Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. · Chapter 9Women in the Fine Arts (7)
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Emmet, Lydia Field. Medal at Columbian Exhibition, Chicago, 1893; medal at Atlanta Exhibition, 1895; honorable mention at Pan-American Exposition, Buffalo, 1901. Member of the Art Students' League and Art Workers' Club for Women. Born at New Rochelle, New York. Studied at Art Students' League under Chase, Mowbray, Cox, and Reid; at the Julian Academy, Paris, under Robert-Fleury, Giacomotti, and Bouguereau; at the Shinnecock School of Art under W. M. Chase; at Académie Vieté, Paris, under Collin, and in a private studio under Mac Monnies.
From a Copley Print.
DOROTHY
Lydia Field Emmet
Miss Emmet has painted many portraits, which are in private hands in New York, Chicago, Boston, and elsewhere. She executed a decorative painting for the Woman's Building at Chicago which is still in that city.
Emmet, Rosina—Mrs. Arthur Murray Sherwood. Silver medal, Paris Exposition, 1889; the Art Department medal, Chicago, 1893; bronze medal, Buffalo, 1901. Member of the Society of American Artists, American Water-Color Society, New York Water-Color Club. Born in New York City. Studied two years under William M. Chase and six months at Julian Academy, Paris.
Miss Emmet exhibited at the National Academy of Design, in 1881, a "Portrait of a Boy"; in 1882, a "Portrait of Alexander Stevens" and "Waiting for the Doctor"; in 1883, "Red Rose Land" and "La Mesciana"; her picture called "September" belongs to the Boston Art Club. The greater number of her works are in private collections.
Escallier, Mme. Éléonore. Medal at Salon, 1868. A pupil of Ziegler. A painter of still-life whose pictures of flowers and birds were much admired. "Chrysanthemums," exhibited in 1869, was purchased by the Government. "Peaches and Grapes," 1872, is in the Museum at Dijon; and in 1875 she executed decorative panels for the Palais de la Légion d'Honneur.
Esch, Mathilde. Born at Kletten, Bohemia, 1820. Pupil of Waldmüller in Vienna. She also studied a long time in Düsseldorf and several years in Paris, finally settling in Vienna. She painted charming scenes from German and Hungarian life, as well as flowers and still-life. Most of her works are in private galleries.
Esinger, Adèle. Born in Salzburg, 1846. In 1874 she became a student at the Art School in Stuttgart, where she worked under the special direction of Funk, and later entered the Art School at Carlsruhe, where she was a pupil of Gude. She also received instruction from Hansch. Her pictures are remarkable for their poetic feeling; especially is this true of "A Quiet Sea," "The Gollinger Waterfall," and "A Country Party."
Eyck, Margaretha van. In Bruges, in the early decades of the fifteenth century, the Van Eycks were inventing new methods in the preparation of colors. Their discoveries in this regard assured them an undying fame, second only to that of their marvellous pictures.
Here, in the quaint old city—a large part of which we still describe as mediæval—in an atmosphere totally unlike that of Italy, beside her devout brothers, Hubert and Jan, was Margaretha. When we examine the minute detail and delicate finish of the pictures of Jan van Eyck, we see a reason why the sister should have been a miniaturist, and do not wonder that with such an example before her she should have excelled in this art. The fame of her miniatures extended even to Southern Italy, where her name was honorably known.
We cannot now point to any pictures as exclusively hers, as she worked in concert with her brothers. It is, however, positively known that a portion of an exquisite Breviary, in the Imperial Library in Paris, was painted by Margaretha, and that she illustrated other precious and costly manuscripts.
She was held in high esteem in Bruges and was honored in Ghent by burial in the Church of St. Bavo, where Hubert van Eyck had been interred. Karl van Mander, an early writer on Flemish art, was poetically enthusiastic in praise of Margaretha, calling her "a gifted Minerva, who spurned Hymen and Lucina, and lived in single blessedness."
A Madonna in the National Gallery in London is attributed to Margaretha van Eyck.
