Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. · Chapter 13Women in the Fine Arts (11)
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Klumpke, Anna Elizabeth. Honorable mention, Paris Salon, 1885; silver medal, Versailles, 1886; grand prize, Julian Academy, 1889; Temple gold medal, Pennsylvania Academy of Fine Arts, 1889; bronze medal, Paris Exposition, 1889. Member of the Copley Society, Boston; of the Society of Baron Taylor, Paris; and of the Paris Astronomical Society. Born in San Francisco. Pupil of the Julian Academy, under Robert-Fleury, and Jules Lefebvre, where she received, in 1888, the prize of the silver medal and one hundred francs—the highest award given at the annual Portrait Concours, between the men and women students of the above Academy.
PORTRAIT OF ROSA BONHEUR
Anna E. Klumpke
Among Miss Klumpke's principal works are: "In the Wash-house," owned by the Pennsylvania Academy of Fine Arts; portrait of Mrs. Nancy Foster, at the Chicago University; "Maternal Instruction," in the collection of Mr. Randolph Jefferson Coolidge, Boston; many portraits, among which are those of Madame Klumpke, Rosa Bonheur, Mrs. Thorp, Mrs. Sargent, Count Kergaradec, etc.
In writing me of her own life-work and that of her family, she says, what we may well believe: "Longfellow's thought, 'Your purpose in life must be to accomplish well your task,' has been our motto from childhood."
Anna Klumpke, being the eldest of the four daughters of her mother, had a double duty: her own studies and profession and the loving aid and care of her sisters. In the beginning of her art studies it was only when her home duties were discharged that she could hasten to the Luxembourg, where, curiously enough, her time was devoted to copying "Le Labourage Nivernais," by Rosa Bonheur, whose beloved and devoted friend she later became.
Meantime Anna Klumpke had visited Boston and other cities of her native land, and made a success, not only as an artist, but as a woman, whose intelligence, cheerfulness, and broad interests in life made her a delightful companion. Sailing from Antwerp one autumn, I was told by a friend that a lady on board had a letter of introduction to me from Madame Bouguereau. It proved to be Miss Klumpke, and the acquaintance thus begun, as time went on, disclosed to me a remarkable character, founded on a remarkable experience, and it was no surprise to me that the great and good Rosa Bonheur found in Anna Klumpke a sympathetic and reliable friend and companion for her last days.
The history of this friendship and its results are too well known to require more than a passing mention. Miss Klumpke is now established in Paris, and writes me that, in addition to her painting, she is writing of Rosa Bonheur. She says: "This biography consists of reminiscences of Rosa Bonheur's life, her impressions of Nature, God, and Art, with perhaps a short sketch of how I became acquainted with the illustrious woman whose precious maternal tenderness will remain forever the most glorious event of my life."
At the Salon des Artistes Français, 1903, Miss Klumpke exhibited a picture called "Maternal Affection."
Knobloch, Gertrude. Born at Breslau, 1867. Pupil of Skirbina in Berlin. Her studio is in Brussels. She paints in oil and water-colors. Among her best pictures are "In the Children's Shoes," "The Forester's Leisure Hours," and a "Madonna with the Christ Child."
Two of her works in gouache are worthy of mention: "An Effeminate" and "Children Returning from School."
Kollock, Mary. Born at Norfolk, Virginia, 1840. Studied at the Pennsylvania Academy under Robert Wylie, and in New York under J. B. Bristol and A. H. Wynant. Her landscapes have been exhibited at the National Academy, New York. Several of these were scenes about Lake George and the Adirondack regions. "Morning in the Mountains" and "On the Road to Mt. Marcy" were exhibited in 1877; "A November Day" and an "Evening Walk," in 1878; "A House in East Hampton, Two Hundred and Twenty Years Old," in 1880; "On Rondout Creek," in 1881; and "The Brook," in 1882.
Koker, Anna Maria de. A Dutch etcher and engraver of the seventeenth century, who pursued her art from pure love of it, never trying to make her works popular or to sell them. A few of her landscapes fell into the hands of collectors and are much valued for their rarity and excellence. Three examples are the "Landscape with a View of a Village," "The Square Tower," and "Huts by the Water."
