Luxembourg, Paris, Institute of Arts and Sciences, Brooklyn, ^letropolitan ]\Iuseum of Art, New York, Boston Museum of art and Carnegie Art Gallery, Pittsburgh. The first picture to bring him recognition and standing as a painter was his "Route de Concarneau" painted at Pont Aven, Brittany. His "Breton peasant girl feeding ducks" was exhibited at the Royal Academy, London, 1877, and "The fields of Kerren" received honorable mention in the salon of 1878. "Wintry March" was purchased for the Walker Art Gallery of Liverpool and hung in the apartment occupied by Queen Victoria on her visit to that city. " On the borders of the marsh " was one of the first pictures purchased by the Pennsylvania Academy of the Fine Arts and "A toiler of the sea " was the first picture bought for the Carnegie Art Gallery, Pittsburgh. His marine "Plowing deep while others sleep" won the £100 prize of the Society of British Artists. The French and English critics gave unstinted praise to the strength and distinction of his pictures. "Art to him was holy; there must be no hypocrisy, no shirking, no secrets. All his knowledge he was eager to impart without price " An Italian gentleman and painter paid this tribute to him: "It is the sad privilege and prerogative of such natures to leave darkness where their spirit threw light, for he was one of those enthusiasts in the etymological sense of the word, possessed, carrying mth them a power — a god if you like — 171 and such guests are felt even in ordinary surroundings." (Cent. n. s. 40:710.) Notable examples of his art are: " A stormy day " " Among the olives " " Coast of Ipswich " " A gray morning, Moret " "Sunshine and drifting sand" "Late afternoon, ^Moret" "A sultry day" "Morning on the Loing" "After the storm" "Morning on the Mediterranean" "The edge of \sinter" "Twihght on the Mediterranean" "Where broad ocean leans "^Iid-^^inter on the Litorel" against the land " "Picknell made extensive use of the palette knife, gaining thus some- thing of the purity of tone, the vibration and the marvelous amount of at- mosphere that distinguished many of his canvases." Pitts, Lendall, (E.) b. Detroit, Mchigan. Pupil of Jean Paul Laurens in Paris. E. A. Taylor in writing of American etchers (Studio special number), says: "In color, American etchers with but few exceptions have not shown any notable examples, the most distinctly personal and interesting results yet attained being those by Lendall Pitts, who exhibited some remarkable results of his experimental achievements in the St. Louis Museum of Fine Arts in 1908. In his studio in Paris he works heedless of recognized methods and pubUc appreciation, producing many httle masterpieces viith. deUghtful simphcity. "Sunset on the lake," "Castle of Sigiienza, Spain" and "The cascade " are unique illustrations of his color-etching and aquatint." Platt, Alethea Hill, (P.) b. Scarsdale, N. Y. Pupil of Henry B. Snell, Ben Foster and Art Students' League, New York. Received first prize for water color New York Woman's Art Club, 1903. Member New York Wo- man's Art Club, Pen & Brush Club, National Arts Club, New York Water Color Club. In writing of the exhibition of the New York Water Color Club, Palette and Bench, February 1910, has this: "The "scrub method" originated by Mr. Henry B. Snell was well represented by one of his ablest pupils. Miss Alethea H. Platt in her fine interior, "An old world kitchen" There are some delicious bits of color in this old kitchen scene." The art critic of one of the New York papers writes: "One of the most interesting displays is made up of thirty paintings by ^liss Alethea Hill Platt in the Powell gallery. The artist presents scenes from the fair land of Devon and from the coast of Brittany. Charming interiors showing the homely hfe of the peasantry on both sides of the channel of which Miss Platt has made a specialty in her European sojourns, are already well known. 172 "There is something entirely new, however, in several landscapes which she shows. They are brilliant in tone but true to the colors found in sky and plain and vale. Those familiar with her earlier work will be deeply interested in the new departure as revealed in "The sunlit moor," and "Tors on Dartmoor," which are bathed in the soft airs of England. A water color "A moorland shepherd" represents a herdsman returning at eventide to his cottage and there is wonderful charm and feeling in this peaceful bit of rural England, which includes his cottage and its surroundings." Pope, Alexander, (P., S.) b. Boston, Mass., March 25, 1849. At the age of seven he did creditable work in sketching animals, and was self-taught with the exception of instruction in perspective drawing and anatomy with Dr. Rimmer. At twenty he was a devotee of wood-carving and modeling. He originated painted game birds carved out of pine wood, two of them being purchased by the Czar of Russia. Later he was ambitious to become a sculptor. His first notable canvas was "CaUing out the hounds," and his two most noted pictures are his "Martyrdom of St. Euphemia" and his "Glaucus and the hon" (taken from Bulwer's "Last days of Pompeii"). One of his most realistic productions is the painting of a white swan hanging to a door. "Just from town" shows two peacocks and is one of his simplest and most pleasing paintings. (Brush & P. 8:105.) Mr. Pope's portraits of dogs have won for him the title "American Land- seer," and his lions and horses have brought him an even wider reputation. Supplementing the fundamental grounding he received from Dr. Rimmer by individual study and constant practice, he haunted stables, aviaries and kennels and spent much time in the zoological gardens of New York and Philadelphia; also at Bridgeport, Conn., when Barnum's winter headquarters were there, where he especially studied and sketched lions. Mr. Yope has published a series of game bird plates entitled, "Upland game birds and water fowls of the United States;" also "Celebrated dogs of America." Potter, Edward Clark, (S.) b. New London, Conn., November 26, 1857. Educated at Amherst College; studied sculpture under Mercie and Fremiet, Paris, 1888-9. Has been a member of the National Academy of Design, New York, since 1906. Mr, Potter's first prominence was due to his collaboration with Mr, Daniel Chester French at Chicago in 1893 where their Columbus Quadriga and t)ther groups were among the most admired t)f the many decorations. Lorado Taft says that it is probable that no American sculptor knows the horse quite so well structurally, as does Mr. Potter, Mr. Potter has not restricted himself, however, to animal sculpture nor to partnership enterprises. His delightful little "Sleeping faun" is in the Art In.stitute of Chicago: his Governor Blair of Michigan stands in an ad- 173 mirable repose before the state capitol at Lansing. His equestrian statue of General Slocum on the battlefield of Gettysburg is considered a striking portrait.... "There is no more impressive sculpture upon the famous battlefield." (Taft's ''History of American sculpture.") ^Ir. Potter has also executed two noteworthy bas-reliefs of Dante and Savonarola. Potter, Louis, (S., E.) b. Troy, N. Y., November 14, 1873; d. Seattle, Wash., August 29, 1912. Graduated at Trinity College, Hartford, in 1896. Received first instructions in art from Charles Noel Flagg. In 1896 he went to Paris and remained there for three years, studying painting under Luc- Olivier ^lerson and modeling under Jean Dampt. His first exhibition was a bust of Boutet de ^lonvel. ^Ir. Potter spent some time in Tunis and while there was commissioned to represent Arab life at the exposition. For this service the Bey conferred upon him a decoration of Officer du Nicham Iftikar or "Order of Renown." After his return to the L'nited States he devoted himself to distinctively American subjects. The Indians, particularly, both Alaskan and American, became one of his favorite subjects. ^Ir. Potter took up the investigation of the occult science for the purpose of arriving at some higher spiritual insight. This he abandoned declaring the practice of no value, possibly harpiful. "The earth man" and "The earth's unfoldment'' were accepted unani- mously by the French salon of 1912. "The man" is groping for Ught; this is realized in the "Earth unfoldment" — the spiritual awakening' of the wo- man. (Int. studio Nov., 1912.) PoTTHAST, Edward Henry, (P., I., Mural P.) b. Cincinnati, O., June 11, 1857. Pupil Cincinnati School of Fine Arts. Studied in Antwerp, ^Munich and Paris. Won Clarke prize N. A. D., 1899; also several gold and silver medals. Member Society American Artists; associate member National Academy, 1899; academician, 1906. Powell, William Henry, (P.) b. New York, February 14, 1823; d. New York, October 6, 1879. He began the study of art under Henry Inman in New York City in 1843 and continued his studies in Paris and Florence. He first exhibited at the National Academy of Design, New York, in 1838; was elected an associate member of the acadeni}' in 1854. Probably no historical work of art is more familiar to the American people than his painting, "The battle of Lake Erie." It was originally executed for the state of Ohio at a cost of $10,000. In 1873 Mr. Powell reproduced the work on a larger canvas for the national government and this painting now hangs in the senate wing of the capitol at Washington, D. C. 174 Other historical paintings are: "DeSota discovering the "Landing of the Pilgrims" Mississippi.' ' "Washington at Valley Forge" "Siege of Vera Cruz" He also produced famous portraits of Albert Gallatin, Peter Cooper and Washington Irving. His portrait of General McClellan and that of Major Anderson are in the city hall, New York. Pratt, Bela L., (S.) b. Norwich, Conn., December 11, 1867. At the age of sixteen he entered the Yale school of fine arts where he studied under Profs. Neimeyer and Weir. In 1887 he entered the Art Students League of New York, continuing there his studies under Saint-Gaudens, Elwell, Chase and Kenyon Cox. He went to Paris in 1890 where he studied under Chapu and Falguiere. While in the Ecole des Beaux Arts he received three medals and two prizes. Returned to the United States in 1892. Was commissioned for two colossal groups on the water gate of the Peristyle at the Columbian Exposition, 1893. In 1895 and 1896 he shared in the decorations of the Library of Congress, Washington, D. C. His marble recumbent figure of Dr. Coit of St. Pauls' School, Concord, N. H., was given honorable mention in tJie Paris salon of 1897. In 1899 he made the Brown memorial tablet for Cornell University and the bronze portrait bust of Phillips Brooks for Brooks House, Harvard Uni- versity. Mr. Pratt's contributions to the Pan-American Exposition were num- erous and certain of them of great beauty. He has produced many works in sculpture, statues, memorials, groups, tablets, busts, medallions, etc. Associate member National Academy of Design, 1910. (Taft's "History of American sculpture.") Prellwitz, Edith Mitchell (Mrs. Henry Prellwitz), (P.) b. South Orange, N. J., 1865. Pupil of Art Students' League of New York under George de Forest Brush and Kenyon Cox; Acad6mie Julien in Paris under Bouguereau, Robert-Fleury and Courtois. Received second Hallgarten prize in 1894 for her "Hagar and Ishmael;" Dodge prize in 1895; bronze medal at Pan-American Exposition, Buffalo, 1901. Elected associate member of the National Academy of Design, New York, in 1906. 1'rellwitz, Henry, (P.) b. New York, 1865. Pui)il of T. W. Dewing and Art Students' League of New York; Academic JuUen in Paris. Received third Hallgarten prize National Academy of Design, 1893; bronze 175 medal Pan-American Exposition, Buffalo, 1901 : medal St. Louis Exposition, 1904; Clark prize, National Academy of Design, 1907. Member of the Society of American Artists. 1906. Instructor in life drawing and painting at Pratt Institute, Brooklyn, X. Y. Elected associate member of the National Academy of Design, New York, 1906. Preston, ^Iary Wilson (Mrs. James Preston) (I.) b. New York, August 11, 1873. Educated at Oberlin College. Studied art in New York art schools 1896-7: Whistler school, Paris, 1899-1900. Began illustrating for magazines in 1902. Has illustrated: "Seeing France ^^^th Uncle John" "The incubator baby" " The smugglers ' " The diaiy of DeUa " Proctor, Alexander Phi.mister, (S., P.) b. Bozanquit, Ont.. Canada, September 27, 1862. Pupil of National Academy of Design and Art Students League in New York: Puech and Injalbert in Paris. Received gold medal for sculpture and bronze medal for painting at St. Louis Exposition, 1904. Elected member of the National Academy 1904. For years Mr. Proctor was a huntsman, U^^ng in the Rocky Mountains where he made a study of i^ild animals. ReaUzing that he needed better training in 1887 he went to New York and entered the classes of the National Academy. Being awarded the Rinehart scholarship he went to Paris for. five j'ears' study in technique. At the Paris Exposition 1900 Mr. Proctor's well-known panthers kept guard at the entrance on the Place de la Concorde. His "Bison" shows eN^idence of the sculptor's close observation and acute sense of the animal character, as do his "Fawn," "Bear" and "Striding panther." Mr. Proctor is represented in pubhc parks. New York, Denver, Pittsburgh, Buffalo and other cities of the United States. Pyle, Howard, (P., I.) b. Wilmington, Delaware, ^Nlarch o, 1853: d. Flor- ence, Italy, November 9, 1911. Was educated in private schools and in the Art Students League of New York; an instructor at the Dre.xel Institute. Philadelphia, a member of the National Institute of Arts and Letters, associate member of the National Academy of Design, 1905, academician, 1907. At first being unsuccessful in art he went into bifeiness, but some of his drawings finally being accepted by a magazine he again took up the profession of his choice. His first assignment in illustration — a picture called "Wreck in the offing" — brought Mm steady employment in the field of art. His most important work was done in periodical illustration. Mr. Pyle ranked as our foremost American illustrator. Both in his stories (he was an author as well as an artist) he exhibited a w^ell-defined stvle, 176 characterized by vigorous and sustained imagination and a certain charming quaintness eminently adapted to tales of fairyland or olden days. His principal publications are: "The merry adventures of Robin " Twilight land " Hood " " The garden behind the moon " " Pepper and salt " " Semper idem " " Within the capes " " Rejected of men " " The wonder clock " "The story of Arthur and his "The rose of Paradise" knights" "Otto of the silver hand" "The story of the champions of the " A modern Aladdin " Round Table " "Men of iron" "The story of Launcelot and his "Jack Ballister's fortunes" companions" " The stolen treasure " "His plates, rich and often gorgeous in color as they were, pictorial in intent and spirited in movement, showed the hand that was acquainted with the shortcomings as well as the successes of the reproductive process." "Throughout his career he held pronounced views as to the disadvantage of foreign training and association." (Nation, Nov. 16, 1911.) Isham says: "Howard Pyle is the only man who seems to know thor- oughly the colonial and revolutionary epoch." "He liked to draw for the accompaniment of text, and did much to dignify the practice. His later work generally shows him the complete artist-writer, decorator, illustrator and spiritual thinker as in the imaginative "Travels of the soul " and in the " Fate of a treasure town " so different in character." Several creditable paintings bear his signature: "One boss shay," "Old violin," "Trotting match"; these are well known. Arthur Hoeber in the International Studio for January 1912 says: "There was something convincing about Pyle's work; his knights and ladies, his revolutionary soldiers and his men and women of colonial times were to the manor born and not posed models dressed up for the occasion The death of Mr. Pyle leaves a distinct void and his place will in all probability never be filled for his woik was entirely personal, full of the liveliest interest with great literary as well as artistic charm." Ranger, Henry Ward, (P.) b. near Rochester, N. Y., January, 1858. Practically self-taught. Went to New York and took a studio in the early 7()'h where he became acquainted with the works of the Barbizon men by which he has ever since been influenced. He studied many years in England, France and Holland where he enjoyed an intimacy with Israels, Mauve and other leaders of the Dutch school. Was elected associate member of the National Academy of Defign in 1901; full member in 19()6. 177 Although the artistic public knows little of Henry W. Ranger, yet he is unquestionably one of the few great artists America has produced. This is largely because he rarely exhibits in public displays. He is opposed to competition for honor of anj' sort, objecting on principle to distinctions other than come from the ability of his canvases to attract serious attention. In viewing ^Ir. Ranger's pictures one feels the presence of a single domi- nating idea. This dominating central idea is the mastery of tone. This tonal quaUty is defined as "a close and sympathetic adjustment of the hues and values of a picture to its dominating key — which is the index of its emo- tional meaning." (Brush & P. 16:39.) This tonal quality in Mr. Ranger's work is joined with a strong sense of structure and rh}-thmical composition. Among his best known works are: " Autumn woods " " Hawk's nest pool " " Golden evening — Xoank " " On Mason's island " " Bow bridge " " Sentinel rock " "Bradbury's mill-pond No. 2" " Noank shipyard " " Spring woods " " Noank street " '* September gale — Xoank " " Flj^ing point " "Peaceful moonlight reveries" "The edge of the woods'' " The last of spring " " Willows " "Spring pastures" "Entrance to the harbor" "A gray day " " Top of the hill " " Saunders' hollow " " High bridge " "Connecticut woods " " Sea and sky " "These are ample to show that underlying all this \\-ide range is one per- fectly definite personaHty that is itself throu^out able to command moods that range from the tender and persuasive to the vigorous and powerful." (Int. studio 29:33.) "His art is based on a profound and sympathetic appreciation of nature. An artistic selection from her various and at times conflicting moods, it is with all its science, emotional." (Brush & P. 16:41.) Redfield, Edward Willis, (P.) b. Bridgeville, Delaware, December 19, 1868. At an early age he developed a love for art and was sent to a local academy where he was instructed in free-hand dra\^'ing; later studied in the Pennsylvania Academy of the Fine Arts and under Bouguereau and Robert- Fleury, Paris. He is a member of the Society of American Artists; was elected associate member of the National Academy of Design, New York» in 1904; full member in 1908. Mr. Redfield has received many competitive medals. 23 . i i/. 