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SONGS OF THE MORNING.

HENRIETTA RAE
(MRS.

ERNEST NORMAND)

BY

ARTHUR

FISH

WITH EIGHT REPRODUCTIONS IN COLOUR

AND THIRTY-TWO OTHER ILLUSTRATIONS

MCMV

CASSELL

and

LONDON, PARIS,

COMPANY,
NEW

YORK

Limited

& MELBOURNE

ALL RIGHTS RESERVED

UNIFORM WITH THIS WORK.

LAWRENCE

SIR

ALMA-TADEMA,
O.M..
By

R.A

PERCY CROSS STANDING.

Portrait, Four Illusand numerous others
Black and White.

With Photogravure
trations in Colour,
in

CASSELL & COMPANY,

Paris,

Limited, London,

New York and

Melbourne.

fVD
17

H-

PREFACE.
In

presenting this

work

it

is

necessary that

and

ledge

fully

which

Mr. Ernest

its

could

not

have

should acknow-

unreservedly

Normand
Without

preparation.

Normand's

record of Mrs.

been

the

assistance

has accorded

his

in

help

the

book

for

from

him

written,

alone could be obtained the information which

it

contains.

patience
past

With

he has devoted

summer

to the

and incidents
the
for

unfailing courtesy

in

many

and kindly

hours of the

orderly arraying of facts

the

career of

wife

his

searching of faded documents and

the verification of

memory

notes,

to

letters

and,

in-

deed, to endless trouble to secure the accurate

presentation of this biography.

Thanks,
pictures
in

too,

are

due

who have allowed

this book.

to

the

their

owners

of

reproduction

There are but few instances

in

PREFACE.

iv

which the request has

met with

or

refusal,

conditions suggested that have been unacceptable by the publishers.

has

been

various

possible,

owners, to

by

Generally speaking,
the

present

courtesy

series

of

it

the

of illus-

whereby the growth and development

of Mrs. Normand's art can be traced from
trations

its

beginning.

A. F.

CONTENTS.
CHAPTER

I.

PAGE

INTRODUCTORY

CHAPTER

II.

1859-1878.

EARLY LIKE AND STUDIES

CHAPTER

III.

1879-1884.

PRACTICAL WORK EARLY

EXHIBITS AND COMMISSIONS

MARRIAGE

27

CHAPTER
1

IV.

885-1 888.

ARIADNE "ELAINE GUARDLNG THE SHIELD OF

LANCELOT" u DOUBTS "EURYDICE SINKING BACK
TO HADES A NAIAD ZEPHYRUS WOOING
FLORA A REYERIE "
"

"

"

"

"

"

"

"

CHAPTER

34

V.

1889-1890.
il

THE
"

DEATH OK PROCRIS
OPHELIA

"

PARIS

"

"

SLEEP

"

"

SYLYIA

"

52

CONTENTS.

VI

CHAPTER

VI.

1890.

STUDY

IN PARIS

LIFE

PAGE

AT GREZ

6l

CHAPTER

VII.

1891-1894.

" THE LADY OF THE LAMP "

" LA CIGALE "

"

MARIANA

"

"

"

REMOVAL
FLOWERS PLUCKED AND CAST ASIDE
TO NORWOOD "PSYCHE BEFORE THE THRONE

OF VENUS

73

CHAPTER

VIII.

1895-1896.
"

AT

EXHIBITION

DAPHNE

"

"

" APOLLO
DORE GALLERY "
"
VISIT TO ITALY
SUMMER

AND

CHAPTER

86

IX.

1897-1905.
" ISABELLA "

TIES

OF

"

DIANA AND CALLISTO

SIR

RICHARD

EXCHANGE WALL
DUFFERIN"

"

THE CHARI-

WHITTINGTON

PAINTING)

u SIRENS"

"

"

(ROYAL

"

THE MARQUESS OF
"SONGS OF THE MORNING
''

99

OF ILLUSTRATIONS.

LIST

Songs of the Morning

(Colour)

Henrietta Rae (Mrs. Ernest Normand)

M. le Cure

"Through the Woods

Miss

Warman

Lancelot and Elaine

A Bacchante
Doubts

(Colour)

Val Prinsep,

R.A.