Komlosi, Irma. Born in Prague, 1850. Pupil of Friederich Sturm. This flower painter resides in Vienna, where her pictures are much appreciated and are seen in good collections. They have been purchased for the Art Associations of Brünn, Prague, and Budapest.
Kondelka, Baroness Pauline von—Frau von Schmerling. Born at Vienna. 1806-1840. She inherited from her father a strong inclination for art, and was placed by him under the instruction of Franz Potter. In the Royal Gallery, Vienna, is her picture called "Silence," 1834. It represents the Virgin with her finger on her lip to warn against disturbing the sleep of the Infant Jesus. The picture is surrounded by a beautiful arrangement of flowers. In 1836 she painted a charming picture called "A Bunch of Flowers." Her favorite subjects were floral, and her works of this sort are much admired.
Konek, Ida. Born at Budapest, 1856. Her early art studies were under G. Vastagh, C. von Telepy, W. Lindenschmit, and Munkácsy; later she was a pupil at the Julian Academy in Paris and the Scuola libera in Florence. In the Parish Church at Köbölkut are three of her pictures of sacred subjects, and in the Hungarian National Museum a picture of still-life. Her "Old Woman," 1885, is mentioned as attracting favorable notice.
Kora or Callirhoë. It is a well-authenticated fact that in the Greek city of Sicyonia, about the middle of the seventh century before Christ, there lived the first woman artist of whom we have a reliable account.
Her story has been often told, and runs in this wise: Kora, or Callirhoë, was much admired by the young men of Sicyonia for her grace and beauty, of which they caught but fleeting glimpses through her veil when they met her in the flower-market. By reason of Kora's attraction the studio of her father, Dibutades, was frequented by many young Greeks, who watched for a sight of his daughter, while they praised his models in clay.
At length one of these youths begged the modeller to receive him as an apprentice, and, his request being granted, he became the daily companion of both Kora and her father. As the apprentice was skilled in letters, it soon came about that he was the teacher and ere long the lover of the charming maiden, who was duly betrothed to him.
The time for the apprentice to leave his master came all too soon. As he sat with Kora the evening before his departure, she was seized by an ardent wish for a portrait of her lover, and, with a coal from the brazier, she traced upon the wall the outline of the face so dear to her. This likeness her father instantly recognized, and, hastening to bring his clay, he filled in the sketch and thus produced the first portrait in bas-relief! It is a charming thought that from the inspiration of a pure affection so beautiful an art originated, and doubtless Kora's influence contributed much to the artistic fame which her husband later achieved in Corinth.
In the latter city the portrait was preserved two hundred years, and Dibutades became so famous for the excellence of his work that at his death several cities claimed the honor of having been his birthplace.
Krafft, Anna Barbara. Member of the Vienna Academy. She was born at Igto in 1764, and died at Bamberg in 1825. She received instruction from her father, J. N. Steiner, of which she later made good use. Having married an apothecary, she went for a time to Salsburg, and again, after nine years in Prague, spent eighteen years in Salsburg, retiring finally to Bamberg. In the Gallery at Bamberg may be seen her portrait of the founder, J. Hemmerlein; in the Nostitz Gallery, Prague, a portrait of the Archduke Charles; in Strahow Abbey, Prague, a "Madonna"; and in the church at Owencez, near Prague, an altar-piece.
Kuntze, Martha. Born in Heinrichsdorf, Prussia, 1849. Pupil of Steffeck and Gussow in Berlin. In 1881 she went to Paris and studied under Carolus Duran and Henner, and later travelled in Italy, pursuing her art in Florence, Rome, and Southern Italy. She has an excellent reputation as a portrait painter, and occasionally paints subjects of still-life.
Küssner, Amalia. See Coudert, Amalia Küssner.
