L. Cogniet in Paris, and later in Italy. She returned to
Berlin, where she painted portraits and genre subjects.
Her picture of the " Grandmother telling Stories " is in
the Museum of Stettin. Among her works are " An
Artist's Travels " a " German Emigrant," and " School
Vonnoh) Bessie Potter. Bronze medal, Paris Expo-
sition, 1900; Second Prize at Tennessee Centennial.
Honorable mention at Buffalo Exposition, 1901. Mem-
ber of the National Sculpture Society and National Arts
Club. Bom in St. Louis, Missouri, 1872.
This sculptor is a pupil of the Art Institute, Chicago.
Among her best works are "A Young Mother "; "Twin
Sisters"; "His First Joumey "; "Giri Reading," etc.
In the Century Magaziney September, 1897, Arthur
Hoeber wrote: "There were shown at the Society of
American Artists in New York, in the Spring of 1896,
some statuettes of graceful young womanhood, essentially
modem in conception, singularly naive in treatment, re-
WOMEN IN THE FINE ARTS 353
fined, and withal intensely personal. . . . While the dis-
closure is by no means novel, Miss Potter makes us aware
that in the daily prosaic life about us there are possibilities
conventional yet attractive, simple, but containing much
of suggestion, waiting only the sympathetic touch to be
responsive if the proper chord is struck."
This author also notices the affiliation of this young
woman with the efforts of the Tanagra workers, and says :
" But if the inspiration of the young woman is evident,
her work can in no way be called imitative."
Vos, Maria. Born in Amsterdam, 1824. Pupil of P.
Kiers. Her pictures were principally of still-life, two of
which are seen in thq Amsterdam Museum.
Wagner, Maria Dorothea; family name Dietrich.
1 728-1 792. The gallery of Wiesbaden has two of her
landscapes, as has also the Museum at Gotha. " Der Miih-
lengrund," representing a valley with a brook and a mill,
is in the Dresden Gallery.
Ward, Miss E. This sculptor has a commission to
make a statue of G. R. Clark for the St. Louis Exposition.
[No reply to circular^
Ward, Henrietta Mary Ada. Gold and silver medals
at the Crystal Palace; bronze medal at the Vienna Expo-
sition, 1873. Bom in Newman Street, London, when that
street and the neighborhood was the quarter in which the
then celebrated artists resided. Mrs. Ward was a pupil
of the Bloomsbury Art School and of Sak's Academy.
Her grandfather, James Ward, was a royal Academician,
and one of the best animal painters of England. While
354 WOMEN IN THE FINE ARTS
Sir Thomas Lawrence lived, Mrs. Ward's father, who was
a miniaturist, was much occupied in copying the works of
Sir Thomas on ivory, as the celebrated portrait painter
would permit no other artist to repeat them. After the
death of Sir Thomas, Mr. Ward became an engraver.
Her mother was also a miniature painter. Her great-
uncles were William Ward, R.A., and George Morland;
John Jackson, R.A., vras her uncle; and her husband,
Edward M. Ward, to whom she was married at sixteen,
was also a Royal Academican.
From 1849, Mrs. Ward exhibited at the Royal Academy
during thirty years, without a break, but her husband's
death caused her to omit some exhibitions, .and since that
time her exhibits have been less regular. For some years
Mrs. Ward has had successful classes for women at Ches-
ter Studios, which have somewhat interfered with her
Mrs. Ward's subjects have been historical and genre,
some of which are extensively known by prints after
them. Among these are " Joan of Arc," " Palissy the
Potter,." and ** Mrs. Fry and Mary Saunderson visiting
Prisoners at Newgate," the last dedicated by permission
to Queen Victoria. This picture was purchased by an
Of her picture of " Mary of Scotland, giving her infant
to the Care of Lord Mar," Palgrave wrote : " This work
is finely painted, and tells its tale with clearness."