Eurydice Sinking Back to Hades

Zephyrus Wooing Flora

Reverie

(Colour)

......

Ophelia

....

Apple Blossom
Study of Head

in

Chalk

La Cigale
Landscape Study for Flowers Plucked
and Cast Aside
.

Flowers Plucked and Cast Aside

Memories
Mariana

(Colour)

LIST OF ILLUSTRATIONS.

viii

Psyche before the Throne of Venus

To face page

74

Pandora

Apollo and Daphne

78

Summer

80

,,

82

Her Eyes are Homes of Silent Prayer

,,

84

86

88

90

..........

Roses of Youth

G. L. Beeforth, Esq

Azaleas

(Colour)

...

Lady Newton

The Studio at Norwood

....

92

The Charities of Sir Richard Whittington

94

Normand Painting the Charities

of Sir Richard Whittington

,,

96

Mrs.

Isabella

(Colour)

Marquess of Dufferin and Ava

Mrs. Normand Painting the Portrait of

Lord Dufferin

for

Study

Sir

Richard

Loot

........

In Listening

Mood

Venus Enthroned

(Colour)

98

,,

100

102

104

>,

106

>,

108

no

,.

112

Whittington

(Colour)

Sirens

....

HENRIETTA RAE
(MRS.

ERNEST NORMAND).

CHAPTER

I.

Introductory.
chronicle

THE
a woman

of

events

artist is in the

in

the

life

of

natural order of

As a rule there
a circumscribed one.
out
of the
little
little
is
exciting,
way
is
record
the
record
to
comprised of a fewyears of study, a few years of work more or
its
less successful in
results, a great many
efforts and few achievements of note
making

things

a sum total of a life of placidity tempered

To compile
with seasons of disappointment.
in
artist
is
the
such a chronicle while
ideals still
full vigour of life, with her best

but determinedly hopeful of realisaIt can

tion, is perhaps a little premature.
artist
fact
that
the
the
be
justified by
only
subwhich
been
has
work
has accomplished
mitted for judgment in the world's art centres
work which has
and received with favour
made her name prominent among those of
unfulfilled,

HENRIETTA RAE.

io

the

of

women-painters

and

to-day,

her career with success.

Mrs.
an artist, is,
self, as becomes

marked

Normand
it

is

her-

needless

to say, dissatisfied with her productions ; she

believes that her best work is yet to be

was

there ever an artist who

did not so long as life remained ? The ideal
is ever in
view, but like the Fata Morgana
it
eludes the grasp just when it appears to

accomplished

The

be within reach.
unsatisfactory

it

work is always
which is not yet

finished

that

is

be the " masterpiece." So

Mrs. Normand is never sparing in self-criticism
and self-depreciation
as
an artist she is
without vanity.
It must be borne in mind that the position
of women in art has only quite recently been
and that even now in
definitely assigned,
England official honours as artists are denied
them because they are women. While acknowledging women to be possessed of fine, even
acute, taste in art matters, of a sensitive

begun that

is

to

temperament, and great capabilities of

its expression, men, in their
folly, have declined
to go further.
Public facilities for the acquisition of technical knowledge and training in
relation to art
always under the control of
men have been grudgingly granted to women.
When a woman has succeeded as an artist it
has been in spite of the lack of such facilities,
and by sheer force of will and talent.
For
artistic

instance,

when Mrs. Normand gained entrance

INTRODUCTORY.

Royal Academy Schools, women students

were not allowed to draw from the undraped
model
a serious handicap in the race for
artistic proficiency, and an altogether illogical
restriction.
She and her fellow girl-students
had proved themselves, by the Academy's own
to the

test,

suitably efficient for tuition in its classes

a perversity that is beyond under-

but, with

standing, it declined to
tage of the means at

give
its

them

full

disposal

advan-

for

their

and improvement.

