Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. · Chapter 6Women in the Fine Arts (4)
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Bozzino, Candida Luigia. Silver medal at Piacenza. Born at Piacenza, 1853. Pupil of her father. Her portrait of Alessandro Manzoni was her prize picture. The "Madonna of the Sacred Heart of Jesus" was painted on a commission from the Bishop of Piacenza, who presented it to Pope Pius IX.; after being exhibited at the Vatican, it was sent to the Bishop of Jesi, for the church of Castelplanio. Other celebrated works of hers are a "Holy Family," the "Madonna of Lourdes," and several copies of the "Viâ Crucis," by Viganoni.
In 1881 this artist entered the Ursuline Convent at Piacenza, where she continues to paint religious pictures.
Bracken, Julia M. First prize for sculpture, Chicago, 1898; appointed on staff of sculptors for the St. Louis Exposition. Member of Arts Club, Western Society of Artists, Municipal Art League, and Krayle Workshop, Chicago. Born at Apple River, Ill., 1871. Pupil of Chicago Art Institute. Acted as assistant to Lorado Taft, 1887-92. Was much occupied with the decorations for the Columbian Exposition, and executed on an independent commission the statue of "Illinois Welcoming the Nations." There are to be five portrait statues placed in front of the Educational Building at St. Louis, each to be executed by a well-known artist. One of these is to be the work of Miss Bracken, who is the only woman among them. Miss Bracken has modelled an heroic portrait statue of President Monroe; beside the figure is a globe, on which he points out the junction of the Mississippi and Missouri rivers.
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Bracquemond, Mme. Marie. Pupil of Ingres. A portrait painter, also painter of genre subjects. At the Salon of 1875 she exhibited "The Reading"; in 1874 "Marguerite." She has been much occupied in the decoration of the Haviland faience, a branch of these works, at Auteuil, being at one time in charge of her husband, Félix Bracquemond. In 1872 M. Bracquemond was esteemed the first ceramic artist in France. An eminent French critic said of M. and Mme. Bracquemond: "You cannot praise too highly these two artists, who are as agreeable and as clever as they are talented and esteemed."
Mme. Bracquemond had the faculty of employing the faience colors so well that she produced a clearness and richness not attained by other artists. The progress made in the Haviland faience in the seventies was very largely due to Mme. Bracquemond, whose pieces were almost always sold from the atelier before being fired, so great was her success.
Brandeis, Antoinetta. Many prizes at the Academy of Venice. Born of Bohemian parents in Miscova, Galitza, 1849. Pupil of Iavurek, of Prague, in the beginning of her studies, but her father dying and her mother marrying again, she was taken to Venice, where she studied in the Academy several years under Grigoletti, Moja, Bresolin, Nani, and Molmenti. Although all her artistic training was received in Italy and she made her first successes there, most of her works have been exhibited in London, under the impression that she was better understood in England.
Annoyed by the commendation of her pictures "as the work of a woman," she signed a number of her canvases Antonio Brandeis. Although she painted religious subjects for churches, her special predilection is for views of Venice, preferably those in which the gondola appears. She has studied these in their every detail. "Il canale Traghetto de' San Geremia" is in the Museum Rivoltella at Trieste. This and "Il canale dell' Abbazia della Misericordia" have been much commended by foreign critics, especially the English and Austrians. Other Venetian pictures are "La Chiese della Salute," "Il canale de' Canalregio," and "La Pescaria."
Breslau, Louisa Catherine. Gold medal at Paris Exposition, 1889; gold medal at Paris Exposition, 1900. Chevalier of the Legion of Honor, 1901. Member of the Société Nationale des Beaux-Arts. A Swiss artist, who made her studies at the Julian Academy under Robert-Fleury.
She has painted many portraits. Her picture "Under the Apple-Tree" is in the Museum at Lausanne; the "Little Girls" or "The Sisters" and the "Child Dreamer"—exhibited at Salon, 1902—are in the Gallery of the Luxembourg; the "Gamins," in the Museum at Carpentras; the "Tea Party," at the Ministry of the Interior, Paris.
At the Salon of 1902 Mlle. Breslau exhibited six pictures, among which were landscapes, two representing September and October at Saint-Cloud; two of fruit and flowers; all of which were admired, while the "Dreamer" was honored with a place in the Luxembourg. In the same Salon she exhibited six pictures in pastel: four portraits, and heads of a gamin and of a little girl. The portrait of Margot is an ideal picture of a happy child, seated at a table, resting her head on her left hand while with the right she turns the leaves of a book. A toy chicken and a doll are on the table beside her. In the Salon of 1903 she exhibited five pictures of flowers and another called the "Child with Long Hair."