178 Winter is his constant theme. He is a pioneer in this country in the reaUstic painting of winter, in which field he has few equals today. The French government has purchased his "February" for the Luxembourg Gallery. A few characteristic landscapes are: "Grey days" "The crest" "Landscape in April" "The red barn" " Brook in winter " " December " " Hill and valley " " The briar patch " " The road to center bridge " " Cedar hills " "Foothills of the Blue Ridge " " The canal " " The hemlocks " " The old bridge " "Surf" "The fallen tree" " Winter " " On the banks of a river " "The three boats " " Center bridge " "In his manner and method of painting, his work is a reflection of the methods of the impressionists, which he has adapted to his own use." (Int. studio 41:xxix.) B. O. Flowers writing of Mr. Redfield and his art (Arena 36:20) refers to him as "an artist of winter-locked nature," and names "The three boats" as a typical picture of his work. He also says: "No one can look upon this canvas without feeling the spell of winter's icy hand. The shroud of snow, the skeleton trees, the somber river and the idle boats speak more eloquently than words of the sleeping time of nature." "The crest" won second medal and the award of one thousand dollars at the Pittsburgh art exhibition given at the Carnegie Institute in 1905. ]Many consider his best painting to be "Center bridge" which has been purchased for the permanent collection of the Chicago Art Institute. Redfield, Heloise Guillou, (Min. P.) b. Philadelphia, Pa., 1883. Pupil of Martha S. Baker, AViUiam M. Chase and Cecilia Beaux; Madame LaForge and Delecluse in Paris. Mrs. Redfield's miniatures "are remarkable for their "paint quality" and a carrying force equal to that of life-size painting." "She has developed a form of expression which is really painting although the medium is water color and the scale miniature. "Her work shows that she has a strong mental conception at the outset, virile enough to bend the means of expression to serve the artist's will." (Int. studio 48:xix.) Reid, Robert, (P., Mural P.) b. Stockbridge, Mass., July 29, 1862. Studied at the Museum of Fine Arts, Boston, 1880, and for three years was assistant instructor. From 1885 to 1889 he studied in the Art Students League, 179 New York, later went to Paris and studied in the Academie Julien under Boulanger and Lefebvre: Exhibited in the salon of 1889; had a studio for the summer in Etaples-pas-de-Calais; returned to Xew York in 1889. He is a member of the Ten Amerieaji Painters and one of the eight American artists who painted frescoes on the dome of the Liberal Arts Building at the Columbian Exposition, 1893. Has been instructor of painting in the Art Students' League and in Cooper Institute. Elected member of the National Academy of Design, Xew York, in 1906. Has received many medals and prizes. In the decoration of the Library of Congress five octagons on the ceiling of the second floor and four circular panels on the wall are his work. His decorations for the International Navigation Company mark a new line of work in marine architecture and decoration. "Autumn" is considered by some critics the best picture he has ever painted. A few characteristic paintings are: "Gladiola" "Goldfish" " Canna " " White parasol " ' ' Tiger Uly " " Water sprite " " Pink carnation " " Tennis girl " ^'Vine" "Butterfly" "Fleurdelys" "ViUageJuno" ^'Azelea" "The mirror" " Yellow flower " " Little country girl " "Meditation" "His work is devoid of any spiritual, philosophical or philanthropic pre- tensions. It exists for itself alone, and persistently sings of youth, sunUght, flowers and supple rhythmic forms and contours." (Brinton in "Arts and Decoration" Nov., 1911.) ^lany titles of his pictures are chosen from the particular flower which is given prominence in the composition. Royal Cortissoz writes of Mr. Reid's work: "His paintings have a durable charm. The livehness of his flower-laden girls does not fade; his windows and his mural decorations are as persistently persuasive. The reason, I think, is that he has a true perception of beauty and never wearies in his pursuit of technical excellence." "He has secured from impressionism what could be of service to himself — the deUcat^ discrimination of color and the subtleties of various kinds of light and assimilated these facts into his own vigorous personaUty." .(The artist 24:lxiv.) Mr. Reid is one of the leading impressionists. His preoccupations are purely pictorial. 180 Reinhart, Charles Stanley, (I.) b. Pittsburgh, "^^ Pa., May 16, 1844; d. New York, August 30, 1897. Served in the civil war; later engaged in mercantile business four years. In 1868 went to Europe to begin a systematic study of art. Spent one year in Atelier Suisse, Paris, and then became the pupil of Profs. Echter and Otto, Munich. Returned to the United States in 1870 and began illustrating for various publishers; regularly employed by Harper & Bro. from 1871-7. Was an associate member of the National Academy of Design, New York. Mr. Reinhart was best known for his excellent work in black and white in which he is without peer. He is equally effective in color work. Was a regular contributor to the Paris salon during the ten years he resided at the French capital. He was one of the first who introduced "painter qualities" into illustrative work. RexMington, Frederic, (P., I., S.) b. Canton, N. Y., October 4, 1861; d. Ridgeville, Conn., December 26, 1909. He was educated at Yale Art School, (and it is said that his eminence at college was on the football field rather than in the art classes) ; also studied at the Art Student's League of New York. Was clerk in a business office, then cowboy and stockman on a ranch in the west; subsequently illustrator for magazines treating miUtary and American subjects and during 1897-8, Cuban scenes. Is well known as a painter, sculptor, illustrator and author. Associate member of National Academy of Design, 1891. Mr. Remington was the most eminent and successful of a half dozen painters who have made the field of Indian warfare and cowboy adventure their own. Essentially an illustrator, he never became a " painter's painter" but he was the people's favorite through the subjects he chose. "The Indian appealed to him not in any histrionic way .... but just as a human creature." Cortissoz says: "His night scenes , are both veracious and beautiful and they exert a very original charm. He knows how the light of the moon or of the stars is diffused, how softly and magically it envelops the landscape. His picture "The gossips" is one of the handsomest and most convincing Indian studies ever painted." Familiar paintings are: " The luckless hunter " " Trailing Texas cattle " " The moose country " " The chieftain " "The buffalo runners" "Picture writing" "The fall of the cowboy" "The winter campaign" " Coming to call " " Among the led horses " "An Indian trapper" "Driving cattle on the plains" "Downing the nigh leader" "Indian runner" "Advance guard" 181 In writing of an exhibition of his pictures, an eminent art critic says: ^'Two aspects of his abiUty as a painter of life were brought out in sharp relief by this collection of pictures — his authentic interpretation of the Indian, and his fidelity to things as they are amongst our soldiers and cowboys." His ponies are full of "horse character" and connoisseurs agree that in the painting of the horse, Remington surpassed Meissonier, Fromentin and Detaille. His equestrian bronzes are picturesque and spirited. He ap- proaches sculpture from the pictorial rather than the monumental side. Lorado Taft says: "Mr. Remington is not an interpreter, nor is he likely ■ever to conceive a theme sculpturally." His "Bronco buster" and "Wounded bunkie" are his leading sculpture. Reuterdahl, Hexry, (I. and P.) b. Malmo, Sweden, August 30, 1871. Member Society of Illustrators and American Water Color Society. Repre- sented at the 45th annual exhibition of the American Water Color Society. "Henr\' Reuterdahl stands alone in his wonderfully realistic paintings of steamships laboring in tempestuous waters. He has dramatized the war- ship, the destroyer, the liner and the " tramp " as no other painter and shows in his exhibition pictures a high indication of his attainment as an illustrator — and vice versa." Rhixd, J. Massey, (S.) b. Edinburgh, Scotland, July 9, 1860. From his €arliest childhood ^Ir. Rhind has modeled in clay. His father, John Rhind, R. S. A., gave him instructions in art and while still very young he was sent to an art school in Lambeth where he became a pupil of Delau, the French sculptor, at that time a poUtical exile. Later Rhind studied at the Royal Academy. He took three gold medals in one year at South Kensington, being the first student who ever scored such a success. Went to Paris, then back to England and came to the United States in 1889. When he submitted the design for the bronze doors of Trinity church, the world in general recognized him as a powerful sculptor. His design for a fountain in Washington Park, Albany, to be erected as a memorial to Senator Rufus King, was accepted. "For originality and dramatic effect, there is nothing in America to surpass it." Mr. Rhind's work is to be seen in several of the great business buildings erected in New York City and in the decorative figures on the front of the Alexander Commencement Hall at Princeton. One of his latest works is the Calhoun statue, and one of his finest examples of interior decorative work is in the mantel in the great hall of the Yerkes New York house. (Munsey 14:671.) New York sculptors say that the eighteen symbolic figures in the frieze of the Farmers Deposit Bldg., in Pittsburgh, are the finest examples of architectural sculpture in the United States. 182 Richards, William Trost, (P.) b. Philadelphia, Pa., November 14, 1833; d. Newport, R. I., November 8, 1905. At an early age he turned his at- tention to the study of art and received his first instructions from Paul Weber. In 1855 he went to Europe, studying in Florence, Rome and Paris. He was an exhibitor in the Paris salon, the Roj^al Academy and Grosvenor Gallery, London. Was an honoraiy member of the National Academy of Design,. New York. A painter of landscapes and marines, his best works in oil are: " The Wissahickon " " ]Mid-ocean '' -" New England coast " "At Atlantic City" (Paris salon,. "Mid-summer" 1873) " June woods " " Wood scene " " Spring " " Summer afternoon " "Ebbtide" "Old orchard at Newport" "The inlet near Newport" "Out in the country" " Tulip trees " " Sea and sky " "Land's end" "So carefully painted in some of Richards' landscapes are the leaves, grasses, grain-stalks, weeds, stones and flowers, that we seem not to be looking at a distant prospect, but lying on the ground with herbage and blossoms directly imder our eyes." (Tuckerman.) "Richards was one of the first American painters who adopted the pre- Raphaelite style of treatment in their pictures; this was in 1858, and since that time no artist in this country has achieved greater success in the pro- fession. His drawing is never at fault and the crispness of his touch is charm- ing." (Art Journal, Aug., 1877.) In writing of the art of William T. Richards in " Masterpieces of the sea," Harrison S. Morris, says: "He was a realist .... the things he painted, the sea, the sky, all outdoors — these things were real to him and were not things to play tricks with. He did not paint a sunrise effect,he painted" Sunrise." He did not paint "Fog — an impression — " he painted fog an actuality." Robinson, Theodore, (P., I.) b. Irasburg, Vt., June 3, 1852; d. April 2, 1896. Studied art in Paris under Carolus-Duran and G6rome. He spent the years 1884-88 with Monet at Giverny, then returned to this country and devoted himself to the Delaware and Hudson River Canal scenery. In earlier years he did a great deal of mural painting in New York, and he was well-known as an illustrator. "He accepted the impressionist theory that the first consciousness we receive of an object consists of a confusion of color dots. But he painted merely in prismatic color strokes, varying in size according to the subject." (Hartmann.) 183 "In many of his works, especially in "The ^rl and cow" he shows the real benefit the impressionist doctrine may convey to those whose individual strength repels ill-digested imitation. He revelled in light and analyzed it with subtle intuition growing emotional at every sunburst." Was strictly a neo-impressionist. Robinson had the faculty to impress one with the spontaneity of his ex- pression. His work always seems to be done au premier coup. He possesses the true tonality of nature. The same tone of nature is found in his " Winter landscape" as in his **The girl and cow." While studying imder Carolus-Duran and Gerome he painted his "Study of a girl " the first of his pictures to be accepted by the Paris salon. In 1890 "Winter landscape" was awarded the Webb prize as the best landscape by an artist under forty years of age. In 1892 he won the Shaw prize of $1,000 for the figure painting in his " In the sun." Soon after his death in 1896 one of his pictures was oflfered as a gift to the ^letropohtan Museum, Xew York, and the gift was declined. Within the last four years the museum has acquired thvee of his pictures and exhibits a fourth which is loaned. Cox writes of the "cold and intellectual gaiety" of Robinson's views of Giverny. Rogers, Johx, (S.) b. Salem, Mass., October 30, 1829; d. New Canaan, Conn., July 26, 1904. He was compelled to abandon the profession of civil engineering on account of weak eyes and entered a machine shop and modeled in clay during his leisure moments. With the exception of three months in Rome in 1850 when he worked in the studio of Mr. Spencer, an EngUshman, he was self- taught. In 1859 he executed the first of his small plaster gioups which met \\'ith such popular success. He sent twenty-nine "Roger's groups" to the Centennial Exhibition in Philadelphia in 1876, and received the highest award at the Columbian Exposition in 1893 for his dignified seated figure of Lincoln. Mr. Rogers was elected a member of the National Academy in 1863, and belonged to the National Sculpture Society. (American Art Annual, Vol. 5.) RoLSHovEX, Julius, (P.) b. Detroit, Mich., October 28, 1858. Studied art in Diisseldorf and Munich where he met Frank Duveneck with whom he also studied, accompaming him to Italy. In 1882 he went to Paris and worked in the studio of Robert-Fleury. He has exhibited' in Paris, Mimich, BerUn, London, Brussels, Vienna and Florence and in the principal cities of the United States and received honors and medals and artistic recognition from these exhibitions. Has instructed art classes in Paris, London and Florence. Is a meml>er of the Munich Secessionists, the Soci^te Nationale des Beaux Arts, Paris, 184 and the Chelsea Art Club, London. His present address is 15 "Viale Miche- langelo, Florence, Italy. Drawing is perhaps the most noticeable strength of INIr. Rolshoven's work. He is also noted for the poetic way in which he treats interior and out-of-door scenes. His beautiful nude "La Venere bruna," an echo of his Paris period, done in pastel, was given the place of honor in the first pastel exhibition in London. His work has of late years rebuilt itself upon a stronger and finer line. This the discriminating critic finds in "The girl with the kitten." "He recently exhibited two paintings in the salon of the Chicago Art Institute that are particularly interesting: in "The cloister. Church of St. Francis d'Assisi" he gives a peaceful solemn vision of the interior, radiant in sparkling sunlight; while "The prayer" bathed in a mysterious silence, gleams cool in the pale evening light." (Int. studio 27:ciii.) In his Venetian pictures there is nothing of the sunny plaj^ of light — on the contrary, powerful greenish-blue tones are spread out with an effect of dark and solemn gravity. (Miither.) "Great grandmother's finery" is charming in treatment. There are two distinct influences clearly traceable in Mr. Rolshoven's work: the eye and hand for form, for line, learned in his goldsmith period and perfected under Italian skies .... and the inspiration of character won through Duveneck from the Dutch and Flemish schools. (Tlie artist, 23 :185.) The Rome correspondent writing on American artists at the exposition of 1911, says: "One of the best portraits of women in the exhibition is that by Julius Rolshoven. This fine painting is rich in color and delightful in its treatment." Mr. Rolshoven recently exhibited his latest paintings in Paris and the Paris edition of the New York Herald contains a flattering comment on the work of this Detroit artist, mentioning particularly "Expectancy," "The three graces," "The dancer in white" and the "Salon of Mona Lisa." Roth, Frederick George Richard, (S.) b. Brooklyn, N. Y., April 28, 1872. Pupil of Hellman in Vienna, 1892, and Academy of Fine Arts, Berlin, 1894. Received silver medal at St. Louis Exposition, 1904. Elected full member of the National Academy in 1906. Member of the National Sculpture Society. Has exhibited in Europe and the United States. Mr. Roth works in clay, glazed porcelain, bronze and marble. His group of polar bears won his election to the National Academy. He designed the architectural tigers for one of the gates of Princeton University. "He is capable of producing a portrait of an individual creature as well as a symbol of the species." (Arts & D., 2:222.) RucKSTUHL, Frederick Wellington, (S.) b. Breitenbach, Alsace, Ger- many, May 22, 1853; came to America when one year old. Pupil of Julian 185 Academy under ^lercie, Boulanger and Lefebvre. Received honorable mention in the Paris salon 1889. For many years was secretary of the Na- tional Sculpture Societ}'. "Without question Mr. Ruckstuhl's most beautiful work is his marble figure of " Evening " which he modeled in Paris and which won him an honor- able mention at the salon of 1888 and a medal at the Columbian Exposition. It is a poetic conception verj- simply expressed in a pose of unusual grace, and reveals a close study of nature." (Taft.) Other well known works of his are: "Mercury teasing the eagle of Jupiter," in St. Louis. "Solon" in the Librarj' of Congress and "Wisdom" and "Force" the two seated figures which guard the entrance of the Appellate court in New York Citj*. One of his latest and most popular works is "The spirit of the confed- eracy. ' ' (Taft.) Ryder, Albert Pinkham, (P.) b. New Bedford, Mass., March 19, 1847. Studied art under William E. ^larshall and at the National Academy of Design, New York. Practically self-taught. Member of the National Academy of Design, New York, since 1906. The titles of some of his characteristic works give an idea of the scope of his subjects: " Jonah and the whale " " The tempest " " Christ appearing unto Mary " "Desdemona" " The stor>' of the cross " " ^Macbeth on horseback " " Charity " " Meeting the three witches " " The forest of Arden " " Autumn landscape " " The Uttle maid of Arcady " " Moonhght " - " The two lovers " ' " The old mill " " Constance " " The wandering cow " "The sisters" "The race" ' ' The passing song " " Chase " "Siegfried" "Poet on Pegasus visiting the " Flying Dutchman " muses" " The temple of the mind " " The horseman " Charles DeKay, the art critic, who really discovered Ryder, wTites of him as "a colorist quite apart from schools and masters who, like Homer D. Martin, is what might be called an instructive colorist " Generally small in size, often jewel-like, inwardlj^ more glowing and charm- ing than Limoges enamels, his pictures deal in color as the works of a gi'eat born composer deal in music. 186 "His moonlight scenes are imbued with the witchery and mystery of night, as perhaps no one else has presented it .... His is that obscure illusive quality that is to painting what Browning is to poetry." Isham, in his "History of American Painting," says: "Ryder's pictures differ from Whistler's as well as from Fuller's in being not transcriptions from nature but creations of the imagination, and in striving to convey ideas, vague but poetic." "His sense for colors — gorgeous, ponderous as it is in his blues, soft, cares- sing in his yellows, and weird in his lilac greens — seems to me but an inferior quality Ryder is a chiaroscurist, an ideal black and white artist, . with special aptitude for moonlight effects. One must see his " Siegfried " to realize how he can flood a picture with sensuous bewitching poetry. And in order to fathom how far he can climb in grandeur of thought and com- position, one must study his "Jonah." His "Flying Dutchman" is a picture as impressive as religious — one of the few that sound the note of sublimity, which is after all the highest in art." (Hartmann.) Walter Pach, the writer, in the L'art et les artistes, names Ryder as one of the three great American painters, and says: "His art is like the playing of some master violinist, color and form and other painters' harmonies being the strings of his fine instrument, .... He chooses his subjects from the poets and out of them he produces pictures of profound and poignant beauty, intensely personal expressions of his own rare spirit." Saint-Gaudens, Augustus, (S.) b. Dublin, Ireland, March 1, 1848; d. Cornish, N. H., August 3, 1907. At the age of six months he came with his family to America. When thirteen he was apprenticed to Louis Avet, a cameo cutter. From 1864-7 he studied drawing at night at Cooper Union and at the National Academy of Design, and in 1867 went to Paris to study sculpture. In 1869 he entered Jouffroy's studio in the Ecole des Beaux Arts. While in Rome, 1870-2 he produced the statues of "Hiawatha" and "Silence;" also experimented in painting, making studies of the Campagna. Returned to the United States in 1874. Associate member of National Academy of Design, 1888; full member 1889. His five monuments in the remarkable series of memorials to civil war heroes are the Farragut statue and the equestrian statue of Sherman in New York, Shaw memorial in Boston, and the statues of Lincoln and Logan in (/hicago. The "Head of Christ" for the Phillips Brooks memorial was one of the last things that Saint-Gaudens did with his own hands. An eminent critic has called the Sherman monument the third greatest equestrian statue in the world, placing only the "CoUeoni" of Verrocchio and the "Gattamelata" of Donatello before it. His "Deacon Chapin" ia probably the finest embodiment of Puritanism in our art. AUGUSTUS SAINT-GAUDEXS. 