Did they wish

to acquire the indispensable knowledge to be
gained only by the study of the model ? Then
they must themselves provide the material
the Academy could, or rather would not.
This and many other anomalies in the artinstruction

training

of

women have now been removed,

and they are given

men

in

the

equal

acquisition

of

facilities

with

knowledge and

the
ex-

perience.
recognition of women
artists by the Royal Academy is still withheld.
The reason would be difficult to state. In the

But the

full

early days of its existence women were included

in the membership, and there is nothing in its

instrument of foundation to debar others from

election, but the honour is steadfastly refused.
The prejudice has been challenged again and
again, and on one occasion a woman missed
an associateship by one vote only.
During the
last thirty years several women have been fully
worthy of election, but beyond accepting their
works for the annual exhibition the Academy

HENRIETTA RAE.

12

has not recognised their claims. Other important societies have long
since
broken the
which excluded women from their
barriers
membership, and have thus fallen into line
with the fact that woman is a force in the art
of to-day.
It is, of course, readily granted that women
are handicapped by nature against the attain-

ment of high distinction in the practice of art.

Those who overcame these inherent difficulties
when facilities for doing so were rare, or nonand even in these days
existent, were but few
when with equal training facilities with their
male competitors the numbers who pass the
;

preliminary exercise are many, those who

achieve distinction are startlingly few. Their
there
staying powers are not to be relied upon
are so many other considerations to claim
;

attention that art

relegated

to

is

without doubt
or even lower,

regretfully,

secondary,

There have been women

position in their lives.
students in the various art schools who have
exhibited talent of

when

the

student

extraordinary power,
days were over have

who
dis-

the promise
appeared from the world of art
has failed when it has come to the point where
:

work commenced. Some there are,

the late Rosa Bonheur, who disowning, or

practical
like

at

least

disregarding,

their

sex,

rigorously

exclude everything that would stand between

them and their art but it must be confessed
that these are so few that the artist named
;

INTRODUCTORY.
alone

stands

as

13

attained

having

But on the other hand there

distinction.

arc

some who

the responsibilities
as women, and in spite of

have been willing to take

all

pertaining to them
them have asserted their

The

as artists.

skill

fact has proved them possessed of the artistic

temperament in the highest degree a temperament capable of overcoming adverse circumstances, and finding expression in works which
exhibit ability and force far above the average
;

level of merit.

Such

mand
and

is

in

successful

too.

artist,

in

advantages
achieved success

special

has

Ernest Noran artist,

the position of Mrs.

spite of her sex she

her
in

is

Without

any

circumstances, she
the usual ordinary

by sheer persistent hard work by a

determined
fight against the disabilities
strong,
and discouragements that hinder a woman in

manner

In this she has, it is true,

the battle of life.
been fortunate in her husband, for in him she
has had a ready helpmeet, who has done all
that was possible to make the road smooth for
who has relieved her of all business
her
;

responsibilities,

side

by

This has
career.

and who

has, moreover,

side with her from

worked

her student days.

meant much to her in her artistic

This close and harmonious association
all

with a fellow artist, with its intimate criticism and encouragement, could not be otherEach has worked
wise than advantageous.

on

independent

lines,

so

that,

despite

the

HENRIETTA RAE.

14

intimacy, there is no undue influence of the one

apparent in the art of the other. They have

always worked together in one studio, compared ideas, discussed compositions and ways

and means of execution, yet their actual output

of work has been totally dissimilar.

To

say that Mrs. Normand has not been influenced at all by her husband in her art would
be obviously absurd, but the influence has not
been solely and directly upon her art. It has
rather been such as is exercised by a strong
companion on a physically weak person in a
time of danger. The knowledge that her position was always secure nerved her to ventureshe was encouraged to " try her
some effort
strength," and did so, knowing that her hus;

band had

full

she herself

belief

in

her powers

He was

faltered.

there

even

if

with his

criticism, with practical assistance in questions

of perspective and other abstruse technicalities,

and, withal, with his cheerful incitement to
full effort.
But beyond this the influence was

not exercised
that

of

separate
in

the art of Henrietta

Ernest
each

subject,

Normand
is

style,

independent

and

to judge

opportunity
than in the

are

Rae and

distinct

of

the

and
other

No better
technique.
could be afforded

this

comparison of the two wallPainted

paintings in the Royal Exchange.
in the same studio, under the same conditions,
by two artists trained in the same schools,
under the same masters, who had worked

INTRODUCTORY.
together
not the

for

nearly twenty years, yet there is

slightest trace of similarity visible

throughout the
curious

in

that

two

It

pictures.

