A fuller acquaintance with the art and art-methods of countries of which but little had before been known has been an element in art expansion. Technical methods which have not been absolutely adopted by European and English-speaking artists have yet had an influence upon their art. The interest in Japanese Art is the most important example of such influence, and it is also true that Japanese artists have been attracted to the study of the art of America and Europe, while some foreign artists resident in Japan—notably Miss Helen Hyde, a young American—have studied and practised Japanese painting to such purpose that Japanese juries have accorded the greatest excellence and its honors to their works, exhibited in competition with native artists.

Other factors in the expansion of art have been found in photography and the various new methods of illustration that have filled books, magazines, and newspapers with pictures of more or less (?) merit. Even the painting of "posters" has not been scorned by good artists, some of whom have treated them in such a manner as to make them worthy a place in museums where only works of true merit are exhibited.

In America the unparalleled increase of Free Libraries has brought, not books alone, but collections of photographs and other reproductions of the best Painting, Sculpture, and Architecture in the world, as well as medals, book-plates, artistic bindings, etc., within reach of students of art.

Art Academies and Museums have also been greatly multiplied. It is often a surprise to find, in a comparatively small town, a fine Art Gallery, rich in a variety of precious objects. Such an one is the Art Museum of Bowdoin College, in Brunswick, Me. The edifice itself is the most beautiful of the works by McKim that I have seen. The frescoes by La Farge and Vedder are most satisfactory, and one exhibit, among many of interest—that of original drawings by famous Old Masters—would make this Museum a worthy place of pilgrimage. Can one doubt that such a Museum must be an element of artistic development in those who are in contact with it?

I cannot omit saying that this splendid monument to the appreciation of art and to great generosity was the gift of women, while the artists who perfected its architecture and decorations are Americans; it is an impressive expression of the expansion of American Art in the nineteenth century.

All these opportunities are shared by men and women alike. Every advantage is as freely at the command of one as of the other, and we equal, in this regard, the centuries of the Renaissance, when women were Artists, Students, and Professors of Letters and of Law, filling these positions with honor, as women do in these days.

In 1859 T. Adolphus Trollope, in his "Decade of Italian Women," in which he wrote of the scholarly women of the Renaissance, says: "The degree in which any social system has succeeded in ascertaining woman's proper position, and in putting her into it, will be a very accurate test of the progress it has made in civilization. And the very general and growing conviction that our own social arrangements, as they exist at present, have not attained any satisfactory measure of success in this respect, would seem, therefore, to indicate that England in her nineteenth century has not yet reached years of discretion after all."

Speaking of Elisabetta Sirani he says: "The humbly born artist, admirable for her successful combination in perfect compatibility of all the duties of home and studio." Of how many woman artists we can now say this.

Although no important changes occur without some preparation, this may be so gradual and unobtrusive in its work that the result appears to have a Minerva-like birth. Doubtless there were influences leading up to the remarkable landscape painting of this century. The "Norwich School," which took shape in 1805, was founded by Crome, among whose associates were Cotman, Stark, and Vincent. Crome exhibited his works at the Royal Academy in 1806, and the twelve following years, and died in 1821 when the pictures of Constable were attracting unusual attention; indeed, it may be said that by his exhibitions at the Royal Academy, Constable inaugurated modern landscape painting, which is a most important feature of art in this century.

Not forgetting the splendid landscapes of the Dutch masters, of the early Italians, of Claude and Wilson, the claim that landscape painting was perfected only in the nineteenth century, and then largely as the result of the works of English artists, seems to me to be well founded. To this excellence Turner, contemporary with Constable, David Cox, De Wint, Bonington, and numerous others gloriously contributed.

Formerly landscapes had been used as backgrounds, oftentimes attractive and beautiful, while the real purpose of the pictures centred in the human figures. The distinctive feature of nineteenth-century landscape is the representation of Nature alone, and the variety of method used and the differing aims of the artists cover the entire gamut between absolute Realism and the most pronounced Impressionism.

About the middle of the century there emerged from the older schools two others which may be called the Realist and Idealist, and indeed there were those to whom both these terms could be applied, both methods being united in their remarkable works. Of the Realists Corot and Courbet are distinguished, as were Puvis de Chavannes and Gustave Moreau among the Idealists.

Shall we call Bastien Lepage a follower of Millet, or say that in these men there was a unity of spirit; that while they realized the poetry of their subjects intensely, they fully estimated the reality as well?