Facius, Angelika. Born at Weimar. 1806-87. This artist was distinguished as an engraver of medals and gems. Pupil of her father, Friedrich Wilhelm Facius. Goethe recommended her to Rauch, and in 1827 she went to Berlin to study in his studio. Under her father's instruction she engraved the medal for the celebration at Weimar, 1825, of the jubilee of the Grand Duke Charles Augustus. Under Rauch's direction she executed the medal to commemorate the duke's death. In 1841 she made the medal for the convention of naturalists at Jena.
After Neher's designs, she modelled reliefs for the bronze doors at the castle of Weimar.
Farncomb, Caroline. Several first prizes in exhibitions in London, Toronto, Montreal, and Ottawa. Member of Women's Art Club, London, Ontario. Born near Toronto, Canada. Pupil of Mr. Judson and Mlle. van den Broeck in London, Canada, and later of William Chase in New York. Now studying in Paris.
Fassett, Cornelia Adèle. 1831-1898. Member of the Chicago Academy of Design and the Washington Art Club. Born in Owasco, New York. Studied water-color painting in New York under an English artist, J. B. Wandesforde. Pupil in Paris of Castiglione, La Tour, and Mathieu. Her artistic life was spent in Chicago and Washington, D. C.
She painted numerous portraits in miniature and a large number in oils. Among those painted from life were Presidents Grant, Hayes, and Garfield; Vice-President Henry Wilson; Charles Foster, when Governor of Ohio, now in the State House at Columbus, Ohio; Dr. Rankin, president of Howard University, Washington; and many other prominent people of Chicago and Washington.
Her chief work and that by which she is best remembered hangs in the Senate wing of the United States Capitol. No picture in the Capitol attracts more attention, and large numbers of people view it daily. It is the "Electoral Commission in Open Session." It represents the old Senate Chamber, now the Supreme Court Room, with William M. Evarts making the opening argument. There are two hundred and fifty-eight portraits of notable men and women, prominent in political, literary, scientific, and social circles. Many of these were painted from life.
The Arcadian, New York, December 15, 1876, in speaking of this picture, says: "Mr. Evarts is addressing the court, and the large number of people present are naturally and easily grouped. There is no stiffness nor awkwardness in the positions, nothing forced in the whole work. There are, in the crowd, ladies in bright colors to relieve the sombreness of the black-coated men, and the effect of the whole picture is pleasing and artistic, aside from its great value as an historical work."
The Washington Capital, March 17, 1878: "Mrs. Fassett's 'Electoral Commission' gives evidence of great merit, and this illustration in oil of an historical event in the presidential annals of the country, by the preservation of the likenesses in groups of some of the principal actors, and a few leading correspondents of the press, will be valuable. This picture we safely predict will be a landmark in the history of the nation that will never be erased. It memorizes a most remarkable crisis in our life, and perpetuates, both by reason of its intrinsic value as a chapter of history and its intrinsic worth as an art production, the incident it represents and the name of the artist."
In the Washington Star, October, 1903, an article appeared from which I quote as follows: "On the walls of the beautiful tessellated corridor of the eastern gallery floor of the Senate wing of the Capitol at Washington, just opposite the door of the caucus room of the Senate Democrats, hangs a large oil painting that never fails to attract the keenest curiosity of sightseers and legislators alike. And for good reason: that painting depicts in glowing colors a scene of momentous import, a chapter of American political history of graver consequence and more far-reaching results than any other since the Civil War. The printed legend on the frame of the picture reads:
"'The Florida case before the electoral commission, February 5, 1877. Painted from life sittings in the United States Supreme Court room by Cornelia Adèle Fassett.'"
"The painting belongs to Congress, having been purchased from the artist for $15,000. As you face the picture the portraits of two hundred and fifty-eight men and women, who, twenty-six years ago, were part and parcel of the legislative, executive, judicial, social, and journalistic life of Washington, look straight at you as if they were still living and breathing things, as, indeed, many of them are. As a work of art the picture is unique, for each face is so turned that the features can easily be studied, and the likenesses of nearly all are so faithful as to be a source of constant wonder and delight."—David S. Barry, in Pearson's Magazine.
