Clara Erskine Clement Waters

“ This artist follows the young romantic movement in Denmark. She has embodied in her work a modern comprehension of old legends. The landscape and people of her native land seem to her as eminently suitable motives, and these realities she renders in the spirit of a by-gone age—that of the national heroes of the sagas and epics of the country, or the lyric atmosphere of the folk-songs. ”

“ Her attachment to impressionism leads this artist to many experiments in color—or, as one critic wrote, " to play with color."
She apparently prefers to paint single figures of women and young girls, but her works include a variety of subjects. She also practises etching, pen-and-ink drawing, as well as crayon and water-color sketching. The light touch in some of her genre pictures is admirable, and in contrast, the portrait of her father — the court preacher—displays a masculine firmness in its handling, and is a very striking picture. ”

“ Connoisseurs in art welcome the name of Elise Goebeler in exhibitions, and recall the remarkable violet-blue lights and the hazy atmosphere in her works, out of which, emerges some charming, graceful figure; perhaps a young girl on whose white shoulders the light falls, while a shadow half con ceals the rest of the form. ”

“ After having lessons from private instructors, this artist studied under Lenbach. She has been much influenced by Gainsborough, Lawrence, and Reynolds, traces of their manner being evident in her work. She renders the best type of feminine seductiveness with delicacy and grace; she avoids the trivial and gross, but pictures all the allurements of an innocent coquetry.
Her portrait of the Princess Marie, of Roumania, was exhibited in Munich in 1901; its reality and personality were notable, and one critic called it "an oasis in a desert of portraits." ”

“ In 1895 she exhibited at the Munich Secession the portrait of a woman, delicate but spirited, and a group which was said to set aside every convention in the happiest manner.
Kroener, Magda. The pictures of flowers which this artist paints prove her to be a devoted lover of nature. ”

“ She paints portraits and genre subjects. She is skilful in seizing salient characteristics, and her chief aim is to preserve the individuality of her sitters and models. She skilfully manages the side-lights, and by this means produces strong effects. After the first exhibition of her pictures in Berlin, her "God-given talent" was several times mentioned by the art critics.
At Munich she made a good impression by her pictures exhibited in 1893 and 1895; at the Exposition in Paris, 1889, her portrait and a study in pastel were much admired and were generously praised in the art journals. ”

“ At all events, the present evidence seems to support the claim that the world is indebted to Judith Leyster for these admirable pictures.
Mach, Hildegarde von. This painter studied in Dresden and Munich, and under the influence of Anton Pepinos she developed her best characteristics, her fine sense of form and of color. She admirably illustrates the modern tendency in art toward individual expression—a tendency which permits the following of original methods, and affords an outlet for energy and strength of temperament.
Fräulein Mach has made a name in both portrait and genre painting. ”

“ Her choice of subjects and her manner of treatment almost inevitably introduce some archaic quality in her work. This habit and the fact that she cares more for color than for drawing are the usual criticisms of her pictures.
Her "St. Agnes" is an interesting rendering of a well-worn subject. "Adelil the Proud," exhibited at the Paris Exposition of 1889, tells the story of the Duke of Frydensburg, who was in love with Adelil, the king's daughter. The king put him to death, and the attendants of Adelil made of his heart a viand which they presented to her. ”

“ One of her most delightful pictures, "A Quiet Comer," represents a retired nook in a garden, overgrown with foliage and flowers, so well painted that one feels that they must be fragrant.
Lepsius, Sabina. Daughter of Gustav Graf and wife of the portrait painter, Lepsius. She was a pupil of Gussow, then of the Julian Academy in Paris, and later studied in Rome. Her pictures have an unusual refinement; like some other German women artists, she aims at giving a subtle impression of character and personality in her treatment of externals, and her work has been said to affect one like music. ”

“ In the summer of 1875, in Vorden, she met Johannes Bilders, under whose direction she studied landscape painting. This master took great pains to develop the originality of his pupil rather than to encourage her adapting the manner of other artists. During her stay in Vorden she made a distinct gain in the attainment of an individual style of painting.
After her return to her home at The Hague, Bilders established a studio there and showed a still keener interest in his pupil. ”

“ Her pictures are in the Museums of Amsterdam and Rotterdam.
Her work is full of life and strength, and her touch shows her confidence in herself and her technical knowledge. She is, however, a severe critic of her own work and is greatly disturbed by indiscriminating praise. She is serious and preoccupied in her studio, but with her friends she is full of gayety, and is greatly admired, both as a woman and as an artist. ”

“ Mayer studied under Greuze she painted in his manner, and he inclines to the opinion that some pictures attributed to Greuze were the work of his pupil. In the same way she imitated Prud'hon, and this critic thinks it by no means certain that the master finished her work, as has been alleged.
In the Museum at Nancy are Mile. Mayer's portraits of Mme. and Mile. Voiant; in the Museum of Dijon is an ideal head by her, and in the Bordeaux Gallery is her picture, called "Confidence." "Innocence Prefers Love to Riches" and the "Torch of Venus" are well-known works by Mile. ”

“ It is a most harmonious picture; every line is in accord with its neighbor."
While residing in Brussels these two artists began to collect works of art for what is now known as the Mesdag Museum. In 1887 a wing was added to their house to accommodate their increasing treasures, which include especially good examples of modern J^rench painting, pottery, tapestry, etc.
In 1889 an exhibition of the works of these painters was held. Here convincing proof was given of Mme. Mesdag’s accuracy, originality of interpretation, and her skill in the use of color. ”

“ Mayer.
Mesdag-van Houten, S. Gold medal at Amsterdam, 1884; bronze medal, Paris Exposition, 1889. Born at Groningen, 1834. In 1856 she married Mesdag, who, rather late in life decided to follow the career of a painter. His wife, not wishing to be separated from him in any sense, resolved on the same profession, and about 1870 they began their study. Mme. Mesdag acquired her technique with difficulty, and her success was achieved only as the result of great perseverance and continual labor. ”

“ Romani often paints directly on the canvas without preliminary sketch or study, and sells many of her pictures before they are finished. Some of her works have been purchased by the French Government, and there are examples of these in the Luxembourg, and in the Gallery of Mülhausen. ”