Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/497

378 nude figure of a young girl holding a rose in her hand, there is more sadness than joy, as though she said, "It is only a dream, after all." "Chanson," exhibited at the Paris Exposition, 1900, displays something of the same quality.

Eristow-Kasaky, Princess Marie. Among the many Russian portraits in the Paris Exposition, 1900, two, the work of this pupil of Michel de Zichys, stood out in splendid contrast with the crass realism or the weak idealism of the greater number. One was a half-length portrait of the laughing Mme. Paquin; full of life and movement were the pose of the figure, the fall of the draperies, and the tilt of the expressive fan. The other was the spirited portrait of Baron von Friedericks, a happy combination of cavalier and soldier in its manly strength.

When but sixteen years old, the Princess Marie roused the admiration of the Russian court by her portrait of the Grand Duke Sergius. This led to her painting portraits of various members of the royal family while she was still a pupil of De Zichys.

After her marriage she established herself in Paris, where she endeavors to preserve an incognito as an artist in order to work in the most quiet and devoted manner.

Goebeler, Elise. This artist studied drawing under Steffeck and color under Diirr, in Munich. Connoisseurs in art welcome the name of Elise Goebeler in exhibitions, and recall the remarkable violet-blue lights and the hazy atmosphere in her works, out of which, emerges some charming, graceful figure; perhaps a young girl on whose white shoulders the light falls, while a shadow half con-