188 Kenyon Cox says: "I believe Saint-Gaudens is the most complete master of relief since the fifteenth century." The true quahty of Saint-Gaudens is best shown in the purely ideal figure which symbolizes an emotion of the human heart. This is his famous statue of "Grief" placed in Rock Creek cemetery near Washington, D. C. In the final summing up of all his works, it is this statue which best expresses the power of Saint-Gaudens to express the soul in stone. France made him an officer of the Legion of Honor and the art societies of France elected him to the highest position within their gift. But the honors which he valued most of all were the degrees conferred upon him by Harvard and Princeton — the gratifying token of recognition by great centers of learning of the fact that he had done notable work in raising American sculpture to its present heights. (Craftsman 13:59.) y Sargent, John Singer, (P.) b. Florence, Italy, January 12, 1856, of American parents. From his infancy he breathed an atmosphere of culture and art. He began his art studies at the Academy of Fine Arts in Florence and continued them in the studio of Carolus-Duran, Paris. At the age of twenty-two he received honorable mention in the Paris salon for his "Fishing excursion." In 1879 he sprang into notoriety with his portrait of his master, Carolus-Duran. His "El Jaleo," a dancing girl, created a sensation in 1882; Madame Gauthereau's portrait made him famous and "Carmencita" was purchased by France for the Luxembourg Gallery. His charming "Car- nation, Uly, lily, rose," was purchased for the Royal Academy, London. Hartmann says that the pictures on which Sargent's fame now chiefly rests were painted before he was twenty-eight years old, and that this mar- velous feat stands almost unsurpassed in the history of modern art. How- ever, the foundation of Sargent's popularity in America was laid when he received a commission to decorate a hall in the Boston Public Library, The "Frieze of the Prophets" carried the name of John Singer Sargent into every corner of the United States, but it is his portrait painting that has brought him world-fame. Isham says: "With all limitations and reserves made, he has talents manifest and unmistakable that give him securely his position as the first portrait painter since Reynolds and Gainsborough." Kenyon Cox writes: "Since the death of Whistler, Mr. Sargent holds by all odds, the highest and most conspicuous position before the world of any artist whom we can claim in some sort as American — indeed, he is today one of the most famous artists of any country, easily the first painter of England and one of the first wherever he may find himself." "Sargent's canvas vibrates with the exquisite quality of the theme itself, in'all its integrity. That is his great gift If there is a living painter in whose interpretations of character, confidence can be placed, it is Mr. Sargent His range is apparently unlimited." (Cortissoz.) CopjTight by J. E. Purdy, Boston. JOHN SIXGER SARGENT. mo Child in his ''Art and criticism" has this: ''Mr. Sargent is an artist in the noble sense of the term; he will never consent to be commonplace; he loves rarity; he interests always by the distinction of an effort which is not that of ordinary men." "Possibly the feature of Mr. Sargent's work that excites the greatest admiration in his fellow-artists is his facile handling of the brush. The final result of it gives one the impression of w^ork done easily — in fact rather improvised than premeditated. But the impression is somewhat misleading, every stroke is calmly calculated, every touch is coolly designed." (John C. Van Dyke.) Mr. Sargent is a member of the Royal Academy, London, of the Societe des Beaux Arts, Paris, National Academy of Design, New York, a chevalier of the Legion of Honor, France, and his works are hors concours in the Paris salon. The highest honor of artistic distinction came to him in 1897 when he was invited to paint a portrait of himself to be hung in the famous por- trait gallery of the Uffizi, Florence, Italy. As none but truly great and world-famous artists are thus honored, this compliment ensures to him undying fame. Sartain, William, (P.) b. Philadelphia, Pa., November 21, 1843. Pupil Pennsylvania Academy of the Fine Arts, Bonnat and Ecole des Beaux Arts in Paris. Studied also in Italy and Spain. Won silver medal in Boston; honorable mention Pennsylvania Academy of the Fine Arts, bronze medal Pan-American Exposition, Buffalo, 1901. Is an associate member of the National Academy. Was one of the founders of the Society of American Artists, president New York Art Club, taught life classes in Art Students League, New York. "There is in Mr. Sartain's work a delicacy of tone in the simple masses not striking at first, but whose absolute justness is recognized on longer acquaintance. Some of his Moorish street scenes have a depth of lumin- ous atmosphere enveloping the figures in the way comparable to that of Pieter de Hooge." (Isham.) Cox writes of the romantic feeling and deep golden tone of Sartain's "Kasba." ScHiLLE, Alice, (W. C, Min. P.) b. Columbus, Ohio. Pupil of Columbus Art School, Art Students' League and New York School of Art under William M. Chase, and Prinet^ Collin and Courtois in Paris. Won the New York Woman's Art Club prize in 1908. "Sufficiently an impressionist to be clever and not sufficiently pledged to impressionism to run into the amazing technical vagaries of that cult. (Int. studio 45:xliii.) 191 Schneider, Otto J., (P., E.) b. 1875. Spent his childhood in Atlanta, HI., moving to Chicago at the age of twelve. Received instructions at the Chicago Art Institute. Was employed £is an illustrator for a number of years in the art departments of various metropoUtan newspapers; later took up his residence in New York where he has taken up etching. Mr. Schneider's portraits of men exhibit his strongest work. The profile portrait of Ralph Waldo Emerson has the ideaUstic quahties of a great portrait. The portrait of the late President McKinley in the calm dignity that was part of the man, inspired a memorable etching. Again power is shown in the analysis and presentment of the unique pereonaUt}' of Elbert Hubbard; in the dry-point of Dr. Quinn the musician, in profile; in the full face of Mr. A. F. Brooks, the painter, and again in the portrait of Bror J. Olsson-Nordfeldt, the etcher and painter. In each the salient characteristics are portrayed in their true light. " His portraits of women are fantasies on the motif of grace; those of men penetrate character and are documents of human endeavor; the street study opens to another impersonal interest and in the landscape Mr. Schneider has reached a point worthy of the highest appreciation. Into his picture "A quiet nook" there is reflection of the artist's own consciousness and his beUef "that nature never did betray the heart that loved her." (Lena M. McCauley.) ScHOFiELD, W. Elmer, (P.) b. Philadelphia, Pa., September 9, 1867. Pupil of the Pennsylvania Academy of the Fine Arts and in Paris under Bou- guereau, Doucet, Ferrier and Edmond Aman-Jean. Received honorable mention at exhibition of Art Club of Philadelphia in 1898, also at Paris Exposition, 1900; Webb prize. Society of American Artists, 1900; first Hall- garten prize, National Academy of Design, New York; honorable mention, Carnegie Institute, Pittsburgh; Sesnan gold medal of honor, Carnegie In- stitute, Pittsburgh, 1904. Member of the National Academj' of Design, New York, since 1907. Represented in permanent collections in Buffalo ^luseum of Art, Penn- sylvania Academy of the Fine Arts, Cincinnati ^luseum, Carnegie Institute, Pittsburgh, John Herron Art Gallerj', Indianapolis, and Corcoran Gallerj' of Art, Washington. Best known paintings are " January evening " " Sand dunes near Lelant " " Winter — snow study " " The packet boat " "Winter in Picardy" "Early evening, Boulogne" ' ' The wood road " ^ " Below the lock " " February morning " " Early days of spring " "Midwinter thaw" "March snow" 192 "Mr. Schofield is a landscape painter who favors snowscapes; he paints his landscapes after the fashion of the Manet impressionism — of seeing things flat, as broad masses." "Schofield lays on his pigment in broad touches, and the picture has a tendency to lie on the surface of the canvas as a decorative pattern. His subjects have the quality of a tapestry of delicate gray and buff spots." (Isham.) "Essentially a man of the open, ^Ir. Schofield makes the spectator con- scious of a rugged quality dominating his canvases wherein detail is sub- ordinated to mass and general effect To his excellent draughtsman- ship ]\Ir. Schofield added a distinguished feeling for tone and color, and al- ways he has had an innate sense of the pictorial grasping intuitively the possibilities of the picturesque in a composition way." (Arthur Hoeber.) Scott, Emily Maria Spaford, (P.) b. Springwater, N. Y., August 27, 1832. Mrs. Scott's first attempt at drawing was in the copying of fashion plates, because when she was young pictures in the family were few and far between and even chromos were scarce. She was educated in the pubhc schools of Springwater and at Ann Arbor, Michigan. In 1871 she went to New York City to study at the National Academy of Design and later entered the Art Students League. In 1872 she went to Europe spending two years in study in Paris and in the cities of Italy and other countries. Since 1876 her home has been in New York City. March 1, 1853, Miss Spaford was married to Charles Scott of Ann Arbor, Michigan. "Roses have been Mrs. Scott's favorite study and she paints them with a tenderness and sentiment rarely seen in flower pictures." ScuDDER, Janet, (S.) b. Terre Haute, Ind. Pupil of Rebisso in Cin- cinnati and Lorado Taft in Chicago; in Paris studied first in the Vitti Aca- demie and Colarossi's night school, then under MacMonnies. After an ab- sence of three years, she returned to the United States and opened a studio in New York. Her first commission was for a lamp post and her second, the seal for the Bar Association of New York. After receiving commissions for several memorial tablets and portraits in relief, she again went to Paris and from there to Florence, Italy, ^^ihere she had a studio for several years. Miss Scudder has been honored in Paris, five of her medallion portraits having been purchased by the French government, and these are the first work of an American woman sculptor to be admitted to the Luxembourg. These medallions are in bas-relief in marble, framed in bronze; casts of them have been made in gold and silvei-. One is said to be the largest medallion ever made in gold, being about four inches long. (Clements "Women in Fine Arts.") Her portrait medallion of Bishop Hare is especially notable. Delightful also is the portrait of Master Billy Falmestock. Her " Sun goddess " for the 193 Brookhii Institute of Arts and Sciences, representing Japanese Art, is a gravely dignified and significant sculptural creation. Miss Scudder is the only woman among the contributing sculptors. While residing in Italy, Miss Scudder became interested in fountains, and in this line of work she has made her largest contributions to contem- porary- art. "It is these which give the keynote to her art, estabUshing its individuality and to a degree measuring its worth. Her theory is that sculpture can be at the same time both gay and serious, enhvening and up- lifting .... In her figures of children she has embodied the very essence of childish glee while keeping invariably in mind the prerogatives of plastic expression. . . . While her fountains are merry, they are in nowise trivial." (Int. studio 39:lxxxi.) Sears, Taber, (Plural P.) b. Boston, Mass., 1870. Pupil Academie Julien in Paris under Benjamin-Constant and Laurens; also studied with Merson in Paris, and in Florence and Rome. Mural paintings: "Spirit of Niagara" in Buffalo historical society. "New York among the nations," New York city hall. Frieze of the apostles, Epiphany church, Pittsburg, Pa. Stained glass window: "Presentation in the temple." (Art & P. 2:315.) Setox, Erxest Thompson, (I.) b. South Shields, England, August 14, 1860. Lived in the backwoods of Canada 1866-70; on the western plains, 1882-7; educated at Toronto Collegiate Institute and Royal Academy, Lon- don; studied art in Paris in 1890 and again in 1894, a pupil of Gerome, Bou- guereau and Ferrier. Exhibited in the salons paintings and drawings of wolves, his favorite subject. He was one of the chief illustrators of the Centurj' Dictionaiy contributing fully a thousand dra\Wngs of animals and birds. Was official naturaUst to the government of Manitoba, and is well-known as an artist, author and lecturer. Sewell, Robert V. V., (Mural P.) b. New York 1860. Pupil of Lefebvre and Boulanger in Paris. Received first Hallgarten prize National Academy of Design 1889; also won many medals. Elected associate member of Na- tional Academy 1902. Member of leading art clubs. His mural painting " The Canterbur}' Pilgrims " in the great hall of Georgian court, Lakewood, and several others are widely known. Shannon, James Jebusa, (P.) b. Auburn, N. Y., February 3, 1862. Spent early boyhood at St. Catherines, Ont. First painted bill posters for agri- cultural fails: at the age of fifteen he went to London. Worked three years in South Kensington School where he took gold medal for figure painting; 25 104 has also taken medals for portraits at exposition in Paris, Berlin, Vienna and Chicago. Associate member of Royal Academy, London, in 1897; full mem- ber in 1909; associate member of the National Academy of Design, New York, 1908. While a student he painted by command of Queen Victoria the portrait of Miss Horatia Stopford, one of the maids of honor, since which time he has been overrun with commissions. Among his notable works are his portrait of the young Duchess of Portland, Marchioness of Granby, Lady Marjorie Manners, Duchess of Sutherland, "Mrs. Kitty," Lady Carbery and children. Miss Clough, and Sir Alfred Lyall. His "Iris" a portrait of his wdfe, has won high praise and was, to- gether with "War" and "Flower girl," purchased for the Tate Gallery. Hartmann says: "He is today one of the most brilliant and certainly one of the most fashionable portrait painters of London. In forming his style he has been chiefly influenced by Bastien LePage and Whistler." "The portrait which J. J. Shannon paints may be designated as pictorial Shannon belongs to those who will first and last see an object and render it with reference to its value as a picture." "This priceless quality of the art to which Shannon and his colleagues are the heirs is its ability to suggest the special atmosphere and environment of a given period." (Brinton's "Modern Artists.") In England Mr. Shannon enjoys a popularitj^ as a portrait painter second to John Singer Sargent. Mr. Shannon received the unique distinction of a "m^daille d'honneur " for his portrait of Phil May exhibited at the International Exposition of Fine Arts at Barcelona, Spain, 1911. Sherwood, Rosina Emmet (Mrs. Arthur M. Sherwood), (Min. P., I.) b. New York City, December 13, 1857. Pupil of William M. Chase in New York; Academie JuUen in Paris. Mrs. Sherwood has received many prizes and medals for drawing and miniature work. Was elected associate member of National Academy, 1906. Shinn, Everett, (P., I.) b. Woodstown, N. Y. Pupil of Pennsylvania Academy of the Fine Arts. Specialty, mural decoration. Did illustrating for Philadelphia newspapers, and for two years furnished drawings for the New York press. Has been represented in all leading magazines; and the Boussod, Valadon Company sent him abroad to make pictures of the street scenes and typical life in Paris, exclusively for their trade. "Makes a direct attack on the essential, and gives little care to the manner of expressing it, being a careless draughtsman, but possessing a technical facility that is more likely to run away with him than to guide him to surer and saner methods." 195 Shinx, Florexce Scovel, (I.) b. Camden, N. Y. Studied art at the Pennsylvania Academy of the Fine Arts; an illustrator since 1897. Married Everett Shinn, January- 26, 1898. Her keen sense of humor crops out in every group, and the turn of a line gives a comical effect. The peculiar gift that Mrs. Shinn is endowed with is that she can draw the most pitiful little figures and yet infuse into the picture a happy, healthy atmosphere that impresses us with the worth and joy of U\'ing. Her characters are never caricatures; they are appealing and provoke the laughter that bears no maUce. Shirlaw, Walter, (P.) b. Paisley, Scotland, August 6, 1838; d. Madrid, Spain, December 29, 1909. Began his career as an engraver and illustrator; was thirty-two years of age when he went abroad to study. After seven years in the school in Munich under the instruction of Wagner and Kaulbach, he returned to this countrj^ and devoted himself to the interests and ad- vancement of national art. He was one of the first instructors at the Art Students League, New York. One of the founders, and the first president, of the Society of American Artists. Earlier pictures: '' Toning of the bell " " A study of a head " ''Sheep-shearing in the Bavarian "Feeding the poultry" highlands " " Good morning " " The young patrician " " Sheep " Other works: ' ' Capelmeister " " Marble quarry " " The fiddler " " Indian giri " " Very old " '' Eager for the fray " "Sleep" "Autumn" Later pictures: "Gathering seaweed" "Brittany" " Roses " " Among the old poets " "The dancer" Received medal of the Royal Academy, Munich; honorable mention at the Paris Exposition in 1889 ; associate member of the National Academy of Design, New York, 1878; fuU member, 1888. "The name and fame of Walter Shirlaw will, however, be more certainly perpetuated through his gifts as a master of decorative arts and by the in- fluence and effect of his rare personaUty and noble character on contem- poraneous art development." (Int. studio 43.) Shirlaw's strong point is not color; he shows a decided leaning to sculpture. (Innes "Schools of painting.") 196 Shulz, Adolph Robert, (P.) b. Delavan, Wisconsin, June 12, 1869. Studied abroad at the Julien Academy under Lefebvre, Benjamin-Constant, Laurens and others. Specialty, landscapes; also a teacher. At an early age Mr. Shulz became interested in the study of trees, their formation and color. He also became familiar with their individual aspect while the moods of the sky were his delight. " Spring song " "Autumn fog " "Frost and fog" (Arts & D. 2:332.) Simmons, Edward Emerson, (P., Mural decorator) b. Concord, Mass., October 27, 1852; a nephew of Ralph Waldo Emerson; graduated from Har- vard in 1874. Studied art in Boston, then went to Paris and studied under Boulanger and Lefebvre in the Atelier Julien, winning the gold medal of the studio at the end of his first season. He has been a professional painter since 1879. Is a member of the Ten American Painters. Has lived much abroad in Brittany, France, and in Cornwall, England, but since 1893 has lived chiefly in New York. It was from Brittany that he sent to the Paris salon of 1882 his paint- ing "The washerwoman" which brought him honorable mention. This model was rendered famous by serving as the heroine for Blanche Willis Howard's novel, "Guenn" which was written that year at Concarneau. Mr. Simmons painted Breton themes exclusively until he took up his residence in St. Ives, Cornwall. Here he became associated with a colony of English artists and here he painted his successful "Mother and child, '^ and a splendid marine of the Bay of Lelant. His pictures of the Bay of St. Ives are among the most beautiful and poetic works of the kind that we owe to any modern artist. They have been exhibited at the Royal Academy, London. (Brush & P. 5:241.) Among other popular paintings may be mentioned : "Study at Concarneau" "The winnowers" " Corner of the market " " Bout de la cour " ' ' Summer " " Low tide " "Breakfast" "The carpenter's son" (considered one of his best works) His mural decorations have been highly praised by critics. Of those in the Library of Congress, Washington, D. C. (a series of nine paintings repre- senting the Muses) Arthur Hoeber says: "The work is thoughtful, serious and able; and besides the admirable technical excellence displayed there is felt the intellectual power behind the composition." "His decorations of the Astor gallery of the Astoria, New York, rank among the finest artistic achievements that the country can boast; and the artist has never surpassed the standard that he has here set for liimself." (King's "American mural painting.") 