Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D Part 25

HUDSON, GRACE. Gold medal at Hopkins Inst.i.tute, San Francisco; silver medal at Preliminary World's Fair Exhibition of Pacific States; and medals and honorable mention at several California State exhibitions.

Born in Potter Valley, California. Studied at Hopkins Art Inst.i.tute, San Francisco, under Virgil Williams and Oscar Kunath.

Paints genre subjects, some of which are "Captain John," in National Museum; "Laughing Child," in C. P. Huntington Collection; "Who Comes?" in private hands in Denver, etc.

Mrs. Hudson's pictures of Indians, the Pomas especially, are very interesting, although when one sees the living article one wonders how a picture of him, conscientiously painted and truthful in detail, can be so little repulsive--or, in fact, not repulsive at all. At all events, Mrs.

Hudson has no worthy rival in painting California Indians. If we do not sympathize with her choice of subjects, we are compelled to acknowledge that her pictures are full of interest and emphasize the power of this artist in keeping them above a wearisome commonplace.

Her Indian children are attractive, we must admit, and her "Poma Bride,"

seated in the midst of the baskets that are her dower, is a picture which curiously attracts and holds the attention. Her compositions are simple, and it can only be a rare skill in their treatment that gives them the value that is generally accorded them by critics, who, while approving them, are all the time conscious of surprise at themselves for doing so, and of an unanswered Why? which persists in presenting itself to their thought when seeing or thinking of these pictures.

HULBERT, MRS. KATHERINE ALLMOND. Born in Sacramento Valley, California. Pupil of the San Francisco School of Design under Virgil Williams; National Academy of Design, New York, under Charles Noel Flagg; Artist Artisan Inst.i.tute, New York, under John Ward Stimson.

This artist paints in water-colors and her works are much admired. Among the most important are "The Stream, South Egremont," which is in a private gallery in Denver; "In the Woods" belongs to Mr. Whiting, of Great Barrington; and "Sunlight and Shadow" to Mr. Benedict, Albany, New York.

Mrs. Hulbert is also favorably known as an ill.u.s.trator and decorative designer.

HUNTER, MARY Y. Four silver medals at Royal Academy Schools Exhibitions; diploma for silver medal, Woman's International Exhibition, Earl's Court, London. Member of Society of Painters in Tempera. Born in New Zealand. Studied at Royal Academy Schools.

The following list of the t.i.tles of Mrs. Hunter's works will give an idea of the subjects she affects: "Dante and Beatrice," "Joy to the Laborer,"

"An Italian Garden," "Where shall Wisdom be Found?" and the "Roadmenders," in Academy Exhibition, 1903.

The only work of Mrs. Hunter's that I have seen is the "Dante and Beatrice," Academy, 1900, and the impression I received leads me to think an article in the _Studio,_ June, 1903, a just estimate of her work. It is by A. L. Baldry, who writes: "In the band of young artists who are at the present time building up sound reputations which promise to be permanent, places of much prominence must be a.s.signed to Mr. J. Young Hunter and his wife. Though neither of them has been before the public for any considerable period, they have already, by a succession of notable works, earned the right to an amount of attention which, as a rule, can be claimed only by workers who have a large fund of experience to draw upon. But though they have been more than ordinarily successful in establis.h.i.+ng themselves among the few contemporary painters whose performances are worth watching, they have not sprung suddenly into notice by some special achievement or by doing work so sensational that it would not fail to set people talking. There has been no spasmodic brilliancy in their progress, none of that strange alternation of masterly accomplishment and hesitating effort which is apt at times to mark the earlier stages of the life of an artist who may or may not attain greatness in his later years. They have gone forward steadily year by year, amplifying their methods and widening the range of their convictions; and there has been no moment since they made their first appeal to the public at which they can be said to have shown any diminution in the earnestness of their artistic intentions.