I was first interested in this artist by the frequent references to her and her work in the journal of Marie Bashkirtseff. They were fellow-pupils in the Julian Academy. Soon after she began her studies there Marie Bashkirtseff writes: "Breslau has been working at the studio two years, and she is twenty; I am seventeen, but Breslau had taken lessons for a long time before coming here.... How well that Breslau draws!"
"That miserable Breslau has composed a picture, 'Monday Morning, or the Choice of a Model.' Every one belonging to the studio is in it—Julian standing between Amalie and me. It is correctly done, the perspective is good, the likenesses—everything. When one can do a thing like that, one cannot fail to become a great artist. You have guessed it, have you not? I am jealous. That is well, for it will serve as a stimulus to me."
"I am jealous of Breslau. She does not draw at all like a woman."
"I am terrified when I think of the future that awaits Breslau; it fills me with wonder and sadness. In her compositions there is nothing womanish, commonplace, or disproportioned. She will attract attention at the Salon, for, in addition to her treatment of it, the subject itself will not be a common one."
The above prophecy has been generously fulfilled. Mlle. Breslau is indeed a poet in her ability to picture youth and its sweet intimacies, and she does this so easily. With a touch she reveals the grace of one and the affectations of another subject of her brush, and skilfully renders the varying emotions in the faces of her pictures. Pleasure and suffering, the fleeting thought of the child, the agitation of the young girl are all depicted with rare truthfulness.
Brewster, Ada Augusta.
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Brickdale, Miss Eleanor Fortescue.
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Bricci or Brizio, Plautilla. Very little is known of this Roman artist of the seventeenth century, but that little marks her as an unusually gifted woman, since she was a practical architect and a painter of pictures. She was associated with her brother in some architectural works in and near Rome, and was the only woman of her time in this profession.
She is believed to have erected a small palace near the Porta San Pancrazio, unaided by her brother, and is credited with having designed in the Church of San Luigi de' Francesi the third chapel on the left aisle, dedicated to St. Louis, and with having also painted the altar-piece in this chapel.
Bridges, Fidelia. Associate of the National Academy of Design in 1878, when but three other women were thus honored. Born in Salem, Massachusetts. Studied with W. T. Richards in Philadelphia, and later in Europe during one year. She exhibited her pictures from 1869 in Philadelphia, New York, and Boston. Her subjects were landscapes and flowers. In 1871 she first painted in water-colors, which suited many of her pictures better than oils. She was elected a member of the Water-Color Society in 1875. To the Philadelphia Exposition, 1876, she sent a "Kingfisher and Catkins," a "Flock of Snow Birds," and the "Corner of a Rye-Field." Of the last a writer in the Art Journal said: "Miss Bridges' 'Edge of a Rye-Field,' with a foreground of roses and weeds, is a close study, and shows that she is as happy in the handling of oil colors as in those mixed with water."
Another critic wrote: "Her works are like little lyric poems, and she dwells with loving touches on each of her buds, 'like blossoms atilt' among the leaves."
Her pictures are in private collections, and are much valued by their owners.
Brooks, Maria.
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Brownscombe, Jennie. Pupil of the National Academy and the Art Students' League, New York, and of Henry Mosler in Paris.
Paints genre subjects, among which are: "Love's Young Dream," "Colonial Minuet," "Sir Roger de Coverly at Carvel Hall," "Battle of Roses," etc.
The works of this artist have been reproduced in engravings and etchings, and are well known in black and white. Her water-colors, too, have been published in photogravure.
Miss Brownscombe exhibits at many American exhibitions and has had her work accepted at the Royal Academy, London.
Browne, Matilda. Honorable mention at Chicago, 1893; Dodge prize at National Academy of Design, 1899; Hallgarten prize, 1901. Born in Newark, New Jersey. Pupil of Miss Kate Greatorex; of Carleton Wiggins, New York; of the Julian Academy, Paris; of H. S. Birbing in Holland, and of Jules Dupré on the coast of France. When a child this artist lived very near Thomas Moran and was allowed to spend much time in his studio, where she learned the use of colors.