The "Joan of Arc" is a phenomenal example of this art. The landscape is carefully realistic, and like that in which a French peasant girl of any period would live. But here realism ceases and the peasant girl becomes a supremely exalted being, entranced by a vision of herself in full armor.

This art, at once realistic and idealistic, is an achievement of the nineteenth century—so clear and straightforward in its methods as to explain itself far better than words can explain it.

Contemporary with these last-named artists were the Pre-raphaelites. The centre of this school was called the Brotherhood, which was founded by J. E. Millais, W. Holman Hunt, Dante Gabriel Rossetti, and William Michael Rossetti. To these were added Thomas Woolner the sculptor, James Collins, and F. G. Stephens. Other important artists known as Pre-raphaelites, not belonging to the Brotherhood, are Ford Madox Brown and Burne Jones, as well as the water-color painters, Mason, Walker, Boyce, and Goodwin.

At the time when the Pre-raphaelite School came into being the art of other lands as well as that of England was in need of an awakening impulse, and the Pre-raphaelite revolt against conventionality and the machine-like art of the period roused such interest, criticism, and opposition as to stimulate English art to new effort, and much of its progress in the last half-century is doubtless due to the discussions of the theories of this movement as well as of the works it produced.

Pre-raphaelitism, scorned and ridiculed in its beginning, came to be appreciated in a degree that at first seemed impossible, and though its apostles were few, its influence was important. The words of Burne Jones, in which he gave his own ideal, appeal to many artists and lovers of art: "I mean by a picture a beautiful, romantic dream of something that never was, never will be—in a light better than any light that ever shone—in a land no one can define or remember, only desire—and the forms divinely beautiful."

Millais did not long remain a strict disciple of this school, but soon adopted the fuller freedom of his later work, which may be called that of modern naturalism. Rossetti remained a Pre-raphaelite through his short life, but his works could not be other than individual, and their distinct personality almost forbade his being considered a disciple of any school.

Holman Hunt may be called the one persistent follower of this cult. He has consistently embodied his convictions in his pictures, the value of which to English art cannot yet be determined. This is also true of the marvellous work of Burne Jones; but although they have but few faithful followers, Pre-raphaelite art no longer needs defence nor apology.

Its secondary effect is far-reaching. To it may be largely attributed the more earnest study of Nature as well as the simplicity of treatment and lack of conventionality which now characterizes English art to an extent before unknown.

Impressionism is the most distinctive feature of nineteenth-century art, and is too large a subject to be treated in an introduction—any proper consideration of it demands a volume.

This picture was covered with pure white, in impasto, a method dear to impressionists. Was Constable in advance of his critics? is a question that comes involuntarily to mind as we read the life of this artist, and recall the excitement which the exhibition of his works caused at the Salon of 1824, and the interest they aroused in Delacroix and other French painters.

The word Impressionism calls to mind the names of Manet, Monet, Pissaro, Mme. Berthe Morisot, Paul Cézanne, Whistler, Sargent, Hassam, and many others. Impressionists exhibited their pictures in Paris as early as 1874; not until 1878 were they seen to advantage in London, when Whistler exhibited in the Grosvenor Gallery; and the New English Art Club, founded in 1885, was the outcome of the need of this school to be better represented in its special exhibitions than was possible in other galleries.

The differing phases of Painting in the nineteenth century have had their effect upon that art as a whole. Each one has been important, not only in the country of its special development, but in other lands, each distinctive quality being modified by individual and national characteristics.

In the early decades of the past century Sculpture was "classic" and conventional rather than natural and sincere. A revolt against these conditions produced such artists as Rodin, St. Gaudens, MacMonnies, and many less famous men who have put life, spirit, and nature into their art.

In Sculpture as in Painting many more subjects are treated than were formerly thought suited to representation in marble and bronze, and a large proportion of these recent motifs demand a broad method of treatment—a manner often called "unfinished" by those who approve only the smooth polish of an antique Venus, and would limit sculpture to the narrow class of subjects with which this smoothness harmonizes.

The best sculptors of the present treat the minor details of their subjects in a sketchy, or, as some critics contend, in a rough imperfect manner, while others find that this treatment of detail, combined with a careful, comprehensive treatment of the important parts, emphasizes the meaning and imparts strength to the whole, as no smoothness can do.