107 ^Ir. Simmons is a painter of remarkable versatility and his work is dis- tinguished by freedom of execution, exquisite drawing, repose and much charm of color. Sloan, John, (P., I., E.) b. Lock Haven, Pa., August 2, 1871. Studied in the evenings for a short time at the Pennsylvania Academy of the Fine Arts, Philadelphia, but in general he may be said to be self-taught. Was instructor of Art Students' League of Philadelphia. For several years he was staff artist on the Philadelphia Press. The following extracts are from an article which appeared in Craftsman 15:559: "He early learned to handle the etcher's needle ^^^th a measure of dis- tinction, but he did not take up painting until about ten j-eai-s ago. "In 1904 he left Philadelphia and since then he has made his home in New York Cit}', just outside the Tenderloin district. "John Sloan is classed as a member of what is known in our academic art circles as the Revolutionary gang, or the Black school. "One finds a literarj' analog}' to Sloan's art in the works of both Dickens and Balzac .... John Sloan, both in his paintings and in the brilUant re- lentless Uttle etchings which give such vixdd gUmpses of New York life, shows no tendency to grasp human wretchedness in the mass but rather to show here and there a detached bit of life which has the power of suggesting the whole turbid current. "The coffee Une" received honorable mention at the Carnegie Institute 1905 and was the most talked of picture of the entire exhibition. The scene of / The coffee Une " is Madison Square on a bitter bluster}' night in winter where the shivering unemployed are forming a ragged waiting line at the rear of a hot coffee wagon. Startling in its fidelity, the picture displays Sloan in one of his most t«nse and dramatic moods." Smedley, William Thomas, (P., I.) b. Chester county. Pa., March 26, 1858. Entered newspaper office at fifteen: studied engraWng in Philadelphia and art in the Pennsylvania Academy of the Fine Arts; went to Xew York in 1878, and later to Paris where he studied under Jean Paul Laurens. Opened a studio in New York in 1880 and has smce been actively engaged as illus- trator for Harper's and other standard periodicals. In 1883 he was engaged by pubUshers of "Picturesque Canada" to travel with the Marquis of Lome through the west and northwest Canada and illustrate the work; has since made several sketching tours in United States and in 1890 around the world. In 1881 he made his first contribution to the National Academy of Design, New York, and in 1888 was represented, for the first time, in the Paris salon. In 1890 won the WilUam T. Evans prize with "A Thanksgiving dinner." As an illustrator, Mr. Smedley depicts high and low life with equal skill. His illustrations of Warner's "Golden house" and Ho wells' "Their silver 198 wedding journey" may be cited as examples of his success in one direction, and those of T. A. Janvier's " Casa Napoleon " and Miss Murfree's "Strange peoples' country " of his success in the other. Elected member of the National Academy of Design, New York, in 1905. Burlington magazine says: "Smedley seems like an American Ghir- landajo." " His pen execution, free and unrestrained, displays the habit of the sketcher." Smillie, James D., (P., E.) b. New York, July 16, 1833; d. September 14, 1909. The son of a jeweler and silversmith, he did etching before he was eight years old. The sentimental bias of early years is shown in a weeping willow and tombstone, while a struggle to break the bonds of conventionality is evident in a processional line of six or eight black-looking buffaloes. He says: "If I remember rightly, sun, moon and stars appeared in the firma- ment." At fourteen years of age he made ambitious illustrations of Milton's "Paradise lost." In 1862 he went abroad to study, having previously been employed in bank-note engraving. In 1864 he abandoned engraving and took up paint- ing. In 1865 he was elected an associate member of the National Academy of Design and an academician in 1876. Was the founder of the American Water-color Society, serving as president and treasurer. It was to the efforts of Mr. Smillie and Dr. L. M. Yale, an amateur etcher of merit,, that the organization of the New York Etching Club was effected. He etched almost the entire work on the large plates, "Childhood," "Man- hood" and "Old age" after Cole's paintings entitled "Voyage of life." Upon the formation of the Painter-Etchers Society of London in 1860, (Sir Francis Seymour-Haden, president), he was made one of the "original" fellows. Representing American etchers, he made a collection of their productions and sent them to the first exhibition of that society in London. "He is possessed not only of the qualities needed by an original etcher, but the powers of adaptation " was said of him. Smith, Francis Hopkinson, (P., I.) b. Baltimore, Md., October 23, 1838. He belongs to a family of artists, his great grandfather, Francis Hopkinson, a signer of the Declaration of Independence, being an amateur in water-color and his grandfather, Judge Joseph Hopkinson, the first president of the Pennsylvania Academy of the Fine Arts. When a boy Mr. Smith began to paint and has made thousands of sketches and studies in the open air. He not only seems at his strongest in charcoal but he prefers it to lead, to oils or to water-colors ; as an artist he is substantially self-taught. His paintings are all of a summer-like character. "Franconia Notch" is remarkably successful in the delineation of falling water and the moss- covered rocks which line the ravine. 199 Of his views of Venice, Isham says: "They are not emotional, they are not subtle, they are not tonal, but they are very charming wdth their delicatel}^ colored skies, their luminous air, their soft sunlit marbles and clear cool shadows." "His water-color sketches have a softened brilliancy, a breadth of treat- ment and a simplicity that gives evidence of practical skill and carrjdng the idea that the effort was one of expression and that he has portrayed the scene just as it was at the time he sketched it." (Xat. Cyc. Am. Biog.) "In his cloud effects and in his representation of limpid water Mr. Smith shows verj" exceptional ability." (Book News 28.) He has achieved distinction as an artist, author, lecturer, critic play- wright, engineer and expert bridge constructor. Smith, Jessie Willcox, (P., I.) b. Philadelphia, Pa. Educated in private schools; studied art at the Pennsylvania Academy of the Fine Arts and under Howard Pyle at Drexel Institute. ^Miss Smith was a kindergarten teacher until her health failed; she has been engaged as an artist and an illustrator since 1890 and her work is seen in all the leading American magazines. Her fii-st actual work was m the ad- vertising department of the Ladies' Home Journal. "Jessie Willcox Smith's particularity is the decorative use of every day subjects. She paints or draws in broad flat masses and is almost Japanesque in her use of the planes of her composition." (Bookbuyer 24.) "Her gardens smell of roses and old-fashioned blooms." The series of her pictures entitled "A mother's day" is an idyll of American motherhood: "Morning," "In the garden," "Checkers," "Bed-time." "Miss Smith's aim is definite and frank, her method ^'ital and strong, and she is also a colorist of charm." In critically viewing the paintings in the American exhibit at the Roman Exposition of 1911, the dowager queen of Italy (herself a skilful painter) expressed special delight with the picture entitled "The dark," the work of this talented artist. Jessie Willcox Smith is best known by her illustrations for Robert Louis Stevenson's "A child's garden of verses;" "A child's book of old verses" and "A book of old stories;" series of pictures: "Five senses," "Children of Dick- ens'," "Seven ages of childhood," and "Child calendar." Smith, Letta Crapo, (P.) b. Fhnt, :Mich., July 4, 1862. Studied art at the Acad^mie Julien, Paris; also pupil of Julius Rolshoven and George Hitch- cock. Received bronze medal at St. Louis Exposition, 1904, for "The first birth- day." 200 This painting is now in the Detroit Museum of Art. Other works have been exhibited in Philadelphia, New York and Chicago. President Detroit Society of Woman Painters. Sperry, Edward Peck. Member of American Society of Mural Paint- ers, and New York Arch. League. Specialty, stained glass. SoNNTAG, William Louis, (P.) b. Pittsburg, Pa., :March 2, 1822; d. New York, January 22, 1900. Went to Cincinnati to study art in his boj'hood; studied also in Europe. Made his home in New York City in 1854. Associate member of the National Academy, 1860; academician, 1861. "Some of his best landscapes illustrate the picturesque scenery of Western Virginia." SouTHWicK, Elsie Whitmore, (Min. P.) b. Providence, R. I. Pupil of Prinet, Dauchez and Madame Chennevieres, Paris. Besides interesting miniatures that are purely pictorial. Miss South wick has been unusually successful with her portraits. "Her nudes are wonderfully delicate in line and color, subtle shades of pink and rose predominating. " Vividness of color is characteristic of Miss South wick's work. She loves vermilion — gay blues and yellows and violet she likes maroon and brown and other dull tones are almost tabooed in her work. The peasants of Brittany are a source of interest to her as subject matter " While she enjoys portrait work, her chief pleasure is in coarse types. She also paints in oil and pastel and sketches in crayon. In all her work she shows the firm and direct drawing, the vigorous and gay coloring, the strong character that are evident in her miniatures. (Arts & D. 1:205.) Stanley, James M., (P.) b. Canandaigua, N. Y., January 17, 1814; d. April 10, 1872. In 1834 he removed to Michigan and in 1835 commenced the profession of portrait painting in Detroit. Went to Chicago in 1837 and for the follow- ing two years he painted portraits of Indians and took sketches of the Indian cinmtry in the region of Ft. Snelling, Minn. Subsequently he followed his profession in New York City, Philadelphia, Baltimore and Troy, N. Y. In 1S42 he traveled extensively over the western prairie, painting the portraits in full costume of the leading warriors around Fort Gibson, Ark., and in Texas and New Mexico. After spending some time in the Hawaiian Islands he returned and lived in Washington, D. C, then took up his permanent residence in Detroit, Michigan. Mr. Stanley placed a valuable collection of portraits of the Indian chiefs of America in the Smithsonian Institution; these were destroyed by fire in 1865; 201 there were 152 paintings. One of the most important paintings, "The trial of Red Jacket," was exhibited in all the principal cities of America and Europe and finally placed in Detroit; valuable both historically and artistically it was appraised at $30,000. His portraits of distinguished men from all parts of the United States won him deserved reno\\Ti. Mr. Stanley was the organizer of the Western Art Association and one of the founders of a galler}' of painting that in later years became a permanent and valuable acquisition to Detroit. (Nat. Cyc. Am. Biog. 6:467.) Stanton, Lucy May, (Min. P.) b. Atlanta, Ga., May 22, 1875. Pupil of Colarossi Academy, Simon, Blanche, Gandara and A. Koopman in Paris. Member Pa. Societ}' of Miniature Painters. Specialty, portraits. Also teacher. Miss Stanton's name is included in a group of miniature painters whose work is commented on as follows: "Their miniatures are executed in a broad, free style, difficult to attain on ivory, but very dehghtful when done with the spontaneity and freshness of color exhibited in the work of these artists. The color in these is spread on the ivory Uke a stain and is left un- touched save for a few accenting touches here and there." Steele, Helen McKay (Mrs. Brandt T. Steele), (P., I., Stained glass designer) b. IndianapoUs, Ind. Pupil of T. C. Steele and William Fors\i:h. Specialty, portrait sketches and designs for stained glass. Stephens, Alice Barber, (I.) b. Salem, N. Y., 1858. Was educated in the public schools of Philadelphia; art education in the Philadelphia School of Design for Women and in the Pennsylvania Academy of the Fine Arts. Has been wood-engraver for Scribner's and illustrator for Harper's, Century and other magazines: has also illustrated for the Ladies Home Journal, and taught portrait and life classes in the Philadelphia School of Design for Women. Although Mrs. Stephens has studied in Paris in the Academie JuUen and at Colarossi's she regards her development due to her Philadelphia instruction and experience in her own studio. There is a pecuUar tenderness in her conception of childhood, entirely free from prettiness and sentimentality. "AUce Barber Stephens is a talent somewhat akin to Sterner. She is known for her imagination and facile powers of expression." (Hartmann.) "Although nearh' all of her pictorial compositions are constructed and executed with understanding, they are seldom spontaneously dramatic and it is therefore in pictures of quiet scenes and rural incidents that Mrs. Stephens excels." She regards the illustrations for "Fishin' Jimmy" as among her most satisfactory- achievements. The Bret Harte pictures and the illustra- tions for "John HaUfax, gentleman," and " Middlemarch " are in another vein and one in which Mrs. Stephens is not quite so convincing." 202 The beautiful illustrations for James Lane Allen's "In Arcady" were made by her for that story at the author's own request. She was Conan Doyle's selection, also, of an illustrator for his "Stark Monroe" papers. (Brush & P. 6:241.) Sterne, Maurice, (P., E.) b. Libau, Russia, 1877. When fourteen years of age emigrated with his mdowed mother to New York. He attended night school; later joined a class at the old academy of design and attended other art schools in the city. He won prizes with ease. William M. Chase encouraged and honored him by purchasing one of his canvasses for a sub- stantial sum of money. He also achieved local fame by making a series of etchings, chief among them the Coney Island set; he assisted the late James D. Smillie as instructor of etching. He went to Europe in 1904, and studied in Greece and the Orient. "Sterne's plates are notable for their sincerity, freshness and novelty, and they received special and very favorable mention when they were afterwards exhibited in the Paris salons." "In balance of color, transition of tones and in their savage nudity they resemble the work of Matisse, but Sterne is not a reflection of the French so- called post-impressionistic movement." (Int. studio 46:iii.) "Rockaway beach" and "Harbor scene" are probably his most important plates, though "]\iaggie" was a prize winner, and many of his portraits par- ticularly "The reader" and "A profile" are especially delicate, and finely etched." (Brush & P. 10:99.) Sterner, Albert Edward, (P., I.) b. London, England, November 8, 1863. At the age of eleven, his family went to Birmingham, England, to live and he entered King Edward's School at the head of a competitive list of seven hundred students; took the prize in drawing and after studying at the Birmingham Art Institute, where he won a scholarship, went to Germany in his fifteenth year. When he was eighteen he came to his parents who had preceded him to Chicago. Here he took up lithography, scene painting and drafting on wood for engravers and designers. In 1885 took up his residence in New York, where he illustrated for "Life," "St. Nicholas," and "Harper." Three years later went to Paris and studied at the Ecole des Beaux Arts and at Academie Julien under Boulanger and Lefebvre. Received honorable mention in 1891 for a painting in oil "The bachelor" exhibited in the salon, to which he was a regular contributor. Associate member National Academy of Design, 1910. He has illustrated "Prue and I" by George William Curtis, works of Edgar Allen Poe and "Eleanor" by Mrs. Humphrey Ward. "He is an admirable painter, a soft, rich and brilliant colorist. This quality of color finds its way into his black and white. His chief quality 203 is his artisticness. He is a conservative radical in art." (Quarterly Il- lustrator Vol. 2.) ;Mr. Sterner has recently appeared in a new role — that of making por- traits in red chalk — called by the French "sanguines." (Int. studio 35:liv.) Ernest Knaufft says: "The mantle of Edwin A. Abbey has fallen upon the shoulders of Albert E. Sterner, who is almost the sole representative of sentiment in illustration. His technique is not so expert as that of Abbey. . . . but at his best he far transcends the average illustrator, and we find the genuine ring of art, the true poetic feeUng dominating his productions." "Like Blake and Poe in their poetry, Mr. Sterner sets aside the rules of convention and breaks loose from the leading strings of schools, his touch now poignant, now languid, is the touch of a musician turned draughtsman, and the result is most elusive." Stevens, Mrs. Helen B. (E.) b. Chicago, 111., February 8, 1878. Pupil of the Art Institute, Chicago, and of Frank BrangW5Ti in England. Teacher of etching at the Art Institute, Chicago. Stewart, Julius L., (P.) b. Philadelphia, Pa., 1855. Was a pupil of Zam- acois, Gerome and R. de Madrazo. Received honorable mention at Paris salon, 1885; third class medal salon of 1890: gold medal, Berlin, 1891; grand gold medal, Berhn, 1895; gold medal, Munich, 1897; Order of Leopold of Belgium, 1895; Legion of Honor, 1895, ofl&cer, 1901; grand gold medal, Munich, 1901. Associate Societe Nationale des Beaux Arts, 1895 ; member, 1899. "In result of Fortum-'s influence Stewart has become a thorough man of the world, a painter of society, and one of captivating grace, whose " Hunt ball" and "Five o'clock tea" were amongst the most refined pictures of the Paris Exhibition of 1889." (Miither.) Stilwell, Sarah S., (I.) is kno^Ti as the delineator of fully clothed httle girls, as for instance the pair investigating the hons' den in the back of a recent Harper. She was a student in the Drexel Institute in Philadelphia and owes, as do all the younger artists of this group, much to the instruction of Mr. Howard Pyle. She is a close observer of child life; has illustrated a new edition of Mrs. Dodge's "Rhjmes and jingles" which shows her characteristic style. She rarely uses other medium than oil in her work. Her work is done in her Philadelphia studio. Stuart, Gilbert, (P.) b. Narragansett, R. I., Decembers, 1755; d. Boston, ^ Mass., July 27, 1828. Began painting at the age of ten and when thirteen years old was commissioned to paint portraits of Mr. and Mrs. John Ban- 204 nister, which shows his early precocity. His first tutor was a Scotch painter of some note, Cosmo Alexander, who came to Newport when the boy was fifteen. Two years later Stuart traveled through the south \vith Alexander and later accompanied him to Scotland where he was estabUshed in the University of Glasgow and under the care of Sir George Chambers, but both peer and painter died within a short interval of each other, leaving Gilbert alone, friendless and penniless in a strange country; he worked his way back home, reaching his father's house in rags. In 1775 he went to England where through Benjamin West, who recog- nized his talent, he obtained much favor and distinction in London. He painted three kings and many celebrated people. His representation of Kemble, the great actor, as "Richard the third," is considered one of the strongest examples of brushwork ever produced in England. Returning to the United States in 1792, he opened a studio in New York. His famous portrait of Washington — the "Athenaeum portrait" — now in the Boston ^luseum of Fine Arts, is the only one to be universally accepted as a faithful likeness of the father of his country. The "Gibbs-Channing" Washington — the one showing the right side of the face — is in the Metro- politan Museum of Art, New York. Gilbert Stuart