Angelica was moved to confide the secret of her marriage
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WOMEN IN THE FINE ARTS 185
to the Queen. Until this time no one save her father had
known of it.
Her Majesty, who loved Angelica, expressed her sur-
prise and interest and desired that Count de Horn should
appear at Court. By this means the deceit which had
been practised was discovered, and the Queen, as gently
as possible, told Angelica the truth. At first she felt
that though her husband was not the Count de Horn and
had grossly deceived her, he was the man she had mar-
ried and the vows she had made were binding. But it
was soon discovered that the villain had a living wife
when he made his pretended marriage with Angelica, who
was thus released from any consideration for him. This
was a time to prove the sincerity of friends, and Angelica
was comforted by the steadfastness of those who had
devoted themselves to her in her hapiner days. Sir
Joshua Reynolds was untiring in his friendly offices for
her and for her helpless old father.
There were as many differing opinions in regard to
Angelica Kauff man, the woman, as in regard to the qual-
ity of her art. Some of her biographers believed her to
be perfectly sincere and uninfluenced by flattery. NoUe-
kens takes another view; he calls her a coquette, and,
among other stories, relates that when in Rome, " one
evening she took her station in one of the most conspicu-
ous boxes in the theatre, accompanied by two artists,
both of whom, as well as many others, were desperately
enamoured of her. She had her place between her two
adorers, and while her arms were folded before her in
front of the box, over which she leaned, she managed to
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i86 WOMEN IN THE FINE ARTS
clasp a hand of both, so that each imagined himself the
cavalier of her choice."
When Angelica could rise above the unhappiness and
mortification of her infatuation for the so-called De Horn,
she devoted herself to her art, and during twelve years
supported her father and herself and strengthened the
friendships she had gained in her adopted land. At
length, in 1781, her father's failing health demanded their
return to Italy; and now, when forty years old, she mar-
ried Antonio Zucchi, an artist who had long loved her and
devoted himself to her and to her father with untiring
affection.
The old Kauffman lived to visit his home m Schwarzen-
burg and to reach Southern Italy, but died soon after.
Signor Zucchi made his home in Rome. He was a
member of the Royal Academy, London, and was in full
sympathy with his wife in intellectual and artistic pursuits
and pleasures. De Rossi says : " It was interesting to see
Angelica and her husband before a picture. While Zucchi
spoke with enthusiasm Angelica remained silent, fixing
her eloquent glance on the finest portions of the work.
In her countenance one could read her emotions, while
her observations were limited to a few brief words.
These, however, seldom expressed any blame — only the
praises of that which was worthy of praise. It belonged
to her nature to recognize the beauty alone — as the bee
draws honey only out of every flower."
Her home in Rome was a centre of attraction to the
artistic and literary society of the city, and few persons of
note passed any time there without being presented to
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WOMEN IN THE FINE ARTS 187
her. Goethe and Herder were her friends, and the former
wrote: "The good Angelica has a most remarkable, and
for a woman really unheard-of, talent; one must see and
value what she does and not what she leaves undone.
There is much to learn from her, particularly as to work,
for what she effects is really marvellous." In his work
called " Winckelmann and His Century," Goethe again
said of her: "The light and pleasing in form and color,
in design and execution, distinguish the numerous works
of our artist. No living painter excels her in dignity or
in the delicate taste with which she handles the pencil."
In the midst of the social demands on her time in
Rome, she contmued to devote herself to her art, and
Signor Zucchi, hoping to beguile her into idleness, pur-
chased a charming villa at Castel Gondolfo; but in spite
of its attractions she was never content to be long away
from Rome and her studio.
Thus in her maturer years her life flowed on in a full
stream of prosperity imtil, in 1795, Signor Zucchi died.
Angelica survived him twelve years — ^years of deep sad-
ness. Not only was her personal sorrow heavy to bear,
but the French invasion of her beloved Italy disquieted
her. Hoping to regain her usual spirits, she revisited the
scenes of her youth and remained some time in Venice
with the family of Signor Zucchi. Returning to Rome
she resumed her accustomed work, so far as her health
permitted.
She held fast to the German spirit through all the
changes in her life, with the same determination which
made it possible, in her strenuous labors, to retain her
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i88 WOMEN IN THE FINE ARTS
gentle womanliness. Just before she died she desired to
hear one of Gellert's spiritual odes.
She was buried in Sant' Andrea dei Frati, beside her
husband. All the members of the Academy of St. Luke
attended her obsequies, and her latest pictures were borne
in the funeral procession. Her bust was placed in the
Pantheon, and every proper tribute and honor were paid
to her memory in Rome, where she was sincerely mourned.
