Women Painters of the World Part 8

At the opening of the 19th Century, the Art of the Miniature was cultivated--as they expressed it in those days--by Marie-Josephe Dargent of Liege, a daughter and pupil of Michel Dargent, the elder, Hortense van Baerlen, and Amelie van a.s.sche, whose sister, Isabelle Catherine, a pupil of her uncle, Henry van a.s.sche, had devoted herself to landscape painting.

Siret's dictionary then notices a large number of women painters both historical and _genre_.

Marie-Adelaide Kindt of Brussels, who was a pupil of David and of Navez, and visited Germany and France; Julie-Anne-Marie Noel, wife of the painter, J. B. van Eycken, of Brussels; Mme.

Isabelle-Marie-Francoise Geefs, _nee_ Corr, of Brussels, a pupil of Navez; Mme. de Keyzer, _nee_ Marie Isabelle Telghuis, wife of the former director of the Antwerp Academy, Nicaise de Keyzer. As to Mme.

O'Connel, _nee_ Frederique Miethe, of Berlin, a pupil of Begas and of Gallait, "there is (writes C. Lemonnier in his 'Histoire des Beaux Arts en Belgique'), in her wild paintings, as it were, a reflection of Rubens."

Mlle. C. de Vrient, of Ghent, sister of the painters Albert and Julien, was a flower painter of distinction, like Mlle. Renoz, Mlle.

de Franchimont, Mlle. F. Capesius and Mlle. E. de Vigne. Marie Ommeganck, a sister of the renowned Balthazar Ommeganck, surnamed the "Racine des Moutons," painted several landscapes in the manner of her brother; Mlle. Euphrosine Beernaert, of Ostend, a pupil of L. Kuhnen, painted landscapes characteristic of Zeeland and the Campine. The Brussels Gallery has several of her works, including _Les Vieux Chenes, ile de Walcheren_, and a _Lisiere de Bois en Hollande_.

Before citing the names of the professional women painters who continue to contribute to the fame of the Belgian School, let me say a word in admiration of the talent of sundry "amateurs" (as they are called, to distinguish them from the others), chief among whom is H.R.H. the Comtesse de Flandre. The small-sized portraits in oils painted by the d.u.c.h.esse d'Ursel are restrained in manner and full of charm.

Furthermore, the pastel portraits by the Baroness Lambert de Rothschild attract attention by the richness of their colouring and their firm drawing, while those of the Comtesse Ghislaine de Caraman impress one by their distinction and their style. Madame Philippson, who is at present devoting herself specially to sculpture, has exhibited oil paintings, boldly handled and decorative in effect, and Madame Rolin-Jacquemyns has engraved in most skilful fas.h.i.+on several etchings representing "The Desolate Spots of the Campine."

The most notable of the women-painters of the Belgian School to-day is certainly Madame Marie Collart, who with rare skill, has chosen a path to herself whereon she walks alone with an admirable instinct for intimate rusticity, showing much deep feeling. The painting of Mlle.

Anna Boch, on the other hand, is bright and gay. She formed one of the famous group of the XX., and following the example of several of its members, she has now turned her attention to the special study of light in the open air. Mlle. Louise Heger, after painting the lonely _dunes_ of Flanders, and the Campine, has been studying and skilfully representing the slaty tints of the high plateau of the Ardennes.

The most interesting of the "Menages d'artistes" existing at present in the Belgian School is that of the Wytsmans. While Rodolph Wytsman seeks out the characteristic aspects of the landscapes of Brabant and the silent spots among the Flemish towns, Mme. Juliette Wytsman, for her part represents, so to speak, the floral life of the sites chosen by her husband. She has indeed created a _genre_ in which she is without a rival.

The daughters of the German engraver, Hoppe, one of whom has married Bernier, the animal painter, and the other the landscapist, Gilsoul, have likewise attained celebrity.

[Ill.u.s.tration: DUTCH SCHOOL, XVII CENTURY THE MERRY YOUNG MAN. FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE PAINTING IN THE RIJKSMUSEUM AMSTERDAM.