"The school to which they belong is one which has latterly gathered to itself a very large number of adherents among the younger painters--a school that, for want of a better name, can be called that of the new Pre-Raphaelites. It has grown up, apparently, as an expression of the reaction which has recently set in against the realistic beliefs taught so a.s.siduously a quarter of a century ago. At the end of the seventies there was a prevailing idea that the only mission of the artist was to record with absolute fidelity the facts of nature.... To-day the fallacy of that creed is properly recognized, and the artists on whom we have to depend in the immediate future for memorable works have subst.i.tuted for it something much more reasonable.... There runs through this new school a vein of romantic fantasy which all thinking people can appreciate, because it leads to the production of pictures which appeal, not only to the eye by their attractiveness of aspect, but also to the mind by their charm of sentiment.... It is because Mr. Young Hunter and his wife have carried out consistently the best principles of this school that they have, in a career of some half-dozen years, established themselves as painters of noteworthy prominence. Their romanticism has always been free from exaggeration and from that morbidity of subject and treatment which is occasionally a defect in the work of young artists. They have kept their art wholesome and sincere, and they have cultivated judiciously those tendencies in it which justify most completely the development of the new Pre-Raphaelitism. They are, indeed, standing examples of the value of this movement, which seems destined to make upon history a mark almost as definite as that left by the original Brotherhood in the middle of the nineteenth century. By their help, and that of the group to which they belong, a new artistic fas.h.i.+on is being established, a fas.h.i.+on of a novel sort, for its hold upon the public is a result not of some irrational popular craze, but of the fascinating arguments which are put into visible shape by the painters themselves."

HYATT, HARRIET RANDOLPH--MRS. ALFRED L. MAYER. Silver medal at Exposition in Atlanta, Georgia, 1895. Member of National Art Club, New York. Born at Salem, Ma.s.sachusetts. Studied at Cowles Art School and with Ross Turner; later under H. H. Kitson and Ernest L. Major.

Among this artist's pictures are "Shouting above the Tide," "Primitive Fis.h.i.+ng," "The Choir Invisible," etc.

The plaster group called the "Boy with Great Dane" was the work of this artist and her sister, Anna Vaughan Hyatt, and is at the Bureau of the Society for the Prevention of Cruelty to Animals, in New York.

HYATT, ANNA VAUGHAN. Member of the Copley Society, Boston. Born in Cambridge, Ma.s.sachusetts. Studied nature at Bostock's Animal Arena, Norumbega Park, and at Sportsman's Exhibition. Criticism from H. H.

Kitson.

The princ.i.p.al works of this artist are the "Boy with Great Dane," already mentioned, made in conjunction with her sister; a "Bison," in a private collection in Boston; and "Playing with Fire."

In November, 1902, Miss Hyatt held an exhibition of her works, in plaster and bronze, at the Boston Art Club. There were many small studies taken from life.

HYDE, HELEN. Member of the Art a.s.sociation, San Francisco. Born in Lima, New York, but has lived so much in California that she is identified with that State, and especially with San Francisco. She made her studies in San Francisco, Philadelphia, New York, and Paris, where she was a pupil of Felix Regamy and Albert Sterner. She then went to Holland, where she also studied. On her return to San Francisco she became so enamoured of the Oriental life she saw there that she determined to go to j.a.pan to perfect herself in colored etching. Miss Hyde devoted herself to the study she had chosen during three years. She lived in an old temple at Tokio, made frequent excursions into the country, was a pupil of the best j.a.panese teachers, adapted herself to the customs of the country, worked on low tables, sitting on the floor, and so gained the confidence of the natives that she easily obtained models, and, in a word, this artist was soon accorded honors in j.a.panese exhibitions, where her pictures were side by side with those of the best native artists.

[Ill.u.s.tration: CHILD OF THE PEOPLE

HELEN HYDE]

Miss Hyde has made a visit to America and received many commissions which decided her to return to j.a.pan. A letter from a friend in Tokio, written in October, 1903, says that she will soon return to California.

IGHINO, MARY. A sculptor residing in Genoa. Since 1884 she has exhibited a number of busts, bas-reliefs, and statues. At Turin in the above-named year she exhibited a group in plaster, "Love Dominating Evil." She is especially successful in bas-relief portraits; one of these is of the Genoese sculptor, Santo Varin. She has also made a bust of Emanuele Filiberto; and in terra-cotta a bust of Oicetta Doria, the fifteenth-century heroine of Mitylene. She has executed a number of decorative and monumental works, and receives many commissions from both Italians and foreigners.

