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WOMAN IN ART them awake on her canvas, where they add much to her reputation as an animal painter. Mrs. Van Wyck evidently paints in the open where her subjects are at home. Cows are most comfortable models if the temperature is right, and the tree casting its shade has low swinging branches, they stand contentedly chewing the cud.

Mrs. Van Wyck is a member of the National Association of Women Painters and Sculptors, the American Water Color Society, the Art Association of Lyme, the New York Society of Artists, and others.

Elizabeth Shippen Green was of the trio of young women who started their art life in a beautiful spot in Philadelphia under the instruction of William Sartain; also she was the first to permit marriage to disrupt the trio, by becoming Mrs. Huger Elliott.

Philadelphia was her birthplace, and the center of her art education, which was largely under the instruction of Howard Pyle. Under those two teachers, plus her innate ability, she was equipped for her career, which circumstances and her aptitude directed to illustration. For some fifteen years she was developing that line of art with Harper Brothers, publishers, and many exquisite works from her brush and pen added interest, value, and beauty to their manifold publications of books and magazines. Color she used often, and under her hand the effects were strong and in beautiful harmony. The headpiece to "Perdita's Lovers" is intricate and interesting. "My Lady Clemency Entertains a Guest" and "Bondelmont Rides to His Bride," add greatly to the letter press of Basil King's story.

The artist has charactered three clever illustrations for "Antiques." "Sister Nell just shook her head and tried to smile," and when you are conducted to her household treasures, "She called it a 'New England Tapestry Chamber'," and again "She don't call them second-hand, she calls them antiques,"—these all invite one to read the story.

Illustrations by Mrs. Elliott have enriched many beautiful volumes of poetry and prose. "Tales from Shakespeare," by Charles and Mary Lamb, has been made a work of art under her hand. For the midnight revels of the fairies, the artist has placed the playful creatures of the night amid the tints and tones commingled of light through spring leafage, twilight and moonlight, and a memory of the afterglow; just the colors for "A Midsummer Night's Dream." Depicting scenes from the tragedies, the colors are deep and rich. The moonlight effect on young Juliet, leaning with natural grace from her balcony to catch the honeyed words of Romeo, who is half concealed amid leafage of the garden, is dramatically 154