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<b>LINDEGREN, AMALIA.</b> Member of the Academy of Stockholm. Honorary member of the London Society of Women Artists. Born in Stockholm. 1814-1891. A student in the above-named Academy, she was later a pupil of Cogniet and Tissier, in Paris, and afterward visited Rome and Munich. Her pictures are portraits and genre subjects.
Of miscellaneous subjects, or what the French call tableau de genre, there were many most exquisite pictures, amongst the rest, the Miller, his Son and his Ass, by H. Bellangé, which was so full of character and expression, that it needed not language to tell the tale; there were also several other pieces by the same artist, possessing equal merit.
Her pictures are principally portraits and genre subjects. Her first decided success was gained in 1874, when she exhibited at the Academy the "Japanese Tea Party," and from that time she was recognized as an accomplished artist and received as many commissions as she could execute. The Baroness de Rothschild had been convinced of Mrs.
Among them were G. Baccelli the Minister of Public Instruction King Humbert, and Queen Margherita, the latter arousing much interest when exhibited in Florence. Portraits of her mother, and of her husband, who was the Minister of Finance, were also recognized as admirable examples of portraiture. "Modesty and Vanity" is one of her genre pictures.
Terburg's Despatch is an interesting anecdote; so too Metsu's Amateur Musicians. There are the average number of Dutch Italianate painters, Jan Both and the rest, men who employed southern backgrounds and improvised bastard Italian figures. Schalcken's candlelight scenes are not missing, though Dou leads in this rather artificial genre.
Later the French painter devoted himself with equal success to genre and figure subjects; but for him there was no such category as still-life.
There go Maurice and Marjorie now." A glittering car spun by, disclosing briefly a genre picture of Marjorie Jones in pink, supporting a monstrous sheaf of American Beauty roses. Maurice, sitting shining and joyous beside her, saw both boys and waved them a hearty greeting as the car turned the corner.
It is a genre bit of distinction. Upon the technical virtuosity in which this etcher excels we shall not dwell. Some of his single figures are marvels. The economy of line, the massing of lights and darks, the vitality he infuses into a woman who walks, a man who works in the fields, a child at its mother's breast, are not easily dealt with in a brief study.
It has often been remarked that French literature alone is superior in this genre; and many of the best American productions of the kind can scarcely be called second even to the French in daintiness of phrase, sureness of touch, sense of proportion, and skilful condensation of interest.
It's those carts, or, what was it?... the rumble of the carts carrying bread to humanity being more important than the Sistine Madonna, or, what's the saying?... une betise dans ce genre. Don't you understand, don't you understand, I said to him, 'that unhappiness is just as necessary to man as happiness. Il rit. We were silent again for a minute.
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