Part 6

[Illustration: FRENCH SCHOOL, EARLY XIX CENTURY PORTRAIT OF DAME DE LONGROIS (1763-1826). AFTER THE PASTEL IN THE TROCADÉRO FROM A CARBON PRINT BY BRAUN, CLEMENT & CO., PARIS Mlle. Marie Gabrielle Capet, Pupil of Madame Guyard, Painter 1761-1818]

[Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES MADAME VIGÉE LE BRUN AT HER EASEL. AFTER THE ORIGINAL PAINTING IN THE UFFIZI, FLORENCE, FROM A PHOTOGRAPH BY W. A. MANSELL & CO. Madame Élisabeth Louise Vigée Le Brun, Painter 1755-1842]

[Illustration: FRENCH SCHOOL, 1778-1821 THE HAPPY MOTHER. AFTER THE ORIGINAL PAINTING IN THE LOUVRE, PARIS, FROM A COPYRIGHT PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Mademoiselle Marie Françoise Constance Mayer, Painter 1778-(committed suicide)1821]

[Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES PORTRAIT OF MARIE ANTOINETTE, QUEEN OF FRANCE (1755-1793). AFTER THE ORIGINAL PAINTING AT VERSAILLES FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Madame Élisabeth Louise Vigée Le Brun, Painter 1755-1842]

[Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES PORTRAIT OF THE DUCHESS OF POLIGNAC. FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Madame Élisabeth Louise Vigée Le Brun, Painter 1755-1842]

[Illustration: FRENCH SCHOOL, 1767 TO 1830 PORTRAIT OF MADAME VILLOT, NÉE BARBIER. FROM A CARBON PRINT BY BRAUN, CLÉMENT & CO., PARIS Mme. Jeanne Élisabeth Chaudet, née Gabiou, Painter 1767-1830]

[Illustration: PORTRAIT OF MARGUERITE J. A. HOUDON, FIRST COUSIN OF HOUDON THE SCULPTOR. PHOTOGRAPH BY BRAUN CLÉMENT & CO. Mlle. Marguerite J. A. Houdon, Painter 1771-1795]

[Illustration: FRENCH SCHOOL, 1778-1849 PORTRAIT OF MADAME DE STAËL (1766-1817). AFTER THE ORIGINAL PAINTING AT VERSAILLES, FROM A PHOTOGRAPH BY NEWIDEIN PORTRAIT OF CHARLES MAURICE, PRINCE OF TALLEYRAND-PERIGORD (1754-1838). FROM A PHOTOGRAPH BY NEWIDEIN, AFTER THE PAINTING AT VERSAILLES Mademoiselle Marie Eléonore Godefroid, Painter 1778-1849]

[Illustration: FRENCH SCHOOL, XVIII AND XIX CENTURIES PORTRAIT OF MADAME MOLÉ-RAYMOND, ACTRESS OF THE COMÉDIE-FRANÇAISE. AFTER THE ORIGINAL PAINTING IN THE LOUVRE, FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Madame Élisabeth Louise Vigée Le Brun, Painter 1755-1842]

[Illustration: FRENCH SCHOOL, XIX CENTURY "Shepherd Watching his Sheep." After the picture in the Musée de Chantilly, from a Copyright Photograph by Braun, Clément & Co., Paris Rosa Bonheur, Painter 1822-1899]

[Illustration: FRENCH SCHOOL, XIX CENTURY PORTRAIT OF MARSHAL LEFÈVRE, DUKE OF DANTZIC. FROM A PHOTOGRAPH BY NEWIDEIN AFTER THE PAINTING AT VERSAILLES Madame C. H. F. Davin, née Mirvault, Painter 1773-1844]

[Illustration: PORTRAIT (PAINTED BY HERSELF) OF MADAME RUDE, PUPIL OF DAVID. FROM A PHOTOGRAPH BY NEWIDEIN, PARIS, AFTER THE ORIGINAL PAINTING AT DIJON Madame Sophie Rude, née Frémiet, Painter 1797-1867]