still holds his place among our best painters, and even among his great contemporaries in England. Tuckerman says: "His best portraits are glimpses of character." Sadakichi Hartmann has written: "The traits for which Stuart is most to be praised are the vitality and character he infuses into his portrait and the excellent coloring, when he is at his best. Then his flesh glows and is trans- parent. But he neglected composition, caring for nothing but the heads, sHghting all details." Sully, Thomas, (P.) b. Horncastle, Lincolnshire, England, June 8, 1783; d. Philadelphia, Pa., November 5, 1872. His parents were actors and in 1792 with their family of nine children came from England to Charleston, ►South Carolina. Lawrence Sully, his brother, was a miniature painter in Richmond, Va., and in 1799 Thomas joined him and painted with him until his (Lawrence) death in 1804. In 1806 he removed to New York; for a short time resided in Boston for instruction from Gilbert Stuart. Studied under Benjamin West in London in 1809. Settled permanently in Philadelphia in 1810 and became the most fashionable painter of the day. He visited England in 1837 and painted a full-length portrait of Queen Victoria. Between 1820-40 he exhibited ten portraits at the Royal Academy. At a historical portrait exhibition at the Pennsylvania Academy of the Fine Arts, 1887-88, Thomas Sully was represented by 106 pictures, "show- ing great versatility and extraordinary powers of conception and execu- tion." 205 "Sully is the connecting link between the dawn and meridian of American art." (Tuckerman.) "Thomas Sully was called the "Sir Thomas Lawrence of America." His general style is similar to that of the famous painter of EngUsh women." Taft, Lobado, (S.) b. Elmwood, III, April 29, 1860. Was educated at the University of Illinois, where his father, Don Carlos Taft was a professor of geolog5^ Completed his artistic training in Paris, studying at the Ecole des Beaux Arts three years. ^Ir. Taft has been instructor in the Art Institute of Chicago since 1886; lecturer of art, university extension department, University of Chicago, 1892-1902; professional lecturer on art since 1909. Associate member National Academj^of Design, 1909; full member 1911. His "History of American sculpture" is a standard work. The trustees of the Art Institute voted in October 1907 to commission ]\Ir. Taft to erect in Chicago his "Fountain of the Great Lakes." This foun- tain is the first large and purely ideal group erected in America. It represents the great lakes typified by five beautiful female figures grouped on a pyramid of rocks pouring water from shells — " Superior " poised on the summit bending to the group of "Michigan" and "Huron," below are "Erie" and "Ontario." His figure of "Knowledge" reminiscent of his Parisian ideals, marks the close of his scientific period. "The soUtude of the soul" — the first important expression of his renais- sance — won the gold medal at the St. Louis Exposition. "The bUnd" suggested by Maeterlinck's "Les aveugles" is a group of bUnd people lost in the woods wth one poor innocent babe the only hope .of deUverance. Another important work is his colossal statue of Washington for the campus of the University of Washington at Seattle. Mr. Taft is original, impressive, artistic and emotional. Tanner, Henry Ossaw^a, (P.) b. Pittsburg, Pa., June 21, 1859, the son of Bishop B. T. Tanner of the African Methodist church, is an Afro-American painter who has become famous in Paris. He studied in the Pennsylvania Academy of the Fine Arts under Thomas Eakins; was a pupil of Jean Paul Laurens and Benjamin-Constant, Paris. Is a member of the Paris Society of American Painters, and Societe Internationale Peinture et Sculpture, Paris; associate member National Academy of Design, 1909. Since 1895 has exhibited every year in the Paris salon. His first work was "The sabot maker." In 1896 he entered his "Daniel in the hons' den" which received honorable mention. In 1897 he showed " Raising of Lazarus" which won a medal and was purchased bj' the French government for the Luxembourg; "Christ and the disciples at Emmaus" has also been placed in the Luxembourg. HENRY OSSAWA TANNER. 207 In 1898 "The annunciation" was exhibited and proved one of the suc- cesses of the 5'ear. "The picture has spirituahty so far that it suggests the mystery of the conception." (Caffin in "Artist" 24:xiv.) In 1900 he showed "Nicodemus coming to Christ." In his "Fhght of Judas" his idea of dramatic power seems to be carried to the most forceful expression yet achieved; it has the accent of inspiration." (Outl. 64:796.) His " Five wise and five foohsh virgins " was given a place of honor in the salon of 1908. M. M. Benjamin-Constant, Gerome, and in fact all the leaders of French painting today have recognized Mr. Tanner a true artist and man and have come to esteem him for his personal qualities as for those which he has shown in his work. An eminent art critic says: "In religious feeling 'Sir. Tanner seems nearer to Fra Bartolommeo than to any other artist past or present." A marked and welcome quality in all his pictures is atmosphere. Tarbell, Edmund C, (P.) b. Groton, Mass., April 26, 1862. Pupil of Grundmann at the Museum of Fine Arts, Boston; also studied under Bou- langer and Lefebvre in Paris. Has been instructor in dra\nng and painting in the Boston Art Museum since 1889. Has been awarded many prizes for his paintings including Pennsylvania Academy of the Fine Arts medal of honor, 1908, and gold medal of the National Academ}^ of Design, 1908. Is a member of the Ten American Paintei*s. Associate member National Academy of Design, 1894; full member, 1906. Tarbell's interiors compare favorably with the paintings of the famous Dutch painters and none better than he has pictured our contemporary home life. Sunhght and atmosphere pervade the rooms which Tarbell pictures. "To Tarbell his art is primarily, almost exclusively, a medium of expression of abstract beauty." Philip A. Hale, the well-known artist critic, wrote in 1898: "Tarbell's "Venetian bUnd" is the best picture that has been done in America" and the jury of the Carnegie Institute endorsed this opinion b^' awarding the picture the gold medal. "One of the things that makes Tarbell's paintings different from that of other men is the wa}^ he treats shadows." (Arts and D. 2:129.) Caffin said: "Girl reading" seems a lesson in the holiness of beauty. His art, in fact, has the quaUty of symboUsm by which the modern mind is endeavoring to interpret "the substance of things hoped for, the e\ddence of things not seen." His \'igorous, dashing brush work is alwa3's sure to attract attention. This was the principal merit of his prize picture — "The bath." "Tarbell's characteristics are brilUant versatiUty, dexterity with the brush, and spontaneousness of effect; all regulated by innate good taste, for he has little or no reserve power." (The artist, 27:xx\ii.) 208 Frederic W. Colburn, in an appreciative article on Tarbell, says: "Among various groups and factors of painters and by the public at large, he has come to be regarded as among the most able of living painters." In writing of "Girl reading," Julia de Wolf Addison, says: "Tarbell is past master in making intentional effects appear quite accidental, giving this picture a peculiarly natural and easy quality both in color and form." "Tarbell regards the human brain merely as a medium for perceiving effects of light." (Miither.) Kenyon Cox has written: " In the work of Mr. Tarbell there is an elegance of arrangement, a thoroughness in the notation of gradation of light, a beauty and a charm that were learned of no modern." And again: "The best example of Mr. Tarbell's draughtsmanship is per- haps the head of the "Girl mending." The head of the girl in "Pre- paring for the matinee " is not so fine in type, but its modeling in the delicate half-shadow cast by the hat and the upraised arms, is nothing less than masterly." "No one since Vermeer himself has made a flat wall so interesting — has so perfectly rendered its surface, its exact distance behind the figure, the play of light upon it or the amount of air in front of it. (Burlington Magazine 14:259.) Taylor, William Ladd, (P., I.) b. Grafton, Mass., Dec. 10, 1854. Edu- cated at Worcester, Mass., and in art schools of Boston and N. Y. and studied 1884-85 under Boiilanger and Lefebvre, Paris. Traveled extensively, making a particular study of mediaeval architecture, costumes and customs. Settled in Boston 1888, and has since that time been a well-known painter and illustrator. The work which has given Mr. Taylor most reputation, and rightly, is his illustration of Owen Meredith's poem entitled "The earl's return." Illness and a year's sojourn in Colorado resulted in several paintings of the Rocky mountains: "The Caribou hunter" and "Shooting the Rapids" are excellent works of the period. Recent works as an illustrator are selections from Longfellow's poem, the psalm series, a series of New England scenery, and a book of pictures of American life. " The boy Christ " " The building of the ship " " Evangeline " " The golden legend " "Minnehaha and Hiawatha" "Priscilla and John Alden" "The village blacksmith" "Rosita" (Illustrating Bret Harte's "The hanging of the crane" "The mystery of the hacienda") " Maidenhood " " The children's hour " "The old clock on the stairs" 209 Psalm series: "WTien 1 consider the heavens." (Ps. viii.) "The Lord is my Shepherd." (Ps. xxiii.) " When I meditate on Thee in the night watches." (Ps. Ixiii.) "He shall give his angels charge over thee." (Ps. xci.) " I vdW Uft up mine eyes unto the hills." (Ps. cxxi.) "Children are an heritage of the Lord." (Ps. cxxvii.) Thayer, Abbott Henderson, (P.) b. Boston, Mass., August 12, 1849. Began to draw and paint before he was ten years old. Was educated at Chauney Hall School, Boston, and before he was eighteen received as much as fifty dollars for dog-portraits. He was first known in New York as an animal painter and it was not until he went to Paris (1875) and studied in the Ecole des Beaux Arts imder Gerome and liehmann that he began to make portrait painting a specialty and to do some landscape work. Is a member of the Academia de San Luca, Rome and of the National Academy of Design, New York. "Sleep," an idealized likeness of his eldest daughter as a sleeping infant, was one of Mr. Thayer's earliest pictures to attract general attention. His three masterpieces are "The \irgin," "The virgin enthroned" and "Caritas." (His children were his models.) His chief work is the finely conceived mural decoration in Bowdoin College, Brunswick, Maine, — a fresco representing "Florence" forms one of four lunettes. A few landscapes are: "Sketch of Cornish headlands," "Capri," "Mon- adnock in winter." The ke>Tiote of his art is simpUcity and the chief characteristic of the sub- jects he chooses is a deep spirited meaning. Hartmann says: "Abbott Thayer's work occupies indeed a strange position in the world's art. It is a modem combinat'on of the inwardness of the middle ages and the vagueness of the orient. His pictures take the place of the old reUgious symbols and yet they are imbued with so devout a spirit that they could be used as shrines for worship in modern homesteads, reminding us of all that is good and noble in human race." Craftsman: "He paints symbolical figures and groups of great beauty in an austere but impressive style." "It is however as an interpreter of vnrginity that this paint«r is especially distinguished His virgins, it has been w^ell said, are obviously in- tended to be adored, but they are at the same time essentially human." (Int. studio 39:187.) Th.wer, Theodora W.. (Min. P.) b. Milton, Mass., 1868: d. August 6, 1905. Studied with Joseph DeCamp, Bo.ston, and was an active member 27 J 210 of the American Society of Miniature Painters and of the Copley Society of Boston; taught for several years in the New York School of Art and was one of the instructors at the Art Students League; was recognized as one of the best of teachers. Her fine portrait of Bliss Carman is one of the memorable achievements in American miniature painting. At one of the society's exhibitions, she showed "a wee miniature of a wee speck of humanity, a baby's head painted in a cloud of sweet mist." (Brush & P. 6:26.) Her work is wonderfully full of character and charm. She painted with grace and nobility of treatment. Tiffany, Louis Comfort, (Stained-glass designer) b. New York, Febru- ary 18, 1848. Pupil of George Inness and Samuel Colman in New York, and Leon Bailly in Paris. Received gold medal for applied arts at the Paris Exposition, 1900; elected chevalier of the Legion of Honor of France, 1900; grand prize at Turin Exposition, 1904; associate member National Academy of Design, 1871; academician, 1880. Is art director of the Tiffany studios. It is Mr. Tiffany's achievement in stained glass work that has brought him world fame. It is acknowledged by all experts that the great advance made in this country in both colored windows and wall mosaic work is largely due to the discoveries and inventions of Mr. Tiffany, particularly that of Favrile glass. He has received many personal honors, such as being made a member of the Societe National des Beaux Arts, Paris, also of the Imperial Society of Fine Arts, Tokio, Japan. In painting, Mr. Tiffany makes a specialty of oriental scenes. Well- known subjects in oil: "Street scene in Tangiers" "Market day at Nuremberg" "Feeding the flamingoes" "Study of Quimper, Brittany" "Dock scene" "Duane street, New York" "The cobblers at Boufarick" TiLLiNGHAST, Mary ELIZABETH, (P., stained glass designer) b. New York; d. December 15, 1912. Pupil of John LaFarge in New York; Carolus- Duran and Henner in Paris. Has won several gold and bronze medals. Specialty, designs for stained glass. Trumbull, John, (P.) b. Lebanon, Conn., June 6, 1756; d. New York, November, 1843. The son of the colonial governor of Connecticut, Jona- than Trumbull, he was the greatest historic painter of America. A gradu- ate of Harvard University, his artistic taste was awakened by familiarity with the portraits of Copley and Smibert. He served with distinction in the armies of Washington and Gates. Early in 1777 he resignetl from the army and devoted himself to art as a profession, going to London. In 1784 211 he conceived the idea of his historical pictures of the revolution and went to Paris where he painted his "Declaration of Independence" assisted by the information and advice of Thomas Jeffereon. In 1789 he returned to America. As an inaugurator of serious histori- cal painting, Trumbull bore a very worthy part, and he carried portraiture to its highest limits by making portraits from life for all the chief figures introduced into his canvases. His portrait of General Washington (in the New Haven collection) must be regarded as a standard portrait of the father of his country. When Lafayette first beheld a copy of this picture on his visit to this country in 1824, he was delighted with its resemblance. Tucker- man says: "The most spirited portrait of Washington that exists — the only reflection of him as a soldier of freedom in his mature years, worthy of the name, drawn from life — is Trumbull's." Trumbull was commissioned to paint four of the eight commemorative pictures in the capitol at Washington. He was eight years at the task and received $32,000 for the four paintings: "Declaration of Independence" "Surrender of General Burgoyne" "Surrender of Lord Cornwallis" "Resignation of Washington" Other important historical paintings are: "Battle of Bunker Hill." ''Death of General Montgomery," "Battle of Trenton," "Battle of Prince- ton." "Trumbull's works still hold their rank not only for their historical in- terest but for their artistic merit." Critics rank his " Death of Montgomery " &s the most spirited battle piece ever painted. His portrait of Alexander Hamilton is one of the best portraits he ever did. Trumbull was the first president of the Academy of Arts, New York. Tryox, Dwight William, (P.) b. Hartford, Conn., August 13, 1849. Pupil of C. Daubigny, Jacquesson de la Chevreuse, A. Guillemet and H. Harp- ignies in Paris. Received gold medals of the American Art Association, New York, 1886 and 1887; third Hallgarten prize of the National Academy of Design, New York, 1887; gold medal of Carnegie Institute, Pittsburgh, 1898; was awarded the Webb prize in 1889 for his "First leaves," and first- class medal at the Munich International Exposition in 1892 for his "Rising moon." Is a member of the National Academy of Design, New York, and professor of art in Smith College. " He masters, like no one else, the uncertain tonalities of dawn and twilight. Tryon's pictures are almost, literally speaking, musical in their effect, not unlike the pizzicato notes on the "A" string of a violin. His parallelism of horizontal and vertical lines is like melodic phrasing Tryon has reached the calm perfection of Japanese art." (Hartmann.) 212 Characteristic color melodies: '' Before sunrise — June" "October" "A lighted \illage" "December" "Sea— morning" "Twilight" " Sea — sunset " " The evening star " "Sea— night" "Springtime" "Day break" "Summer" " Morning " " Autumn " "Moonlight" "Winter" " April morning " " New England hills " ^Ir. Tryon has added much to the w^orld's store of poetic interpretation of nature. Equally refined as his "poems of early spring" are his moonlight scenes and his snowy landscapes. He has interpreted sunsets, storms, mountains and rugged nature with as powerful a brush as any painter. "In his pictures may be seen, as in Daubigny's, a silvery grey atmosphere against which the tracery of young foliage stands out in relief, green shining meadows and softly rippling streams, cornfields, appletrees and fruit gardens.'' (Miither.) Turner, Charles Yardley, (Mural P.) b. Baltimore, Md., November 25, 1850. In 1872 went to New York and entered the National Academy of Design; after spending three years in the school and taking a bronze medal and a money prize, he went to Paris and studied under Laurens, Munkaczy and Bonnat. In Holland he found the subject of his famous picture "The grand canal at Dordrecht;" his best water-color is "Dordrecht milkmaid." Mr. Turner was assistant director of decoration at Columbian Exposition, Chicago, 1893, and director of color at the Pan-American Exposition, Buffalo, 1901. Is a member of the National Academy of Design. His finest mural work is a series of wall paintings in the corridor of the Baltimore court house, the subject of which is the incident of the brig Peggy Stewart entering the harbor of Annapolis in 1774. His Puritan subjects are particularly fine, and great favorites. Most noted are: "Courtship of Miles Standish" "The bridal procession" " John Alden's letter " " Martha Hilton " Mural work is in hotels Manhattan, Waldorf-Astoria, Martinique, and Bank of Commerce building. New York. Turner, Ross Sterling, (P., I.) b. Westport, N. Y., June 29, 1847. Studied in Munich and in Italy. Instructor Mass. Normal Art School and Mass. Institute, of Technology. 213 A few of his best known works in oil and water colors are: " A small court, Mexico " " FMng Dutchman " " El Jardin, Modesto " " A Bermuda Avedding " " A paints ship " The inspiration for his " Golden galleon " is said to have been derived from Lockhart's Spanish ballad, "Count Arnaldo's galley." "Above and beyond any qualities he possesses, and the\' are man)', Ross Turner is a colorist. His is the rare sense which discriminates between "colors" and "color." TwACHTMAX, JoHX Henry, (P.) b. Cincinnati, O., August 4, 1853; d. Gloucester, Mass., August 8, 1902. Pupil of the National Academy of Design, Xew York, and of Frank Duveneck in Munich and Italy; studied also at the Academic JuUen and under Boulanger and Lefebvre, Paris. Won the Webb prize, 1888; Temple gold medal, 1895. Was a member of the American Art Club, Munich. In 1898 he founded the organization known as the Ten American Painters.