Chapter 13

BERTHE GIRARDET]

Among her works are: "L'Enfant Malade," bought by the city of Paris and placed in the Petit Palais des Champs Élysées; a group called the "Grandmother's Blessing," purchased by the Government and placed in a public museum; the bust of an "Old Woman," acquired by the Swiss Government and placed in the Museum of Neuchâtel; a group, the "Madonna and Child," for which the artist received the gold medal; and two groups illustrating the prayer, "Give us this day our daily bread." Also portrait statues and busts belonging to private collections.

At the Salon des Artistes Français, 1902, Mme. Girardet exhibited the "Grandmother's Blessing" and "L'Enfant Malade." At the same Salon, 1903, the two groups illustrating the Lord's Prayer.

A writer, G. M., in the _Studio_ of December, 1902, writes: "Prominent among the women artists of the day whose talents are attracting attention is Mme. Berthe Girardet. She has a very delicate and very tender vision of things, which stamps her work with genuine originality. She does not seek her subjects far from the life around her; quite the reverse; and therein lies the charm of her sculpture--a great, sincere, and simple charm, which at once arouses one's emotion. What, for instance, could be more poignantly sad than this 'Enfant Malade' group, with the father, racked with anxiety, bending over the pillow of his fragile little son, and the mother, already in an attitude of despair, at the foot of the bed? The whole thing is great in its profound humanity.

"The 'Bénédiction de l'Aïeule' is less tragic. Behind the granddaughter, delightful in her white veil and dress of a _première communicante_, stands the old woman, her wrinkled face full of quiet joy. She is thinking of the past, moved by the melancholy of the bells, and she is happy with a happiness with which is mingled something of sorrow and regret. It is really exquisite. By simple means Mme. Berthe Girardet obtains broad emotional effects. She won a great and legitimate success at the Salon of the Société des Artistes Français."

GLEICHEN, COUNTESS. Bronze medal at Paris Exposition, 1900. Honorable member of Royal Institute of Painters in Water-Colors, of Royal Society of Painter Etchers. Sculptor. Pupil of her father, Prince Victor of Hohenlohe, and of the Slade School, London; also of Professor Legros. She has exhibited regularly at the Royal Academy since 1893.

In 1895 she completed a life-size statue of Queen Victoria for the Victoria Hospital, Montreal. The Queen is represented in royal robes, with one child asleep on her knee, while another, with its arm in a sling, stands on the steps of the throne. Shortly before the Queen's death she gave sittings to Countess Gleichen, who then executed a bust of her majesty, now at the Cheltenham Ladies' College. The Constitutional Club, London, has her bust of Queen Alexandra, which was seen at the Academy in 1895. Her "Satan" attracted much attention when exhibited in 1894. He is represented as seated on a throne composed of snakes, while he has scales and wings and is armed like a knight. In 1899 her statue of "Peace" was more pleasing, while a hand-mirror of jade and bronze was much admired both in London and Paris, where it was seen in the Exposition of 1900. In 1901 she executed a fountain with a figure of a nymph for a garden in Paris; a year later, a second fountain for W. Palmer, Esq., Ascot. She has made a half-length figure of Kubelik. Her sculptured portraits include those of Sir Henry Ponsonby, Mme. Calvé, Mrs. Walter Palmer, and a bust of the late Queen, in ivory, which she exhibited in 1903.

GLEICHEN, COUNTESS HELENA.

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GLOAG, ISOBEL LILIAN. Born in London, the daughter of Scotch parents. Her early studies were made at St. John's Wood Art School, preparatory to entering the School of the Royal Academy, but the conservative and academic training of these institutions so displeased her that she went to the Slade School. Ill health compelled her to put aside all plans for regular study, and she entered Ridley's studio for private instruction, following this with work at the South Kensington Museum. After still further study with Raphael Collin in Paris, she returned to London and soon had her work accepted at the Royal Academy. Miss Gloag is reported as saying that women have little sense of composition, a failing which she does not seem to share; in this respect and as a colorist she is especially strong. "Rosamond," in which the charming girl in a purple robe, sitting before an embroidery frame, is startled by the shadow of Queen Eleanor bearing the poisoned cup, displays these qualities to great advantage. The leafy bower, the hanging mantle, show great skill in arrangement and a true instinct for color. "The Magic Mantle," "Rapunzel," and the "Miracle of the Roses" have all--especially, the first named--made an impression; another and strikingly original picture, called the "Quick and the Dead," represents a poorhouse, in the ward of which is a group of old women surrounded by the ghosts of men and children. Miss Gloag has also made some admirable designs for stained-glass windows. She has been seriously hampered by ill health, and her achievements in the face of such a drawback are all the more remarkable.