[Illustration: FRENCH SCHOOL, EARLY XIX CENTURY A GOOD DAUGHTER. REPRODUCED AFTER THE ORIGINAL PICTURE, FROM AN ENGRAVING BY S. W. REYNOLDS Madame Antoinette Cécile Haudebourt Lescot, Painter 1784-1845]

[Illustration: FRENCH SCHOOL, 1847 PLOUGHING IN THE NIVERNAIS. DATED 1847. AFTER THE ORIGINAL PAINTING IN THE MUSÉE DU LUXEMBOURG, FROM A CARBON PRINT BY BRAUN, CLÉMENT & CO. Mademoiselle Rosa Bonheur, Painter 1822-1899]

[Illustration: FRENCH SCHOOL, XIX CENTURY THE HORSE FAIR. AFTER THE ORIGINAL PICTURE IN THE TATE GALLERY, LONDON, FROM A PHOTOGRAPH BY THE AUTOTYPE COMPANY, NEW OXFORD STREET, LONDON Mademoiselle Rosa Bonheur, Painter 1822-1899]

[Illustration: FRENCH IMPRESSIONIST SCHOOL, XIX CENTURY PORTRAIT OF A YOUNG WOMAN SEATED. REPRODUCED FROM THE ORIGINAL PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND NEW YORK Berthe Morisot, Painter 1840-1895]

[Illustration: FRENCH IMPRESSIONIST SCHOOL, XIX CENTURY THE JETTY.--AN OUTDOOR IMPRESSION. REPRODUCED FROM THE ORIGINAL PAINTING BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS AND NEW YORK Berthe Morisot, Painter 1840-1895]

[Illustration: FRENCH SCHOOL, 1879 THE KING OF THE DESERT. FROM AN ORIGINAL PAINTING IN THE PRADO, MADRID, DATED 1879. AFTER A PHOTOGRAPH BY J. LAURENT & CO., MADRID Mademoiselle Rosa Bonheur, Painter 1822-1899]

[Illustration: FRENCH SCHOOL, ABOUT 1879 'BRISCO,' A SHEPHERD'S DOG. AFTER THE ORIGINAL PAINTING IN THE WALLACE COLLECTION, LONDON, FROM A PHOTOGRAPH BY W. A. MANSELL & CO. Mademoiselle Rosa Bonheur, Painter 1822-1899]

[Illustration: FRENCH SCHOOL, 1878 AND 1879 A NEW SONG. FROM THE ORIGINAL PAINTING, DATED 1879, AFTER A PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Mademoiselle Angèle Dubos, Painter]

[Illustration: THE BOUQUET. FROM THE ORIGINAL PAINTING, DATED 1878, AFTER A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Madame Jeanne Fichel, née Samson, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY MISTLETOE. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY MESSRS. BRAUN, CLÉMENT & CO., PARIS Madame Jacqueline Comerre-Paton, Painter]

[Illustration: FRENCH SCHOOL, 1878 AND 1881 THE KNITTER ASLEEP. AFTER THE ORIGINAL PICTURE, DATED 1881, FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Mademoiselle Marie Petiet, Painter]

[Illustration: A YOUNG ADOLESCENT. FROM A PICTURE EXHIBITED AT THE SALON IN 1878, AFTER A PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Madame Laure de Chatillon, Painter]

[Illustration: FRENCH SCHOOL, 1880 PRIVATE AND CONFIDENTIAL. AFTER AN ORIGINAL PICTURE EXHIBITED AT THE PARIS SALON IN 1880 Madame Armand Émilie Leleux, Painter]

[Illustration: SITTING FOR A PORTRAIT IN 1806. AFTER THE ORIGINAL PICTURE FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Mademoiselle Jeanne Rongier, Painter]