Fauveau, Félicie de. Second-class medal at Florence in 1827, when she made her début by exhibiting a statue, "The Abbot," and a group, "Queen Christine and Monaldeschi." Born in Florence, of French parents, about 1802. For political reasons she was forced to leave Florence about 1834, when she went to Belgium, but later returned to her native city.
Among her best works are "St. George and the Dragon," bronze; the "Martyrdom of St. Dorothea," "Judith with the Head of Holofernes," "St. Genoveva," marble, and a monument to Dante.
Her works display a wonderful skill in the use of drapery and a purity of taste in composition. She handled successfully the exceedingly difficult subject, a "Scene between Paolo and Francesca da Rimini."
Faux-Froidure, Mme. Eugénie Juliette. Honorable mention at Salon, 1898; the same at the Paris Exposition, 1900; third-class medal at Salon, 1903; first prize of the Union of Women Painters and Sculptors, 1902; chevalier of the Order Nichan Iftikar; Officer of Public Instruction. Member of the Association of Baron Taylor, of the Société des Artistes Français, of the Union of Women Painters and Sculptors, and of the Association of Professors of Design of the City of Paris. Born at Noyen (Sarthe). Pupil of P. V. Galland, Albert Maignan, and G. Saintpierre.
Mme. Faux-Froidure's pictures are principally of fruit and flowers, and three have been purchased by the Government. One, "Raisins" (Grapes), is in the Museum at Commerey; a second, "Hortensias" (Hydrangeas), is in the Museum of Mans; the third, which was in the Salon of 1903, has not yet been placed. In 1899 she exhibited a large water-color called "La Barque fleurie," which was much admired and was reproduced in "L'Illustration." Her water-color of "Clematis and Virginia Creeper" is in the Museum at Tunis. In the summer exhibition of 1903, at Évreux, this artist's "Peonies" and "Iris" were delightfully painted—full of freshness and brilliancy, such as would be the despair of a less skilful hand.
At the Limoges Exposition, May to November, 1903, Mme. Faux-Froidure was announced as hors concours in water-colors.
La Société Français des Amis des Arts purchased from the Salon, 1903, two water-colors by Mme. Faux-Froidure—"Roses" and "Loose Flowers," or "Jonchée fleurie."
Her pictures at the Exposition at Toulouse, spring of 1903, were much admired. In one she had most skilfully arranged "Peaches and Grapes." The color was truthful and delicate. The result was a most artistic picture, in which the art was concealed and nature alone was manifest. A second picture of "Zinnias" was equally admirable in the painting of the flowers, while that of the table on which they were placed was not quite true in its perspective.
Of a triptych, called the "Life of Roses," exhibited at the Salon des Artistes Français, 1903, Jules de Saint Hilaire writes: "Mme. Faux-Froidure was inspired when she painted her charming triptych of 'Rose Life.' In the compartment on the left the roses are twined in a crown resembling those worn in processions; in the centre, in all its dazzling beauty, the red rose, the rose of love, is enthroned; while the panel on the right is consecrated to the faded rose—the souvenir rose, shrivelled, and lying beside the little casket which it still perfumes with its old-time sweetness."
Fischer, Clara Elizabeth. Born in Berlin, 1856. Studied under Biermann six years, and later under Julius Jacob. Her pictures are portraits and genre subjects. Among the latter are "What Will Become of the Child?" 1886; "Orphaned," "In the Punishment Corner," and "Morning Devotion."
Fischer, Helene von. Born in Bremen, 1843. She first studied under a woman portrait painter in Berlin; later she was a pupil of Frische in Düsseldorf, of Robie in Brussels, and of Hertel and Skarbina in Berlin.
She makes a specialty of flowers, fruit, and still-life; her fruit and flower pieces are beautiful, and her pictures of the victims of the chase are excellent.