Mrs.

Normand

is

the

more

has a pecu-

temperament, artistically, which

has proved itself amenable to
outside influences.
But even then her artistic
soon reasserted
its
individuality
authority,
her
and, generally speaking,
pictures betray no
marked impression of extraneous influence.
liarly sensitive

several

times

The work already accomplished by Mrs.

Normand affords sufficient evidence that her
life has been a strenuous one
each year has
witnessed some addition to the list of her pictures. Success has reduced the strain of necessitous and continuous work, and leisure is
afforded for more thoughtful choice of subject
and its application. So that it may be taken
that this record is but preliminary.
There is
to be a residence in Italy, and doubtless there
will
be renewed and invigorated effort in
:

response to the influence of classic scenes and

atmosphere.

i6

CHAPTER

II.

1859-1878.

Early Life and Studies.

RAE

HENRIETTA
smith in 1859,
are

centred

at

was born

but her

Her

Hammer-

recollections

where

her childa kindly, inthree sons and four

Henrietta
was
the

Holloway,

hood was passed.

at

first

father,

dulgent man with his

whom
(of
daughters
held
an appointment in the Civil
youngest),
her mother, a musical artist of great
Service
ability, was at one time a pupil of Mendels;

Mr.

sohn.
best

Rae appears
his

to

to

children

have
that

done

his

life

was,
impress
a very serious matter, and was, in
As honorary
return, loved devotedly by them.
the
of
Whittington Club, a Bohemian
secretary
society of literary and dramatic gentlemen which
met in Arundel Street, he was acquainted with
after all, not

members

of these two prowere Thackeray, Dickens,

Mark Lemon, Dion Boucicault, and many
others who have since become famous in the
world of letters and histrionic art. In connection with this club an interesting letter from
Thackeray to Mr. Thomas Burbey Rae was

many

of the leading

fessions,

among whom

published in the English Illustrated Magazine for

HENRIETTA RAE
(Mrs.

Ernest Normand.

from a Photograph by Hate Pragncll, Brompton Square.

EARLY LIFE AND STUDIE

17

November, 1904, from which it would appear

that Thackeray was treasurer to the club and
had to advance money for its liabilities
:

My Dear

3,

Young

Street,

July

i*.

'.on,

Sir,

Times have been

not been able until

now

to

bad

with

spare the

me, and

sum

have-

necessary for

company and Major Smyth. I have now %o at

your orders, for which I send a cheque.
Will you kindly acknowledge it, and send me
the receipt of the Gas Company ?

the gas

To

Very Faithfully Yours, Dear Sir,

W. M. Thackeray.

T. B. Rae, Esq.

There was connected with the club an

amateur theatrical section that was famous in
its day, and the honorary secretary himself had
strong inclinations dramatically, for

Normand's

earlier

among Mrs.

are

recollections

theatrical

evenings at home in which William Terriss and

S. Penley were
prominent participants.

W.

Recollections of fun, merriment and music, in

which she, as the youngest child, took no more
active part than that of listener.

Rae, herself, undertook the development of such musical tastes as the children
possibly the
possessed, but for some reason
education
musical
the
of
the
pupil
inaptitude
Mrs.

of Henrietta

was of a very desultory

nature.

There was no severe grounding in the theory

and practice of music such as had been given
to the elder sisters, but chief attention was
B

HENRIETTA RAE.

devoted to the development and training of

It
her voice for concert use.
was, indeed,
intention
should
that
she
mother's
her
it
become a professional singer,
being necessary that a means of livelihood and selfsupport should be provided. The limited in-

come of the head of the family, and the increasing demands of the growing family, precluded
the possibility of the formation of a reserve fund
of any extent, and it was foreordained that the
girls as well as

the boys would have to be self-

supporting.