[Illustration: FRENCH SCHOOL, ABOUT 1881 "RÉGALEZ-VOUS, MESDAMES!" AFTER THE ORIGINAL PAINTING, DATED 1881, FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Mlle. Jenny Zillhardt, Painter BY THE BANK OF A STREAM. FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Mlle. Hermine Waternau. Painter]

[Illustration: FRENCH SCHOOL, 1882 FATHER RICARD. AFTER A PAINTING EXHIBITED AT THE SALON IN 1882, FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Mlle. Marie Nicolas, Painter]

[Illustration: THE LAST SURVIVORS OF A FAMILY. FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY BRAUN, CLÉMENT & CO., PARIS Madame Félicie Schneider, Painter]

[Illustration: FRENCH SCHOOL, XIX CENTURY PORTRAIT OF A LADY SEATED. AFTER THE PASTEL IN THE MUSÉE DU LUXEMBOURG, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS Madame Eva Gonzalès, Pastellist 1849-1883]

[Illustration: FRENCH SCHOOL, BETWEEN 1882 AND 1898 CHARITY. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Madame Uranie Colin-Libour, Painter]

[Illustration: "FLEURS DE SERRE." FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY BRAUN, CLÉMENT & CO., PARIS Madame Alix Enault, Painter]

[Illustration: FRENCH SCHOOL, 1883 ON THE SEA-SHORE. AFTER THE ORIGINAL PAINTING IN THE LUXEMBOURG, PARIS, DATED 1883, FROM A PHOTOGRAPH BY MESSRS. LÉVY & SONS, PARIS Madame Virginie Demont-Breton, Painter]

[Illustration: FRENCH SCHOOL, 1887 TO ABOUT 1892 BEFORE THE DANCE. AFTER AN ORIGINAL PAINTING DATED 1887, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS Madame E. de Tavernier, Painter]

[Illustration: DESOLATION. AFTER THE ORIGINAL STUDY FROM A PHOTOGRAPH LENT BY THE ARTIST Madame Marie Cazin, Painter]

[Illustration: FRENCH SCHOOL, 1885 AND 1890 IN THE GYNÆCEUM. DATED 1885. FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY BRAUN, CLÉMENT & CO., PARIS Mlle. Diana Coomans, Painter]

[Illustration: AT LOW TIDE. AFTER THE ORIGINAL PICTURE, DATED 1890. FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Mlle. Eugénie Salanson, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY "Sleep." Reproduced from a Photograph by permission of Braun, Clément & Co., the Owners of the Copyright. Francine Charderon, Painter]

[Illustration: FRENCH SCHOOL, FROM 1880 TO THE PRESENT DAY THE FRUIT GIRL. AFTER THE ORIGINAL PICTURE BY PERMISSION OF MESSRS. DURAND-RUEL & SONS, PARIS Madame Eva Gonzalès, Painter 1849-1883]

[Illustration: STUDY FROM A MODEL. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH LENT BY THE ARTIST Mademoiselle Dufau, Painter]

[Illustration: FRENCH SCHOOL, 1880 AND 1894 A GOOD CIGARETTE. AFTER THE ORIGINAL PAINTING, DATED 1880, FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Madame Delphine de Cool, née Fortin, Painter]

[Illustration: A HOLIDAY AT SOSTHÈNE. AFTER THE ORIGINAL PAINTING, DATED 1894, FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Madame Blanche Paymal-Amouroux, Painter]

[Illustration: FRENCH SCHOOL, 1894 "STELLA MARIS." AFTER THE ORIGINAL PAINTING, DATED 1894, AND EXHIBITED AT THE SALON IN 1895, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS Madame Virginie Demont-Breton, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY MATERNAL LOVE. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO., PARIS Elizabeth Gardner (Madame W. A. Bouguereau), Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY "THE PATHWAY TO THE VILLAGE CHURCH." AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Madame Fanny Fleury, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY THE GODDESSES BEFORE PARIS. FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Élisabeth Sonrel, Painter]