Although the highest possibilities in sculpture may not yet be reached, it is animated with new spirit of life and nature. Nineteenth-century aims and modes of expression have greatly enlarged its province. Like Painting, Sculpture has become democratic. It glorifies Labor and all that is comprised in the term "common, every-day life," while it also commemorates noble and useful deeds with genuine sympathy and an intelligent appreciation of the best to which humanity attains; at the same time poetical fancies, myths, and legends are not neglected, but are rendered with all possible delicacy and tenderness.

At present a great number of women are sculptors. The important commissions which are given them in connection with the great expositions of the time—the execution of memorial statues and monuments, fountains, and various other works which is confided to them, testifies to their excellence in their art with an emphasis beyond that of words.

The present method of study in Paris—in such academies as that of Julian and the Colarossi—secures to the student the criticism and advice of the best artists of the day, while in summer—in the country and by the sea—there are artistic colonies in which students lead a delightful life, still profiting by the instruction of eminent masters.

Year by year the opportunities for art-study by women have been increased until they are welcome in the schools of the world, with rare exceptions. The highest goal seems to have been reached by their admission to the competition for the Grand prix de Rome conferred by l'École des Beaux Arts.

I regret that the advantages of the American Art Academy in Rome are not open to women. The fact that for centuries women have been members and professors in the Academy of St. Luke, and in view of the recent action of l'École des Beaux Arts, this narrowness of the American Academy in the Eternal City is especially pronounced.

One can but approve the encouragement afforded women artists in France, by the generosity with which their excellence is recognized.

Abbatt, Agnes Dean. Bronze medal, Cooper Union; silver medal, Massachusetts Charitable Mechanics' Association. Member of American Water Color Society.

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Abbema, Mme. Louise. Officer of the Mérite des Arts; honorable mention, Salon of 1881; bronze medal, Paris Exposition, 1900; Hors Concours, 1903, at Exposition of Limoges. Born at Étampes, 1858. Pupil of Chaplin, Henner, and Carolus-Duran. She exhibited a "Portrait of Sarah Bernhardt," 1876; "The Seasons," 1883; "Portrait of M. Abbema," 1887; "Among the Flowers," 1893; "An April Morning," 1894; "Winter," 1895, etc.

This artist has also executed numerous decorations for ceilings and decorative panels for private houses. Her picture of "Breakfast in the Conservatory" is in the Museum of Pau.

Mme. Abbema illustrated "La Mer," by Maizeroy, and has contributed to the Gazette des Beaux-Arts and several other Parisian publications.

At the Salon of the Artistes Français, 1902, she exhibited the "Portrait of Pierre," and in 1903 a portrait of the Countess P. S.

Mme. Abbema wears her hair short, and affects such absolute simplicity in her costume that at first sight she reminds one of a charming young man. In no other direction, however, is there a masculine touch about this delightful artist. She has feminine grace, a love for poetry, a passion for flowers, which she often introduces in her pictures; she has, in short, a truly womanly character, which appears in the refinement and attractiveness of her work.

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Abbott, Katherine G. Bronze medal, Paris Exposition, 1900; honorable mention, Buffalo Exposition, 1901.

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Achille-Fould, Mlle. Georges. Medal, third class, Versailles, 1888; honorable mention, Paris Salon, 1894; medal, third class, 1895; medal, second class, 1897; Hors Concours; bronze medal at Paris Exposition, 1900. Officer of Public Instruction; member of the Société des Artistes Français. Born at Asnières (Seine). Pupil of Cabanel, Antoine Vollon, and Léon Comerre.

"The Dull Season" is in London; "Cinderella" and many others in Paris.

This artist, when still in short skirts, sent her first picture, "In the Market Place," to the Salon of 1884. She is most industrious, and her history, as she herself insists, is in her pictures. She has been surrounded by a sympathetic and artistic atmosphere. Her mother was an art critic, who, before her second marriage to Prince Stirberg, signed her articles Gustave Haller. Her home, the Château de Bécon, is an ideal home for an artist, and one can well understand her distaste for realism and the professional model.

"M. de Richelieu's Love Knots" is very attractive and was one of the successes of 1902. He is a fine gentleman to whom a bevy of young girls is devoted, tying his ribbons, and evidently admiring him and his exquisite costume. The girls are smiling and much amused, while the young man has an air of immense satisfaction.