Henrietta was not thought to be possessed

special ability, and beyond the singing
lessons, to which reference has been made, her

of

any

education was, in a general sense, irregular and

One of her elder sisters
desultory in character.
to
have
artistic tastes and
was considered
drawing
proclivities, and was provided with
materials by an uncle, Mr. Charles Rae, who
had been one of Cruikshank's pupils and worked
The child found
in his master's manner.
interest in her sister's exercises, and through
her, vicariously, her artistic cravings found expression until such time as she could herself
But there is no precocious display
use a pencil.
of talent to record, or even extraordinary skill
in her childish attempts at drawing.
Nothing,
in fact, to suggest the desirability of regular
So the time went on until she was
training.
thirteen
years of age, when the musical
nearly
career planned by her mother seemed to be her

EARLY LIFE AND

STUDIES.

19

She received her preprospective destination.

as
a professional singer,
liminary engagement
and earned two guineas by singing at a concert

Meet me by moonlight alone " and " Sigh

no more, Ladies." But her thoughts were all
for art
her efforts to draw were incessant, and
absorbed every moment of liberty. Some, by
11

chance,

attracted

who

uncle,

at

the

attention

of her

artist-

once desired to see more, and

sufficient promise to justify a
to an art training.
Her father

them
recommendation
found

in

at once agreed to accept the recommendation,

and Henrietta was entered as a pupil of the
Queen Square School now the Royal Female
School of Art.
Hand in hand with her father,
whose habit it was to walk each day to
his office in Bedford Row, she went from
Holloway to Bloomsbury to her lessons. At

the school she obtained her

experience in
regularity and discipline, and doubtless it was
first

exceedingly dull and unpleasant.

Art training in those days was a most serious
and depressing business, especially to a young,
A rigorously enjoined course
vivacious pupil.
of freehand drawing (so-called) was in itself
sufficient to cure an ordinary craving for the
and the irresponsible spirit of
artistic
life,
all

Henrietta Rae rebelled against its deadly dull

This was but the very " dry bones "
she was longing for something more
of art
routine.
;

attractive

and

inviting.

When

opportunity

afforded the arid wastes of freehand would be

HENRIETTA RAE.

20

deserted for the

life-class,

more desirable

oasis

of

the

but the order to return to the drudgery

was always peremptory and immediate.

Two years were thus passed without any distinct advance being made.
The young student
wanted to get to business with paint, brush,
and palette, but the only opportunity afforded
her to indulge her fancy was during the vacation.
Then free rein was given to her desire with
brown paper in lieu of canvas and old colour;

tubes from her uncle's paint-box she painted

everything that her imagination suggested, or,
at

least,

endeavoured to do

so.

The

efforts

delighted her father, who discovered in them

evidences of genius of no ordinary variety. The
crude attempts of the child to express herself

were magnified by parental admiration

into masterpieces of art.
They were exhibited
in colour

and callers, who, it

must be recorded, were not impressed by them
to the same extent as the proud father.
But
the time spent on these early efforts was not
for the edification of friends

wasted

the experience gained in the use of

colour, in the drawing from nature, even if the
results were not altogether satisfactory, was all
;

opened to the young student's eyes

the possibilities that were before her, and increased her desire to extend her knowledge by
useful.

other

It

means than those afforded by the School

of Art.

The outcome
to

join

the

of

ranks

it

of

was the determination

the

free-lances

who

EARLY LIFE AND STUDIE

zi

the

Antique Galleries of the

British Museum, and in 1874 this was done
"Life went very well then"; the morning
walk with her father was extended to the
studied

art

Museum

in

gates, and the day

of kindred spirits

company

of

fragments

classic

art.

was passed in the

amid the glorious

The

galleries

were

with students of both sexes, who

each other in rendering in black
and white the glories of the Elgin marbles.
Work was interspersed with talk there was

crowded

with

vied

much

interchange of criticism, of thoughts not

always immediately connected with the work
of the

moment

flirtations alternated

modic attacks of serious drawing.

difficulties of foreshortening that

with spas-

There were

could only be

surmounted by the aid of a more skilful

student, and plans, and
hopes, and fears
to be discussed and advised
for the future
It was under these circumstances that
upon.
Mr. and Mrs. Normand first met, and commenced the friendship which culminated in
marriage.
O

Museum
goal of these
the Royal Academy School, and
their efforts were centred upon the necessary

The

immediate

students was
all

It
of proficiency in
drawing.
could only be acquired by diligent and unceasing labour, and the environments were not alMiss Rae, in any
together conducive to that.
to
it
difficult
found
case,
bring her mind to

qualification

it

but

in

spite

of dilatoriness

and intermit-

HENRIETTA RAE.