GODEWYCK, MARGARETTA. Born at Dort, 1627. A pupil of the celebrated painter, Nicholas Maas. She excelled as a painter of flowers, and was proficient in both ancient and modern languages. She was called by authors of her time, "the lovely flower of Art and Literature of the Merwestrom," which is a poetical way of saying Dordrecht!

GOLAY, MARY--MME. SPEICH GOLAY. Silver medal at Geneva Exposition, 1896; eighteen medals and rewards gained in the Art Schools of Geneva, and the highest recompense for excellence in composition and decoration. Member of the Amis des Beaux-Arts, Geneva; Société vaudoise des Beaux Arts, Lausanne. Born in Geneva and studied there under Mittey for flower painting, composition, and ceramic decoration; under Gillet for figure painting.

Mme. Golay has executed a variety of pictures both in oil and water-colors. In an exhibition at the Athénée in Geneva, in the autumn of 1902, she exhibited two pictures of sleep, which afforded an almost startling contrast. They were called "Sweet Sleep" and the "Eternal Sleep." The first was a picture of a beautiful young woman, nude, and sleeping in the midst of roses, while angels watching her inspire rosy dreams of life and love. The roses are of all possible shades, rendered with wonderful freshness--scarlet roses, golden roses--and in such masses and so scattered about the nude figure as to give it a character of purity and modesty. The flesh tints are warm, the figure is supple in effect, and the whole is a happy picturing of the sleep and dream of a lovely young woman who has thrown herself down in the carelessness of solitude.

It required an effort of will to turn to the second picture. Here lies another young woman, in her white shroud, surrounded with lilies as white as her face, on which pain has left its traces. In the artistic speech of the present day, it is a symphony in white. The figure is as rigid as the other is supple; it is frightfully immovable--and yet the drawing is not exaggerated in its firmness. Certainly these contrasting pictures witness to the skill of the artist. Without doubt the last is by far the most difficult, but Mme. Golay has known how to conquer its obstacles.

A third picture by this artist in the exhibition is called the "Abundance of Spring." Mme. Golay's reputation as a flower painter has been so long established that one need not dwell on the excellence of the work. A writer in the Geneva _Tribune_ exclaims: "One has never seen more brilliant peonies, more vigorous or finer branches of lilacs, or iris more delicate and distinguished. How they breathe--how they live--how they smile--these ephemeral blossoms!"

GONZALEZ, INÉS. Member of the Academy San Carlos of Valencia. In the expositions of 1845 and 1846 in that city she was represented by several miniatures, one of which, "Dido," was much admired. Another--the portrait of the Baron of Santa Barbara--was acquired by the Economic Society of Valencia. In the Provincial Museum is her picture of the "Two Smokers."

GRANBY, MARCHIONESS OF. Replies as follows to circular: "Lady Granby has been written about by Miss Tomlinson, 20 Wigmore Street, London, W. And I advise you if you really want any information to get it from her. V. G."

I was not "_really_" anxious enough to be informed about Lady Granby--who drops so readily from the third person to the first--to act on her advice, which I give to my readers, in order that any one who does wish to know about her will be able to obtain the information!

GRANT, MARY R. This sculptor studied in Paris and Florence, as well as in London, where she was a pupil of J. H. Foley, R.A. She has exhibited at the Royal Academy since 1870. She has executed portraits of Queen Victoria, Georgina, Lady Dudley, the Duke of Argyll, Mr. C. Parnell, M.P., and Sir Francis Grant, P.R.A.

Her memorial work includes a relief of Dean Stanley, Royal Chapel, Windsor; and a relief of Mr. Fawcett, M.P., on the Thames Embankment. The late Queen gave Miss Grant several commissions. In Winchester Cathedral is a screen, on the exterior of Lichfield Cathedral a number of figures, and in the Cathedral of Edinburgh a reredos, all the work of this artist. At the Royal Academy, 1903, she exhibited a medallion portrait in bronze.