Flesch-Brunnengen, Luma von. Born in Brünn in 1856. In Vienna she worked under Schöner, the interpreter of Venetian and Oriental life, and later in Munich she acquired technical facility under Frithjof Smith. Travels in Italy, France, and Northern Africa furnished many of her themes—mostly interiors with figures, in which the entering light is skilfully managed. "The Embroiderers," showing three characteristic figures, who watch the first attempt of their seriously earnest pupil, is full of humor. In sharp contrast to this is a "Madonna under the Cross," exhibited at Berlin in 1895, in which the mother's anguish is most sympathetically rendered. "Devotion," "Shelterless," and the "Kitchen Garden" are among the paintings which have won her an excellent reputation as a genre painter.
Fleury, Mme. Fanny.
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Focca, Signora Italia Zanardelli. Silver medal at Munich, 1893; diploma of gold medal at Women's Exhibition, London, 1900. Member of Società Amatorie Pittori di Belle Arti, of the Unione degli Artisti, and of the Società Cooperativa, all in Rome.
Born in Padua, 1872. Pupil of Ottin in Paris, and of the Academy of Fine Arts in Rome.
The principal works of this sculptor are a "Bacchante," now in St. Petersburg; "Najade," sold in London; "The Virgin Mother," purchased by Cavaliere Alinari of Florence; portrait of the Minister Merlo, which was ordered by the Ministry of Public Instruction. Many other less important works are in various Italian and foreign cities.
Signora Focca is a professor of drawing in the Normal Schools of Rome.
Foley, Margaret E. A native of New Hampshire. Died in 1877. Without a master, in the quiet of a country village, Miss Foley modelled busts in chalk and carved small figures in wood. At length she made some reputation in Boston, where she cut portraits and ideal heads in cameo. She went to Rome and remained there. She became an intimate friend of Mr. and Mrs. Howitt, and died at their summer home in the Austrian Tyrol.
Among her works are busts of Theodore Parker, Charles Sumner, and others; medallions of William and Mary Howitt, Longfellow, and Bryant; and several ideal statues and bas-reliefs.
In a critical estimate of Miss Foley we read: "Her head of the somewhat impracticable but always earnest senator from Massachusetts—Sumner—is unsurpassable and beyond praise. It is simple, absolute truth, embodied in marble."—Tuckerman's Book of the Artists.
"Miss Foley's exquisite medallions and sculptures ought to be reproduced in photograph. Certainly she was a most devoted artist, and America has not had so many sculptors among women that she can afford to forget any one of them."—Boston Advertiser, January, 1878.
Fontaine, Jenny. Silver medal, Julian Academy, 1889; silver medal at Amiens Exposition, 1890 and 1894; honorable mention, Paris Salon, 1892; gold medal at Rouen Exposition, 1893; third-class medal, Salon, 1896; bronze medal, Paris Exposition, 1900. Officer of the Academy, 1896; Officer of Public Instruction, 1902. Member of the Société des Artistes Français, Paris; Société de l'Union Artistique, du Pas-de-Calais, at Arras; corresponding member of the Academy of Arras. Pupil of Jules Lefebvre and Benjamin-Constant.
Mlle. Fontaine paints portraits only—of these she has exhibited regularly at the Salons for sixteen years. Among her sitters have been many persons of distinction, both men and women.
At the Salon of 1902 she exhibited her own portrait; in 1903, portraits of MM. Rene et Georges D. The Journal des Arts, giving an account of the exhibition at Rheims, summer, 1903, says: "The portraits here are not so numerous as one might expect, but they are too fine to be overlooked. Mlle. Jenny Fontaine has, for a long time, held a distinguished place as a portraitiste in our Salons, and two of her works are here: a portrait of a young girl and one of General Jeanningros."
Fontana, Lavinia. Born in Bologna, 1552. Her father was a distinguished portrait painter in Rome in the time of Pope Julius III., but the work of his daughter was preferred before his own. She was elected to the Academy of Rome, while her charms were extolled in poetry and prose.