Among her numerous works are: "The Poet Hogg's
First Love " ; " Chatterton," the poet, in the Muniment
Room, Bristol; "Lady Jane Grey refusing the Crown of
WOMEN IN THE FINE ARTS 355
England " ; " Antwerp Market" ; " Queen Mary of Scots'
farewell to James I."; "Washing Day at the Liverpool
Docks " ; " The Princes in the Tower " ; " George III. and
Mrs. Delayney, with his family at Windsor " ; " The Young
Pretender," and many others.
When sixteen Mrs. Ward exhibited two heads in crayon.
In 1903, at the Academy, she exhibited "The Dining-
room, Kent House, Knightsbridge." Mrs. Ward painted
for Queen Victoria two portraits of the Princess Beatrice,
and a life-size copy of a portrait of the Duke of Albany.
She also painted a portrait of Princess Alice of Albany,
who is about to marry Prince Alexander of Teck.
Edward VII. has commissioned this artist to make two
copies of the state portrait, painted by S. Luke Fildes,
Mrs. Ward had two more votes for her admission to the
Royal Academy than any other woman of her time has
Wassail Anna. Bom at Zurich, 1676, is notable among
the painters of her country. She was the daughter of an
artist, and early developed a love of drawing and. an un-
usual aptitude in the study of languages. In painting she
was a pupil of Joseph Werner. After a time she devoted
herself to miniature painting; her reputation extended
to all the German courts, as well as to Holland and Eng-
land, and her commissions were so numerous that her
father began to regard her as a mine of riches. He al-
lowed her neither rest nor recreation, and was even un-
willing that she should devote sufficient time to her pict-
ures to finish them properly. Under this pressure of
3S6 WOMEN IN THE FINE ARTS
haste and constant labor her health gave way and she be-
She was separated from her father, and in more agree-
able surroundings her health was restored and she re-
sumed her painting. Her father then insisted that she
should return to him. On her journey home she had a
fall, from the effects of which she died at the age of
Fuseli valued a picture by Anna Wasser, which he
owned, and praised her correctness of design and her feel-
ing for color.
Waters, Sadie P. 1869-1900. Honorable mention
Paris Exposition, 1900. Born in St. Louis, Missouri.
This unusually gifted artist made her studies entirely in
Paris, under the direction of M. Luc-Olivier Merson.
Her earlier works were portraits in miniature, in which
she was very successful. That of Jane Hading was much
admired. She also excelled in illustrations, but in her
later work she found her true province, that of religious
subjects. A large picture on ivory, called " La Vierge au
Lys," was exhibited in Paris, London, Brussels, and
Ghent, and attracted much attention.
Her picture of the "Vierge aux Rosiers," reproduced
here, was in the Salon, 1899, and in the exhibition of
Religious Art in Brussels in 1900, after which it was
exhibited in New York; and wherever seen it was espe-
Miss Waters* pictures were exhibited in the Salon Fran-
gais, Champs Elystes, from 1 891 until her death. From the
earliest days of childhood she was remarkable for her skill
Copyright by Braiin. Clement & Co.
LA VIERGE All ROSIER
Digitized by VjOOQIC
Digitized by VjOOQIC
WOMEN IN THE FINE ARTS 357
in drawing and in working out, from her own impressions,
pictures of events passing about her. If at the theatre
she saw a play that appealed to her, she made a picture
symbolic of the play, and constantly startled her friends
by her original ideas and the pronounced artistic tempera-
ment, which was very early the one controlling power in
her life. Mr. Carl Gutherz thus speaks of her good for-
tune in studying with M. Merson.
"As the Master and Student became more and more
acquainted, and the great artist found in the student those
kindred qualities which subsequently made her work so
refined and beautiful, ... he took the utmost care in
developing her drawing — the fidelity of line and of ex-
pression, and the ever-pervading purity in her work.
The sympathy with all good was reflected in the student,
as it was ever present with the master, and only those
who are acquainted with M. Merson can appreciate how
fortunate it was for Art that the young artist was under
a master of his character and temperament."