GRATZ, MARIE. Born at Karlsruhe, 1839. This portrait painter was a pupil of Bergmann, and later of Schick and Canon. Among her best-known portraits are those of Prince and Princess Lippe-Detmold, Princess Hohenlohe-Langenburg, Prince Wittgenstein, the hereditary Princess Reuss, and Princess Biron von Kurland.

GRAY, SOPHIE DE BUTTS. First honor, Maryland Institute; second honor, World's Fair, New Orleans; gold medal, Autumn Exhibition, Louisville, 1898; first and second premiums, Nelson County Fair, 1898.

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GREATOREX, ELIZA. In 1869 Mrs. Greatorex was elected associate member of the National Academy, New York, and was the first woman member of the Artists' Fund Society of New York. Born in Ireland. 1820-1897. Studied under Witherspoon and James and William Hart in New York; under Lambinet in Paris; and at the Pinakothek in Munich. Mrs. Greatorex visited England, Paris, Italy, and Germany, spending a summer in Nuremberg and one in Ober-Ammergau.

Among her most important works are "Bloomingdale," which was purchased by Mr. Robert Hoe; "Château of Madame Cliffe," the property of Dykeman van Doren; "Landscape, Amsterdam"; pictures of "Bloomingdale Church," "St. Paul's Church," and the "North Dutch Church," all painted on panels taken from these churches.

Mrs. Greatorex illustrated the "Homes of Ober-Ammergau" with etchings, published in Munich in 1871; also "Summer Etchings in Colorado," published in 1874; and "Old New York from the Battery to Bloomingdale," published in 1875. Eighteen of the drawings for the "Old New York" were at the Philadelphia Exhibition, 1876.

GREENAWAY, KATE. Member of the Royal Institute of Painters in Water-Colors, 1890. Born in London. 1846-1901. Her father was a well-known wood-engraver. Miss Greenaway first studied her art at the South Kensington School; then at Heatherley's life class and at the Slade School. She began to exhibit at the Dudley Gallery in 1868.

Her Christmas cards first attracted general attention to her as an artist. Their quaint beauty and truthful drawing in depicting children, young girls, flowers, and landscape soon made them more popular than the similar work of other artists. These cards sold by thousands on both sides of the Atlantic and secured consideration for any other work she might do.

She soon made illustrations for _Little Folks_ and the _London News_. In 1879 "Under the Window" appeared, and one hundred and fifty thousand copies were sold; it was also translated into French and German. The "Birthday Book," "Mother Goose," and "Little Ann" followed and were accorded the heartiest welcome. It is said that for the above four toy books she received $40,000. Wherever they went--and they were in all civilized countries--they were applauded by artists and critics and loved by all classes of women and children. One can but hope that Kate Greenaway realized the world-wide pleasure she gave to children.

The exhibition of her works at the Gallery of the Fine Arts Society, since her death, was even more beautiful than was anticipated. The grace, delicacy, and tenderness with which her little people were created impressed one in an entire collection as no single book or picture could do.

It has been said that "Kate Greenaway dressed the children of two continents," and, indeed, her revival of the costumes of a hundred years ago was delightful for the children and for everybody who saw them.

Among her papers after her death many verses were found. Had she lived she would doubtless have acquired the courage to give them to the world. She was shy of strangers and the public; had few intimates, but of those few was very fond; the charm of her character was great--indeed, her friends could discover no faults in her; her personality and presence were as lovely to them as were her exquisite flowers.

GREENE, MARY SHEPARD. Third-class medal, 1900, second-class medal, 1902, at Salon des Artistes Français. Her picture of 1902 is thus spoken of in _Success_, September of that year:

"'Une Petite Histoire' is the title of Miss Mary Shepard Greene's graceful canvas. The lithe and youthful figure of a girl is extended upon a straight-backed settle in somewhat of a Récamier pose. She is intently occupied in the perusal of a book. The turn of the head, the careless attitude, and the flesh tints of throat and face are all admirably rendered. The diaphanous quality of the girlish costume is skilfully worked out, as are also the accessories of the room. Miss Greene's work must commend itself to those who recognize the true in art. Technical dexterity and a fine discrimination of color are attributes of this conscientious artist's work. She has a rare idea of grace and great strength of treatment.