Pope Gregory XIII. made her his painter-in-ordinary. Patrician ladies, cardinals, and Roman nobles contended for the privilege of having their portraits from her hand. Men of rank and scholars paid court to her, but, with a waywardness not altogether uncommon, she married a man who was even thought to be lacking in sense.
One of her two daughters was blind of one eye, and her only son was so simple that the loungers in the antechamber of the Pope were accustomed to amuse themselves with his want of wit. She is said to have died of a broken heart after the death of this son, and her portrait of him is considered her masterpiece.
Her own portrait was one of her most distinguished works, and though it is in possession of her husband's family, the Zappi, of Imola, it may be judged by an engraving after it in Rossini's "History of Italian Painting."
Many portraits by Lavinia Fontana are in the private collections of Italian families for whom they were painted. In the Gallery of Bologna there is a night-scene, the "Nativity of the Virgin," by her, and in the Escorial is a Madonna lifting a veil to regard the sleeping Jesus, while SS. Joseph and John stand near by.
In the churches of San Giacomo Maggiore and of the Madonna del Baracano, both in Bologna, are Fontana's pictures of the "Madonna with Saints." In Pieve di Cento are two of her works—a "Madonna" and an "Ascension." It is said that several pictures by this artist are in England, but I have failed to find to what collections they belong.
Lavinia Fontana was a distinguished woman in a notable age, and if, in translating the tributes that were paid her by the authors of her day, we should faithfully render their superlatives, these writings would seem absurd in their exaggerations, and our comparatively cold adjectives would be taxed beyond their power of expression.
Fontana, Veronica. Born in 1576. A pupil of Elisabetta Sirani, who devoted herself to etching and wood-engraving. She is known from her exceedingly fine, delicate portraits on wood and etchings of scenes from the life of the Madonna.
Foord, Miss J. A painter of plants and flowers, which are much praised. An article in the Studio, July, 1901, says: "Miss Foord, by patient and observant study from nature, has given us a very pleasing, new form of useful work, that has traits in common; with the illustrations to be found in the excellent botanical books of the beginning of the nineteenth century." After praising the works of this artist, attention is called to her valuable book, "Decorative Flower Studies," illustrated with forty plates printed in colors.
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Foote, Mary Hallock. Born in Milton, New York. At New York School of Design for Women this artist studied anatomy and composition under William Rimmer, and drawing on wood and black and white under William J. Linton. Mrs. Foote is a member of the Alumni of the School of Design.
Her illustrations have been exhibited by the publishers for whom they were made. In the beginning her work was suited to the taste and custom of the time. She illustrated the so-called "Gift Books" and poems in the elaborate fashion of the period. Later she was occupied principally in illustrations for the Century Company and Houghton, Mifflin & Co. Mrs. Foote writes that Miss Regina Armstrong—now Mrs. Niehaus—in a series of articles on "Women Illustrators of America," whom she divided into classes, placed her with the "Story-Tellers."
Forbes, Mrs. Stanhope. Mr. Norman Gastin, in an article upon the work of the Royal Academician, Stanhope Forbes, in the Studio, July, 1901, pays the following tribute to the wife of the artist, whose maiden name was Elizabeth Armstrong:
"Mrs. Stanhope Forbes's work does not ask you for any of that chivalrous gentleness which is in itself so derogatory to the powers of women. As an artist she stands shoulder to shoulder with the very best; she has taste and fancy, without which she could not be an artist. But what strikes one about her most is summed up in the word 'ability.' She is essentially able. The work which that wonderful left hand of hers finds to do, it does with a certainty that makes most other work look tentative beside hers. The gestures and poses she chooses in her models show how little she fears drawing, while the gistness of her criticism has a most solvent effect in dissolving the doubts that hover round the making of pictures."
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Forti, Enrica. Rome.