* Cafl5n saj's: "In his "Brook in winter" it is the soul, as it were, of the still cold dormant world that he has rendered. Never has been better ex- pressed through the subtle resources of modern methods of painting the suggestion of the abstract." His artistic quaUties are also well represented in " The hemlock pool " " The end of winter " " Drjing sails " " Round HiU road " "The torrent " "Landscape in spring" "He recognized as few can, the poetic side of snowy pastures and snow- boimd woodland rills and marshes. His painting of the damp winter weather surcharged with latent snowfall has never been surpassed." (Innes "Schools of painting.") In his handling of the elements of natural scener}', particularly in rep- resenting snow upon the branches of trees, he shows a high degree of skill. (Nat. Cyc. Am. Biog.) Mr. Twachtman is supposed to have been the first American artist to em- ploy blue shadows. From " An appreciation " published in the North American Review shortly after the death of Mr. Twachtman, the following extract is made: "In defining the quality of Twachtman's paintings, one would say that, first of all he was a master of "values" — as much so as Whistler One of his paintings instantly arrests the eye of the connoisseur by a certain • Society cf the Ten American Painters was organized .January, 189S. Xo particular aim except that of exhibiting independently of juries once a year. Orimnal members; Benson, DeCamp, Dtwlng, Hassam, Metc3lf, Reid, Simmoas, Tarbell, Twachtman, Weir. 214 aspect, as original as Thoreau, and somtimes curiously like him." (T. W. Dewing.) "The great beauty of design which is conspicuous in Twachtman's paintings is what impressed me always .... His use of line was rhythmic, and the movements were always graceful His work as color had delicate refinement and truth." (Childe Hassam.) "He painted as all men have done who have made great art; he painted the atmosphere of his time." (Robert Reid.) "In the death of John H. Twachtman we lose one of our best landscape painters .... The canvases which Twachtman has left us like all work of signally original merit, may prove for a time too fine a food for the general palate." (Edward Simmons.) "To mj' mind, he was in advance of his age to the extent that like many others, he lived ahead of his epoch." (J. Alden Weir.) None of our landscape painters surpasses him in subtle delineation of atmospheric effects and values generally. To many art critics, Mr. Twacht- man ranks as the greatest American landscape painter. Ulrich, Ch.\rles Frederick, (P.) b. N. Y. October 18, 1858; d. Berhn, Ger. May 15, 1908. Studied at the National Academy of Design in New York and with Loefftz and Lindenschmidt in Munich. In 1884 he was the first recipient of the Clark prize at the National Academy of Design and this picture "The land of promise" now belongs to the National Gallery of Art, Washington, D. C. His painting "The glass blowers of Murano" is now in the Metropolitan Museum of Art, N. Y., and marked the climax of his success. Elected associate member National Academy of Design 1883. He resided in Venice for many years and was recognized in art circles in Germany, France and England. "Critics praised his pictures for their exquisite technique, their finish in detail, their purity of color and their strength of character." Vail, Eugene, (P.) was born of American parents at Saint Servan, Brit- tany, September 29, 1856; studied in Art Students League, N. Y., under Carrol Beckwith and William M. Chase and at Ecole des Beaux Arts Paris under Cabanal, later under Dagnan-Bouveret and Raphael Collin. Medals, prizes and distinguishing honors have come to Mr. Vail in recognition of his artistic ability. Four scenes of seafaring life, very beautiful in color and among the very strongest and best pictures of the kind at the Paris Exposition, 1900, were "Ready about," "Port of Concarneau," "The widow," and "On the Thames." 215 Other admired works are: " The hour of prayer " " A rainy day " " Evening in Brittany " " Twilight " "Autumn near Beau vais" "Rio della Madonetta, Venice" "Chemindefoi" Vail's landscapes are marked by an exquisite sense of nature, at once delicate and full of force. The fisherfolk of Brittany are a favorite sub- ject with Vail, as are the Dutch peasants with Melchers. Miither says that Vail was influenced by Mesdag and DeNittis in his Dutch sea-pieces and pictures of the port of London, which are shrouded in a heavy, melancholy mist. Cafl&n says: "Eugene Vail while seeing into the soul of his subjects, ^^ews it with a personal sympathy and interprets, so to speak, in terms of spirit rather than matter. That is to say, he does not compel your attention to the physical properties of the figures and the landscape; he envelops the whole in atmosphere, enriching it with somber but tenderly impressive har- mony of color; so that the picture is as full of myster\- as of suggestion. It puts us into spirit-communion with the place and its inhabitants; which as I understand it, involves a superior knowledge and at the same time an acknowledgment of how much there is unknowable. It represents the vision of a poet." Van Eltex, Hexdrik Dirk Krusemax, (P., E.) b. Alkmaar, Holland, 1829; d. Paris, France, July 12, 1904. WTien fifteen years of age was sent to Haarlem to study painting under C. Lieste, a landscape painter of repute. He won a gold medal at the International Exhibition at Amsterdam in 1860 and was made a chevalier of the Order of the Lion of the Netherlands. He came to New York in 1865. He was a member of the Amsterdam and Rotter- dam academies, was elected academician of the National Academy in 1883, also belonged to the American Water Color Society, New York Etching Club, and the Royal Society of Painter-Etchers of London. S. R. Koehler writes in the American Art Review, 1880: "Perhaps it would be permissible to class him as an "international" artist for at the Centennial Exhibition of 1876 he exhibited as an American in the American department and as a Hollander in that of the Netherlands Mr. Van Elten's claim to be considered an American was long ago recognized by the National Academy of Design by his election in 1871 to the position of an associate in that body .... In his choice of subjects Mr. Van Elten seems to betray the Dutch blood that flows in his veins. He loves the flat expanse of the grain fields and the meadows, the quiet copse, the dilapidated hut or the river bank grown with reeds in which the fisherman maj' hide his boat, and he finds these subjects both here and in his native Holland." 216 A group of 200 of his paintings was sold at the American Art Galleries in New York, April 27 and 28, 1905, under the auspices of the Artists' Aid Society of New York, bringing $9,335. Van Ingen", William Brantlfa', (Mural P.) b. Philadelphia, Pa., August 30, 1858. Pupil of Eakins in Philadelphia; LaFarge in New York, Bonnat in Paris. Member Mural Painters; fellowship P. A. F. A. His best known mural work is a series of sixteen panels in the senate chamber of the state house, Trenton, N. J., entitled "The cause of indepen- dence and prosperity." He has also done much mural work in private residences in Philadelphia. "His attack of the subject is bold and candid, his sketches carefully wrought, his brushwork adequate." (Arch. rec. 13:323.) Vedder, Elihu, (P., S., I., Mural P.) b. New York, February 26, 1836, of parents whose ancestry is in the Netherlands. It is related that as a child he chewed sticks into brushes and spent his money for cheap paints. Very early he received instructions in art and in 1856 went to Europe, spending the winter in Paris studying in the atelier of Picot. In the following spring he went to Italy and spent four years there; returning to the United States in 1861 he opened a studio in New York. He was elected an associate member of the National Academy of Design in 1863; full member in 1865. Mr. Vedder returned to Rome in 1866 where he has since resided rarelv exhibiting in the United States. "A note of mystery, a recognition of the infinite and unknowable forms a characteristic of Vedder's work .... It is calm, virile, intellectual, a mystery of which Darwin and Huxle}"^ might well approve." (Isham.) Julia de Wolf Addison says: "His message seems to embody the spirit of the past; not alone the classical, not alone the mediaeval, nor the renais- sance, but in a subtle manner all his own he makes his admirers feel the atmosphere of all these fused together " Vedder's "Head of Lazarus" is the best representative of his decorative art; "Sea serpent" shows his naturalistic painting, and in his "Sphinx" he becomes realistic in portrayal. Of his "Keeper of the threshold" an enthusiastic admirer says that if it is possible for a picture to hypnotize, he feels sure that this one has such power. " Its fascination for me is as strong even yet, and I am still under its spell though an ocean lies between us." "Compositions like "The refuge" are full of deep suggestions and wierd attempts in psychology of color." (Hartmann.) 217 A few other characteristic paintings are: " The African sentinel " " Cumean sibyl " "The monk upon the gloomy "The lost mind" path " " The crucifixion " "The death of Abel" "A Greek actor's daughter" " A scene on the Mediterranean " " Young Marsyas " His illustrations of Edward Fitzgerald's translation of the "Rubaiyat" of Omar Kha\yam, published in 1884, won him world-wide renown. His mural work at Bowdoin College and in the Library of Congress, Washing- ton, has that peculiar element of personahty which is so true in its import and yet so mysterious and eluding when tr>-ing to define its character. EUzabeth Luther Car>' says: "His human forms are the abodes of for- eign spirits, great unhuman powers personified .... His mind is of an austere tendency and he holds us to the contemplation of these abstractions with an almost noble, but seldom fier\-, line and \\-ithout allurements of color or sur- face." In 1880 an art review said: "If it be the mission of an original talent to bring into the world not peace but a sword, Yedder has had the com- pliment of creating this kind of a disturbance." Mr. Vedder is a painter of ideas. His style is naturalistic as relates to truth of illustrating, but ideal and intellectual in motive. (Jarves "Art idea.") VixTOX, Frederic Porter, (P.) b. Bangor, Maine. January 29, 1846; d. Boston, Mass., !May 19, 1911. Pupil of William Hunt and Dr. Rimmer in Boston, Bonnat and Jean Paul Laurens in Paris, also at the Royal Academj- of Bavaria, where he studied under ^lauger and Dietz. Honorable mention in Paris salon, 1890: member of the National Academy, 1891. "The early life of Mr. Vinton was passed in mercantile business in Boston, but the later years were devoted entirely to art. At a memorial exhibition of 124 of his paintings held at the iluseum of Fine Arts, Boston, fift}' were portraits. "Vinton's sterUng qualities as a portrait painter are well-known. He was a strong, incisive and thorough draughtsman, a serious and studious observer, with a deep respect for his art and for himself as an artist." " His grasp of character in his men sitters — and he was almost exclusively a painter of men — ^is in the best of his portraits .... and on a par with that of the great portrait painters. A large number of men who sat for him were statesmen, jurists, philanthropists, authors, soldiers and successful profes- sional men." (Art & P. 3:474.) "His landscapes were made chiefly for recreation, for play, and in the intervals of more arduous undertakings. Based upon a silver}' gray prin- 218 eiple of coloiing, they were delicate and sober, but free from dullness and heaviness." VoLK, Douglas, (P.) b. Pittsfield, Mass., February 23, 1856. When four- teen years of age accompanied his parents to Rome where he became inter- ested in painting and studied in the Saint Luke Academy. In 1873 studied in Paris with Gerome. His "In Brittany" was exhibited in the salon of 1875. He was instructor in Cooper Institute, New York, 1879-84. Has been awarded many medals and prizes. Was elected associate member of the National Academy of Design, New York, in 1898; full member, in 1899. Writes and lectures on the subject of art with a view to the introduction of more artistic methods and a higher standard of teaching as opposed to the usual mechanical system in art institutions. "Mr. Volk is a figure painter who reUes upon the subject of his w^ork to suggest Americanism." Generally he paints a bit of the pine forest, rude and solemn, and places in it a girl or boy with such differences of motive as are suggested by the titles. " Song of the pines " " Thoughts of youth " "The woodland maid" "Accused of witchcraft" " A winter walk " " Young pioneer " "The boy with the arrow" "A belle of the colonies" "A colonial youth" "The spirit of the nation's past and of its best hopes for the future seems to be figured in these types." (The artist 29:xx.) VoNNOH, Bessie Potter, (Mrs. Robert W. Vonnoh) (S.) b. St. Louis, Mo., August 17, 1872. Pupil of Chicago Art Institute under Lorado Taft. Spent four months in Paris in 1895 and four months in Florence in 1897. Was married to Robert William Vonnoh, a painter, September 17, 1899. Is a member of the National Sculpture Society. Was elected an associate member of the National Academy of Design in 1906. Mrs. Vonnoh's specialty is modeling diminutive portraits. Her work is suggestive of the figurines done in terra cotta by the sculptors of Tanagra, whose work was entirely unknown to her when she began her little figures. She presents modern life and modern costumes and conditions. Her work is impressionistic, suggesting character without expressing it. "At her best the figurines are a joyous and lovely expression of a charming side of our life. They are like flowers in their poise and delicacy and in their exquisite fragil- ity." 219 "Dancing girl," the personification of the modern skirt dance, has grace and rhythm, and "Young mother" is the finest thing she has ever done. A httle bust called "Mildred" is charming and shows an intimate knowledge of character; and a recent figurine of a little girl who is industriously engaged in eating a potato with a wooden spoon is delightful, and suggests Boutet de Monvel "in its frank acceptance of the peculiarities which are really the charm of childhood." (Brush & P. 2:29.) "Mrs. Yonnoh's "figurines" and httle groups have the bigness of true plastic conceptions and at the same time that exquisite refinement possible only to works of small scale. Because of inherent merit the question of size does not signify. These bronzes have a charm and grace pecuUarly their own. Her young mothers are essentially maternal, her young women de- lightfully feminine, yet womanly, her children are childish, lovable, sincere. Thus in her little groups, Mrs. Vonnoh touches upon those human relation- ships which are elemental, and stirs emotions both deep and profound. Her message is delivered with a lightness of touch and outward serenity, but it makes universal appeal." (Art & P. January, 1913.) In writing of the winter exhibition of the National Academy of Design, a critic comments: "Bessie Potter Yonnoh with small, giaceful figures preached the sermon of idealism captivatingly." Vonnoh, Robert William, (P.) b. Hartford, Conn., September 17, 1858. Pupil of Massachusetts Normal Art School, Boston, also of Academie JuUen, Paris under Boulanger and Lefebvre. Instructor Massachusetts Normal Art School, Boston, Cowles Art School, Boston, Boston Museum of Fine Arts, Pennsylvania Academy of the Fine Arts; N. A., 1906. Exhibited at the salons of 1888, 1889, 1890, 1891. Received honorable mention, 1888; medal at Paris Exposition, 1889. Exhibited several years at Munich expositions. Specialty, portraits. After studying at Grez sur Loing, near the Forest of Fontainebleau he said: "I gradually came to realize the value of first impressions and the necessity of correct values, pure color and higher kej^, resulting in my soon becoming a devoted disciple of the new movement in painting." (Nat. Cyc. Am. Biog.) Some highly decorative compositions are: " Hydrangeas " " In costume " "Reverie" "Phoebe" Walden, Lionel, b. Norwich, Conn., May 22, 1862. Studied with Caro- lus-Duran, Paris. Received honorable mention in the Paris salon; silver medal at Paris Exposition, 1900; third-class medal in salon of 1903. Represented in the Luxembourg Gallery, Paris, Memorial Museum, Phil- adelphia, and Art Gallerj% Cardiff, Wales. 220 Member of the Societe Internationale de Peinture et Sculpture, Societe de Peintre de IMarine Paris, and Society of Paris American Painters. A noteworthy American in Paris, Mr. Walden is a painter of marine scenes and a* proficient delineator of shipping and harbor life; has also painted some figure and landscape subjects, such as: " The torrent " " Out for a sail " "The end of winter" "Summer evening" "Night on the Mount of Olives" is one of his pictures exhibited in the Paris salon. Walker, Henry Oliver, (P., Mural P.) b. Boston, Mass., May 14, 1843. After a common school education he took up mercantile pursuits, but soon gave up this line of work for the profession of art, going to Paris in 1879 to study under M. Bonnat. Returned to the United States three years later; settled in Boston but later removed to New York City. Member of the Society of American Artists and of the National Academy of Design. In 1894 he received the Shaw fund prize for "The singers," and the following year, the Clark prize for "A morning vision." "The boy and the muse" is another celebrated picture. Aside from his reputation as a figure painter, ^Ir. Walker is well-known for his achievements in mural painting. His best wall decorations are to be seen in the Library of Congress, Washington, D. C, Appellate courts. New York; the ^lassachusetts and Minnesota state capitols. W.\LKER, Horatio, (P.) b. Listowel, Ont., 1858. Studied miniature painting under J. A. Fraser, Toronto, also in New York. Has been awarded medals at exhibitions in Paris and United States. jNIember of the Royal Institute of Painters in Water-colors, England; member of the National Academy of Design, New York, 1891. Largely self-taught, his achieve^ ment constitutes one of the most notable conquests in the history of art. He paints the rustic life of the peasant types on the Isle of Orleans in the St. Lawrence river. Walker's subjects are the same as Millet's but Walker treats them in a more impersonal manner. "To Walker these peasants going to their daily tasks are a symbol of the eternal stability of life, of a quiet harmony with nature's laws." "Horatio Walker handles his brush broadly. His color is always rich, pure and true, whether inclining to the sombre and deeper notes, or to brighter keys where it is joyous and vibrating, full of the intimate charm of sunshine." He combines realism and classicism to a decorative as well as suggestive art, which satisfies the most modern taste. " 221 Characteristic works: ''Morning milking" " Man felling a tree " " Wood cutters " " The potato pickers " " Oxen drinking " " Girl feeding turkeys " " Shepherdess and sheep " " A summer pastoral " "Sheepfold" "The harrower" " Tree fellers " " HauUng the log " "A spring morning" "Sheepyard — ^moonUght" "The thresher" "Walker's art while inamediately concerned with the local and individual character of that portion of the ^^sible world he has chosen for his particular study, is concerned also with beauty in the abstract, and with the psychologi- cal relation of what is finite and temporary to that which we conceive to be universal and eternal. " (Cafl&n.) "Harmony is the word which sums up the character of Walker's art; he interprets in harmonies of color." Mr. Walker exhibited at the Roj'al Academy, London, in 1901 and of one of the collection, a leading art journal said: "Mr. Horatio Walker shows a Millet-like realism which is yet charged with poetrj'. Charm, the outcome of power, and not of mere desire to achieve the pretty, is the char- acteristic of this water-color. England should give welcome to Horatio Walker." Walter, Martha, (P.) b. Philadelphia, Pa. Pupil of the JuHen Academy and the Grande Chaumiere in Paris, and received criticism from Prinet, Simon Menaud. Won Cresson scholarship P. A. F. A., 1908; ^larj' Smith prize P. A. F. A., 1909. Her traveUng scholarship permitted her to see Germany, Holland, Italy and Spain. ^lessrs. Baschet and Schommer, her instructors at the Julien Academy encouraged her to trj' for the salon which she did in time and exhibited her work. After her return from her travels she worked in Philadelphia and New York, making yearly trip abroad to Brittany, Holland or Dalmatia and exhibiting her pictures in many of the cities in the United States, iliss Walter also studied under WilUam M. Chase "from whom she learned much in handling the brush." " Miss Walter hkes to catch the color impression in assembhes of peasants." "Her brush work is broad and apphed Avithout hesitation, avoiding as far as possible the less important details." (Art & P. 1 :303.) Ward, John Q. A., (S.) b, near Urbana, Champaign Co., Ohio, 1830; d. New York, May 1, 1910. Displayed a talent for plastic art at an early age. Studied under H. K. Brown in Brooklyn, N. Y., remaining his pupil for si.x years. In 1857 made his first sketch for " The Indian hunter " now in Central 222 Park, New York, studying his subjects in the aljoriginal state. In 1861 opened a studio in New York; was elected associate member of the National Academy of Design in 1862; full member in 1863 and president in 1874. Was first president of National Sculpture Society. In 1866 he executed the group of "The good Samaritan" (now in Boston) in honor of the discovery of anaesthetics. In 1867 presented his design for the Shakespeare statue in Central Park, New York. His "Freedman" was an earlj'- work, and of this bronze statuette, Jarves says: "We have seen nothing in our sculpture more soul-lifting or more comprehensively eloquent." Tuckerman says: "Although Mr. W^ard has never practiced modeling in any academy or foreign or famed studio, he has labored with rare as- siduity to master the principles of his art. He understands proportion and anatomical conditions." In the field of portrait statuary, Mr. Ward is one of the masters of the day. Perhaps his finest achievement in this field is the statue of Henry Ward Beecher in Borough Hall Park, Brooklyn; also statue of Commodore Perry at Newport, R. I. and statue of Israel Putnam of Hartford, Conn. Other triumphs are "Horace Greeley," "Lafayette" at Burlington, Vt., monument to President Garfield and equestrian statue of General Thomas, Washington, D. C. "Mr. Ward is essentially a sculptor His technique may lack at times that charm of surface manipulation in which his younger colleagues excel, but it always shows a quiet simplicity, an impressiveness of mass, which is the first element in good monumental sculpture. (Taft's "History of American sculpture.") Warner, Olin L., (S.) b. West Suffield, Conn., 1844; d. New York, August 14, 1896. The son of an itinerant Methodist minister, it was not until 1869 that he was able to sail for Europe. He went to Paris and studied sculpture in the Ecole des Beaux Arts under Jouffroy and afterwards in the studio of Carpeaux, making the acquaintance of Falguiere and ^lercie. He returned to New York in 1872 and was one of the original members of the Society of American Artists. Associate member National Academy of Design, 1888; full member, 1889. Among his most important works are statuettes entitled "May" and "Twilight," a colossal medalUon of Edwin Forrest, a bust of J. Alden Weir (which excited profound admiration in the Paris salon) and the beautiful fountain in Portland, Oregon; also the fountain and spandrel figures for the entrance of the Library of Congress, Washington, D. C. "Mr. Warner was our most classic sculptor, a pedant in taste but quite modern in his technique." (Hartmann.) 