Labille, Adelaide Vertus. Was born in Paris in 1749. She early developed a taste for art and a desire to study it. J. E. Vincent was her master in miniature painting, while Latour instructed her in the use of pastels. She was successful as a portrait painter and as a teacher, having some members of the royal family as pupils, who so esteemed her that they became her friends. She is known as Madame Vincent, having married the son of her first master in painting.
Her portrait of the sculptor Gois gained a prize at the Academy, and in 1781 she was made a member of that institution. We know the subjects of some large, ambitious works by Madame Vincent, on which she relied for her future fame, but unhappily they were destroyed in the time of the French Revolution, and she never again had the courage to attempt to replace them. One of these represented the "Reception of a Member to the Order of St. Lazare," the Grand Master being the brother of the King, who had appointed Madame Vincent Painter to the Court. Another of these works was a portrait of the artist before her easel, surrounded by her pupils, among whom was the Duchesse d'Angoulême and other noble ladies.
As Madame Vincent and her husband were staunch royalists, they suffered serious losses during the Revolution; the loss of her pictures was irreparable. She was so disheartened by the destruction of the result of the labors of years that she never again took up her brush with her old-time ambition and devotion.
She died in 1803, at the age of fifty-four, having received many honors as an artist, while she was beloved by her friends and esteemed by all as a woman of noble character.
Laing, Mrs. J. G. Principal studies made in Glasgow under Mr. F. H. Newbery; also in Paris under Jean-Paul Laurens and Aman-Jean.
This artist is especially occupied with portraits of children and their mothers. She has, however, exhibited works of another sort. Her "Sweet Repose" and "Masquerading" were sold from the exhibitions in London and Glasgow, where they were shown. "Bruges Lace-Makers" was exhibited in Munich in 1903.
The Ladies' Club of Glasgow is enterprising and its exhibitions are interesting, but Mrs. Laing is not a member of any club, and sends her pictures by invitation to exhibitions on the Continent as well as in Great Britain, and sometimes has a private exhibition in Glasgow.
Her study at Aman-Jean's and Colarossi's gave a certain daintiness and grace to her work, which is more Parisian than British in style. There is great freedom in her brush and a delicacy well suited to the painting of children's portraits; her children and their mothers really smile, not grin, and are altogether attractive. I cannot say whether the portraits I have seen are good likenesses, but they have an air of individuality which favors that idea.
Lamb, Ella Condie—Mrs. Charles R. Lamb. Dodge prize, National Academy, New York; medal at Columbian Exposition, Chicago, 1893; gold medal, Atlanta Exposition; medal at Pan-American Exposition, 1901. Member of Art Students' League, Woman's Art Club, National Art Club. Born in New York City. Pupil of National Academy of Design and of Art Students' League, New York, under C. Y. Turner, William M. Chase, and Walter Shirlaw; in Paris, pupil of R. Collin and R. Courtois; in England, of Hubert Herkomer, R.A.
Among Mrs. Lamb's works are "The Advent Angel"; "The Christ Child," a life-size painting, copied in mosaic for the Conrad memorial, St. Mary's Church, Wayne, Pennsylvania; "The Arts" and "The Sciences," executed in association with Charles R. Lamb, for the Sage Memorial Apse designed by him for Cornell University.
Of recent years Mrs. Lamb is much occupied in collaborating with her husband in decorative designs for public edifices. One of the works thus executed is a memorial window to Mrs. Stella Goodrich Russell in Wells College at Aurora. It represents three female figures against a landscape background. Literature is seated in the centre, while Science and Art stand in the side panels. It has the effect of a triptych.
Lamb, Rose. Two bronze medals in Boston exhibitions, 1878 and 1879. Member of the Copley Society. Born in Boston, where her studies have been made, chiefly under William M. Hunt.
Miss Lamb has painted portraits principally, a large number of which are in Boston in the homes of the families to which they belong. Among them are Mrs. Robert C. Winthrop, Jr., and her children; Mr. J. Ingersoll Bowditch, Mr. Horace Lamb, the three sons of the late Governor Roger Wolcott, the daughters of Mrs. Shepherd Brooks, the children of Mrs. Walter C. Baylies, etc.
