Page:Women in the Fine Arts From the Seventh Century B.C. to the Twentiet.djvu/63

4 In 1893 she painted a portrait of Rosa Bonheur, in her studio, while the latter paused from her work on a large picture of lions. This portrait presents the great animal painter in a calm, thoughtful mood, in the midst of her studio, surrounded by sketches and all the accessories of her work. In the opinion of many who knew the great artist most intimately this is the best portrait of her in existence.

Mile. Fould, at different periods, has painted legendary subjects, at other times religious pictures, but in my judgment the last were the least successful of her works.

Her "Cinderella" is delightful; the two "Merry Wives of Windsor," sitting on the basket in which Falstaff is hidden, and from which he is pushing out a hand, is an excellent illustration of this ever-amusing story, and, indeed, all her pictures of this class may well be praised.

To the Exposition of 1900 she sent an allegorical picture, called " The Gold Mine." A young woman in gold drapery drops gold coins from her hands. In the back- ground is the entrance to a mine, lighted dimly by a miner's lamp, while a pickaxe lies at the feet of the woman; this picture was accorded a bronze medal.

Adam, Mme. Nanny. First prize from the Union of Women Painters and Sculptors, Paris. Medal from the Salon des Artistes Français, and "honors in many other cities." Member of the Société des Artistes Français. Born at Crest (Drôme). Her studies were made under Jean Paul Laurens. Her pictures called "Calme du Soir" and "Le Soir aux Martignes" are in private collections. "Les Remparts de la Ville Close, Concarneau," exhibited