[Illustration: WINTER. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY BRAUN, CLEMENT & CO. Mlle. Louise Abbéma, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY THE JUDGMENT OF PARIS. AFTER THE ORIGINAL PICTURE FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO. Elizabeth Gardner (Madame W. A. Bouguereau), Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY MOTHER AND CHILD AFTER THE ORIGINAL PICTURE Madame Marie Cazin, Painter]

[Illustration: THE SHEPHERD AFTER THE ORIGINAL PAINTING Madame Marie Cazin, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY IMPRESSION OF A CITY. AFTER THE ORIGINAL PAINTING Mademoiselle Dufau, Painter]

[Illustration: A BASKET OF FLOWERS. AFTER THE ORIGINAL PAINTING Madame Victoria Dubourg (Fantin-Latour), Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY "THE DEPARTURE." REPRODUCED BY PERMISSION AFTER A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Madame Vallet-Bisson, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY CHARACTER IN SPAIN AFTER THE ORIGINAL STUDY Mademoiselle Dufau, Painter]

[Illustration: STUDY OF TIGERS. AFTER THE ORIGINAL PAINTING Madame Abran, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY "LES CHANDELLES." AFTER AN ORIGINAL PAINTING EXHIBITED AT THE SALON IN 1896, FROM A PHOTOGRAPH BY NEWIDEIN, PARIS Madeleine Carpentier, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY IN SEARCH OF PREY. AFTER AN ORIGINAL PICTURE EXHIBITED AT THE PARIS SALON IN 1900, FROM A PHOTOGRAPH BY NEWIDEIN Mademoiselle E. Hilda, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY ROMEO AND JULIET. AFTER AN ORIGINAL PAINTING EXHIBITED AT THE PARIS SALON IN 1900, FROM A PHOTOGRAPH BY NEWIDEIN Mademoiselle A. Oppenheim, Painter]

[Illustration: FRENCH SCHOOL, ABOUT 1892. WILL YOU BUY? AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY MESSRS. BRAUN, CLÉMENT & CO., PARIS Mademoiselle Consuélo Fould, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY CHILDREN EATING SOUP IN A CHARITY SCHOOL. FROM AN ORIGINAL PICTURE EXHIBITED AT THE PARIS SALON IN 1901. FROM A PHOTOGRAPH BY NEWIDEIN Mademoiselle E. Herland, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY COURTSHIP FROM A PHOTOGRAPH OF THE ORIGINAL PAINTING BY BRAUN, CLÉMENT & CO., PARIS Mdlle. Achille-Fould, Painter]

[Illustration: FRENCH SCHOOL, CONTEMPORARY "BÉBÉ ET ZIZON." REPRODUCED FROM A PHOTOGRAPH BY NEWIDEIN Madame Lucas-Robiquet, Painter "DO YOU WANT A MODEL?" FROM A PHOTOGRAPH BY NEWIDEIN Madame Réal del Sarte, Painter]

[Illustration: THE LESSON. AFTER THE ORIGINAL PAINTING FROM A PHOTOGRAPH BY BRAUN CLÉMENT & CO. Mlle. Joséphine Houssay, Painter]

[Illustration: FRENCH SCHOOL, 1903 AND 1904 PORTRAIT. AFTER THE ORIGINAL PAINTING, FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Madame Le Roy, Painter]

[Illustration: FLORA. AFTER THE ORIGINAL PAINTING, FROM A PHOTOGRAPH BY BRAUN, CLÉMENT & CO., PARIS Mademoiselle Claudie, Painter]

Women Painters in Belgium and in Holland

By N. Jany. Translated by Edgar Preston

As far as we are able to ascertain, the history of the present subject takes us back to the time of Hubert and Jean Van Eyck, whose sister Marguerite made a name for herself in art. In the important volume by M. J. du Jardin, "L'Art Flamand," there is reproduced a drawing "after" a miniature by Marguerite Van Eyck, representing St. Catherine and St. Agnes, but we read elsewhere that "no work can with certainty be attributed to her."