Judith Leyster, Painter 1600(?)-1660]

The daughters and granddaughters of famous artists form yet another section. Mlle. Alice Ronner, of Brussels, daughter of Mme. Henriette Ronner, is beyond dispute the foremost painter of still-life in Belgium to-day. Her technical qualities are of the highest order, her _mise-en-page_, her draughtsmans.h.i.+p and her colour are in the grand style, and her works one and all have a really masterly air. Mlle.

Marguerite Verboeckhoven, the granddaughter of the famous animal painter, has set herself to study the delicate gradations of colour seen on the Belgian littoral. Mlle. Verwee, daughter of the painter of the _Beau Pays de Flandre_, exhibits portraits, which display the wealth of her palette; and the still-life subjects by Mlle. Georgette Meunier, daughter of the engraver, Jean Baptiste, and niece of the great Constantin Meunier, are delicate both in design and in colouring. She is a pupil of Alfred Stevens.

Mme. Destree-Danse and Mlle. Louise Danse, daughters of Auguste Danse, the engraver, have revealed themselves worthy of their father's high gifts. Mlle. Wesmael, in some remarkable landscapes, and Mme. Marie Durand, who has done some interesting heads, both prove that in Auguste Danse the teacher is fully worthy of the artist.

With regard to Mlle. Alix d'Anethan, C. Lemonnier, in his "History of Belgian Fine Art," writes in the following terms:--"In the Antwerp Salon of 1882 were two canvases by Mlle. d'Anethan, _L'affiche_ and _L'Enfant malade_, which had the freshness and the limpidity of Chardin, with a grace, a delicacy of touch, a feminine sense revealing the teaching of that most imperious of masters, Alfred Stevens." Mlle.

Berthe Art, too, followed this prodigious master painter. She has made her position by means of pastels which, while preserving their natural charm, have all the solidity of oil-paintings.

Mlle. Marie Antoinette Marcotte at first devoted herself to the representation of the life of the poor. Since then, however, she has created an altogether original _genre_, which has won for her many a success--the painting of gla.s.s-house interiors. She was "coached" by Emile Claus, the landscapist, among whose pupils were Mme. de Weert and Mlle. Montigny.

The number of women painters is ever on the increase. There were as many as thirty-nine represented at the Brussels Salon of 1848, while at the last Brussels Salon in 1903, they were more than a hundred; and to close this rapid survey of feminine art in Belgium, I may record a success of another kind. In 1904, Mlle. L. Brohee, after the various eliminating trials, found herself among the half-dozen artists permitted to take part in the final examination for the Prix de Rome.

Machteld van Lichtenberg, wife of Egbert van Boecop, is the first name of a Dutch woman painter given in Siret's "Historical Dictionary." She was born at Utrecht, of n.o.ble family, and made a speciality in portrait painting. Her name is mentioned by J. van Beverwyck. Her daughter Cornelie also took up painting, and died at a great age in 1629.

Marguerite G.o.dewyck, of Dordrecht (1627-1677), was styled a "second Anne Schurman." She was one of the most learned women of her time, and was further surnamed "La Perle de la Jeunesse de Dordrecht," and "La Fleur du Paradis des Arts et des Sciences." She specialised in portrait painting. Judith Leyster, of Haarlem, likewise enjoyed great fame. From the year 1613 she was a member of the Guild of St. Luke, of Haarlem. In 1635 she had a pupil, Guillaume Wauters by name, who on leaving her entered the studio of Franz Hals. She was married at Heemstede on the 1st of June, 1636, to the painter Jean Molenaer, also a native of Haarlem. She is eulogistically mentioned by Th.

Schrevelius, the historian of Haarlem, who describes her as a famous woman, justly, as he remarks, called "the true guide in the arts"--(_de Ware Leyster in de Konst_), her name Leyster signifying 'Guide.' She died in 1660.

The most celebrated of the Dutch women painters of the 18th century was Rachel Ruysch, of Haarlem. Her flowers and fruit, painted with keen spirit and with extraordinary firmness, are extremely rich and varied in their arrangement. She was a pupil of Guillaume Aelst. In 1695 she married Jurian Pool, and was admitted into the Hague Corporation of Painters in 1701, the same year as her husband. Without neglecting her duties as a mother (she had ten children) she was constantly devoted to her art. In 1708 she was appointed Court Painter of the Elector Palatine. Poets have sung the virtues and the gifts of this renowned woman.