At the Salon of 1903 Mlle. Fould exhibited "La Chatouilleuse"—Tickling—and "Nasturtiums." The first shows a young woman seated, wearing a décolleté gown, while a mischievous companion steals up behind and tickles her neck with a twig. It is less attractive than many of this artist's pictures.

Mlle. Fould, at different periods, has painted legendary subjects, at other times religious pictures, but in my judgment the last were the least successful of her works.

Her "Cinderella" is delightful; the two "Merry Wives of Windsor," sitting on the basket in which Falstaff is hidden, and from which he is pushing out a hand, is an excellent illustration of this ever-amusing story, and, indeed, all her pictures of this class may well be praised.

To the Exposition of 1900 she sent an allegorical picture, called "The Gold Mine." A young woman in gold drapery drops gold coins from her hands. In the background is the entrance to a mine, lighted dimly by a miner's lamp, while a pickaxe lies at the feet of the woman; this picture was accorded a bronze medal.

Adelsparre, Sophie Albertine. Born in Oland 1808-62. In Stockholm she received instruction from the sculptor Ovarnström and the painter Ekman; after her father's death she went to Paris and entered the atelier of Cogniet, and later did some work under the direction of her countrymen Wickenberg and Wahlbom. She had, at this time, already made herself known through her copies of some of the Italian masters and Murillo. Her copy of the Sistine Madonna was placed by Queen Josephine in the Catholic church at Christiania. After her return from Dresden where she went from Paris, she painted portraits of King Oscar and Queen Josephine. In 1851, having received a government scholarship, she went to Munich, Bologna, and Florence, and lived three years and a half in Rome, where she was associated with Fogelberg, Overbeck, and Schnetz, and became a Catholic. During this time she copied Raphael's "Transfiguration," now in the Catholic church at Stockholm, and painted from life a portrait of Pius IX. for the castle at Drottningholm. She also painted a "Roman Dancing Girl" and a "Beggar Girl of Terracina."

Many of her portraits are in private hands. That called "Sewing," a prize picture, will be in the St. Louis Exhibition. Her portrait of Mr. Ellwood Johnson is in the Pennsylvania Academy. That of Mary Ballard—a miniature—was solicited for exhibition by the Copley Society, Boston.

Miss Ahrens is also favorably known as a designer for stained-glass windows.

Alcott, May—Mme. Nieriker. Born in Concord, Massachusetts, 1840-79. A sister of the well-known author, Louisa M. Alcott. This artist studied in the Boston School of Design, in Krug's Studio, Paris, and under Müller. She made wonderful copies of Turner's pictures, both in oil and water colors, which were greatly praised by Ruskin and were used in the South Kensington Art Schools for the pupils to copy. Her still-life and flower pictures are in private collections and much valued.

She exhibited at the Paris Salon and in the Dudley Gallery, London, and, student as she still was, her works were approved by art critics on both sides of the Atlantic, and a brilliant future as an artist was foretold for her. Her married life was short, and her death sincerely mourned by a large circle of friends, as well as by the members of her profession who appreciated her artistic genius and her enthusiasm for her work.

Mr. Ruskin edited her "Story of Ida" and brought out "Roadside Songs of Tuscany," collected, translated, and illustrated by this artist. A larger collection of these songs, with illustrations, was published by Houghton, Mifflin & Co., entitled "Tuscan Songs."

Alippi-Fabretti, Quirina. Silver medal at Perugia in 1879; honorary member of the Royal Academy in Urbino and of the Academy of Fine Arts in Perugia. Born in Urbino, 1849. She was the daughter of the jurisconsult Luigi Alippi. She studied drawing and painting in Rome with Ortis and De Sanctis. Following her father to Perugia in 1874, whither he had been called to the Court of Appeals, she continued her study under Moretti. She married Ferdinando Fabretti in 1877. She made admirable copies of some of the best pictures in Perugia, notably Perugino's "Presepio" for a church in Mount Lebanon, Syria. She was also commissioned to paint an altar-piece, representing St. Stephen, for the same church. Her interiors are admirable. She exhibited an "Interior of the Great Hall of the Exchange of Perugia" in 1884, at Turin. She painted two interior views of the church of San Giovanni del Cambio in Perugia, and an interior of the vestibule of the Confraternity of St. Francis. Her other works, besides portraits, include an "Odalisk," an "Old Woman Fortune-teller," and a "St. Catherine."