Among women workers a century later, we find: Clara de Keyzer, Suzanne Horebout and Anna Smyters, all three of Ghent. Clara de Keyzer, who flourished about 1530, visited Germany, Italy, France and Spain. Suzanne Horebout (1503-1545) was the daughter of Gerard Horebout, a painter of Ghent, who betook himself to England, and became painter to Henry VIII. Dürer knew him at Antwerp, in 1521, and there paid homage to the skill of his daughter, who was then barely 18 years of age. She accompanied her father to England, and was there received with the utmost favour; she made a rich marriage with John Parcker (or Parker), one of the King's archers, and died full of honours in her adopted country.

Anne Smyters who flourished about 1540, is named in words of praise by Van Mander, Vaernewyck and Guicciardini. She married the celebrated sculptor, Jean de Heere, and was the mother of Luc de Heere, the painter, who made a long stay in England, where, among other works of importance, he did a series of decorative paintings for the Earl of Lincoln.

Siret's "Dictionnaire" tells us that "in 1868, M. Lescart, a barrister of Mons, was the possessor of the only known picture by Catherine van Hemessen. This is a half-length study of the Virgin fondling the infant Christ, with a background of landscape wherein one perceives snow. It is painted on wood, and bears the signature: 'Caterina de Hemessen pingebat.'" But there is in London an interesting portrait of a man, by her, dated 1552, and an illustration of it will be found on page 263.

Then comes a series of daughters (and a sister) of famous painters, viz: Justine van Dyck; Gertrude van Veen; Catherine Pepyn; Catherine Peeters; Anne-Marie, Françoise-Catherine and Marie-Thérèse van Thielen; and Laurence-Catherine Ykens. The daughter of Antony van Dyck was born in London, in 1641. "She was wedded at the age of 12," says Siret's "Dictionnaire," "to Sir John Stepney de Prendergast, and abjured Protestantism at Antwerp on the 19th of August, 1660. Left a widow, she made a second marriage with Martin de Carbonell. Van Dyck's daughter was unfortunate, for she found herself compelled to ask the King for a pension, which she obtained."

The daughter of Otto van Veen, known as Venius, the teacher of Rubens, was born at Antwerp in 1602. She was a pupil of her father, and married Louis Malo. The Brussels gallery contains a portrait of her father, from her brush. She died in 1643. The daughter of Martin Pepyn lived in Antwerp about 1619. She specialised in portrait work, and was received into the Corporation of St. Luke, of that city, in 1650, by virtue of being a daughter of the master.

The success obtained by the flower-paintings of Seghers and Breughel suddenly caused a great development of this special branch of art, to which, moreover, the celebrated Dutchman Jean-David de Heem, then domiciled in Antwerp, was a notable contributor. Among the women who became inspired by their example and followed their technique may be mentioned: Catherine Peeters, and the three daughters, pupils of the painter, Jean-Philippe van Thielen (himself a direct disciple of Seghers), and Laurence-Catherine Ykens.

The registers of the Antwerp Academy for 1784 contain the name of Marie Baesten, _née_ Ommeganck. Siret's "Dictionnaire" also mentions (at Bruges), the daughter of Louis de Deyster, the painter. Anne de Deyster (1690-1747) attracted notice by the perfection with which she copied her father's pictures. Gertrude de Pelichy, of Utrecht (1743-1825), was appointed an honorary member of the Imperial and Royal Academy of Painting in Vienna, and at Bruges she painted the portrait of the Emperor Joseph II., and that of the Empress Maria-Theresa.

At the opening of the 19th Century, the Art of the Miniature was cultivated--as they expressed it in those days--by Marie-Josephe Dargent of Liège, a daughter and pupil of Michel Dargent, the elder, Hortense van Baerlen, and Amélie van Assche, whose sister, Isabelle Catherine, a pupil of her uncle, Henry van Assche, had devoted herself to landscape painting.

Siret's dictionary then notices a large number of women painters both historical and _genre_.