"Miss Greene's canvas has a charm all its own, and is essentially womanly, while at the same time it is not lacking in character. Hailing from New England, her first training was in Brooklyn, under Professor Whittaker, from whom she received much encouragement. Afterward she came under the influence of Herbert Adams, and, after pursuing her studies with that renowned artist, she went to Paris, where she was received as a pupil by Raphael Collin. She has exhibited at Omaha, Pittsburg, and at the Salon. Her first picture, called 'Un Regard Fugitif,' won for her a medal of the third class."

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GREY, MRS. EDITH F. Member of the Society of Miniaturists, Royal Institute of Painters in Water-Colors, Bewick Club, and Northumbrian Art Institute, Newcastle-on-Tyne. Born at the last-named place, where she also made her studies in the Newcastle School of Art, and later under private masters in London.

Mrs. Grey has exhibited miniatures and pictures in both oils and water-colors at the Royal Society of British Artists, the Royal Academy, the Royal Institute of Painters in Water-Colors, and the exhibitions at Liverpool, Manchester, and York. Since 1890 she has continuously exhibited at the Academy of the Royal Institute, London, except in 1895 and 1902.

Mrs. Grey was fortunate in having the first picture she sent to London sold, and has continued to find purchasers for her exhibited works, which are now in many private collections and number about one hundred and fifty. "Empty," a child study in oils, 1897, and a water-color, "A Silver Latch," 1900, are among her important works.

To the Academy Exhibition, 1903, she sent a picture of "Nightfall, Cullercoats," and a portrait of "Lily, daughter of Mrs. J. B. Firth."

GUILD, MRS. CADWALLADER. I quote from the Boston _Transcript_ a portion of an article relative to this sculptor, some of whose works were exhibited in Boston in 1903:

"In spite of the always suspected journalistic laudations of Americans abroad, in spite of the social vogue and intimacy with royalty which these chronicle, the work of Mrs. Guild shows unmistakable talent and such a fresh, free spirit of originality that one can almost accept the alleged dictum of Berlin that Mrs. Guild 'is the greatest genius in sculpture that America has ever had.'

"The list of Mrs. Guild's works executed abroad include a painting belonging to the very beginning of her career, of still-life in oils, which was accepted and well hung at the Royal Academy in London; but it is in Berlin that she has been especially successful. To her credit there are: A bust of her royal highness the Princess Christian of Schleswig-Holstein; Mr. Gladstone, in marble and bronze; G. F. Watts, in bronze, for the 'Permanent Manchester Art Exhibition'; Mr. Peter Brotherhood, inventor of a torpedo engine, in marble and bronze, which held the place of honor at the Royal Academy the year of its exhibition; Princess Henry of Prussia, in marble; her highness Princess Helena of Saxe-Altenburg; his excellency the Baron von Rheinbaben, minister of finance; his excellency Dr. Studt, minister of education in art; Prof. Dr. Henry Thode, of the Heidelberg University; Hans Thoma and Joachim, the violinist; Felix Weingartner; statuette of her royal highness Princess Henry with her little son Prince Henry."

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GUNTHER-AMBERG, JULIE. Born in Berlin, 1855. Daughter and pupil of Wilhelm Amberg; later she studied under Gussow. She painted attractive scenes of domestic life, the setting for these works often representing a landscape characteristic of the shore of the Baltic Sea. Among these pictures are "Schurr-Meer," "The Village Coquette," "Sunday Afternoon," "At the Garden Gate," and "Harvest Day in Misdroy." In 1886 this artist married Dr. Gunther, of Berlin.

GUYON, MAXIMILIÈNNE. Medal of third class, Paris salon, 1888; honorable mention and medal of third class at Exposition Universelle, 1889; travelling purse, 1894--first woman to whom the purse was given; bronze medal, Paris Exposition, 1900; gold medal at Exposition of Black and White, Paris; medal in silver-gilt at Amiens. Mme. Guyon is hors concours at Lyons, Versailles, Rouen, etc. Member of the Société des Artistes Français, Société des Aquarellistes Français, and of the Société des Prix du Salon et Boursiers de Voyage. Born at Paris. Pupil of the Julian Academy under Robert-Fleury, Jules Lefebvre, and Gustave Boulanger.