Her first exhibition at the Royal Academy occurred in 1874, under the name Helen Patterson; her pictures were "Wait for Me" and "The Milkmaid." Since that time Mrs. Allingham has constantly exhibited at the Academy and many other exhibitions.

Her pictures are of genre subjects, chiefly from English rural life and landscapes. She has also been successful as an illustrator for the Graphic, the Cornhill Magazine, and other publications. Her water-color portraits of Carlyle in his later years are well known. She introduced his cat "Tib" into a portrait taken in his Chelsea garden.

Among her most ambitious works are the "Young Customers," the "Old Men's Garden, Chelsea Hospital," the "Lady of the Manor," "Confidences," "London Flowers," and others of kindred motives.

Alma-Tadema, Lady Laura Therese. Gold medal at International Art Exhibition, Berlin, 1876; medal at Chicago, 1893; second-class medal at Paris Exhibition, 1900. Born in London. From early childhood this artist was fond of drawing and had the usual drawing-class lessons at school and also drew from the antique in the British Museum. Her serious study, however, began at the age of eighteen, under the direction of Laurenz Alma-Tadema.

Her pictures are principally of domestic scenes, child-life, and other genre subjects. "Battledore and Shuttlecock" is an interior, with a graceful girl playing the game, to the amusement of a young child sitting on a nurse's lap. The room is attractive, the accessories well painted, and a second girl just coming through the door and turning her eyes up to the shuttlecock is an interesting figure.

Among the more important pictures by Lady Alma-Tadema are "Hush-a-Bye," "Parting," in the Art Gallery at Adelaide, New South Wales, "Silent Persuasion," "The Carol," and "Satisfaction." Her picture in the Academy Exhibition, 1903, a Dutch interior with a young mother nursing "The Firstborn," was much admired and was in harmony with the verse,

Amen, Madame J. Honorable mention, Paris, 1901.

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Anguisciola, Lucia. A pupil of her sister Sofonisba, painted a life-size portrait of Piermaria, a physician of Cremona. It is in the gallery of the Prado, Madrid, and is signed, "Lucia Angvisola Amilcares. F. Adolescens."

Lucia's portrait of her sister Europa is at Brescia. Some authorities believe that the small portrait in the Borghese Gallery is by Lucia, although it has been attributed to Sofonisba.

Vasari relates that Europa and a younger sister, Anna Maria, were artists. A picture of the Holy Family, inscribed with Europa's name, was formerly in the possession of a vicar of the church of San Pietro; it was of far less merit than the works of her sisters.

Anguisciola, Sofonisba. Born in Cremona, about 1539. Daughter of the patrician, Amilcare Anguisciola, whose only fame rests on the fact that he was the father of six daughters, all of whom were distinguished by unusual talents in music and painting. Dear old Vasari was so charmed by his visit to their palace that he pronounced it "the very home of painting and of all other accomplishments."

Sofonisba was the second daughter. The actual date of her birth is unknown, but from various other dates that we have concerning her, that given above is generally adopted. She was educated with great care and began her study of drawing and painting when but seven years old, under the care of Bernardino Campi, the best artist of the five Campi of Cremona. Later she was a pupil of Bernardino Gatti, "il Sojaro," and in turn she superintended the artistic studies of her sisters.

Sofonisba excelled in portraits, and when twenty-four years old was known all over Italy as a good artist. Her extraordinary proficiency at an early age is proved by a picture in the Yarborough collection, London—a portrait of a man, signed, and dated 1551, when she was not more than twelve years old.

When presented at the court of Milan, then under Spanish rule, Sofonisba was brought to the notice of Philip II., who, through his ambassador, invited her to fill the office of court painter at Madrid. Flattering as this invitation must have been to the artist and her family, it is not surprising that she hesitated and required time for consideration of this honorable proposal.

The reputation of the ceremonious Spanish court, under its gloomy and exacting sovereign, was not attractive to a young woman already surrounded by devoted admirers, to one of whom she had given her heart. The separation from her family, too, and the long, fatiguing journey to Spain, were objections not easily overcome, and her final acceptance of the proposal was a proof of her energy and strength of purpose.

Her journey was made in 1560 and was conducted with all possible care for her comfort. She was attended by two noble ladies as maids of honor, two chamberlains, and six servants in livery—in truth, her mode of travelling differed but little from that of the young ladies of the royal family. As she entered Madrid she was received by the king and queen, and by them conducted to the royal palace.