INGLIS, HESTER. This artist lived in the last half of the sixteenth and in the early decades of the seventeenth century. In the Library of Christ Church College, Oxford, there is an example of the Psalms, in French, written and decorated by her, which formerly belonged to Queen Elizabeth. In the Royal Library of the British Museum there is also a "Book of Emblems" from her hand.

ITa.s.sE, JEANNE. Honorable mention, Paris Salon, 1888, and the purse of the city of Paris; at Paris Exposition, honorable mention, 1889; travelling purse, 1891; medal at Chicago Exposition, 1893; medal third cla.s.s, Salon, 1896; medal second cla.s.s, 1899; silver medal, Paris Exposition, 1900. Member of Societe des Artistes Francais, Societe Libre, Societe des prix du Salon et boursiers de voyage. Born in Paris. Pupil of her father.

Several works of this sculptor have been purchased by the Government and are in the Bureaux of Ministers or in provincial museums. A "Bacchante"

is in the Museum at Agen; a portrait bust in the Museum of Alger. At the Salon of 1902 Mlle Ita.s.se exhibited a "Madonna"; in 1903, a portrait of M, W.

Mlle Ita.s.se knows her art thoroughly. When still a child, at the age when little girls play with dolls, she was in her father's atelier, working in clay with an irresistible fondness for this occupation, and without relaxation making one little object after another, until she acquired that admirable surety of execution that one admires in her work--a quality sometimes lacking in the work of both men and women sculptors.

Since her debut at the Salon of 1886 she has annually exhibited important works. In 1887 her bust of the danseuse, Marie Salles, was purchased by the Government for the Opera; in 1888 she exhibited a plaster statue, the "Young Scholar," and the following year the bust of her father; in 1890 a "St. Sebastian" in high relief; in 1891 an "Egyptian Harpist," which gained her a traveller's purse and an invitation from the Viceroy of Egypt; in 1893 a Renaissance bas-relief; in 1894 the superb funeral monument dedicated to her father; in 1896 she exhibited, in plaster, the "Bacchante," which in marble was a brilliant success and gained for her a second-cla.s.s medal and the palmes academique, while the statue was acquired by the Government. Mlle. Ita.s.se has also gained official recompenses in provincial exhibitions and has richly won the right to esteem herself mistress of her art.

JACQUEMART, MLLE. NeLIE. Medals at Paris Salon, 1868, 1869, and 1870. Born in Paris. A very successful portrait painter. Among the portraits she has exhibited at the Paris Salon are those of Marshal Canrobert, General d'Aurelle de Paladines, General de Palikao, Count de Chambrun, M. Dufaure, and many others, both ladies and gentlemen. Her portrait of Thiers in 1872 was greatly admired.

Paul d'Abrest wrote of Mlle. Jacquemart, in the _Zeitschrift fur bildende Kunst:_ "One feels that this artist does not take her inspirations alone from the sittings of her subjects, but that she finds the best part of her work in her knowledge of character and from her close study of the personnelle of those whom she portrays."

JANDA, HERMINIE VON. Born at Klosterbruch, 1854. Pupil of Ludwig Holanska and Hugo Darnaut. Since 1886 her landscapes have been seen in various Austrian exhibitions. One of these was bought for the "Franzens-Museum" at Brunn, while several others were acquired by the Imperial House of Austria.

JENKS, PHOEBE A. PICKERING. Born in Portsmouth, New Hamps.h.i.+re, 1849.

Mrs. Jenks writes that she has had no teachers.

Her works, being portraits, are mostly in the homes of their owners, but that of the son of T. Jefferson Coolidge, Jr., has been exhibited in the Museum of Fine Arts, Boston, and that of Mrs. William Slater and her son is in the Slater Museum at Norwich.

[Ill.u.s.tration: MOTHER AND CHILD

PHOEBE JENKS]

Mrs. Jenks has been constantly busy in portrait painting for twenty-seven years, and has had no time for clubs and societies. She esteems the fact of her constant commissions the greatest honor that she could have. She has probably painted a greater number of portraits than any other Boston contemporary artist.