Wichita eagle., 1889-08-11

ELIZABETH GARDNER. Gardner Be seated
please" said Bouguereaux's compeer. 1.-The
maid said there was a lady at the door who
spoke English and would not go away, and
that must go and tell her myself that was
not at home" A hearty laugh ensued, and
for once an American was delighted to dis
cover that it was an advantage not to speak
French in Paris
81 never receive visitors except ON recep-
ton day." she explained; II am too busy,
but if you will excuse my studio dress we will
go there at once" Miss Gardner is lover
of birds; an aviary forms the vestibule Of
her studio. In an open window of the studio
a barefooted peasant girl, whose features
may be traced through many Of the distin-
guished painters pictures, was posing for the
new work Miss Gardner had just begun.
The subject is young girl holding bowl
from which two children are blowing soap
bubbles 1t is a large canvas and was sold
before the completion of the charcoal sketch
three of which the artist always makes before
laying in color. Begging that the model be
not dismissed, we got at the painters side
while she laid in with quick strokes those
matches gray tints for which her flesh col
oring Is SO conspicuous The studio Of Eliza
beth Gardner is an ideal spot.
On its lofty walls are ancient tapestries
fitting background for the Stars and Stripes
which stand half mast near the entrance
Busts, antique and modern, sketches in black
and oil, artistic jars Of growing palms, cary
ed back chairs and divans, rugs, portieres
and countless bits Of beauty complete the
harmony of this haunt of the muses.. Two
paintings just home from the last Salon stood
on easels. One was an exquisite portrait Of
the 3year-old son Of Mrs. Kepling, the other
"Dans lie Bois," owned by Mrs. Rhinelander
Waldo, both of New York city They were
ordered last fall" said Miss Gardner, land
the owners saw them yesterday for the first
time. The jury Of the Universal exposition
thought l ought to have sent them there, as
they are my last works. But the owners
wanted them, then the jury were not pleas
ant or just to US women They acted very
badly make no personal complaint, still
they did not do right"
do tell US what is the trouble. Why are
so few women represented Are they rot
doing good work.
Good, very good, F." was the quick response.
There is much talent and many hard work
ers. There are hundreds of students, but
permanent progress The exposition is no
representation Of what American women are
accomplishing ii art"
did they not send their work.
Certainly. Some were prevented by ILL.,
ness, ETC., hut those from whom much was ex-
pected had their best paintings rejected
What was the causeT A comprehensive
shrug of the shoulders and the woman and
the artist battled for supremacy.
The space was limited, said Miss Gardner.
The jury Of seventeen men have from SIX 70
seven pictures apiece, all large canvases. The
women were crowded out Ny picture that
had No at the Salon, and Miss klumpke's
Algerian Girl that Boususraau praised
highly, were rejected, as were the paintings
Of many women who have exhibited II the
Salon But then was not Story, whom all
American love, denied admitsancei II Is bad,
too bad But the jury were representative
men, and we helped to elect them The re
wards are many this year, and they ara am
bilious Perhaps IL is richt
The model was now dfs,n:ssec- TIE canvas
rolled aside and tempting lunch served,
while the chat took Retrospective turn
Opportunity fox art study must have
changed greatly since you came 70 Psrisr
Twenty years ago. said this pionser ar
tist. there we're no art facilities for women
in Paris. No school. 10 studio would admit
her"
what led you 70 ssek Psrisf
s'MY friend, Miss I-ogene Rooinson, 40"
Mrs MorreIl, Of Washington, ID. c. had
studied at liz Dusseldorf. Germany. She was
a teacher In Auburndale seminary, EAsAchu-
.etts, where graduated Together ~e taught
school at Worcester, and, encouraged oy her,
ruhaanzaenflr we came 10 RAxiA Bor ansz,s