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Fortin de Cool, Delfina. Third-class medal, Madrid, 1864, for the following works reproduced on porcelain: the "Conception" of Murillo, the "Magdalen" of Antolinez, and the portrait of Alonso Cano by Velazquez; also a portrait on ivory of a young girl.
This artist, who was French by birth, was a pupil of her father. For paintings executed in the imperial works at Sèvres, she was awarded prizes at Blois, Besançon, Rouen, Perigueux, and Paris.
Foulques, Elisa. Born in Pjatigorsk, in the Caucasus. She came under Italian influence when but four years old, and was taken to Naples. At the Institute of the Fine Arts she was a pupil of Antoriello, Mancinelli, Perrisi, and Solari. She received a diploma when leaving the Institute. Her picture, "Mendica," was exhibited in Naples, 1886; "Un ultimo Squardo" and "Sogno," 1888. In London, in 1888, "Tipo Napoletano," "Studio dal vero," and "Ricordi" were exhibited. Since 1884 this artist has taught drawing in the Municipal School for Girls in Naples, and has executed many portraits in oil, as well as numerous pastels and water-colors. Among her later works are "La Figlia del Corsaro," "Chiome nere," "Una Carezza al Nonno," and "Di Soppiatto."
Frackleton, Susan Stuart. Medal at Antwerp Exposition, 1894; at Paris Exposition, 1900. Founder and first president of National League of Mineral Painters; member of Park and Outdoor Association. Born at Milwaukee, 1848. Pupil of private studios in Milwaukee and New York.
Mrs. Frackleton's gas-kilns for firing decorated china and glass are well known; also her book, "Tried by Fire," a treatise on china painting. As a ceramic artist she has exhibited in various countries, and has had numerous prizes for her work. She declined the request of the Mexican Government to be at the head of a National School of Ceramic Decoration, etc. She is also a lecturer on topics connected with the so-called arts and crafts.
Freeman, Florence. Born in Boston. 1836-1883. Pupil of Richard S. Greenough in Boston and of Hiram Powers in Florence, Italy. After a year in Florence she went to Rome, where she made her home. Among her works are a bust of "Sandalphon," which belonged to Mr. Longfellow, bas-reliefs of Dante, and a statue of the "Sleeping Child."
She sent to the Exhibition in Philadelphia, 1876, a chimney-piece on which were sculptured "Children and the Yule-Log and Fireside Spirits." This was purchased by Mrs. Hemenway, of Boston.
"Her works are full of poetic fancy; her bas-reliefs of the seven days of the week and of the hours are most lovely and original in conception. Her sketches of Dante in bas-reliefs are equally fine. Her designs for chimney-pieces are gems, and in less prosaic days than these, when people were not satisfied with the work of mechanics, but demanded artistic designs in the commonest household articles, they would have made her famous."—The Revolution, May, 1871.
French, Jane Kathleen. Member of the Water-Color Society of Ireland. Born in Dublin. Studied in Brussels under M. Bourson, and in Wiesbaden under Herr Kögler. Miss French is a miniaturist and exhibited at the Royal Academy, London, in 1901, a case of her works which she was later specially invited to send to an exhibition in Liverpool, and several other exhibits.
The last two years she has exhibited in Ireland only, as her commissions employ her time so fully that she cannot prepare for foreign expositions.
Freyberg, Baroness Marie Electrine. Elected to the Academy of St. Luke, 1822. Born in Strassburg. 1797-1847. Daughter and pupil of the landscape painter, Stuntz. After travelling in France and Italy, making special studies in Rome, she settled in Munich. She painted historical and religious subjects, and a few portraits. "Zacharias Naming the Little St. John" is in the New Picture Gallery, Munich; in the same gallery is also a portrait called the "Boy Playing a Flute"; in the Leuchtenberg Gallery, Petersburg, is her "Three Women at the Sepulchre." She painted a picture called the "Glorification of Religion through Art" and a "Madonna in Prayer." She also executed a number of lithographs and etchings.
