Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. eBook

This eBook from the Gutenberg Project consists of approximately 412 pages of information about Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D..

Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. eBook

This eBook from the Gutenberg Project consists of approximately 412 pages of information about Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D..

After her return to Italy from England, this artist was married and resided in Naples.  Several of her letters are in existence.  They tell of the manner of her life and give an interesting picture of Neapolitan society in her day.

GESSLER DE LACROIX, ALEJANDRENA—­known in art circles as Madame Anselma.  Gold medal at Cadiz, 1880.  Honorary member of the Academy of Cadiz.  She has spent some years in Paris, where her works are often seen in exhibitions.  Her medal picture at Cadiz was an “Adoration of the Cross.”  One of her most successful works is called “The Choir Boys.”

GILES, MISS—­MRS. BERNARD JENKIN. This sculptor exhibited a life-size marble group, called “In Memoriam,” at the Royal Academy in 1900, which attracted much attention.  It was graceful in design and of a sympathetic quality.  At an open competition in the London Art Union her “Hero” won the prize.  In 1901 she exhibited an ambitious group called “After Nineteen Hundred Years, and still They Crucify.”  It was excellent in modelling, admirable in sentiment, and displayed strength in conception and execution.

GINASSI, CATERINA. Born in Rome, 1590.  This artist was of noble family, and one of her uncles, a Cardinal, founded the Church of Santa Lucia, in which Caterina, after completing her studies under Lanfranco, painted several large pictures.  After the death of the Cardinal, with money which he had given her for the purpose, Caterina founded a cloister, with a seminary for the education of girls.

As Abbess of this community she proved herself to be of unusual ability.  In her youth she had been trained in practical affairs as well as in art, and, although she felt that “the needle and distaff were enemies to the brush and pencil,” her varied knowledge served her well in the responsibilities she had assumed, and at the head of the institution she had founded she became as well known for her executive ability as for her piety.

Little as the works of Lanfranco appeal to us, he was a notable artist of the Carracci school; Caterina did him honor as her master, and, in the esteem of her admirers, excelled him as a painter.

GIRARDET, BERTHE. Gold medal at the Paris Exposition, 1900; honorable mention, Salon des Artistes Francais, 1900; ten silver medals from foreign exhibitions.  Member of the Societe des Artistes Francais and the Union des femmes peintres et sculpteurs.  Born at Marseilles.  Her father was Swiss and her mother a Miss Rogers of Boston.  She was a pupil for three months of Antonin-Carles, Paris.  With this exception, Mme. Girardet writes:  “I studied mostly alone, looking to nature as the best teacher, and with energetic perseverance trying to give out in a concrete form all that filled my heart.”

[Illustration:  GIVE US THIS DAY OUR DAILY BREAD

BERTHE GIRARDET]

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Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. from Project Gutenberg. Public domain.