In 1887 Miss Lamb painted an admirable portrait of Mohini Mohun Chatterji, a Brahmin, who spent some months in Boston.
Lanciani, Marcella. Born in Rome, where her studies were made under Professor Giuseppe Ferrari in figure drawing, and under Signor Onorato Carlandi—the great water-color artist of the Roman Campagna—in landscape and coloring.
At the annual spring exhibition in the Palazzo delle Belle Arti, Rome, 1903, this artist exhibited four works: a life-size "Study of the Head of an old Roman Peasant"; a "Sketch near the Mouth of the Tiber at Finniscino"; "An Old Stairway in the Villa d'Este, at Tivoli"; "A View from the Villa Colonna, Rome."
Two of her sketches, one of the "Tiber" and one of the "Villa Medici," are in the collection of Mrs. Pierpont Morgan; two similar sketches are in the collection of Mrs. James Leavitt, New York; a copy of a "Madonna" in an old Umbrian church is in a private gallery in Rome; a "Winter Scene in the Villa Borghese" and two other sketches are owned in Edinburgh; the "Lake in the Villa Borghese" is in the collection of Mr. Richard Corbin, Paris; and several other pictures are in private collections in New York.
Lander, Louisa. Born in Salem, 1826. Manifested a taste for sculpture when quite young, and modelled likenesses of the members of her family. In 1855 she became the pupil of Thomas Crawford in Rome. Among her earlier works are figures in marble of "To-day" and "Galatea," the first being emblematic of America.
She executed many portrait busts, one of them being of Nathaniel Hawthorne. "The Captive Pioneer" is a large group. Among her ideal works are a statue of Virginia Dare—the first child born in America of English parents; "Undine," "Evangeline," "Virginia," etc.
Laukota, Herminie. Born in Prague, 1853. After having studied in Prague, Amsterdam, and Munich, she was a pupil of Doris Raab in etching. She paints portraits, genre and still-life subjects with artistic taste and delicacy. Her studio is in Prague. Among her best pictures are "Battle for Truth," "Sentinels of Peace," "A Contented Old Woman"; and among her etchings may be named "The Veiled Picture of Saïs," "Prometheus," "The Microscopist," "Before the Bar of Reason," etc. The latter was reproduced in Zeitschrift für bildende Kunst in 1893, and was said to show a powerful fancy.
In 1875 and 1876 she exhibited her etchings in Vienna. The "Going to Baptism" in the second exhibition was much admired and aroused unusual interest.
La Villette, Mme. Elodie. Third-class medal, Paris Salon, 1875; bronze medal, Paris Exposition, 1889; second-class medal, Melbourne Exposition; numerous diplomas and medals from provincial exhibitions in France; also from Vienna, Brussels, Antwerp, Amsterdam, London, Copenhagen, Barcelona, Munich, and Chicago. Officer of the Academy. Born at Strasbourg. Educated at Lorient. She began to study drawing and painting under Coroller, a professor in the school she attended. She then studied six months in the Atelier School at Strasbourg, and finally became a pupil of Dubois at Arras. She has exhibited since 1870.
Her picture of the "Strand at Lohic," 1876, is in the Luxembourg Gallery; the "Cliffs of Yport" is in the Museum of Lille; "A Calm at Villers," in the Museum at Lorient; "Coming Tide at Kervillaine," in the museum of Morlaix, etc. Her marine views are numerous and are much admired.
At the Salon of the Artistes Français, 1902, Mme. La Villette exhibited "Twilight, Quiberon, Morbihan"; in 1903, "Fort Penthièvre, Quiberon," and "A Foaming Wave."
Le Brun, Mme. See Vigée.
Lehmann, Charlotte. Born in Vienna, 1860. Daughter of an artist, Katharine Lehmann. Pupil of Schilcher and Pitner. Her works are principally portraits and studies of heads, in which she is successful. Her "Styrian Maiden" belongs to the Austrian Emperor, and is in Gödöllö castle.
Her portraits are seen at many exhibitions, and art critics mention her with respect.