One of her pictures, called " La Chrysanthfeme,'* repre-
sents a nude figure of a young girl, seated on the ground,
leaning against a large basket of chrysanthemums, from
which she is plucking blossoms. The figure is beautiful,
and shows the deep study the artist had made, although
still so young.
The following estimate of her work is made by one
competent to speak of such matters: "In this epoch of
feverish uncertainty, of heated discussions and rivalries in
art matters, the quiet, calm figure of Sadie Waters has a
peculiar interest and charm generated by her tranquil and
358 WOMEN IN THE FINE ARTS
persistent pursuit of an ideal — an ideal she attained in her
later works, an ideal of the highest mental order, mystical
and human, and so far removed from the tendencies of
our time that one might truthfully say, it stands alone.
Her talents were manifold. She was endowed with the
best of artistic qualities. She cultivated them diligent-
ly, and slowly acquired the handicraft and skill which en-
abled her to express herself without restriction. In her
miniatures she learned to be careful, precise, and delicate;
in her work from nature she was human; aJid in her
studies of illuminating she gained a perfect understanding
of ornamental painting and forms; and the subtle am-
biance of the beautiful old churches and convents where
she worked and pored over the ancient missals, and softly
talked with the princely robed Monsignori, no doubt did
much to develop her love for the Beautiful Story, the
delicate myth of Christianity — and all this, all these rare
qualities and honest efforts we find in her last picture,
"The beauty and preciseness of this composition, the
divine feeling not without a touch of motherly sentiment,
its delicacy so rare and so pure, the distinction of its color-
ing, are all past expression, and give it a place unique in
the nineteenth century." — Paul W. Bartlett^ Paris,
Wegmaniii Bertha. Honorable mention, Paris Salon,
1880; third-class medal, 1882; Thorwaldsen medal at
Copenhagen; small gold medal, Berlin, 1894. Bom at
Soglio, Switzerland, 1847. Studied in Copenhagen, Mu-
nich, Paris, and Florence.
WOMEN IN THE FINE ARTS 359
She paints portraits and genre subjects. Her pictures,
seen at Berlin in 1893, were much admired. They in-
cluded portraits, figure studies, and Danish interiors. At
Munich, in 1894, her portraits attracted attention, and
were commended by those who wrote of the exhibition.
Among her works are many portraits : " Mother and Child
in the Garden," and "A Widow and Child," are two of
her genre subjects.
Weis, Rosario. Silver medal from the Academy of
San Fernando, 1842, for a picture called "Silence."
Member of the Academy. Pupil of Goya, who early rec-
ognized her talent. In 1823, when Goya removed to Bur-
deos, she studied under the architect Tiburcio Perez.
After a time she joined Goya, and remained his pupil
until his death in 1828. She then entered the studio
Lacour, where she did admirable work. In 1833, for the
support of her mother and herself, she made copies of
pictures in the Prado on private commissions.
In 1842 she was appointed teacher of drawing to the
royal family, in which position she did not long continue,
her death occurring in 1843.
Among her pictures are " Attention ! " an allegorical
figure; "An Angel"; "A Venus"; and "A Diana."
Among her portraits are those of Goya, Velasquez, and
Wiegmanni Marie Elisabeth; family name Hancke.
Small gold medal, Berlin. Bom 1826 at Solberberg,
Silesia; died, 1893, at Diisseldorf. In 1841 she began to
study with Stilke in Diisseldorf; later with K. Sohn.