223 His short career as an artist was sufficient to place him among the im- mortal masters of sculpture — those who have created a stjle of their own." (Xat. Cyc. Am. Biog.) " His portrait of William Lloyd Garrison is among the best that our country has produced." (Taft.) Washburx, Cadwallader, (E.) b. Minneapolis, Minn. Pupil of Art League N. Y., under Mowbray and Chase: Joaquin SoroUa in Spain. Re- ceived second prize Paris A. A. A. An artist whose paintings were well known in leading art centers of Europe, it was in the year 1903 that Mr. Washburn first employed etching as a mode of expression. A series of Venetian plates revealed his harmony \nth the medium, and admitted him to the ranks of painter-etchere. The direct influence of SoroUa is far reaching, for not the least distinguish- ing quality of his plates, strikingly illustrated in the Mexican series, is his masterly interpretation of atmosphere and sun. His plates classify naturally: Italian set — Venice, Padua and Verona — serves as his introduction; Japanese portfolio, etched in 1904; "The Nordlands" a series of landscapes; A group in Havanna; Cathedral of Old Mexico. With the passing of the master Seymour-Haden, recent attention has been called to the school of landscape etching. With the exception of a few scattered plates, Mr. Washburn is the only American in the list of the younger men to turn a sustained interest to landscape subjects. It is of significance that he has revealed powere capable of worthily upholding its traditions in America. Watkins, Susax, (P.) b. California, 1875. Pupil Art Students League in New York: Collin in Paris. Received honorable mention in the Paris salon of 1899 and third gold medal in the salon of 1901. Her painting entitled "The fan" is well known and a critic refers to the "quaint yet alluring figure of the young woman. " Waugh, Frederick Judd, (P.) b. Bordontown, N. Y., September 13, 1861. A painter of American marines, comes from a family of artists; his father S. B. Waugh, was a Philadelphia portrait painter; his mother, Eliza ^^'augh, was a miniature painter, and his sister, Ida Waugh, is also a portrait painter and an illustrator of children's books. At eighteen he began the study of art in the Pennsylvania Academy of the Fine Arts under Thomas Eakins, after that he went to Paris and worked in Academie Julien under Bouguereau and Robert-Fleuiy. Associate member National Academy of Design, 1909; full member, 1911. The first beginnings of his marine work were laid while he lived on the Island of Sark, Channel Islands. He crossed the ocean frequently, thus L^ 224 familiarizing himself with every changing aspect of the water; and he also acknowledges the fact of his having spent much time at miniature portrait, decorative work, landscape and figure painting, has given him strength and power in his marines. "The surf off Cape Ann" is a powerful marine; this is permanently placed in the National Academy of Design, New York. Other marines are: " The great deep " "A heavy sea" "Outer surf" "Little harbor, Bailey's -Island, " Roaring forties " Maine" " Incoming tide " " Docks at Gloucester " Kenyon Cox says: "Mr. Waugh is an objective painter, a cool observer, who draws his waves and foam-loops with great accuracy, and colors them with much truth, but does not quite succeed in conveying the illusion of force and motion. He tells us much about the sea, but he has not Homer's capacity for abstracting two or three essential qualities and expressing them with overwhelming vigor." Mr. Waugh has a wonderfully trained "eye memory" and he produces his seascapes from memory. "He declares that if he never saw the sea again he could still go on painting it and constantly improving in his repre- sentations." (Arts and D., Jan. 1911.) The real idealized is the art of Frederick Judd Waugh. Webster, Herman A., (P., E.) b. New York City, 1878. Family home is Chicago; occupies a studio at No. 6, Rue Furstemberg, Paris. Gradu- ated from Yale University in 1900 and in October of that year went abroad. After a winter in Paris among the studios and artists of the Latin Quarter, he joined Burton Holmes and Senator Albert J. Beveridge on a trip to the Orient. Returning to the United States he engaged in commercial work also doing journalism in the office of the Chicago Record-Herald. In February 1904 he returned to Paris and entered the Academie Julien under Jean Paul Laurens. In 1905 four of his plates were accepted at the salon. In Grez on the edge of the Forest of Fontainbleau, Mr. Webster etched his first plates during the autumn of 1904: "Studio windows" of which there are two plates, "Rue del'Abbaye," "Loing at Grez," and "The Court, Bourron," the first of a series of Courtyard studies. Spring 1905 etchings were "St. Martin's bridge, Toledo," and "Mirada de las Reinas, Alhambra" seen from the Hall of the Ambassadors. December 1907 Mr. Webster's name was enrolled in the associate mem- bership of the Royal Society of Painter-etchers in London, of which the late Sir Francis Seymour-Hayden was president. He is the first etcher from Chicago, and one with less than a dozen other Americans who have been admitted to the Royal Society since its foundation in 1881. 225 Weeks, Edwin Lord, (P.) b. Boston, Mass., 1849; d. Paris, France, Novem- ber 16, 1903. As a youth he studied art in Paris at the Ecole des Beaux Arts and afterwards under Leon Bonnat and Gerome. At the age of twenty- nine he began to exhibit at the salon. Received honorable mention in the Paris salon of 1885, and a medal in 1889; medals of the first-class at the Universal Exposition, Paris, 1889; gold medal from Philadelphia Art Club, 1891; a grand diploma of honor at BerUn, 1891; medal at London, 1896; Dresden, 1897; Munich, 1897; special medal and prize at the Empire of India Exposition, London, 1896; the same year was elected a chevalier of the Legion of Honor of France, and in 1898, an Officer of the Order of St. ^tichael, Bavaria. Mr. \Yeeks is particularly famous for his pictures of life in Cairo, Jerusalem, Damascus, Tangier and India. He made frequent trips to Eastern cities, traveling extensively in India. ''The last voyage" shows his dramatic and scenic qualities and his careful observation of oriental air and color. Other famous paintings are named: "Jerusalem from the Bethany "Pilgrimage to the Jordan" road " " Alhambra windows " "Scene in Tangier" "A Moorish camel driver" "Arab story-teller" "Departure for the hunt, India" "A cup of coffee in the desert" "Packing the caravan" "Three beggars of Cordova" "The porter of Bagdad" "A rajah of Jodhpore" "Steps in the mosque, Lahore" " Hindoo marriage " His pictures are notable for their rendering of sunlight effects, fine color and artistic truth. A well-kno\\Ti art critic says: "^Ir. Weeks is gifted with great facility; his skill and sureness of eye and of hand in dealing with vast scenes are re- markable. No one has treated with greater effect and with such unhesitating directness, the great architectural backgrounds of India with their pluri- color richness and splendor of detail." " He is a skilful draughtsman and an excellent colorist." (John Rummell.) Weinman, Adolph Alexander, (S.) b. Karlsruhe, Germany, December 11, 1870; came to America in 1880. Pupil of Art Students League of New York under Augustus Saint^Gaudens and of Cooper L^nion. He also studied with the late OUn L. Warner and later was an assistant to Charles H. Niehaus and to Daniel Chester French. He won the Mitchell Vance prize for drawing at Cooper Union and the prize in the modeUng class at the Art Students League. Member National Sculpture Society, Society of American Artists; associate member National Academy of Design 1906. 29 226 His monument to Major-General Alexander Macomb erected in Detroit, Michigan, in 1908 placed him in the front rank of the j^ounger American sculptors. His portrait statue of the late president of the Pennsylvania Railroad system, Alexander J. Cassatt, is a conspicuous ornament of the new Terminal Station in New York City. He has also executed a number of works of a decorative purpose such as panels for the facade of the library of J. Pierpont Morgan, for the new Terminal Station of the Pa. R. R,., the Madison Square Presbyterian church, and other important structures. His medallic work includes the medal of honor of the National Institute of Arts and Letters, the medal of honor of the National Institute of Architects, the medal of award of the St. Louis Exposition and the U. S. medal for life- saving on railroads. Mr. Weinman has recently completed the magnificent heroic bronze me- morial of the late Mayor Maybury of Detroit. Has also executed Maryland Union Soldiers and Sailors monument, Baltimore; Lincoln memorial erected at Hodgenville, Ky., (Lincoln's birthplace) Lincoln memorial at Madison, Wisconsin. Weir, Julian Alden, (P., Mural P.) b. West Point, N. Y., August 30, 1852. Studied art under his father, Robert Weir, who was instructor in dra\^ing at West Point Military Academy, and with Gerome at the Ecole des Beaux Arts, Paris. Received honorable mention in the Paris salon of 1881, also numerous medals and honors. Was elected associate member of the National Academj' of Design, New York, in 1885; full member, in 1886. Member of of the Ten American Painters. Portraits and genre pictures are his specialty. An exquisite painter of flowers and a bold original etcher. He sent from Paris to the National Academy of Design, New York, in 1875 ''A Brittany interior," in 1877 "At the water-trough," ''Brittany peasant girl," "Brittany washerwoman," and "Study of an old peasant." His heads have attracted great attention in Paris, his symbolical canvases such as "Muse of music" gave him a high rank in this field of work. During student days he was intimately associated with Bastien-Lepage. The "Green bodice " is a canvas of rare distinction. In his later works — "The flower girl" and "Pussy-willows" his innate reserve and charm appear. Guy Pene DuBois says: "His work has a subtle quaUty and most of it idyllic peace or optimism." "Upland pasture" is a characteristic picture and his "Early morning" is strongly suggestive of Corot. 227 Other well-kno\\Ti paintings are: "A bough of green apples" "The young student" " China bowl with flowers " " The open book " " The lane " " Lengthening shadows " "A winter day" "The plowman" " Breton interior " " Young girl " " The good Samaritan " "The miniature" "Ideal head" "Oriana" "Return of the fishing party" "Dorothy and Cora" " A gentlewoman " " Ploughing for buckwheat " " Silver flagon and Delft plat« " and many portraits. Kenyon Cox writes: "The paramount quahty of his "Green bodice" is the perfection of tone and a delicate observation of the gradations of light which would make it hold its own in any company." At a recent Carnegie Institute exhibition, thirty-seven paintings of this artist were a special feature, and of this collection a critic writes: "Both landscape and figure paintings are shown and to an extent they epitomize the spirit of American painting." (Arts and D., June, 1911.) "Always full of space and light, his paintings are distinguished for a broad handling, truthful and luminous color and harmony of tone." Welch, Mabel R., (Min. P.) b. New Haven, Conn. Pupil of Kenyon Cox, New York; Court ois, Paris. Member Art Students League, X. Y., also American Society of Miniature Paintei*s. A teacher. Her miniature works possess much charm of color, much judicious placing of the subject ^\ithin the frame, and no inconsiderable excellence of technical treatment. Aside from color, the interesting quality of Miss Welch's miniatm"es is their breadth of treatment. "Breadth is easy of achievement given the artist to do it on a 5-foot canvas, but breadth which has to compromise with re- finement on less than a 5-inch ivorj*, is another matter. (Int. studio 39:xcii.) "Miss Welch is one of the most promising of the newer minia- ture painters and her work has attracted much interest." Her "Study of a child" is a deUghtful rendering of sweetness and in- nocence. Wexdt, Julia M. Bracken (Mrs. William Wendt), (S., P.) b. Apple River, 111., June 10, 1871. Pupil of Art Institute of Chicago under Lorado Taft. The Craftman 22:495 says: "Mrs. Wendt has already won distinction through the merit of her portrait-busts and bas-reUefs, her symbolic' statues and the naive characterful studies of animals, but this ima^native work (a 228 bronze group representing Art, Science and History) places her among the foremost sculptors of America." Wendt, William, (P.) b. Germany, 1865. Settled in Chicago, 1880. Self-taught. First conspicuous successes were made as a result of a long sojourn in California. Has exhibited in the Paris salon, Royal Academy, London, and in leading American galleries. " Wendt is a colorist and he is a success whenever he is reveling with warm tones and brilliant effects. He is original and his paintings have a distinct personal character and value." "Scarlet robe" is a picture full of air, space and movement and is profes- sionally painted. "Old age" shows a village street empty of team and person. Its color scheme suggests the gray harmony of Cazin. "Wilder- ness " and " Canon Diablo " are notable California scenes. " Cornwall coast " is dramatic in treatment. "Autumn melody" was exhibited in the New Salon of 1899. In his catalogue of some fifty works a considerable number were done in California and show at his best his love for strong color. (Brush & P. 6:257.) At the 23d annual exhibition of American paintings at Chicago, a room was set apart for his paintings. An art critic writes: "The best trio of land- scapes it is generally conceded is that by William Wendt. "The silence of night," which received honorable mention is a landscape with slender birches in the foreground beyond which the darker reaches are illuminated by a subdued light. "The land of the heart's desire" is as satisfying in a decora- tive sense and in mood more joyous, the golden sunlight gilding the open country. "The Arcadian hills" is in the same manner a strong, independent painting." (Art & P. 2:49.) " His work has the rare quality of standing true under a glaring Ught, and when in shadow it seems to radiate a light of its own. He has done much to raise the standard of art in the west, spending his energy lavishly in its ser- vice at all times." Mr. Wendt is president of the California Art Club and recently elected to the National Academy. Wentworth, Mrs. Cecile de, (P.) b. in New York City. Pupil of the Sacred Heart Convent and of Cabanel and Detaille in Paris. Received gold medal at Tours, Lyons and Turin; honorable mention Paris salon, 1891; bronze medal, Paris Exposition, 1900; chevalier of the Legion of Honor of France, 1901; officer of Public Instruction of France; Order of Holy Sephulchre from Pope Leo XIII. Represented in the Luxombourg Gallery, Paris, and in the Metropolitan Museum of Art, New York. 229 Wenzell, Albert Beck, (I.) b. Detroit, Mich., 1864. Pupil of Strahuber and Loefftz in Munich, and Boulanger and Lefeb\Te in Paris. Received silver medal at Pan-American Exposition, Buffalo, 1901; silver medal at St. Louis Exposition, 1904. His work as an illustrator is marked by great originality of treatment. Whistler, James Abbott McNeill (P., E., Mural P.) b. LoweU, Mass., L^ 1834; d. Chelsea, England, July 17, 1903. Was taken as a child to Russia; after his father's death he returned to America and entered the MiUtary Academy at West Point. Being a poor student and failing in cheniistr}% he was recommended to be discharged in 1854; after a short employment in the United States Coast Survey at Washington he went to Paris and entered the studio of Charles Gabriel Gleyre, where Degas, Bracquemond and Fantin- Latour were his favorite companions. Two or three years later he left Paris and took up permanent residence in London. In 1860 "At the piano" was exhibited at the Royal Academy, London. His success began with the " White girl " exhibited in 1863 in the Salon des Refuses, Paris. In 1883 ^Ir. Whistler sent the portrait of his mother to the Paris salon and received a third-class medal; in 1889 he received the cross of the Legion of Honor. He was a member of the Societe Nationale des Artistes Francais, hon- orary member of the Roj'al Academy of St. Luke, Rome, commander of the Order of the Crown of Italy, honorary member of the Royal Academy Bavaria, chevaher of the Order of St. Michael, and honorary member of the Royal Academy Dresden, but most unjustly he was never elected to the Royal Academy of London. EUzabeth Luther Cary, in her recent work on Whistler gives a tentative list of Whistler's works. She catalogs 528 oils, water-colors and pastels, 161 lithogi-aphs and 426 etchings as his principal works. He always called his pictures ''harmonies," "symphonies," "nocturnes" and "arrangements." The portrait of his mother, the "Thomas Carlyle" and "Miss Alexander" are usually considered the height of his achieve- ments. C. H. Caffin most interestingly writes: "None but a man of pecuUar sweetness of mind could have conceived that masterpiece in the Luxem- bourg, "The portrait of my mother." "It was va\\\ the night that Mr. Whistler set his seal and sign manual upon art," writes George Moore; "above all others he is surely the inter- preter of the night." C. H. Caffin also says: "His art was the product of most delicate se- lection; a hybrid derived from the intermingling of many strains — Velasquez, Rossetti, the impressionists and Japanese — with his own rarely gifted per- sonahty, itself a curious mingUng of aristocratic hauteur and spiritual sen- sibility." JAMF8 ABBOTT McNEILL WHISTLER. 