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Lemaire, Mme. Jeanne-Madeleine. Honorable mention, 1877; silver medal, Paris Exposition, 1900. Born at Sainte Rosseline. Pupil of an aunt, who was a miniaturist, and later of Chaplin. She first exhibited at the Salon of 1864, a "Portrait of Madame, the Baroness." She has painted many portraits, and is extremely successful in her pictures of flowers and fruit.
Among her principal works are "Diana and Her Dog," "Going out of Church," "Ophelia," "Sleep," "The Fall of the Leaves," and "Manon."
She has also painted many pictures in water-colors. Since 1890 she has exhibited at the Champ-de-Mars. Her illustrations in water-colors for "L'Abbé Constantin" and for an edition of "Flirt" are very attractive.
Her "Roses" at the Salon of 1903 were especially fine, so fresh and brilliant that they seemed to be actual blossoms.
This artist, not many months ago, called to mind the celebrated Greek supper of Mme. Lebrun, which was so famous in the time of that artist. The following is an account of the entertainment given by Mme. Lemaire:
"A most fascinating banquet was given in Paris quite recently by Madeleine Lemaire, in her studio, and Parisians pronounce it the most artistic fete that has occurred for many a moon. Athens was reconstructed for a night. A Greek feast, gathering at the same board the most aristocratic moderns, garbed in the antique peplum, as the caprice of a great artist. The invitation cards, on which the hostess had drawn the graceful figure of an Athenian beauty, were worded: 'A Soirée in Athens in the Time of Pericles. Madeleine Lemaire begs you to honor with your presence the Greek fête which she will give in her humble abode on Tuesday. Banquet, dances, games, and cavalcade. Ancient Greek costume de rigueur.' Every one invited responded yes, and from the Duchess d'Uzès, in a superb robe of cloth of gold and long veil surmounted by a circlet of diamonds, to that classic beauty Mme. Barrachin, in white draperies with a crown of pink laurel, the costumes were beautiful. One graceful woman went as Tanagra. The men were some of them splendid in the garb of old Greek warriors, wearing cuirass and helmet of gold. At dessert a bevy of pretty girls in classic costume distributed flowers and fruits to the guests, while Greek choruses sung by female choristers alternated with verses admirably recited by Bartel and Reichenberg. After the banquet Emma Calvé and Mme. Litoinne sang passages from 'Philémon et Bacus,' and then there were Greek dances executed by the leading dancers of the Opera. After supper and much gayety, the evening came to a close by an animated farandole danced by all present. It takes an artist like Madeleine Lemaire to design and execute such a fete, and beside it how commonplace appear the costly functions given by society in Newport and New York."
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Levick, Ruby Winifred. At the South Kensington Royal College of Art this artist gained the prize for figure design; the medal for a study of a head from life, besides medals and other awards in the National Competition; British Institution scholarship for modelling, 1896; gold medal and the Princess of Wales scholarship, 1897; gold medal in national competition, 1898. Member of the Ridley Art Club. Born in Llandaff, Glamorganshire.
This sculptor has exhibited regularly at the Royal Academy since 1898. Among her works are "Boys Wrestling," group in the round; "Study of a Boy," a statuette; "Fishermen Hauling in a Net," "Boys Fishing," "The Hammer Thrower," "Rugby Football," and the "Sea Urchin," a statuette.
Miss Levick has executed a panel for the reredos in St. Brelade's Church, Jersey; and another for St. Gabriel's Church, Poplar. She exhibited at the Academy, 1903, "Sledgehammers: Portion of a Frieze in Relief."
Lewis, Edmonia. Born in the State of New York. This artist descended from both Indian and African ancestors. She had comparatively no instruction, when, in 1865, she exhibited in Boston a portrait bust of Colonel Shaw, which at once attracted much attention. In 1867 she exhibited a statue called the "Freedwoman." Soon after this she took up her residence in Rome and very few of her works were seen in the United States. She sent to the Philadelphia exhibition, in 1876, the "Death of Cleopatra," in marble. The Marquis of Bute bought her "Madonna with the Infant Christ," an altar-piece. Her "Marriage of Hiawatha" was purchased by a New York lady.