Agathe and Cornelie van der Myn, sister and daughter of Herman van der Myn, accompanied the latter when he settled in London. Notable work was produced by three miniaturists: Henriette van Pee, wife of Herman Wolters, was born at Amsterdam, in 1692, and became her father's pupil. Peter the Great and the King of Prussia visited her studio, which had a high reputation, and the customary poets wrote the customary verses in her honour. Caroline-Petronille van Cuyck was made an honorary member of the _Pictura_ of the Hague, in 1777. Anne Folkema, who lived between 1695 and 1768, was an active a.s.sistant of her brother, Jacques, in his numerous works. Nor must one forget Alida Carre, who confined herself, for the most part, to painting fans; Mlle. Van Kooten, whose name was inscribed in 1765 on the registers of the Confrerie de St. Luc, at Utrecht; Marguerite Wulfraat, of Arnhem (1678-1738), and Elisabeth Gertrude Wa.s.senberg, of Groningue, (1726-1782), who painted _genre_ and portraits.

At the opening of the 19th century the women painters of still-life, flowers and fruit, were still in large numbers.

An interesting figure who has left a poetical memory is Cornelie Lamme, of Dordrecht, who married J. B. Scheffer, and was the mother of the celebrated painters Henry and Ary, who belong to the French School. After the death of her husband she settled in Paris, and there ended her days. Her attainments, her wit, her eminent merits, made her one of the most remarkable women of her day. She was a draughtsman and an engraver.

The name of Henriette Ronner is one of great popularity. This indefatigable artist is known as "the painter of cats," and she has charmingly "hit off" both the heavy laziness of the mature animal, and the frolicsomeness of the kitten.

The flower pictures by Mme. van de Sande-Bakhuyzen, of the Hague, so well known, tempted that excellent engraver, Philippe Zilcken, who has "translated" with marvellous success their freshness and their _eclat_. Mme. Bilders van Bosse, of the Hague, is well known by her skilfully drawn and powerfully painted landscapes, and Mlle. Therese Schwartze, of Amsterdam, a painter of high merit, has the art of giving character to a portrait; and knows how to group her figures and paint them in strong and sombre tones. Mme. Mesdag van Houten, of the Hague, wife of the famous marine painter, affects the landscape at dark, and realises fully the melancholy tenderness of the hour.

It may be interesting now to name a truly remarkable artist who never exhibits--Mlle. Barbara van Houten, niece of Mme. Mesdag van Houten.

She is an excellent painter of figure pictures and still-life; her etchings are of the highest quality, and embrace a large number of subjects--interiors with lamp effects, children's heads, landscapes, dead birds, bouquets of enormous sunflowers and gaudy tulips. Further, she has interpreted in masterly fas.h.i.+on, Eugene Delacroix, Jules Dupre, Gustave Courbet and other great masters of the French School.

Mention must be made of Mme. Bisschop-Robertson, who paints popular subjects with astounding vigour; Mme. Marie Heyermans, whose pictures deal with the life and surroundings of the poor; Mlles. Anna Abrahams and Anna Kerling, whose charming still-life pieces are coloured now in bright, now in sombre, tones; Mme. la baronne Hogendorp S' Jacob, of the Hague, who has turned her attention to flower painting; Mlle.

Nelly Bodenheim, who does some very clever comic scenes, for the benefit of children; and Mlle. Wally Moes, of Amsterdam, a painter of portraits and peasant subjects.

Last we come to Mlle. Marius, whose fair-tinted and most distinguished still-life works have been seen and admired. She is an excellent art critic, and is now publis.h.i.+ng an important work on Dutch painting of the 19th century.