She exhibited her first picture at the National Academy of Design when twelve years old, and has been a constant contributor to its exhibitions since that time; also to the exhibitions of the American Water-Color Society.
Her earliest pictures were of flowers, and during several years she had no teacher. At length she decided to study battle painting, and, after a summer under Carleton Wiggins, she went abroad, in 1890, and remained two years, painting in the schools in winter and out of doors in summer. Miss Browne exhibited at the Salon des Beaux-Arts in 1890, and many of her works have been seen in exhibits in this country. The Dodge prize was awarded to a picture called "The Last Load," and the Hallgarten prize to "Repose," a moonlight scene with cattle. Her pictures are in private collections.
Brown, Mrs. Agnes—Mrs. John Appleton Brown. Born in Newburyport. This artist paints in oils. Her subjects are landscapes, flowers, and still life. She has also painted cats successfully.
I have a winter landscape by Mrs. Brown which is unusually attractive and is often admired. She sends her works to the exhibitions of the Boston Art Club and to some exhibitions in New York.
Browne, Mme. Henriette. Born at Paris; 1829-1901. Pupil of Chaplin. The family name of this artist was Bouteiller, and she married M. Jules de Saux, but as an artist used the name of an ancestress. Her pictures of genre subjects very early attracted attention, especially in 1855, when she sent to the Salon "A Brother of the Christian School," "School for the Poor at Aix," "Mutual Instruction," and "Rabbits." Her works were popular and brought good prices. In 1868 "The Sisters of Charity" sold for £1,320.
In 1878 she exhibited "A Grandmother" and "Convalescence." Her Oriental scenes were much admired. Among these were "A Court in Damascus," "Nubian Dancing Girls," and a "Harem in Constantinople." Mme. Browne was also skilful as an engraver.
T. Chasrel wrote in L'Art: "Her touch without over-minuteness has the delicacy and security of a fine work of the needle. The accent is just without that seeking for virile energy which too often spoils the most charming qualities. The sentiment is discreet without losing its intensity in order to attract public notice. The painting of Mme. Henriette Browne is at an equal distance from grandeur and insipidity, from power and affectation, and gathers from the just balance of her nature some effects of taste and charm of which a parvenu in art would be incapable."
The late Rev. Charles Kingsley wrote of the picture of the "Sisters of Charity," of the sale of which I have spoken, as follows: "The picture which is the best modern instance of this happy hitting of this golden mean, whereby beauty and homely fact are perfectly combined, is in my eyes Henrietta Browne's picture of the 'Sick Child and the Sisters of Charity.' I know not how better to show that it is easy to be at once beautiful and true, if one only knows how, than by describing that picture. Criticise it, I dare not; for I believe that it will surely be ranked hereafter among the very highest works of modern art. If I find no fault in it, it is because I have none to find; because the first sight of the picture produced in me instantaneous content and confidence. There was nothing left to wish for, nothing to argue about. The thing was what it ought to be, and neither more nor less, and I could look on it, not as a critic, but as a learner only."
This is praise indeed from an Englishman writing of a Frenchwoman's picture—an Englishman with no temptation to say what he did not think; and we may accept his words as the exact expression of the effect the picture made on him.
Brune, Mme. Aimée Pagès. Medal of second class at Salon of 1831; first class in 1841. Born in Paris. 1803-66. Pupil of Charles Meynier. Painted historical and genre subjects. In 1831 she exhibited "Undine," the "Elopement," "Sleep," and "Awakening." In 1841 a picture of "Moses." She painted several Bible scenes, among which were the "Daughter of Jairus" and "Jephthah's Daughter."
Buechmann, Frau Helene. Her pictures have been seen at some annual exhibitions in Germany, but she is best known by her portraits of celebrated persons. Born in Berlin, 1849. Pupil of Steffeck and Gussow. Among her portraits are those of Princess Carolath-Beuthen, Countess Brühl, Prince and Princess Biron von Kurland, and the youngest son of Prince Radziwill. She resides in Brussels.
Butler, Mildred A. Associate of the Royal Society of Painters in Water-Colors and of the Society of Lady Artists. Pupil of Naftel, Calderon, and Garstin. Has exhibited at the Royal Academy and New Gallery. Her picture called the "Morning Bath," exhibited at the Academy in 1896, was purchased under the Chantry Bequest and is in the Tate Gallery. It is a water-color, valued at £50.