Although Angelica lived and worked so long in Lon-
don and was one of the thirty-six original members of the
Royal Academy, I do not think her best pictures are in
the public galleries there. Of course many of the por-
traits painted in London are in private collections. Her
pictures are seen in all the important galleries of Europe.
Her etchings, executed with grace and spirit, are much
esteemed and sell for large prices. Engravings after
her works by Bartolozzi are most attractive; numerouis
as they were, good prints of them are now rare and
costly.
She painted several portraits of herself; one is in the
National Portrait Gallery, London, one at Munich, and a
third in the Uffizi, Florence. The last is near that of
Madame Le Brun, and the contrast between the two is
striking. Angelica is still young, but the expression of
her face is so grave as to be almost melancholy; she is
sitting on a stone in the midst of a lonely landscape; she
has a portfolio in one hand and a pencil in the other, and
so unstudied is her pose, and so lacking in any attempt to
look her best, that one feels that she is entirely absorbed
in her work. The Frenchwoman could not forget to be
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WOMEN IN THE FINE ARTS 189
interesting; Angelica was interesting with no thought of
being so.
I regard three works by this artist, which are in the
Dresden Cjallery,as excellent examples of her work; they
are "A Young Vestal," "A Young Sibyl," and "Ariadne
Abandoned by Theseus."
On the margin of one of her pictures she wrote: "I
will not attempt to express supernatural things by human
inspiration, but wait for that till I reach heaven, if there
is painting done there."
In 1784 Angelica Kauffman painted "Servius TuUius
as a Child" for the Czar of Russia; in 1786 "Hermann
and Thusnelda " and " The Funeral of Pallas " for Joseph
II. These are now in the Vienna Gallery. Three pict-
ures, "Virgil Reading the iEneid to the Empress Oc-
tavia," "Augustus Reading Verses on the Death of Mar-
cellus," and "Achilles Discovered by Ulysses, in Female
Attire," were painted for Catherine II. of Russia. " Re-
ligion Surrounded by Virtues," 1798, is in the National
Gallery, London. A " Madonna " and a " Scene from the
Songs of Ossian " are in the AschafFenburg Gallery. A
" Madonna in Glory " and the " Women of Samaria," 1799,
are hi the New Pinakothek, Munich, where is also the
portrait of Louis I. of Bavaria, as Crown Prince, 1805.
The " Farewell . of Abelard and Heloise," together with
other works of this artist, are in the Hermitage, St. Peters-
burg. A "Holy Family," and others, in the Museo
Civico, Venice. "Prudence Warning Virtue against
Folly," in the Pennsylvania Academy, Philadelphia. Por-
traits of Winckelmann in the Stadel Institute, Frankfort,
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I90 WOMEN IN THE FINE ARTS
and in the Zurich Gallery. Portrait of a Lady, Stuttgart
Museum; the Duchess of Brunswick, Hampton Court
Palace; the architect Novosielski, National Gallery, Edin-
burgh. In addition to the portraits of herself mentioned
above, there are others in Berlin Museum, the Old Pina-
kothek, Munich, the Ferdinandeum, Innsbruck, and in
the Philadelphia Academy.
Eaulai Mrs. Lee Lufkin. Member of the Woman's
Art Club, New York. Bom in Erie, Pennsylvania. Pu-
pil in New York of Charles Melville Dewey and the
Metropolitan Art Schools ; in Paris, during three years,
pupil of Girardot, Courtois, the Colarossi Academy, and
of Aman-Jean.
Mrs. Kaula is essentially a portrait painter, although
she occasionally paints figure subjects. Her portraits
are in private hands in various cities, and her works
have been exhibited in Paris, New York, Philadelphia,
Chicago, Boston, etc. She paints in both oil and water-
colors.
Eayser, Ebba. Medals in Vienna, Dresden, and Co-
logne for landscapes and flower pieces. Bom in Stock-
holm, 1846. When twenty years old she went to Vienna,
where she studied under Rieser, Geyling, and Karl Han-
nold. She did not exhibit her works until 1881, since
when she has been favorably known, especially in Aus-
tria. A water-color of a " Mill near Ischl " and several
other pictures by this artist have been purchased for the
Imperial Collections.
Keith, Dora Wheeler.
[No reply to circular.]
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WOMEN IN THE FINE ARTS 191
Eemp-Welchy Lucy Elizabeth. Fellow and Associate
of Herkomer School, and member of the Royal So-
ciety of British Artists. Bom at Bournemouth, 1869.
Has exhibited annually at the Royal Academy suice
1894. In 1897 her picture of "Colt Hunting in the
New Forest " was purchased by the trustees of the Chan-
trey Bequest; in 1900 that of "Horses Bathing in the
Sea " was bought for the National Gallery at Victoria.
In 1901 she exhibited " Lord Dundonald's Dash on Lady-
smith."
