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Updated: July 22, 2025
In 1902 she sent her own portrait, and in 1903 that of Bessie Abbott, to the Exhibition of the Société Nationale des Beaux-Arts. <b>MARTIN DE CAMPO, VICTORIA.</b> Member of the Academy of Fine Arts of Cadiz, her native city. In the different expositions of this and other Andalusian capitals she has exhibited since 1840 many works, including portraits, genre, historical pictures, and copies.
Member of the Société Nationale des Beaux-Arts. A Swiss artist, who made her studies at the Julian Academy under Robert-Fleury. She has painted many portraits.
These relics crumpled leaves of the old comic journals of the period from 1830 to 1855 are neither rare nor expensive; but I happened to have lighted on a particularly copious collection, and I made the most of my small good-fortune, in order to transmute it, if possible, into a sort of compensation for my having missed unavoidably, a few months before, the curious exhibition "de la Caricature Moderne" held for several weeks just at hand, in the École des Beaux-Arts.
In the Studio of May, 1903, J. L. C., who writes of the same exhibition, calls this picture "admirable in both action and color." <b>CARL, KATE A.</b> Honorable mention, Paris Salon, 1890; Chevalier of the Legion of Honor, 1896; honorable mention, Paris Exposition, 1900. Associé de la Société Nationale des Beaux-Arts. Born in New Orleans. Pupil of Julian Academy and of Courtois in Paris.
In 1903 the city of Geneva commissioned her to paint a portrait of Philippe Plantamour, which is in the Museum Mon-Repos, at Geneva. Member of the Société des Beaux-Arts of Lausanne, Société des Femmes peintres et sculpteurs de la Suisse romande, Société de l'exposition permanente des Beaux-Arts, Geneva. Born at Payerne, Canton de Vaud.
The cartoons are not better than any mediocre student of the Beaux-Arts could do insipid parodies of the Venetian whom she excels, according to Mr. Watts.
A dauber from the Ecole des Beaux-Arts would have branded with the epithet "sham" the armchairs and sofas ornamented with sphinx heads in bronze, as well as the massive green marble clock upon which stood, all in gold, a favorite court personage, clothed in a cap, sword, and fig-leaf, who seemed to be making love to a young person in a floating tunic, with her hair dressed exactly like that of the Empress Josephine.
In his short review of the work of American artists in the Salon his sympathies are frankly with those who have ranged themselves under unofficial leadership in their adopted city. He has warm eulogy both for Mr. Sargent and Mr. Picknell, refusing to believe that the excellence of the latter is due in any way to his instruction at the École des Beaux-Arts.
The Director of the Beaux-Arts, Cave, went out, they tell me, full of esteem and admiration. Balzac became very ill with fever and brain neuralgia the day after the performance of "Vautrin," and Madame Surville took him to her house and nursed him. When he left his bed it was, of course to find his affairs in a worse condition than ever, and he was, as he described himself, "a stag at bay."
A dauber from the Ecole des Beaux-Arts would have branded with the epithet "sham" the armchairs and sofas ornamented with sphinx heads in bronze, as well as the massive green marble clock upon which stood, all in gold, a favorite court personage, clothed in a cap, sword, and fig-leaf, who seemed to be making love to a young person in a floating tunic, with her hair dressed exactly like that of the Empress Josephine.
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