Among her other works are "An Old Arrow-Maker and His Daughter," "Asleep," and terra-cotta busts of Charles Sumner, Longfellow, John Brown, and others.
"Among Miss Lewis's works are two small groups illustrating Longfellow's poem of Hiawatha. Her first, 'Hiawatha's Wooing,' represents Minnehaha seated, making a pair of moccasins, and Hiawatha by her side with a world of love and longing in his eyes. In the 'Marriage' they stand side by side with clasped hands. In both the Indian type of feature is carefully preserved, and every detail of dress, etc., is true to nature. The sentiment equals the execution. They are charming bits, poetic, simple, and natural, and no happier illustrations of Longfellow's most original poem were ever made than these by the Indian sculptor."—Revolution, April, 1871.
"This was not a beautiful work—'Cleopatra'—but it was very original and very striking, and it merits particular comment, as its ideal was so radically different from those adopted by Story and Gould in their statues of the Egyptian Queen.... The effects of death are represented with such skill as to be absolutely repellent. Apart from all questions of taste, however, the striking qualities of the work are undeniable, and it could only have been produced by a sculptor of very genuine endowments."—Great American Sculptors.
Ley, Sophie. Third-class medal at Melbourne; honor diplomas, Karlsruhe. Member of the Künstlerbund, Karlsruhe. Born at Bodman am Bodensee, 1859. Pupil of the Art School in Stuttgart, where she received several prizes; and of Gude and Bracht in Karlsruhe.
Some flower pieces by this artist are in the collection of the Grand Duke of Baden; others belong to the Hereditary Grand Duke and to the Queen of Saxony; still others are in various private galleries.
A recently published design for the wall decoration of a school, "Fingerhut im Walde," was awarded a prize. Fräulein Ley receives young women students in her atelier in Karlsruhe.
Licata-Faccioli, Orsola. A first-class and several other medals as a student of the Academy at Venice. Member of the Academies of Venice and Perugia, 1864. Born in Venice, 1826. In 1848 she married and made a journey with her husband through Italy. Three pictures which she exhibited at Perugia, in 1864, won her election to the Academy; the Marquis Ala-Ponzoni purchased these. The Gallery at Vicenza has several of her views of Venice and Rome, and there are others in the municipal palace at Naples. Her pictures have usually sold immediately upon their exhibition, and are scattered through many European cities. At Hamburg is a view of Capodimonte; at Venice a large picture showing a view of San Marcellino; and at Capodimonte the "Choir of the Capuchins at Rome." Private collectors have also bought many of her landscapes. Since 1867 she has taught drawing in the Royal Institute at Naples. Two of the Signora's later pictures are "Arum Italicum," exhibited at Milan in 1881, and a "Park at Capodimonte," shown at the International Exposition in Rome—the latter is a brilliant piece of work. Her style is vigorous and robust, and her touch sure. Family cares seem never to have interrupted her art activity, for her work has been constant and of an especially high order.
Lindegren, Amalia. Member of the Academy of Stockholm. Honorary member of the London Society of Women Artists. Born in Stockholm. 1814-1891. A student in the above-named Academy, she was later a pupil of Cogniet and Tissier, in Paris, and afterward visited Rome and Munich. Her pictures are portraits and genre subjects. In the Gallery at Christiania are her "Mother and Child" and "Grandfather and Granddaughter." "The Dance in a Peasant Cottage" is in the Museum of Stockholm, where are also her portraits of Queen Louise and the Crown Princess of Denmark, 1873.
"With her unpretentious representations of the joy of children, the smiling happiness of parents, sorrow resigned, and childish stubbornness, Amalia Lindegren attained great national popularity, for without being a connoisseur it is possible to take pleasure in the fresh children's faces in her pictures."—History of Modern Painters.
Lippincott, Margarette. Honorable mention and Mary Smith Prize at Pennsylvania Academy of Fine Arts. Member of Philadelphia Water-Color Club and Plastic Club. New York Water-Color Club. Born in Philadelphia. Pupil of Pennsylvania Academy of Fine Arts and Art Students' League, New York.