We can imagine Sofonisba's pleasure in painting the portrait of the lovely Isabella, and her pictures of Philip and his family soon raised her to the very summit of popularity. All the grandees of Madrid desired to have their portraits from her hand, and rich jewels and large sums of money were showered upon her.

Gratifying as was her artistic success, the affection of the queen, which she speedily won, was more precious to her. She was soon made a lady-in-waiting to her Majesty, and a little later was promoted to the distinguished position of governess to the Infanta Clara Eugenia.

The Pope bestowed rich gifts on Sofonisba, among which were sacred relics, set with gems. He also wrote an autograph letter, still in existence, in which he assured her that much as he admired her skill in painting, he had been led to believe this the least of her many gifts.

Sofonisba soon gained the approval of the serious and solemn King, for while Philip was jealous of the French ladies of the court and desired Isabella to be wholly under Spanish influence, he proposed to the artist a marriage with one of his nobles, by which means she would remain permanently in the Queen's household. When Philip learned that Sofonisba was already betrothed to Don Fabrizio de Monçada—a Sicilian nobleman—in spite of his disappointment he joined Isabella in giving her a dowry of twelve thousand crowns and a pension of one thousand.

Isabella, in a letter to her mother, wrote: "But for the happiness I have of seeing the King every day I should find this court the dullest in the world. I assure you, however, madame, that I have so kind a husband that even did I deem this place a hundredfold more wearisome I should not complain."

While Sofonisba was overwhelmed with commissions in Spain, her sisters were far from idle in Cremona. Europa sent pictures to Madrid which were purchased for private collections, and a picture by Lucia is now in the Gallery of the Queen at Madrid.

When the time for Sofonisba's marriage came she was sorry to leave her "second home," as she called Madrid, and as Don Fabrizio lived but a short time, the King urged her return to Spain; but her desire to be once more with her family impelled her to return to Italy.

The ship on which she sailed from Sicily was commanded by one of the Lomellini, a noble family of Genoa, with whom Sofonisba fell so desperately in love that she offered him her hand—which, says her biographer, "he accepted like a generous man." Does this mean that she had been ungenerous in depriving him of the privilege of asking for what she so freely bestowed?

We have not space to recount all the honors conferred on Sofonisba, both as a woman and an artist. She lived to an extreme old age, and, although she lost her sight, her intellect was undimmed by time or blindness. Vandyck, who was frequently her guest, more than once declared that he "was more benefited by the counsels of the blind Sofonisba than by all his studies of the masters of his art!" From a pupil of Rubens this was praise indeed!

Her portrait of her sisters playing chess, while an old duenna looks on, was in the collection of Lucien Bonaparte and is said to be now in a private gallery in England. Her religious pictures are rare; a "Marriage of St. Catherine" is in the gallery at Wilton House.

She painted several pictures of three of her sisters on one canvas; one is in the National Museum of Berlin, and a second, formerly in the Leuchtenberg Gallery, is in the Hermitage at Petersburg. A small Holy Family, signed and dated 1559, belonged to the art critic and author, Morelli.

One regrets that so remarkable a woman left no record of her unusual experiences. How valuable would be the story of Don Carlos from so disinterested a person. How interesting had she told us of the bal masqué, given by Isabella in the fashion of her own country, when Philip condescended to open the ball with the Queen; or of the sylvan fêtes at Aranjuez, and of the gardens made under the direction of Isabella. Of all this she has told us nothing. We glean the story of her life from the works of various authors, while her fame rests securely on her superiority in the art to which she was devoted.

An "Old Woman of Skagen," "A Mother and Child," and "Coffee is Ready" were among the most attractive of her pictures of homely, familiar Danish life. The last represents an old fisher, who has fallen asleep on the bench by the stove, and a young woman is waking him with the above announcement.

"A Funeral Scene" is in the Copenhagen Gallery. The coffin is hung with green wreaths; the walls of the room are red; the people stand around with a serious air. The whole story is told in a simple, homely way.

In the "History of Modern Painters" we read: "All her pictures are softly tender and full of fresh light. But the execution is downright and virile. It is only in little touches, in fine and delicate traits of observation which would probably have escaped a man, that these paintings are recognized as the work of a feminine artist."