Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/448

Rh Nature; the outline is all; if the outline is good, no matter about the coloring^ the picture will be good"

This story would favor the color-blind theory, as Ingres apparently saw color neither in the original nor the copy. An hour later Delacroix came to watch the work of his pupil, and after a few minutes exclauned: "I am so happy, my dear girl, to see that you have the true and only spirit of art. Never forget that in Nature there is no line, no outline; everything is color!"

In 1852 Mme. Thurwanger was in Philaddphia and remained more than two years. She exhibited her pictures, which were favorably noticed by the Philadelphia Enquirer, In July of the above year her portraits were enthusiastically praised. "Not a lineament, not a feature, however trivial, escapes the all-searching eye of the artist, who has the happy faculty erf causing the expression of the mind and soul to beam forth in the life-like and speaking face." In October, 1854, her picture of a "Madonna and Child" was thus noticed by the same pa^)er: "For brilliancy, animation, maternal solicitude, form, grace, and feature; it would be difficult to imagine anything more impressive. It is in every sense a gem of the pictorial art, while the execution and finish are such as genius alone could inspire." Tirlinks, Liewena. Born in Bruges, a daughter of Master Simon. This lady was not only esteemed as an artist in London, but she won the heart of an English nobleman, to whom she was given in marriage by Henry VIII. Her miniatures were much admired and greatly