Marie-Adelaide Kindt of Brussels, who was a pupil of David and of Navez, and visited Germany and France; Julie-Anne-Marie Noël, wife of the painter, J. B. van Eycken, of Brussels; Mme. Isabelle-Marie-Françoise Geefs, _née_ Corr, of Brussels, a pupil of Navez; Mme. de Keyzer, _née_ Marie Isabelle Telghuis, wife of the former director of the Antwerp Academy, Nicaise de Keyzer. As to Mme. O'Connel, _née_ Frédérique Miethe, of Berlin, a pupil of Begas and of Gallait, "there is (writes C. Lemonnier in his 'Histoire des Beaux Arts en Belgique'), in her wild paintings, as it were, a reflection of Rubens."

Mlle. C. de Vrient, of Ghent, sister of the painters Albert and Julien, was a flower painter of distinction, like Mlle. Renoz, Mlle. de Franchimont, Mlle. F. Capesius and Mlle. E. de Vigne. Marie Ommeganck, a sister of the renowned Balthazar Ommeganck, surnamed the "Racine des Moutons," painted several landscapes in the manner of her brother; Mlle. Euphrosine Beernaert, of Ostend, a pupil of L. Kuhnen, painted landscapes characteristic of Zeeland and the Campine. The Brussels Gallery has several of her works, including _Les Vieux Chênes, île de Walcheren_, and a _Lisière de Bois en Hollande_.

Before citing the names of the professional women painters who continue to contribute to the fame of the Belgian School, let me say a word in admiration of the talent of sundry "amateurs" (as they are called, to distinguish them from the others), chief among whom is H.R.H. the Comtesse de Flandre. The small-sized portraits in oils painted by the Duchesse d'Ursel are restrained in manner and full of charm.

Furthermore, the pastel portraits by the Baroness Lambert de Rothschild attract attention by the richness of their colouring and their firm drawing, while those of the Comtesse Ghislaine de Caraman impress one by their distinction and their style. Madame Philippson, who is at present devoting herself specially to sculpture, has exhibited oil paintings, boldly handled and decorative in effect, and Madame Rolin-Jacquemyns has engraved in most skilful fashion several etchings representing "The Desolate Spots of the Campine."

The most notable of the women-painters of the Belgian School to-day is certainly Madame Marie Collart, who with rare skill, has chosen a path to herself whereon she walks alone with an admirable instinct for intimate rusticity, showing much deep feeling. The painting of Mlle. Anna Boch, on the other hand, is bright and gay. She formed one of the famous group of the XX., and following the example of several of its members, she has now turned her attention to the special study of light in the open air. Mlle. Louise Héger, after painting the lonely _dunes_ of Flanders, and the Campine, has been studying and skilfully representing the slaty tints of the high plateau of the Ardennes.

The most interesting of the "Ménages d'artistes" existing at present in the Belgian School is that of the Wytsmans. While Rodolph Wytsman seeks out the characteristic aspects of the landscapes of Brabant and the silent spots among the Flemish towns, Mme. Juliette Wytsman, for her part represents, so to speak, the floral life of the sites chosen by her husband. She has indeed created a _genre_ in which she is without a rival.

The daughters of the German engraver, Hoppe, one of whom has married Bernier, the animal painter, and the other the landscapist, Gilsoul, have likewise attained celebrity.

[Illustration: DUTCH SCHOOL, XVII CENTURY THE MERRY YOUNG MAN. FROM A PHOTOGRAPH BY HANFSTAENGL AFTER THE PAINTING IN THE RIJKSMUSEUM AMSTERDAM. Judith Leyster, Painter 1600(?)-1660]

The daughters and granddaughters of famous artists form yet another section. Mlle. Alice Ronner, of Brussels, daughter of Mme. Henriette Ronner, is beyond dispute the foremost painter of still-life in Belgium to-day. Her technical qualities are of the highest order, her _mise-en-page_, her draughtsmanship and her colour are in the grand style, and her works one and all have a really masterly air. Mlle. Marguerite Verboeckhoven, the granddaughter of the famous animal painter, has set herself to study the delicate gradations of colour seen on the Belgian littoral. Mlle. Verwée, daughter of the painter of the _Beau Pays de Flandre_, exhibits portraits, which display the wealth of her palette; and the still-life subjects by Mlle. Georgette Meunier, daughter of the engraver, Jean Baptiste, and niece of the great Constantin Meunier, are delicate both in design and in colouring. She is a pupil of Alfred Stevens.

