Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/514

Rh This is no doubt due in some measure to certain types she has chosen—for example, Salome and Herodias, in whom one scarcely looks for such an element.

Her portrait of Roybet and a picture of "Bianca Capello" were exhibited at Munich in 1893 and at Antwerp in 1894. The "Pensierosa" and a little girl were at the Paris Salon in 1894, and were much admired. "Herodias" appeared at Vienna in 1894 and at Berlin the following year, while "Primavera" was first seen at the Salon of 1895. This picture laughs, as children laugh, with perfect abandon.

A portrait of Miss Gibson was also at the Salon of 1895, and "Vittoria Colonna" and a "Venetian Girl" were sent to Munich. These were followed by the "Flower of the Alps" and "Desdemona" in 1896; "Dofta Mona," palpitating with life, and "Faustalla of Pistoia," with short golden hair and a majestic poise of the head, in 1897; "Salome" and "Angelica," two widely differing pictures in character and color, in 1898; "Mina of Fiesole," and the portrait of a golden-haired beauty in a costume of black and gold, in 1899; the portrait of Mile. H. D., in 1900; "L’Infante," one of her most noble creations, of a remarkably fine execution, and a ravishing child called "Roger"—with wonderful blond hair — in 1901.

Mile. Romani often paints directly on the canvas without preliminary sketch or study, and sells many of her pictures before they are finished. Some of her works have been purchased by the French Government, and there are examples of these in the Luxembourg, and in the Gallery of Mülhausen.