Miss Butler exhibited "A Corner of the Bargello, Florence," at the London Academy in 1903.
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Butler, Lady Elizabeth. Born in Lausanne about 1844. Elizabeth Southerden Thompson. As a child this artist was fond of drawing soldiers and horses. She studied at the South Kensington School, at Florence under Bellucci, and in Rome. She worked as an amateur some years, first exhibiting at the Academy in 1873 her picture called "Missing," which was praised; but the "Roll-Call," of the following year, placed her in the front rank of the Academy exhibitors. It was purchased by the Queen and hung in Windsor Castle. She next exhibited the "Twenty-Eighth Regiment at Quatre Bras," the "Return from Inkerman," purchased by the Fine Art Society for £3,000. This was followed by kindred subjects.
In 1890 Lady Butler exhibited "Evicted," in 1891 the "Camel Corps," in 1892 "Halt in a Forced March," in 1895 the "Dawn of Waterloo," in 1896 "Steady the Drums and Fifes," in 1902 "Tent Pegging in India," in 1903 "Within Sound of the Guns."
In 1869 she painted a religious picture called the "Magnificat." In water-colors she has painted "Sketches in Tuscany" and several pictures of soldiers, among which are "Scot's Grays Advancing" and "Cavalry at a Gallop."
Lady Butler has recently appeared as an author, publishing "Letters from the Holy Land," illustrated by sixteen most attractive drawings in colors. The Spectator says: "Lady Butler's letters and diary, the outcome of a few weeks' journeyings in Palestine, express simply and forcibly the impressions made on a devout and cultivated mind by the scenes of the Holy Land."
In 1875 Ruskin wrote in "Notes of the Academy": "I never approached a picture with more iniquitous prejudice against it than I did Miss Thompson's—'Quatre Bras'—partly because I have always said that no woman could paint, and secondly because I thought what the public made such a fuss about must be good for nothing. But it is Amazon's work this, no doubt of it, and the first fine pre-Raphaelite picture of battle we have had; profoundly interesting, and showing all manner of illustrative and realistic faculty.... The sky is most tenderly painted, and with the truest outline of cloud of all in the Exhibition; and the terrific piece of gallant wrath and ruin on the extreme left, when the cuirassier is catching round the neck of his horse as he falls, and the convulsed fallen horse, seen through the smoke below, is wrought through all the truth of its frantic passion with gradations of color and shade which I have not seen the like of since Turner's death."
The Art Journal, 1877, says: "'Inkerman' is simply a marvellous production when considered as the work of a young woman who was never on the field of battle.... No matter how many figures she brings into the scene, or how few, you may notice character in each figure, each is a superb study."
Her recent picture, "Within Sound of the Guns," shows a company of mounted soldiers on the confines of a river in South Africa.
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Cameron, Katherine. Member of the Royal Scottish Society of Painters in Water-Colors; Modern Sketch Club, London; Ladies' Art Club, Glasgow. Born in Glasgow. Studied at Glasgow School of Art under Professor Newbery, and at the Colarossi Academy, Paris, under Raphael Collin and Gustave Courtois.
Her pictures are of genre subjects principally, and are in private collections. "'The Sea Urchin,'" Miss Cameron writes, "is in one of the public collections of Germany. I cannot remember which." She also says: "Except for my diploma R. S. W. and having my drawings sometimes in places of honor, usually on the line, and often reproduced in magazines, I have no other honors. I have no medals."
In the Magazine of Art, June, 1903, her picture of a "Bull Fight in Madrid" is reproduced. It is full of action and true to the life of these horrors as I have seen them in Madrid. Doubtless the color is brilliant, as the costumes of the toreadors are always so, and there are two in this picture. This work was displayed at the exhibition of the Royal Scottish Academy, June, 1903—of which a writer says: "A feeling for color has always been predominant in the Scottish school, and it is here conspicuously displayed, together with a method of handling, be it in the domain of figure or landscape, which is personal to the artist and not a mere academic tradition."
In the Studio of May, 1903, J. L. C., who writes of the same exhibition, calls this picture "admirable in both action and color."
Carl, Kate A. Honorable mention, Paris Salon, 1890; Chevalier of the Legion of Honor, 1896; honorable mention, Paris Exposition, 1900. Associé de la Société Nationale des Beaux-Arts. Born in New Orleans. Pupil of Julian Academy and of Courtois in Paris.