231 William C. Brownell, the art critic, has spoken of Whistler as, "perhaps the most typical painter and the most absolute artist of the time." His fame is now an international one; his works and personality have been before the public for more than forty years. Of Whistler's etchings. Bryant, in "Pictures and their painters," says: "But two men in the whole history of the world — Rembrandt and Whist- ler — have been able to use the etching needle with such skill that evei*y object in the scene becomes as much a piece of portraiture as though it were a portrait. Both of them produced etchings that were withoXit flaw." White, Thomas Gilbert, (P.) b. Grand Rapids, Michigan. Pupil of Art Students' League in New York Citj' under Twachtman; Julian Academy under Benjamin-Constant and Laurens, also Whistler and MacMonnies in Paris. Specialty, portraits. Whittemore, William John. (Min. P.) b. New York City, March 26, 1860. Pupil in Xew York of WiUiam Hart, N. A. D. and Art Students League under Beckwith; Lefebvre and Benjamin-Constant in Paris. Received silver medal for drawing at Paris Exposition, 1889. Member American Society of Miniature Painters; associate member of National Academy, 1897. His first success was a water-color landscape, and his most serious work has been in portraiture. A critic calls attention most visibly to his sympathetic though never mawkish portrait studies of children. "The burgomeister " has much strength and a wonderful color. "Pan- dora" is an interesting figure composition. (Critic 47:525.) Whittredge, Worthingtox, (P.) b. Springfield, Ohio, May 22, 1820; d. Summit, N. J., February 25, 1910. When very young studied landscape and portrait painting in Cincinnati. In 1849 he went abroad and continued his art studies in London, Paris, Antwerp and in Diisseldorf under Andreas Achenbach. In 1859 he exhibited in the National Academy of Design his "Roman campagna" and was at once elected an associate member, and in the follo\\ing year was made an academician. He was president of the aca- demy for the year 1875-6. "He possessed great faculty and originality as a landscape painter." Among his most celebrated pictures are "A brook in the wood," "Plains at the base of the Rocky Mountains" and "Sunshine in the forest." For many years Mr. Whittredge was active in art circles in New York City. W^iGGiNS, Carleton, (P.) b. Turners, N. Y., March 4, 1848. Educated in public schools of Brooklyn, N. Y. Studied art with H. Carmiencke of Brook- lyn, drawing at the National Academy of Design, New York, and landscape 232 painting with Inness. He was unsuccessful from both an artistic and com- mercial standpoint with his landscape work, and turned his attention to cattle painting. He met with immediate success and is now the most dis- tinguished painter of cattle and sheep in the United States. (Innes' "Schools of painting.") He was elected associate member of the National Academy of Design in 1890; full member, in 1906. The Paris salon of 1891 accepted his "Shepherd and his flock." " A Holstein bull " " Three oaks " "The wanderers" "Morning on the hills" " Plough horse " " Normandy bull " " Down the lane at twilight " " Evening — Forest of Fontainebleau " " The pasture lot " " Near Great South Bay " *' Ploughing in France " " After wind — rain " "He chooses principally American motives and his pictures carry the evidence of their truth to nature. His technical skill is great, his color warm and vibrant and his construction shows he has a thorough knowledge of form." (Nat. Cyc. Am. Biog.) "Mr. Wiggins is at his best when he paints landscape with animals rather than animals with landscape. " (The artist 29:iv.) Wiles, Irving R.\msey, (P., Mural P.) b. Utica, N. Y., April 8, 1861. Was educated at Sedgwick Institute, Great Barrington, Mass. His father, a gifted painter of landscapes was his first instructor in art ; he was also a pupil of William M. Chase and although he subsequently studied in Paris with Carolus-Duran and Jules Lefebvre, he returned to America to work, definitely to express himself as an American artist. He has never been identified with any special school or any new move- ment. Has received third Hallgarten prize of the National Academy of Design, New York; honorable mention in the Paris salon and several medals. Was elected member of the National Academy of Design, New York in 1897. He has been called the "Artist's painter" and chiefly busies his brush with portrait and figure paintings. His illustrations are well known to art readers of Century, Harper, Scribner, etc. "If low tones appeal to h'm with the greatest strength, however, the bright luminous colors come often into his canvases with brilliant effect." (Arts and D. 1 :403.) His work is characterized by a charming simplicity of idea and treat ment, and " Memories " now owned by Mr. Carnegie, is an admirable example of those quahties of his art." (Nat. Cyc. Am. Biog.) 233 Among his works are: " On the beach " " Girl w-ith peonies " " The student " " Girl and horse " "Quiet corner" "Noon" "Sunshine and flowers" "The green gown" "Sunshine in the studio" "The window" " The southwest wind " " With hat and veil " "A breezy day" "Among Canada thistles" " The black shawl " " Discouraged " " An autunm stroll " (Portrait " Brown kimono " of Gladys Wiles) "The Sonata" (prize picture) Portrait of Juha Marlowe " In summertime " Portrait of " My father and mother" His portrait of Mrs. Gilbert is a masterpiece of portraiture. "The wholesome reaUties of life are depicted in ^Ir. Wiles' canvases — the gladness of childhood, the dignity of age — and the glor}' of good work." "He represents no intricate symbolism in his work; no revelation of a nature compUcated beyond power to express its thoughts. He has found the ideals of art in the reahties of life. His daughter has been the inspiration of some of her father's most distinguished works." (Arts and D. Aug. 1911.) WiLLET, A^'iLLiAM, (Stained glass designer) b. New York City, Novem- ber 1, 1868. Pupil of Whittaker, Chase and LaFarge in New York; studied also in France and England. Author of "Stained glass in our churches;" Lectured on appUed arts at Carnegie Techical Schools. The most important representative of the new school of stained glass workers. Beginning his art career as a portrait painter, he turned to decora- tive work. "It is this feeUng for design joined with a subtle appreciation of color, that makes his work notable." The design for "The spirit of the water lily" a memorial window in the home of Mr. George I. Whitney of Pittsburgh, shows exquisite draughts- manship and mastery of symbolism. In the "Marriage of Isaac and Rebecca" the artist has more scope for color. The finest work is undoubtedly the window recently executed in the Third Presbjiierian Church at Pittsburgh, depicting the parable of the "The wise and the fooUsh Airgins." "It bears brilUant witness to the vitaUty and promise of American art." WiLLi.\MS, Frederick B.\.llard, (P.) b. Brooklyn, N. Y., October 21. 1872. When a Uttle more than a lad he studied at night at the Cooper Union in New York City. Then for a while attended a school conducted by John Ward Stimson, an ideaUst. Later studied at the National Academy of De- sign and spent a short time traveling in England and France. 234 "Mr. Williams' landscapes are not painted out of doors .... He transcribes what he feels rather than what he sees The scenes are imaginative, gay and fanciful. Their, charm lies in their joyous spontaneity, their rhythm of line and color. " " The women he paints are intensely feminine but are pictured impersonally, their object being, as it were to decorate the earth." "His pictures are atmospheric, without resort having been made to mists and vapors and they are peculiarly spacious in suggestion." "Form and color are paramount and light and shade take their places as in a purely decorative scheme." A few paintings are: "A glade by the sea" • "Chant d' amour" "The confidantes" "The inner harbor. Block Island" " On the cliffs " " Garrets Mountain, N. J." (Int. studio 42:sup. 53.) Woodbury, Charles Herbert, (P.) b. Lynn, Mass., July 14, 1864. Pupil of Mass. Institute of Technology in Boston, Julien Academy in Paris under Bouguereau and Lefebvre. N. A. 1907. Specialty, marines. "Few painters have painted the ocean with a more familiar knowledge of its aspects, a closer sympathy with its various moods or in a larger imagina- tive style." (Art & P. 4:762.) His best marines are: "The breaker" "A heavy sea" " A quiet sea " " Ground swell " "The open sea" "The steamer" "Mid ocean" "Maine coast" "On a lee shore" WooDWELL, Joseph R., (P.) b. Pittsburgh, Pa., 1843; d. Pittsburgh, Pa., May 30, 1911. Mr. Woodwell was chairman of the Fine Arts Committee of the Carnegie Institute and one of the best known of the Pittsburgh artists. He studied for four years at Barbizon and was the friend of both Millet and Jacques. In Paris he was associated with Monet, Sisley, Renoir and Pissaro. Wright, M. Louise Wood, (Min. P., I.) b. Philadelphia, Pa., 1875. Pupil Pennsylvania Academy of the Fine Arts, Whistler and Acad^mie Julien, Paris; F. W. Jackson, England. Received Toppan prize Pennsylvania Academy of the Fine Arts. A teacher. 235 F Wyaxt, Alexander Helwig, (P.) b. Port Washington, O., January 11, 1836; d. Xew York, November 29, 1892. First occupation was that of a sign painter in his native Aollage. At the age of twenty-two he consulted Inness on art matters; later went to Diisseldorf and studied imder Hans Gude, subsequently in London he studied the works of Turner and Con- stable. Settled in Xew York after 1864. Losing the use of his right hand from paralysis, he learned to paint with the left with no diminution of skill. The work done with the left hand is considered by some critics to be superior to that done pre\'iously. Long before his death he yvas ranked with Inness as a landscape painter. In a certain dehcate refinement none of our artists have equalled him. His first picture exhibited in Xew York "A view of the valley of the Ohio river" was at the Xational Academy of Design in 1865. He was elected associate member of the academy in 1868 and full member in 1869. "Many of his landscapes are truly idyUic in character and full of tender and poetic sentiment. Others are beautiful interpretations of the more dramatic moods of nature or representatives of the wild and rugged scenery of the Adirondacks." (" Aims and ideals of representative American artists.") Of the exquisitely poetic feeling with which he loved to invest his scenes, " Early morning '' is a glorious example. (CaflBn.) There is a combined reahsm and impressionism in Wyant's work. "Early spring" is a characteristic landscape. "WVant alwaj's looked for and grasped the specific essential truth of a scene .... Some of his twilight scenes breathe only ineffable peace, others are astir with suggestions of the infinite mystery of the final sleep." (Heanor Richardson Gage.) '* He loved the gray skj' and somber tints of November, the subtle mysterj- of twihght and the fading glorj' of the sunset." (Arts & D. 2:349.) Mam' critics have rated "Passing clouds" as Wyant's most dramatic composition "which in its way he never surpassed." Of his "Moonhght and frost" (painted at a single sitting) it is said: "It is bathed in the mystic sheen of the moonhght which has impressed itself on the soul of the painter and is instinct with the very spirit of frost, chilled to intensity in the picture, as it must have been in the artist. A few of his pictures in oil are: "Statin Island from the Jersey "The old road — Evening" meadows " " Hoosatonic valley " " The bird's nest " " Early twihght " "Scene on the Upper Susque- "A ghmpse of the sea" hanna" "View in County Kerry, Ire- " A view on Lake George " land " " Broad silent valley " " Spring " "The wilds of the Adirondacks" 236 "Gray days had more allurement than sunny ones and his works are found to have a lyric quality which in a measure Inness' lacks." Yandell, Enid, (S.) b. Louisville, Ky., October 6, 1870. Pupil Cincinnati Art School, Philip Martiny in New York; MacMonnies and Rodin in Paris, Is officier de I'academie, French government; a member of the National Sculpture Society. At Chicago in 1893 Miss Yandell was represented by the caryatides of the Woman's building and a figure of Daniel Boone. At Nashville she was awarded the contract for a colossal "Athena" which stood in front of the Art Palace. "Miss Yandell has made many small figures with admirable skill, and abounds in happy inventions." (Taft.) YoHN, Frederick Coffay, (I.) b. Indianapolis, Ind., February 8, 1875; made his debut when he was nineteen, in the pages of Harper periodicals. From his home in Indiana he went to New York to study at the Art Students League where he was a pupil of Mr. Siddons Mowbray. Was selected to supply the drawings that accompanied the frontier sketches of Theodore Roosevelt. This recognition was followed by a commission to illustrate Mr. Cabot Lodge's "Story of the American Revolution." He makes the story-telling quality of a picture easily felt in his com- position, and projecting his motive with admirable appeal. "Mr. Yohn's ultimate purpose is to paint battlepieces, but in illustrating he prefers to do character work — ^it is the soldier type that has so far iden- tified him." "His military compositions have suggested him as a successor to De Neuville." Invests his versatile compositions with stirring vigor and dramatic interest. Noted for his spirited battle scenes. (Brush & P. 2:161.) Young, Mahonri, (S.) b. Salt Lake City, Utah, 1877, and is a grandson of the famous Mormon leader, Brigham Young. Studied in Julien Academy, Paris. "His best work is distinguished by nobility and breadth of conception, close and conscientious observation of nature, a predilection for virile form and plastic line of great beauty and power. His bronze figure of an Alsatian boatman, Bovet Arthur, received honorable mention at Buenos Ayres, and was awarded the Helen Foster Barnett prize at the National Academy ex- hibition of December, 1911. Has recently been elected associate member of the National Academy of Design. BIBLIOGRAPHY BIBLIOGRAPHY. GENERAL. Appleton's C3''clopaedia of American Biogi'aphy, N. Y. 1888. Bryan's ''Dictionary of painters and engravers.'' Champlin and Perkins "Cyclopedia of painters and painting." Charles C. Perkins, critical editor, N. Y. 1887. Dictionar}' of National Biography, edited by Stephen & Lee, London and X. Y. 1885-1900. Lamb's Biographical Dictionary of United States, Boston, 1900. Levy, Florence, "American Art Annual," vols. 1-10, New York. The National Cyclopedia of American Biography, N. Y. 1898. The New International Encyclopedia, N. Y. 1892-1904. Pub. A. N. Marquis & Co. Chicago. "Who's who in America." Vols. 1-7. SPECIAL. Addison, Julia de Wolf, "The Boston Museum of Fine Arts." Boston, 1910. "American artists," by leading American writers. Boston. Benjamin, S. G. W. "Our American artists." 1st and 2nd series. Boston, 1881. Brinton, Christian "Modern artists" N. Y. 1908. (Melchers, Sargent, Shannon, Whistler.) Bryant, Lorinda M. "Pictures and their painters." N. Y. 1907. Caffin, C. H. "American masters of painting." N. Y. 1902. Caffin, C. H. "American mastere of sculpture." N. Y. 1903. Cary, Ehzabeth Luther "Artists past and present." N. Y. 1909. Child, Theodore "Art and criticism." N. Y. 1892. Clements, "Women in the fine arts." Boston, 1904. Clements and Hutton, "Artists of the nineteenth century." Boston, 1880. Cook, Clarence "Art and artists of our times." Vol. 3. (Weir). Cortissoz, Royal "John LaFarge." Boston and N. Y,, 1911. Cox, Kenyon "Old masters and new." N. Y. 1905. Downes, William Howe "Twelve great artists." Boston, 1900. Do\%Ties, WiUiam Howe "Life and works of Winslow Homer." Boston and N. Y., 1911. 240 Eaton, D. Cady "A handbook of modern French painting." N. Y., 1909. "Famous etchers." Boston. French, H. W. "Art and artists of Connecticut." Boston, 1879. Hartmann, Sadakichi "A history of American art." Boston, 1902. Hawthorne, Nathaniel "The French and ItaUan note-books." N. Y., 1899. Hind, C. Lewis "Augustus Saint-Gaudens." N. Y., 1908. Hoeber, Arthur "The treasures of the MetropoUtan Museum of Art." N. Y., 1899. Innes, Mary and DeKay, Charles "Schools of painting." N. Y. and London, 1911. Isham, Samuel "The history of American painting." N. Y., 1905. Jarves, James Jackson "The art idea." Boston and N. Y. King, Pauline "American mural painting." Boston, 1902. Knowlton, Helen M. "The art and life of William Morris Hunt." Boston, 1900. Koehler, S. R. "Etching." N. Y., London, Paris, Melbourne, 1885. Leonard, John "Men of America." N. Y., 1908. McSpadden, J. Walker "Famous painters of America." N. Y., 1907. (Ab- bey, Chase, Copley, Homer, Inness, LaFarge, Sargent, Stuart, Vedder, Whistler.) Mauclair, Camille "The French impressionists." London. (Mary Cassatt.) Maynell, Wilfred "The modern school of art," vol. 4. (Vedder.) Meynell, Mrs. "Works of John Singer Sargent." Moore, George "Modern painting." N. Y., 1898. (Mark Fisher.) Miither, Richard "History of modern painting." N. Y., 1896. Noble, Louis L. " Life and works of Thomas Cole." N. Y. , 1853. Preyer, David C. "The art of the Metropolitan Museum of New York." Boston, 1909. Radcliffe, A. G. "Schools and masters of sculpture." N. Y., 1894. Rathbun, Richard " The National Gallery of Art, (Washington, D. C.) Washington, 1909. Rummell, John "Aims and ideals of representative American painters." Buffalo, 1901. Sheldon, George W. "American painters." London, 1879. Spencer, Edwina "Story of American painting." Chautauquan, vols. 48, 49, 50. Taft, Lorado "The history of American sculpture." N. Y., 1903. Tuckerman, Henry T. "Book of the artists." N. Y. and London, 1870. Viardot, Louis "Wonders of sculpture." N. Y., 1873. Wharton, Anna Hollingsworth "Heirlooms in miniatures." Phila. and London, 1898. (Edward Greene Malbone.) 241 PERIODICAL REFERENCES. Abbey, Edwin Austin Aft & P. 2:347 The artist 29:169 Arts &D. 1:444 Craftsman 21:11 Harper M. 100.875; 105:525 Int. studio 44 :sup. Iv; 15:sup. Ivi; 17:sup. Ixxix Nation 86:384 R. of Rs. Sept., 1911, p. 300 Scrib. M. 44:656 W. Work 16:10191 Alexander, John White Arts &D. 1:147 Craftsman 10:46 Critic 46:239 Harp. M. 99:694; 114:845 Int. studio 34Jxxxv Munsey 39:744 Outl. 95:171 Scrib. M. 25:340; 45:45 W. Work 9:5682, 5993 Anschutz, Thomas Pollock Brush & P. 4:277 Barnard, George Grey Cent. 31:877 Craftsman 15:270; 16:437 Int. studio 36 : sup. xxxix R. of Rs. 19:49; 38,689 W. Today 16:273 W. Work 5:2837; 17:11256 Beaux, Cecilia Brush & P. 6:81 Critic 47:39 Int. studio 41:337 Beckwith, J. Carroll The artist 26axvii Scrib. M. 47:449 Benson, Frank Weston Art & P. Nov., 1912 Arts& D. 1:195 Brush & P. 6:145 Harp. M. 119:105 Int. studio 27-lxxxiv; 35:xcix Bitter, Carl Theodore Brush & P. 13:466 Blakelock, Ralph Albert The artist 29:xviii Brush & P. 9:257 Int. studio 27:bj: Scrib. M. 34:640 Blashfield, Edwin Howland The artist 27 .sup. viii Critic 47:233 Ind. 53:1795 Int. studio 24:sup. Ixxxvii; 35:sup. box; 43:sup. liii Outl. 67:286 R. of Rs. 22:191 Scrib. M. 44:125 Blum, Robert E. Int. studio 21:sup. cLxxvii The lamp 26:473 Bogert, George H, The artist 24:lxi Brush & P. 4:125 Int. studio 21:sup. ccix Borglum, John Gutzon Craftsman 14:27 The lamp 24:624 Int. studio 28:35 Borgltun, Solon Hannibal Craftsman 12:382 W. Work 3:1857 Bouguereau, Elizabeth Gardner Cur. lit. 39:391 Breuer, Henry Joseph Int. studio 39:sup. xlix Bridgman, Frederic Arthur The artist 29:138 Browne, George Elmer Brush & P. 14:107 Int. studio 36:286 Brush, George DeForest Brush* P. 5:266; 6:205 Int. studio 34:sup. xlvii; 39:187 Cadwalader-Ouild, Emma Marie Cur. Ut. 40:42 31 242 Int. studio 27 :xliv Carlsen, Emil Int. studio 27:sup. xliii; 39:10 Cassatt, Mary Cent. 35:740 Cur. lit. 46:167 Delin. 74:121 Int. studio 27:sup. 1; 35:sup. xxxi Scrib. M. 46:734 Chase, William Merritt Craftsman 18:33 Critic 48:575 Int. studio 39:sup. xxix Studio (Lond.) 12:151 Cooper, Colon Campbell Brush & P. 18:72 Couse, Eanger Irving The artist 27:xii Craftsman 18:619 Cox, Kenyon Int. studio 32.3 Dabo, Leon and T. Scott Brush & P. 17:3 Craftsman 13:261 Cur. lit. 41 :524 Int. studio 27:173; 39:sup. Iv R. of Rs. 41:219 W. Today 12.76 Dannat, William T. Craftsman 6:154 Davis, Charles Harold Brush & P. 4 :40, 122 Dearth, Henry Golden Cent. 48:157 Decamp, Joseph R. Arts & D. 1 :248 New Eng. M. 39:239 Deming, Edward Willard Craftsman 10:150; 21:456 Int. studio 27:xv Dessar, Louis Paul The artist 24:lix Brush & P. 5:97 Int. studio 27:l.