In July, 1903, in his article on the Royal Academy
Exhibition, the editor of the Magazine of Art^ in enumer-
ating good pictures, mentions : " Miss Lucy Kemp-Welch's
well-studied * Village Street ' at dusk, and her clever * In-
coming Tide,' with its waves and rocks and its dipping,
wheeling sea gulls."
Mr. Frederick Wetmore, in writing of the Spring Ex-
hibition of the Royal Painter Etchers, says : " Miss Kemp-
Welch, whose best work, so delicate that it could only lose
by the reduction of a process block, shows the ordinary
English country, the sign-post of the crossways, and the
sheep along the lane."
\No reply to circular^
Eendelly Marie von. Bom in Lannicken, 1838. Pupil
of Pape, Otto von Kameke, and Dressier. She travelled
in England, Italy, and Switzerland, and many of her
works represent scenes in these countries. In 1882 she
painted the Cadinen Peaks near Schluderbach, in the
Ampezzo Valley. At the exhibition of the Women Ar-
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192 WOMEN IN THE FINE ARTS
tists in Berlin, 1892, she exhibited two mountain land-
scapes and a view of " Clovelly in Devonshire." The last
was purchased by the Emperor. To the same exhibition
in 1894 she contributed two Swiss landscapes, which were
well considered.
Kiellandy Kitty. Sister of the famous Norwegian novel-
ist, Alexander Kielland. Her pictures of the forests and
fjords of Norway are the best of her works and painted
con amore. Recently she exhibited a portrait which was
much praised and said to be so fresh and lifelike in treat-
ment, so flexible and vivacious in color, that one is invol-
untarily attracted by it, without any knowledge of the
original.
E[illegrew, Anne. Was a daughter of Dr. Henry Kille-
grew, a prebendary of Westminster Cathedral. Anne
was bom in 1660, and when still quite young was maid of
honor to the Duchess of York, whose portrait she painted
as well as that of the future King James 11. She also
painted historical subjects and still-life.
One of her admirers \vrote of her as "A grace for
beauty and a muse for wit." A biographer records her
death from smallpox when twenty-five years old, " to the
unspeakable reluctancy of her relatives." She was buried
in the Savoy Chapel, now a "Royal Peculiar," and a
mural tablet set forth her beauty, accomplishments, graces,
and piety in a Latin inscription.
Anne Killigrew was notable for her poetry as well as
for her painting. Dryden wrote an ode in her memory
which Dr. Johnson called " the noblest our language has
produced." It begins: "Thou youngest virgin daugh-
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WOMEN IN THE FINE ARTS 193
ter . of the skies." After praising her poetry Dryden
wrote :
" Her pencil drew whatever her soul designed,
And oft the happy draught surpassed the image of her mind.*
Of her portrait of James II. he says:
" For, not content to express his outward part,
Her hand called out the image of his heart;
His warlike mind— his soul devoid of fear —
His high designing thoughts were figured there.*
Having repeated these panegyrics^ it is but just to add
that two opinions existed concerning the merit of Mis-
tress Killigrew's art and of Dryden's ode, which another
critic called "a harmonious hyperbole, composed of the
Fall of Adam — Arethusa — Vestal Virgins — Dian — Cupid
— Noah's Ark — the Pleiades — the fall of Jehoshaphat— •
and the last Assizes."
Anthony Wood, however, says: "There is nothing
spoken of her which she was not equal to, if not superior,
and if there had not been more true history in her praises
than compliment, her father never would have suffered
them to pass the press."
Eindty Adele. This painter of history and of genre
subjects won her first prize at Ghent when less than
twenty-two, and received medals at Douai, Cambrai,
Ghent, and Brussels before she was thirty-two. Was
made a member of the Brussels, Ghent, and Lisbon Acad-
emies. Bom in Brussels, 1805. Pupil of Sophie Frimiet
and of Navez. Her picture of the " Last Moments of
Egmont " is in the Ghent Museum ; among her other
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194 WOMEN IN THE FINE ARTS
historical pictures are "Melancthon Predicting Prince
Willem's Future" and "Elizabeth Sentencing Mary
Stuart," which is in the Hague Museum. The " Obsti-
nate Scholar " and " Happier than a King " are two of her
best genre pictures.
King, Jessie M. A most successful illustrator and de-
signer of book-covers, who was educated as an artist in the
Glasgow School of Decorative Art. In this school and
at that of South Kensington she was considered a failure,
by reason of her utterly unacademic manner. She did
not see things by rule and she persistently represented
them as she saw them. Her love of nature is intense,
and when she illustrated the " Jungle Book " she could
more easily imagine that the animals could speak a lan-
guage that Mowgli could understand, than an academic
artist could bring himself to fancy for a moment. Her
work is full of poetic imagination, of symbolism, and of
the spirit of her subject.