This artist's name has been made prominent by the fact of her being selected to paint a portrait of the Empress of China. Miss Carl has frequently exhibited at the Salon. In 1902 she sent portraits in both oil and water-colors. One of these works, called "Angelina," impresses one as a faithful portrait of a model. She is seated and gracefully posed—the face is in a full front view, the figure turned a little to one side and nude to the waist, the hands are folded on the lap and hold a flower, a gauze-like drapery falls about the left shoulder and the arms, but does not conceal them; the background is a brocade or tapestry curtain.
I have seen a reproduction only, and cannot speak of the color. The whole effect of the picture is attractive. For the purpose of painting the portrait of the Chinese Empress, Miss Carl was assigned an apartment in the palace. It is said that the picture was to be finished in December, 1903, and will probably be seen at the St. Louis Exhibition.
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Carlisle, Mistress Anne. Died in 1680. Was a favorite artist of King Charles I. It is said that on one occasion the King bought a quantity of ultramarine, for which he paid £500, and divided it between Vandyck and Mistress Carlisle. Her copies after the Italian masters were of great excellence.
She painted in oils as well as in water-colors. One of her pictures represents her as teaching a lady to use the brush. When we remember that Charles, who was so constantly in contact with Vandyck, could praise Mistress Carlisle, we must believe her to have been a good painter.
Mistress Anne has sometimes been confounded with the Countess of Carlisle, who was distinguished as an engraver of the works of Salvator Rosa, etc.
Carpenter, Margaret Sarah. The largest gold medal and other honors from the Society of Arts, London. Born at Salisbury, England. 1793-1872. Pupil of a local artist in Salisbury when quite young. Lord Radnor's attention was called to her talent, and he permitted her to copy in the gallery of Longford Castle, and advised her sending her pictures to London, and later to go there herself. She made an immediate success as a portrait painter, and from 1814 during fifty-two years her pictures were annually exhibited at the Academy with a few rare exceptions.
Her family name was Geddis; her husband was Keeper of the Prints and Drawings in the British Museum more than twenty years, and after his death his wife received a pension of £100 a year in recognition of his services.
Her portraits were considered excellent as likenesses; her touch was firm, her color brilliant, and her works in oils and water-colors as well as her miniatures were much esteemed. Many of them were engraved. Her portrait of the sculptor Gibson is in the National Portrait Gallery, London. A life-size portrait of Anthony Stewart, miniature painter, called "Devotion," and the "Sisters," portraits of Mrs. Carpenter's daughters, with a picture of "Ockham Church," are at South Kensington.
She painted a great number of portraits of titled ladies which are in the collections of their families. Among the more remarkable were those of Lady Eastnor, 1825; Lady King, daughter of Lord Byron, 1835; Countess Ribblesdale, etc.
Her portraits of Fraser Tytler, John Girkin, and Bonington are in the National Portrait Gallery, London. In the South Kensington Gallery are her pictures of "Devotion—St. Francis," which is a life-size study of Anthony Stewart, the miniature painter; "The Sisters," "Ockham Church," and "An Old Woman Spinning."
Carpentier, Mlle. Madeleine. Honorable mention, 1890; third-class medal, 1896. Born in Paris, 1865. Pupil of Bonnefoy and of Jules Lefebvre at the Julian Academy. Since 1885 this artist has exhibited many portraits as well as flower and fruit pieces, these last in water-colors. In 1896 her pictures were the "Communicants" and the "Candles," a pastel, purchased by the city of Paris; "Among Friends" is in the Museum of Bordeaux.
At the Salon of the Artistes Français, 1902, Mlle. Carpentier exhibited a picture called "Reflection," and in 1903 a portrait of Mme. L. T. and the "Little Goose-Herders."
Carriera, Rosalba, better known as Rosalba. Born in Venice 1675-1757—and had an eventful life. Her artistic talent was first manifested in lace-weaving, which as a child she preferred before any games or amusements. She studied painting under several masters, technique under Antonio Balestra, pastel-painting with Antonio Nazari and Diamantini, and miniature painting, in which she was especially distinguished, was taught her by her brother-in-law, Antonio Pellegrini, whom she later accompanied to Paris and London and assisted in the decorative works he executed there.
Rosalba's fame in Venice was such that she was invited to the courts of France and Austria, where she painted many portraits. She was honored by election to the Academies of Rome, Bologna, and Paris.
