Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/458

Rh great kindness and many honors were shown her. In Florence she was invited to paint her own portrait, to be hung in that part of the Uffizi set apart for the portraits of famous painters. Later she sent the well-known portrait, near that of Angelica KaufFman. It is interesting to read Goethe's comparison of the two portraits.

Speaking of Angelica's first, he writes: "It has a truer tone in the coloring, the position is more pleasing, and the whole exhibits more correct taste and a higher spirit in art. But the work of Le Brun shows more careful execution, has more vigor in the drawing, and more delicate touches. It has, moreover, a clear though somewhat exaggerated coloring. The Frenchwoman understands the art of adornment—the headdress, the hair, the folds of lace on the bosom, all are arranged with care and, as one might say, con amore. The piquant, handsome face, with its lively expression, its parted lips disclosing a row of pearly teeth, presents itself to the beholder's gaze as if coquettishly challenging his admiration, while the hand holds the pencil as in the act of drawing.

"The picture of Angelica, with head gently inclined and a soft, intellectual melancholy pervading the countenance, evinces higher genius, even if, in point of artistic skill, the preference should be given to the other."

Mme. Le Brun found Rome delightful and declared that if she could forget France she should be the happiest of women. She writes of her fellow artist: "I have been to see Angelica Kauffman, whom I greatly desired to know. I found her very interesting, apart from her fine talent, on account of her mind and her general culture.