22

industry her natural facility enabled her

a good show, sufficient to win the
esteem of her fellow students as of one above

tent
to

make

their average.

an

The

which

artist,

earnest

desire to

existed

really

become

despite

the

prompted her

apparent lack of interest, again

advancement, and

to adopt further methods of

the study at the Museum

was supplemented

attendance at the evening classes at

Heatherley's School of Art in Newman Street,
in which she was the first woman pupil.
"Heatherley's" was the leading School of

by

Art of the day, and was the recognised recruitIt

ing ground for the Royal Academy Schools.
carried on the traditions of Leigh's, of which
it

was

the

direct

and among its

many of the most

successor,

counted
our time. Mr. Heatherley
prominent
who, at the time of writing, is still living
seems to have been as distinct a personality
Mr. Sass, that other
in his school as was
celebrated art master, of whom Mr. Frith has
" Reminiscences."
recorded so much in his
On one occasion a student who was to carry
home a canvas was much concerned that he
could not cover it sufficiently to hide it from
he " did not want
the eyes of the public
"
Carry
everyone to know he was an artist."
side outwards and no one
it with the painted
pupils

may

be

artists of

make that mistake," was the master's retort.

Once there was extra noise from the students

will

on the

staircase,

and Heatherley, coming from

EARLY LIFE AND

STUDIES.

23

" to
be kind enough not
room, asked them
to bray so loudly."
Among those who were contemporary with
Mrs. Normand at Heatherley's were Messrs. S. J.

his

Solomon, A.R.A., Blair Leighton, T. C. Gotch,

Claude Hayes, and H. M. and Sidney Paget.
At this time then our student had settled
down to a course of steady hard work in the

daytime at the British Museum, in the evenin

She fully realised that it
at Heatherley's.
was necessary, for her art was to be no mere

"
but a means whereby she
accomplishment
she was to be a professional
was to live
not
a
dilettante
amateur with Art
artist,
Her first effort then was
as a recreation.

"

towards

directed

securing
entry into the
with
its
course of
Royal Academy Schools,
The conditions under
free tuition and study.

which students were admitted as probationers

were less difficult in those days than they are
at

the greatly increased

present, for with
of applicants the terms of the com-

number

have become considerably more

Students of painting were then required to send with their application papers
" as a
specimen of ability a finished drawing
in chalk, about two feet high, of an undraped
antique statue; or if of the 'Theseus' or of
the 'Ilyssus' (the only mutilated figures admissible) it must be accompanied by drawings
petitive
severe.

test

and foot."
drawing was approved the student

of a head, hand,
If

this

HENRIETTA RAE.

24

was admitted to a three months' probationership, in which time another set of drawings
This set comprised
was to be completed.
another finished drawing from an undraped
antique statue, and outline drawings of the
same figure anatomised, showing the bones
and muscles with references to each particular
anatomical point. If these drawings, with the
first one submitted, were considered satisfactory
by the Council, the probationer was duly admitted as a student for a period of seven years.
It was not until 1877, after five unsuccessful attempts, that
Henrietta Rae gained the
coveted goal. The failures were not altogether
due to inability to pass the test, for on one
occasion her name appeared on the list of
those accepted as students, and then it was
found that the number of vacancies was exceeded by one, and her name was struck off.
At the fifth trial she was excluded from the

The old dilatoriness had refinal competition.

asserted itself; drawing from the antique had
probably becoming irksome, and

its

monotony

was varied by the

young girl student with

exercises in caricature, with the curator as a
At the next attempt, six months
subject.
later, admission was obtained, and the seven
years' studentship entered upon.
They were halcyon days, full of the joy
a time of good feeling and companionThere was
ship, and, above all, of hard work.
a brilliant band of students at the Academy,

of

life

M.