N. JANY.

[Ill.u.s.tration: FLEMISH SCHOOL, 1552 PORTRAIT OF A FLEMISH GENTLEMAN. AFTER THE ORIGINAL PAINTING IN THE NATIONAL GALLERY, LONDON, FROM A CARBON PRINT BY BRAUN, CLeMENT & CO., PARIS Catharina van Hemessen, Painter 16th Century]

[Ill.u.s.tration: DUTCH SCHOOL, XVII CENTURY YOUNG MAN ENCOURAGING A GIRL TO SMOKE AND DRINK. FROM A PHOTOGRAPH BY W. A. MANSELL & CO., AFTER THE ORIGINAL PICTURE IN A PRIVATE COLLECTION Judith Leyster, Painter 1600(?)-1660]

[Ill.u.s.tration: DUTCH SCHOOL, XVII AND XVIII CENTURIES PICTURE OF FRUIT WITH INSECTS AND LIZARDS. FROM A PHOTOGRAPH BY ANDERSON AFTER THE ORIGINAL MASTERPIECE IN THE PITTI GALLERY, FLORENCE Rachel Ruysch, Painter 1664-1750]

[Ill.u.s.tration: DUTCH AND FLEMISH SCHOOLS, LATE XIX CENTURY AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING.

Mme. Gilsoul-Hoppe, Painter Belgium]

[Ill.u.s.tration: AFTER A PHOTOGRAPH OF THE ORIGINAL PAINTING Baronne van Hogendorp, Painter Holland]

[Ill.u.s.tration: STUDY OF STILL LIFE: ROSES IN A BASKET. FROM A TRANSLATOR'S-ETCHING BY P. ZILCKEN Madame G. J. van de Sande Bakhuyzen, Painter Holland, 1826-1895]

[Ill.u.s.tration: DUTCH SCHOOL, BETWEEN 1880-1890 LANDSCAPE NEAR OOSTERBEEK FROM THE ORIGINAL CHALK DRAWING Mevrouw Marie Philippine Bilders van Bosse, Painter 1837-1900]

[Ill.u.s.tration: DUTCH SCHOOL, LATE XIX CENTURY A BLEAK PASTORAL SCENE AFTER THE ORIGINAL WATER-COLOUR Madame Mesdag van Houten, Painter]

[Ill.u.s.tration: WINDMILL AT HEELSUM AFTER THE ORIGINAL OIL PAINTING Madame Marie Philippine Bilders van Bosse, Painter 1837-1900]

[Ill.u.s.tration: DUTCH SCHOOL, CONTEMPORARY PORTRAIT STUDY OF A GIRL AFTER THE ORIGINAL PICTURE Mlle. Barbara van Houten, Painter]

[Ill.u.s.tration: ORPHANS. FROM A PHOTOGRAVURE OF THE ORIGINAL PICTURE PAINTED IN 1887 Mlle. Therese Schwartze, Painter]

[Ill.u.s.tration: DUTCH SCHOOL, CONTEMPORARY PORTRAIT OF MLLE. THeReSE SCHWARTZE. PAINTED BY HERSELF FOR THE UFFIZI GALLERY, FLORENCE, BY REQUEST OF THE ITALIAN GOVERNMENT.

REPRODUCED FROM A PHOTOGRAPH BY BROGI Mlle. Therese Schwartze, Painter]

[Ill.u.s.tration: DUTCH AND FLEMISH SCHOOLS, CONTEMPORARY A POOL NEAR OOSTERBEEK. AFTER THE ORIGINAL PAINTING Madame Bilders van Bosse, Painter 1837-1900]

[Ill.u.s.tration: WITH THE POOR AT HOME. REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING Mademoiselle E. Marcotte, Painter Belgium]

[Ill.u.s.tration: DUTCH SCHOOL, CONTEMPORARY PORTRAITS OF THE CHILDREN OF MR A. MAY, AMSTERDAM. REPRODUCED FROM A PHOTOGRAPH OF THE ORIGINAL PASTEL Mademoiselle Therese Schwartze, Painter and Pastellist]

[Ill.u.s.tration: DUTCH SCHOOL, CONTEMPORARY "LOUTJE."

FROM A SKETCH Mlle. Barbara van Houten, Painter]

[Ill.u.s.tration: PORTRAIT OF A. G. C. VAN DUYL, AUTHOR. FROM A PHOTOGRAPH OF THE ORIGINAL PASTEL Mlle. Therese Schwartze, Pastellist and Painter]