This artist has painted flowers especially, but of late has taken up genre subjects and landscapes. Among her pictures is one of "Roses," in the Academy of Fine Arts, and "White Roses," in the Art Club of Philadelphia. "Sunset in the Hills" is in a private collection, and "The West Window" is owned in Detroit.
Liszewska, Anna Dorothea. Married name was Therbusch. Member of the Academies of Paris and Vienna and of the Institute of Bologna. Born in Berlin. 1722-1782. Was court painter at Stuttgart, and later held the same office under Frederick the Great, whose portrait she painted, 1772. Her picture of "Diana's Return from the Chase" was also painted for Frederick. Her early studies were conducted by her father. After leaving the court of Stuttgart she studied four years in Paris. In the Louvre is her picture of "A Man Holding a Glass of Water"; in the Brunswick Gallery is her portrait of herself; and several of her works are in the Schwerin Gallery. Her pictures of "A Repentant Maiden," 1781, and of "Ariadne at Naxos" attracted much attention.
Liszewska, Anna Rosina. Member of the Dresden Academy. Born in Berlin. 1716-1783. Pupil of her father. She executed forty portraits of women for the "Hall of Beauty" at Zerbst. One of her portraits, painted in 1770, is in the Gallery at Brunswick. She travelled in Holland in 1766, but was too much occupied with commissions to find time for foreign journeys. She painted a picture called "Artemisia" and a second of "Monime Pulling Down Her Diadem," which were interesting and excellent examples of her style of painting.
Locatelli, or Lucatelli, Maria Caterina. Of Bologna. Died in 1723. She studied under Pasinelli, and in the Church of St. Columba in Bologna are two pictures by her—a "St. Anthony" and a "St. Theresa."
Loewenthal, Baroness Anka. Born at Ogulin, Croatia, 1853. Pupil of Karl von Blaas and Julius von Payer. Some portraits by this artist are in the Academy of Arts and Sciences at Agram. But religious subjects were most frequently treated by her, and a number of these are in the Croatian churches. The "Madonna Immaculata" is in the Gymnasial Kirche, Meran, and a "Mater Dolorosa" in the Klosterkirche, Bruck a. d. Meer.
Longhi, Barbara. Born in Ravenna. 1552-1619(?). Daughter of Luca Longhi. She was an excellent artist and her works were sought for good collections. A portrait by her is in the Castellani Collection, dated 1589; "St. Monica," "Judith," and the "Healing of St. Agatha" are in the Ravenna Academy; a "Virgin and Child" is in the Louvre, and "Mary with the Children" in the Dresden Gallery.
Longman, E. B. This sculptor has a commission to execute a statue of Victory for a dome at the St. Louis Exposition.
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Loop, Mrs. Henry A. Elected an associate of the National Academy of Design in 1875. Born in New Haven, 1840. Pupil of Professor Louis Bail in New Haven, of Henry A. Loop in New York, later spending two years in study in Paris, Venice, and Rome.
Mrs. Loop is essentially a portrait painter, but occasionally has painted figure pictures, such as "Baby Belle," "A Little Runaway," "A Bouquet for Mama," etc. Her portraits of Professors Low and Hadley of New Haven were much admired; those of Mrs. Joseph Lee, Miss Alexander, and other ladies were exhibited at the Academy.
"Mrs. Loop's picture is an honest, unpretending work, well drawn, naturally posed, and clearly, solidly colored. There is not a trace of affectation about it. The artistic effects are produced in the most straightforward way."—Clarence Cook, in New York Tribune.
"Mrs. Loop is certainly the leading portrait painter among our lady artists. She is vigorous, conscientious, and perceptive."—Chicago Times, 1875.
Lotz, Matilda. Gold medal at School of Design, California. Born in Franklin, Tennessee. This artist is sometimes called "the Rosa Bonheur of America." She began to draw pictures of animals when seven years old. Later she studied under Virgil Williams in San Francisco and under M. Barrios and Van Marcke in Paris.