LE

CURE.

A Royal Academy School Study.

AND

EARLY' LIFE

STUDIES.

25

and competition must have been keen. Among

others were Margaret Dicksee, Alfred Gilbert,
Arthur Hacker, Solomon J. Solomon, H. 11.

La Thangue, Stanhope

Forbes, A. S. Cope,
Melton Fisher, and Ernest Normand, all of
whom, with two exceptions, had entered the
schools with no other preliminary training than
that

in

gained

Museum.

the

of

galleries

With such

competitors

the

British

there

can

surprise that none of the

medals or scholarships fell to the lot of Henrietta

hardly be cause

Rae.

Among

for

the students themselves she was

her facility won their

always
admiration and confidence, of which they were
always ready to assure her. Repeated disappointments failed to shake their belief in her
their confidence continued misability, but
At
the critical moment she always
placed.
failed.
In spite of this her popularity with the
when she was late at the
students remained
life class
positions already taken were willingly
sacrificed to her belated choice her studies were
not at princely prices
eagerly bought by them
fact
but
the
that
they were bought
certainly,
first

favourite

at all exhibited a high degree of appreciation.

There were, too, at this time, indigencies
in the way of little studies on her own account,
portraits

of children,

which brought

in

small

welcome amounts to her exchequer.

Money was wanted to keep matters goin^,
and as soon as proficiency was gained it was
but

put to service.

Studies executed in the schools

HENRIETTA RAE.

26

were disposed of through Stannard, the frame

maker, and every effort was made to prove
that she

was attaining

practical success.
the
deficiency of the Academy
supply
School in respect to women students and the
study from the undraped model, a proposal

To

was made by Miss Margaret Dicksee

to

her

should form

life

fellow
class

students
of their

that they

own on

co-operative principles.
proposal was enthusiastically received,
and the class instituted in Mr. Dicksee's
The attendances
studio in Fitzroy Square.

The

were made
at the

in the

evening after the day's work

Academy.

Among

the visitors

to

the schools

time were Professor von Herkomer,

Tadema, Mr. Frank Dicksee, and Mr.

at

Sir L.

this

Alma-

W.

P.

Frith, and of these Sir Alma-Tadema chiefly

influenced Miss Rae. At one time, indeed, she
"
passed through a Tadema phase," from which
On one of the
arose an interesting incident.
"

"
he
occasions of that artist's
visitorship
the
of
one
of
in
attitude
model
the
the
posed
"
Sappho," and Miss Rae's
figures in his picture

study attracted his attention. Taking her brush

he commenced to work on her canvas, and after
a short time it assumed the appearance of
The pupil was
one of his original works.
afforded
at
the
by such a
prospect
delighted

was cut short by the

artist saying, "There, that's what I wanted to
show you," and wiping out all his work.

possession, a delight that

-7

CHAPTER

III.

1879-1884.

Practical

Work

Early Exhibits and

Commissions

Marriage.

the second year of her studentship at the

INAcademy

Schools Miss Rae ventured to send

to the Royal Society of British Artists a small
landscape for the Spring exhibition, which was
duly accepted. The catalogue entry of this,
her first exhibited work, stands " Sketch near
At the following winter exLee,' 3. 3. o."
hibition of the same society she was repre"
A Glimpse of
sented by two landscapes
"
and
The
is
dark
and cold
Sunshine,"
way
and drear." At the Dudley Gallery Exhibition of the same period
the winter of 1879-80
her first figure subject, a portrait study of
herself in Empire costume, was shown under
the title of " La fille de l'Ancienne Noblesse."
In 1880 the name of Henrietta Rae appeared for the first time in the Royal Academy
Catalogue, in connection with a figure entitled
'

"

Chloe," which, again, was a portrait study of

Work at the schools was varied with
nature
the
landscape study from
during

herself.

ensuing summer, and the principal result was

HENRIETTA RAE.