She travelled extensively in Germany, England, Holland,
36o WOMEN IN THE FINE ARTS
and Italy, and settled with her husband, Rudolph Wieg-
mann, in Diisseldorf. In the Museum at Hanover is
"The Colonist's Children Crowning a Negro Woman,"
and in the National Gallery at Berlin a portrait of
Schnaase. Some children's portraits, and one. of the
Countess Hatzfeld, should also be mentioned among her
In portraiture her work was distinguished by talent,
spirit, and true artistic composition; in genre — especially
the so-called ideal genre — she produced some exquisite
Wentworth, Marquise Cecilia de. Gold medal, Tours
National Exposition, Lyons and Turin; Honorable men-
tion, Paris Salon, 1891; Bronze medal, Paris Exposition,
1900; Chevalier of the Legion of Honor, 1901. Born in
New York. Pupil of the Convent of the Sacred Heart
and of Cabanel, in Paris. This artist has painted por-
traits of Leo XIII., who presented her with a gold medal;
of Cardinal Ferrata; of Challemel-Lacour, President of
the Senate at the time when the portrait was made,
and of many others. Her picture of " Faith " is in the
Luxembourg Gallery. At the Salon des Artistes Fran-
^ais, 1903, Madame de Wentworth exhibited the " Portrait
of Mile. X.," and " Solitude."
[No reply to circuluKl
Wheeler, Janet. First Toppan Prize and Mary Smith
Prize at Academy of Fine Arts, Philadelphia; Gold
medal, Philadelphia Art Club. Fellow of Academy
of Fine Arts, and member of Plastic Club, Philadel-
WOMEN IN THE FINE ARTS 361
phia. Bom in Detroit, Michigan. Pupil of Academy
of Fine Arts, Philadelphia, and of the Julian Academy
This artist paints portraits almost entirely, which are in
private hands. I know of but one figure picture by her,
which is called " Beg for It." She was a miniaturist sev-
eral years before taking up larger portraits.
White, Florence. Silver medal at Woman's Exhibition,
Earl's Court; silver medal for a pastel exhibited in Cal-
cutta. Bom at Brighton, England. Pupil of Royal
Academy Schools in London, and of Bouguer^au and
Perrier in Paris.
In 1899 this artist exhibited a portrait in the New Gal-
lery; in 1901 a portrait of Bertram Blunt, Esq., at the
Royal Academy; and in 1902 a portrait of "Peggy," a
little girl with a poodle.
She has sent miniatures to the Academy exhibitions
several years; that of Miss Lyall Wilson was exhibited in
Whitman, Sarah de St. Prix. Bronze medal at Colum-
bian Exposition, Chicago, 1893; gold and bronze medals
at Atlanta Exposition; diploma at Pan-American, Buffalo,
1901. Member of the Society of American Artists, New
York; Copley Society, Boston; Water-Color Club, Bos-
ton. Bom in Baltimore, Maryland. Pupil of William M.
Hunt and Thomas Couture.
Mrs. Whitman has painted landscapes and portraits, and
of recent years has been much occupied with work in
glass. Windows by her are in Memorial Hall, Cam-
bridge; in the Episcopal Church in Andover, Massachu-
362 WOMEN IN THE FINE ARTS
setts, etc. An altar-piece by her is in All Saints' Church,
Her portrait of Senator Bayard is in the State Depart-
'Whitney, Anne. Bom in Watertown, Massachusetts.
Made her studies in Belmont and Boston, and later in
Paris and Rome.
Miss Whitney's sculptures are in many public places.
A heroic size statue of Samuel Adams is in Boston and
Washington, in bronze and marble; Harriet Martineau is
at Weljesley College, in marble ; the " Lotos-Eaters " is in
Newton and Cambridge, in marble; " Lady Godiva," a life-
size statue in marble, is in a private collection in Milton;
a statue of Leif Eriksen, in bronze, is in Boston and Mil-
waukee ; a bust of Professor Pickering, in marble, is in the
Observatory, Cambridge ; a statue, " Roma," is in Albany,
Wellesley, St. Louis, and Newton, in both marble and
bronze; Charles Sumner, in bronze of heroic size, is
in Cambridge; a bust of President Walker, bronze,
is also in Cambridge; President Steams, a bust in
marble, is in Amherst; a bust of Mrs. Alice Free-
man Palmer is in Cambridge; a bust of Professor
Palmer is on a bronze medal; the Calla Fountain, in
bronze, is in Franklin Park; and many other busts,
medals, etc., in marble, bronze, and plaster, are in private
Wilson, Melva Beatrice. Prize of one hundred dollars
a year for three successive years at Cincinnati Art Mu-
seum. Honorable mention, Paris Salon, 1897. Bom in
Cincinnati, 1875. Pupil of Cincinnati Art Museum,
WOMEN IN THE FINE ARTS 363
under Louis T. Rebisso and Thomas Noble; in Paris, of
Rodin and Vincent Norrottny.