Friedländer, Camilla. Born in Vienna, 1856. She was instructed by her father, Friedrich Friedländer. Among her numerous paintings of house furniture, antiquities, and dead animals should be especially mentioned her picture in the Rudolfinum at Prague, which represents all sorts of drinking-vessels, 1888. Some critics affirm that she has shown more patience and industry than wealth of artistic ideas, but her still-life pictures demanded those qualities and brought her success and artistic recognition.
Friedrich, Caroline Friederike. Born in Dresden. 1749-1815. Honorary member of Dresden Academy. In the Dresden Gallery is a picture by this artist, "Pastry on a Plate with a Glass of Wine," signed 1799.
Friedrichson, Ernestine. Born in Dantzig, 1824. Pupil of Marie Wiegmann in Düsseldorf, and later of Jordan and Wilhelm Sohn. While still a student she visited Holland, Belgium, England, and Italy. Her favorite subjects were scenes from the every-day life of Poles and Jews.
Her best pictures were sold to private collectors. Among these are "Polish Raftsmen Resting in the Forest," 1867; "Polish Raftsmen before a Crucifix," 1869; "A Jew Rag-picker," 1870; "The Jewish Quarter in Amsterdam on Friday Evening," 1881; "A Goose Girl," 1891.
Fries, Anna. Silver medal at Berne, 1857; two silver medals from the Academy of Urbino; silver medal at the National Exposition by Women in Florence. Honorary member of the Academy Michael Angela, Florence, and of the Academy of Urbino. Born in Zürich, 1827. She encountered much opposition to her desire to study art, but her talent was so manifest that at length she was permitted to study drawing in Zürich, and her rapid progress was finally recognized and she was taken to Paris, where the great works of the masters were an inspiration to her. She has great individuality in her pictures, which have been immoderately praised. She visited Italy, and in 1857 went to Holland, where she painted portraits of Queen Sophia and the Prince of Orange. She returned to Zürich and was urged to remain in Switzerland, but she was ambitious of further study, and went again to Florence. She there painted a portrait of the Grand Duchess Marie of Russia. She turned her attention to decorative painting, and her success in this may be seen in the facades of the Schmitz villa, the Schemboche establishment, and her own home. When we consider the usual monotony of this art, the charming effects which Mme. Fries has produced make her distinguished in this specialty.
Frishmuth, Harriet Whitney.
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Fritze, Margarethe Auguste. Born in Magdeburg, 1845. This genre painter worked first in Bremen, and went in 1873 to Munich, where she studied with Grützner and Liezen-Meyer. The most significant of her pictures is "The Little Handorgan-Player with His Monkey." She has also executed many strong portraits, and her painting is thought to show the influence of A. von Kotzebue and Alexander Wagner. In 1880 she spent some time in Stuttgart, and later settled in Berlin.
Froriep, Bertha. Born in Berlin, 1833. Pupil of Martersteig and Pauwels in Weimar. This artist's pictures were usually of genre subjects. Her small game pictures with single figures are delightful. She also painted an unusually fine portrait of Friedrich Rückert. At an exhibition by the women artists of Berlin, 1892, a pen study by Fräulein Froriep attracted attention and was admired for its spirit and its clear execution.
Frumerie, Mme. de. Honorable mention at the Salon des Artistes Français in 1893 and 1895. Born in Sweden, she studied in the School of Fine Arts in Stockholm. There she gained a prize which entitled her to study abroad during four years.
She has exhibited her works in Paris, and to the Salon of Les Femmes Peintres et Sculpteurs, in February, 1903, she contributed a bust of Strindberg which was a delightful example of life-like portraiture.
Fuller, Lucia Fairchild. Bronze medal, Paris Exposition, 1900; silver medal, Buffalo Exposition, 1901. Member of the Society of American Artists and of the American Society of Miniature Painters. Born in Boston. Studied at the Cowles Art School, Boston, under Denis M. Bunker, and at the Art Students' League, New York, under H. Siddons Mowbray and William M. Chase.