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 Portrait busts, medals and reliefs come frequently from Miss Longman's studio, chaste and strong in their presentation; Mr. and Mrs. Henry Bacon; Judge Allen F. White; N. H. Batchelder (educator); Mr. and Mrs. Robert de Forest, among them.

At the Sesquicentennial held in Philadelphia (1926), Mrs. Evelyn Longman Bachelder, N. A., is represented by her latest finished work, a portrait relief of the eminent American sculptor, Daniel Chester French, her former teacher.

"It is an admirable likeness of Mr. French, and shows the distinguished sculptor seated in life-like pose. To those who know him the likeness is remarkably fine and convincing of one who occupies a foremost place in the realm of American Art.

"One of the most interesting features in the composition is the simple background with a frieze in which a number of Mr. French's masterpieces appear. These include "The Minute-Man" at Concord, Massachusetts; the group entitled "The Sons of God Saw the Daughters of Men That They Were Fair," which is in the Corcoran Gallery, Washington, D. C.; "Africa," on the New York Custom House, New York; the "Melvin Memorial," at Concord; "The Angel of Death and the Sculptor," in the Metropolitan Museum, New York, and the sculptor's well-known statue of Lincoln, in the Lincoln Memorial, Washington. . . . This is a likeness of Mr. French that will last. It is notable for its simplicity in treatment and for its strong characterization. A portrait of a sculptor of high ideals, Mrs. Bachelder is to be felicitated upon her latest achievement."

Her work has won for her a membership in the National Academy of Design, New York; the National Sculpture Society; the American Numismatic Society; the American Federation of Arts; the Connecticut Academy of Fine Arts; the American Archaeological Society, and the Municipal Art Society of New York City.

Mrs. Evelyn Longman Batchelder is represented in the Metropolitan Museum of New York; the Art Institute of Chicago; the Art Museum of Cleveland; the John Herron Art Institute, Indianapolis; Art Institutes at St. Louis and Toledo; the Cincinnati Art Museum, and elsewhere.

Those interested in the unfolding of American art may look longer than the year 1926 for such superlative sculpture as is being wrought here and now; and you may find it, for Progress will be a habitant spirit of