This artist especially excelled in portraits of pretty women, while her portraits of men were well considered. Among the most important were those of the Emperor Charles, the kings of France and Denmark, and many other distinguished persons, both men and women.
The Grand Duke of Tuscany asked for her own portrait for his gallery. She represented herself with one of her sisters. Her face is noble and most expressive, but, like many of her pictures, while the head is spirited and characteristic, the rest of the figure and the accessories are weak. A second portrait of herself—in crayons—is in the Dresden Gallery, and is very attractive.
While in England Rosalba painted many portraits in crayon and pastel, in which art she was not surpassed by any artist of her day.
Her diary of two years in Paris was published in Venice. It is curious and interesting, as it sets forth the customs of society, and especially those of artists of the period.
Returning to Venice, Rosalba suffered great depression and was haunted by a foreboding of calamity. She lived very quietly. In his "Storia della Pittura Veneziana," Zanetti writes of her at this time: "Much of interest may be written of this celebrated and highly gifted woman, whose spirit, in the midst of her triumphs and the brightest visions of happiness, was weighed down by the anticipation of a heavy calamity. On one occasion she painted a portrait of herself, the brow wreathed with leaves which symbolized death. She explained this as an image of the sadness in which her life would end."
Alas, this was but too prophetic! Before she was fifty years old she lost her sight, and gradually the light of reason also, and her darkness was complete.
An Italian writer tells the following story: "Nature had endowed Rosalba with lofty aspirations and a passionate soul; her heart yearned for the admiration which her lack of personal attraction forbade her receiving. She fully realized her plainness before the Emperor Charles XI. rudely brought it home to her. When presented to him by the artist Bertoli, the Emperor exclaimed: 'She may be clever, Bertoli mio, this painter of thine, but she is remarkably ugly.' From which it would appear that Charles had not believed his mirror, since his ugliness far exceeded that of Rosalba! Her dark eyes, fine brow, good expression, and graceful pose of the head, as shown in her portrait, impress one more favorably than would be anticipated from this story."
Many of Rosalba's works have been reproduced by engravings; a collection of one hundred and fifty-seven of these are in the Dresden Gallery, together with several of her pictures.
Cassatt, Mary. Born in Pittsburg. Studied in Pennsylvania schools, and under Soyer and Bellay in Paris. She has lived and travelled much in Europe, and her pictures, which are of genre subjects, include scenes in France, Italy, Spain, and Holland.
Among her principal works are "La tasse de thé," "Le lever du bébé," "Reading," "Mère et Enfant," and "Caresse Maternelle."
Miss Cassatt has exhibited at the Paris Salon, the National Academy, New York, and various other exhibitions, but her works are rarely if ever exhibited in recent days. It is some years since William Walton wrote of her: "But in general she seems to have attained that desirable condition, coveted by artists, of being able to dispense with the annual exhibitions."
Miss Cassatt executed a large, decorative picture for the north tympanum of the Woman's Building at the Columbian Exhibition.
A writer in the Century Magazine, March, 1899, says: "Of the colony of American artists, who for a decade or two past have made Paris their home, few have been more interesting and none more serious than Miss Cassatt.... Miss Cassatt has found her true bent in her recent pictures of children and in the delineation of happy maternity. These she has portrayed with delicacy, refinement, and sentiment. Her technique appeals equally to the layman and the artist, and her color has all the tenderness and charm that accompanies so engaging a motif."
In November, 1903, Miss Cassatt held an exhibition of her works in New York. At the winter exhibition of the Philadelphia Academy, 1904, she exhibited a group, a mother and children, one child quite nude. Arthur Hoeber described it as "securing great charm of manner, of color, and of grace."
Cattaneo, Maria. Bronze medal at the National Exposition, Parma, 1870; silver medal at Florence, 1871; silver medal at the centenary of Ariosto at Ferrara. Made an honorary member of the Brera Academy, Milan, 1874, an honor rarely conferred on a woman; elected to the Academy of Urbino, 1875. Born in Milan. Pupil of her father and of Angelo Rossi.
She excels in producing harmony between all parts of her works. She has an exquisite sense of color and a rare technique. Good examples of her work are "The Flowers of Cleopatra," "The Return from the Country," "An Excursion by Gondola." She married the artist, Pietro Michis. Her picture of the "Fish Market in Venice" attracted much attention when it appeared in 1887; it was a most accurate study from life.