By special invitation this sculptor has been an exhibitor
at the National Sculpture Society, New York. Her prin-
cipal works are: "The Minute Man," in Corcoran Art
Gallery, Washington, D. C. ; " The Volunteer," which was
given by the State of New York as a military prize to a
Vermont Regiment ; an equestrian statue of John F. Doyle,
Jr.; "Bull and Bear" and the "Polo Player" in bronze,
owned by Tiffany & Co. ; " Retribution " in a private col-
lection in New York.
Miss Wilson has been accorded the largest commission
given any woman sculptor for the decoration of the build-
ings of the St. Louis Exposition. She is to design eight
spandrils for Machinery Hall, each one being twenty-eight
by fifteen feet in size, with figures larger than life. The
design represents the wheelwright and boiler-making
trades. Reclining nude figures, 6f colossal size, bend tow-
ard the keystone of the arch, each holding a tool of a
machinist. Interlaced cog-wheels form the background.
Wirth, Anna Marie. Member of the Munich Art As-
sociation. Bom in St. Petersburg, 1846. Studied in
Vienna under Straschiripka; — commonly known as Johann
Canon — ^and in Paris, although her year's work, in the lat-
ter city seems to have left no trace upon her manner of
painting. The genre pictures, in which she excels, clearly
show the influence of the old Dutch school. A writer in
" Modeme Kunst " says, in general, that she shows us real
human beings under the " pr^cieuses ridicules," the lan-
guishing gallants and the pedant, and often succeeds in
364 WOMEN IN THE FINE ARTS
individualizing all these with the sharpness of a Chodo-
wiecki, though at times she is merely good-natured, and
Sometimes, like Terborch, by her anecdotical treat-
ment, she can set a whole romantic story before you;
again, in the manner of Gerard Dow, she gives you a
penetrating glimpse into old burgher life— work that is
quite out of touch with the dilettantism that largely per-
vades modem art.
The admirers of this unusual artist seek out her genre
pictures in the exhibitions of to^ay, much as one turns to
an idyl of Heinrich Voss, after a dose of the " storm and
stress " poets. Most of her works are in private galleries.
One of her best pictures will be seen at the St. Louis
Wisinger-Florlany Olga. Bavarian Ludwig medal,
1 891; medal at Chicago, 1893. Bom in Vienna, 1844.
Pupil of Schaffer and Schwindler. She has an excellent
reputation as a painter of flowers. In the New Gallery,
Munich, is one of her pictures of this sort; and at Mu-
nich, 1893, her flower pieces were especially praised in the
reports of the exhibition.
She also paints landscapes, in which she gains power
each year; her color grows finer and her design or model-
ling stronger. At Vienna, 1890, it was said that her pict-
ure of the " Bauemhof e " was, by its excellent color, a
disadvantage to the pictures near it, and the shore motive
in "Abbazia" was full of artistic charm. At Vienna,
1893, she exhibited a cycle, "The Months," which bore
witness to her admirable mastery of her art.
WOMEN IN THE FINE ARTS 365
Among her works are some excellent Venetian sub-
jects : " On the Rialto " ; " Morning on the Shore " ; and
Wolff, Betty. Honorable mention, Berlin, 1890.
Member of the Association of Women Artists and
Friends of Art; also of the German Art Association.
Bom in Berlin, where she was a pupil of Karl Stauffer-
Bem; she also studied in Munich under Karl Marr.