Mme. Guyon is a successful portrait painter, and her works are numerous. Among her pictures of another sort are the "Violinist" and "The River." In the Salon des Artistes Français, 1902, she exhibited two portraits. In 1903 she exhibited "Mending of the Fish Nets, a scene in Brittany," and "A Study." The net-menders are three peasant women, seated on the shore, with a large net thrown across their laps, all looking down and working busily. They wear the white Breton caps, and but for these--in the reproduction that I have--it seems a gloomy picture; but one cannot judge of color from the black and white. The net is well done, as are the hands, and the whole work is true to the character of such a scene in the country of these hard-working women.

Mme. Guyon is much esteemed as a teacher. She has been an instructor and adviser to the Princess Mathilde, and has had many young ladies in her classes.

In her portraits she succeeds in revealing the individual characteristics of her subjects and bringing out that which is sometimes a revelation to themselves in a pronounced manner. Is not this the key to the charm of her works?

HAANEN, ELIZABETH ALIDA--MME. KIERS. Member of the Academy of Amsterdam, 1838. Born in Utrecht. 1809-1845. Pupil of her brother, Georg G. van Haanen. The genre pictures by this artist are admirable. "A Dutch Peasant Woman" and "The Midday Prayer of an Aged Couple" are excellent examples of her art and have been made familiar through reproductions.

HALE, ELLEN DAY. Medal at exhibition of Mechanics' Charitable Association. Born in Worcester, Massachusetts. Pupil of William M. Hart and of Dr. Rimmer, in Boston, and of the Julian Academy, Paris.

Her principal works are decorative. The "Nativity" is in the South Congregational Church, Boston; "Military Music," decorative, is in Philadelphia. She also paints figure subjects.

HALLOWELL, MAY. See Loud.

HALSE, EMMELINE. This artist, when in the Royal Academy Schools, was awarded two silver medals and a prize of £30. Her works have been accepted at the Academy Exhibitions since 1888, and occasionally she has sent them to the Paris Salons. Born in London. Studied under Sir Frederick Leighton, at Academy Schools, and in Paris under M. Bogino.

Miss Halse executed the reredos in St. John's Church, Notting Hill, London; a terra-cotta relief called "Earthward Board" (?) is in St. Bartholomew's Hospital, London; a relief, the "Pleiades," was purchased by the Corporation of Glasgow for the Permanent Exhibition; her restoration of the "Hermes" was placed in the British Museum beside the cast from the original.

This artist has made many life-size studies of children, portraits in marble, plaster, and wax, in all sizes, poetical reliefs, and tiny wax figures.

HAMMOND, GERTRUDE DEMAIN. Several prizes at the School of the Royal Academy, 1886, 1887, and in 1889 the prize for decorative design; bronze medal at Paris Exposition in 1900. Member of Institute of Painters in Water-Colors. Born at Brixton. After gaining the prize for decorative design Miss Hammond was commissioned to execute her design, in a public building. This was the third time that such a commission was given to a prize student, and the first time it was accorded to a woman.

More recently Miss Hammond has illustrated books and magazines; in 1902 she illustrated the "Virginians" in a new American edition of Thackeray's novels. At the Academy, 1903, she exhibited "A Reading from Plato."

HARDING, CHARLOTTE. George W. Childs gold medal at Philadelphia School of Design for Women; silver medal at Women's Exposition, London, 1900. Born in Newark, New Jersey, 1873. Pupil of Philadelphia Academy of Fine Arts and School of Design for Women. In the latter was awarded the Horstman fellowship. Miss Harding is an illustrator whose works are seen in a number of the principal magazines.

HART, LETITIA B. Dodge prize, National Academy of Design, 1898. Born in New York, 1857. Pupil of her father, James M. Hart, and Edgar M. Ward.

Her principal works are "The Keepsake," "Unwinding the Skein," "In Silk Attire," and "The Bride's Bouquet."

HAVENS, BELLE. Awarded third Hallgarten prize at National Academy of Design, winter of 1903. Born in Franklin County, Ohio. Studied at Art Students' League, New York, and at Colarossi Atelier, Paris. In New York Miss Havens was directed by William Chase, and by Whistler in Paris. In Holland she studied landscape under Hitchcock, and a picture called "Going Home" was accepted at the Salon and later exhibited at the Philadelphia Academy; it is owned by Mr. Caldwell, of Pittsburg.