Walter P. Watson, in a comprehensive critique of her
work, says : " Her imaginations are more perfect and more
minutely organized than what is seen by the bodily eye,
and she does not permit the outward creation to be a
hindrance to the expression of her artistic creed. The
force of representation plants her imagined figures before
her; she treats them as real, and talks to them as if they
were bodily there; puts words in their mouths such as
they should have spoken, and is affected by them as by
persons. Such creation is poetry in the literal sense of
the term, and Miss King's dreamy and poetical nature
enables her to create the persons of the drama, to invest
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WOMEN IN THE FINE ARTS 195
them with appropriate figures, faces, costumes, and sur-
roundings; to make them speak after their own charac-
ters."
Her important works are in part the illustrations of
" The Little Princess," " The Magic Grammar," " La Belle
Dame sans Merci," "L'Evangile de TEnfance," "The
Romance of the Swan's Nest," etc.
She also makes exquisite designs for book-covers, which
have the spirit of the book for which they are made so
xlearly indicated that they add to the meaning as well as
to the beauty of the book.
[No reply to circular,']
Eirchsbergy Ernestine von. Medal at Chicago Expo-
sition, 1893. Bom in Verona, 1857. Pupil of Schaffer
and Damaut. This artist has exhibited in Vienna since
1 881, and some of her works have been purchased for the
royal collection. Her landscapes, both in oil and water-
colors, have established her reputation as an excellent
artist, and she gains the same happy effects in both me-
diums. Her picture shown at Chicago was "A Peasant
Home in Southern Austria."
Eirschnery Marie. Bom at Prague, 1852. Pupil of
Adolf Lier in Munich, and Jules Duprd and Alfred
Stevens in Paris. In 1883 she travelled in Italy, and has
had her studio in Berlin and in Prague. The Rudolfinum
at Prague contains her " Village TuUeschitz in Bohemia."
She is also known by many flower pieces and by the
" Storm on the Downs of Heyst," " Spring Morning," and
a " Scene on the Moldau."
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196 WOMEN IN THE FINE ARTS
Eitsoiii Mrs. H. H. Honorable mention, Paris Ex-
position, 1889; and the same at Paris Salon, 1890;
two medals from Massachusetts Charitable Associa-
tion; and has exhibited in all the principal exhibitions
of the United States. Bom in Brookline. Pupil of her
husband, Henry H. Kitson, and of Dagnan-Bouveret in
Paris.
The women of Michigan commissioned Mrs. Kitson to
make two bronze statues representing the woods of their
State for the Columbian Exhibition at Chicago. Her
principal works are the statue of a volunteer for the Sol-
diers' Monument at Newburyport; Soldiers' Monument
at Ashbumham ; Massachusetts State Monument to 29th,
35th, and 36th Massachusetts Volunteer Infantry at Na-
tional Military Park at Vicksburg; also medallion por-
traits of Generals Dodge, Ransom, Logan, Blair, Howard,
A. J. Smith, Grierson, and McPherson, for the Sherman
Monument at Washington.
[No reply to circular^
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 Expo-
sition, 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
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PORTRAIT OF ROSA BONHEUR
ANNA E. KLUMPKE
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WOMEN IN THE FINE ARTS 197
given at the annual Portrait Concours, between the men
and women students of the above Academy.
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 por-
traits, 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: "Longfel-
low's thought, * Your purpose in life must be to accom-
plish 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 de-
voted to copying " Le Labourage Nivemais," 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 intelhgence, cheerful-
ness, 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 intro-
duction to me from Madame Bouguereau. It proved to
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198 WOMEN IN THE FINE ARTS
be tMiss 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 sur-
prise 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 Bon-
heur. She says: "This biography consists of reminis-
cences 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 Fran^ais, 1903, Miss Klumpke
exhibited a picture called " Maternal Afifection."
Knoblochy Gertrude. Bom 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."
Kollocki Mary. Bom at Norfolk, Virginia, 1840. Stud-
ied 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 Acad-
emy, New York. Several of these were scenes about
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WOMEN IN THE FINE ARTS 199
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
"Hutsby the Water."
Komlosiy Irma. Bom in Prague, 1850. Pupil of
Friederich Sturm. This iBower 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 Brunn, Prague, and Budapest.
Kondelkai Baroness Pauline von — Frau von Schmer-
ling. Bom at Vienna. 1 806-1 840. 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.
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200 WOMEN IN THE FINE ARTS
Koneki Ida. Bom at Budapest, 1856. Her early art
studies were under G. Vastagh, C. von Telepy, W. Lin-
denschmit, and Munkdcsy ; later she was a pupil at the
Julian Academy in Paris and the Scuola libera in Flor-
ence. In the Parish Church at Kobolkut 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.
Eora or CallirhoS. 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.