Besides numerous portraits of children, in pastel, this
artist has painted portraits in oils of many well-known
persons, among whom are Prof. H. Steinthal, Prof. Al-
brecht Weber, and General von Zycklinski.
Wolters, Henrietta, family name Van Pee. Born in
Amsterdam. 1692-1741. Pupil of her father, and later
made a special study of miniature under Christoffel le
Blond. Her early work consisted largely in copies from
Van de Velde and Van Dyck. Her miniatures were so
highly esteemed that Peter the Great offered her a salary
of six thousand florins as his court painter; and Frederick
William of Prussia invited her to his court, but nothing
could tempt her away from her home in Amsterdam.
She received four hundred florins for a single miniature,
a most unusual price in her time.
Wood, Caroline S. Daughter of Honorable Horatio D.
Wood, of St. Louis. This sculptor has made unusual ad-
vances in her art, to which she has seriously devoted her-
self less than four years. She has studied in the Art
School of Washington University, the Art Institute, Chi-
cago, and is now a student in the Art League, New York.
She has been commissioned by the State of Missouri to
366 WOMEN IN THE FINE ARTS
make a statue to represent " The Spirit of the State of
Missouri," for the Louisiana Purchase Exposition.
[No reply to circular^
Woodbury, Marcia Oakes. Prize at Boston Art Club;
medals at Mechanics' Association Exhibition, Atlanta and
Nashville Expositions. Member of the New York and
Boston Water-Color Clubs. Bom at South Berwick,
Maine. Pupil of Tommasso Juglaris, in Boston, and of
Lasar, in Paris.
Mrs. Woodbury paints in oils and water-colors ; the lat-
ter are genre scenes, and among them are several Dutch
subjects. She has painted children's portraits in oils.
Her pictures are in private hands in Boston, New York,
Chicago, and Cincinnati. " The Smoker," and " Mother
and Daughter," a triptych, are two of her principal pict-
Woodward) Dewing. Grand prize of the Academy
Julian, 1894. Member of Water-Color Club, Baltimore;
Charcoal Club, Baltimore; L'Union des Femmes Peintres
et Sculpteurs de France. Bom at Williamsport, Penn-
sylvania. Pupil of Pennsylvania Academy a few months ;
in Paris, of Bouguereau, Robert-Fleury, and Jules Le-
Her " Holland Family at Prayer," exhibited at the Paris
Salon, 1893, and "Jessica," belong to the Public Library
in Williamsport; " Clam-Diggers Coming Home — Cape
Cod " was in the Venice Exhibition, 1903 ; one of her pict-
ures shows the "Julian Academy, Criticism Day."
She has painted many portraits, and her work has often
WOMEN IN THE FINE ARTS 367
been thought to be that of a man, which idea is no doubt
partly due to her choosing subjects from the lives of
working men. She is of the modem school of colorists.
Wright, Ethel. This artist contributed annually to the
exhibitions of the London Academy from 1893 to 1900,
as follows: In 1893 she exhibited "Milly " and "Echo";
in 1 894, " The Prodigal " ; in 1 895, a water-color, " Lilies " ;
in 1896, " Rejected *' ; in 1897, a portrait of Mrs. Laurence
Phillips ; in 1898, " The Song of Ages," reproduced in this
book; in 1899, a portrait of Mrs. Arthur Strauss; and in
1900, one of Miss Vaughan.
[No reply to circular^
Wright, Mrs. Patience. Bom at Bordentown, New
Jersey, 1725, of a Quaker family. When left a widow,
with three children to care for, she went to London,
where she found a larger field for her art than she had in
the United States, where she had already made a good
reputation as a modeller in wax. By reason of this
change of residence she has often been called an English
Although the imaginative and pictorial is not cultivated
or even approved by Quakers, Patience Lovell, while still
a child, and before she had seen works of art, was content
only when supplied with dough, wax, or clay, from which
she made figures of men and women. Very early these
figures became portraits of the people she knew best, and
in the circle of her family and friends she was considered
Very soon after Mrs. Wright reached London she was