Mme. Destrée-Danse and Mlle. Louise Danse, daughters of Auguste Danse, the engraver, have revealed themselves worthy of their father's high gifts. Mlle. Wesmael, in some remarkable landscapes, and Mme. Marie Durand, who has done some interesting heads, both prove that in Auguste Danse the teacher is fully worthy of the artist.

With regard to Mlle. Alix d'Anethan, C. Lemonnier, in his "History of Belgian Fine Art," writes in the following terms:--"In the Antwerp Salon of 1882 were two canvases by Mlle. d'Anethan, _L'affiche_ and _L'Enfant malade_, which had the freshness and the limpidity of Chardin, with a grace, a delicacy of touch, a feminine sense revealing the teaching of that most imperious of masters, Alfred Stevens." Mlle. Berthe Art, too, followed this prodigious master painter. She has made her position by means of pastels which, while preserving their natural charm, have all the solidity of oil-paintings.

Mlle. Marie Antoinette Marcotte at first devoted herself to the representation of the life of the poor. Since then, however, she has created an altogether original _genre_, which has won for her many a success--the painting of glass-house interiors. She was "coached" by Emile Claus, the landscapist, among whose pupils were Mme. de Weert and Mlle. Montigny.

The number of women painters is ever on the increase. There were as many as thirty-nine represented at the Brussels Salon of 1848, while at the last Brussels Salon in 1903, they were more than a hundred; and to close this rapid survey of feminine art in Belgium, I may record a success of another kind. In 1904, Mlle. L. Brohée, after the various eliminating trials, found herself among the half-dozen artists permitted to take part in the final examination for the Prix de Rome.

Machteld van Lichtenberg, wife of Egbert van Boecop, is the first name of a Dutch woman painter given in Siret's "Historical Dictionary." She was born at Utrecht, of noble family, and made a speciality in portrait painting. Her name is mentioned by J. van Beverwyck. Her daughter Cornélie also took up painting, and died at a great age in 1629.

Marguerite Godewyck, of Dordrecht (1627-1677), was styled a "second Anne Schurman." She was one of the most learned women of her time, and was further surnamed "La Perle de la Jeunesse de Dordrecht," and "La Fleur du Paradis des Arts et des Sciences." She specialised in portrait painting. Judith Leyster, of Haarlem, likewise enjoyed great fame. From the year 1613 she was a member of the Guild of St. Luke, of Haarlem. In 1635 she had a pupil, Guillaume Wauters by name, who on leaving her entered the studio of Franz Hals. She was married at Heemstede on the 1st of June, 1636, to the painter Jean Molenaer, also a native of Haarlem. She is eulogistically mentioned by Th. Schrevelius, the historian of Haarlem, who describes her as a famous woman, justly, as he remarks, called "the true guide in the arts"--(_de Ware Leyster in de Konst_), her name Leyster signifying 'Guide.' She died in 1660.

The most celebrated of the Dutch women painters of the 18th century was Rachel Ruysch, of Haarlem. Her flowers and fruit, painted with keen spirit and with extraordinary firmness, are extremely rich and varied in their arrangement. She was a pupil of Guillaume Aelst. In 1695 she married Jurian Pool, and was admitted into the Hague Corporation of Painters in 1701, the same year as her husband. Without neglecting her duties as a mother (she had ten children) she was constantly devoted to her art. In 1708 she was appointed Court Painter of the Elector Palatine. Poets have sung the virtues and the gifts of this renowned woman.