28

an

oil

study,
reminiscence of

which

appeared

"

Through

the
at

Redlands,

"
(a

Coldharbour),

winter

the

Woods

the

exhibition

at

It is of interest that
Suffolk Street of 1 880-1.
the catalogue price of this work is j 7 o
more than double that of her first exhibit of

two years previous.

time Mr. Ernest Normand
Miss Henrietta Rae had determined to

By

this

and
link

together, and the engagement

was duly announced and ratified. Marriage
was an event connected with " the dim and
distant future," and the meantime was to be
hard work
and
by each with
occupied
their

fortunes

strenuous study for

the

necessities.

provision

of

current

with

friendship
John Steeple,
the water-colour painter who took a practical
led to several
interest in the young couple

introductions whereby grist was brought to their

mill.
Principal among these was that to Mr.

Thacker, who purchased several of

Miss Rae's school studies, and in 1881 commissioned her to paint portraits of his two

Samuel

In

children.

that

year

she was

represented
Spring exhibition by
two head studies, which were catalogued "A
"
and " A Bavarian Peasant
Study from Life
Girl," and one of these brought her first outcommission.
A Leicester clergyman's
side

at

the

British

Artists'

was attracted
handling, and he wrote
attention

addressed his letter to

by

the

and

style
to her although he
" H.
Rae, Esq." ex-

THROUGH THE WOODS.

Charcoal Drawing.

EARLY EXHIBITS AND COMMISSIONS.

29

pressing his appreciation, and his desire for a

Mrs.
portrait of himself by the same artist.

Normand
follows

"
:

the
subsequent
then had no studio

relates

As

appointment

to see

Schools.

Academy
look now

as

him
I

made an

the corridor of the

in

can

see

student

story
I

his

surprised

came

girl
tripping
along, with heels clattering on the stone paveI
want to
ment, bearing his visiting card.
'

Mr.

see
else
1

Rae,' he
here of the

'

began.

name

of

There

Society of

British

replied.

have seen
he urged

Artists,'

and he was quite put out when

that it was my signature."

The matter

no one

Rae,'

But H. Rae, whose head study

at the

is

explained

was, however, definitely arranged

and the commission duly given. The difficultv

connected with the want of a studio was
surmounted by Mr. Normand becoming the
tenant for one
situate
at
5,
next
to
that
of
Mr.
Dicksee.
Fitzroy Square,
Here the sittings for the portrait were given

responsible

and the work

In

noted.
portrait

1881

finished early in 1882.

there are other exhibits

At the Royal Academy

of Miss Warman, and

and White Exhibition

a charcoal

at

to

be

there

was a

the

Black

at

the Dudley Gallery

Artists' land-

study of the British

of
the
scape
previous winter,
entitled "Still Waters."
The

and
first

another
of

these

here reproduced, and the illustration,

drawings
though greatly reduced, will serve to show the
s

HENRIETTA RAE.

3o

feeling of the artist at this time for landscape.

The

colour-studies which she

or her husband

have managed to retain prove, indeed, that she

possessed all the ability for the making of a

Her inclinations,
successful landscape painter.
too, tended in that direction, but necessitylaw and makes no concessions to
Money had to be earned, and
preference.
portrait painting pointed to a possible means

knows no

The reproductions of the portrait

Miss Warman, and of an Academy School

to that end.
of

"

M. le Cure," executed about this time,

show the style of the painter and how
exactly opposite it is to that of her work of
study,

will

minute, almost prebrush-work, with a

Raphaelite handling
subdued scheme of colour the careful, laboured
work of a young student gradually feeling her

to-day.

In the latter there

is

in the
:

way to an individualist means of expression.

The winter exhibition at Suffolk Street
"
The Time
1881-2 contained two studies,
"

of
of

"

A Day's Sketching," which were

and
Roses
sent from the Fitzroy Square studio, and which
were her last contributions to that gallery.
Eighteen hundred and eighty-two was a busy
year.

Rev.

In

W.

addition

Beardmore

to

the

portrait

of

the

(of Leicester), already re-

ferred to, there were five other portraits executed,

one of which, " Ernest Normand, Esq.," repre-

sented her work at the Royal Academy. The

others were a three-quarter length of Mrs. S.

Thacker, two of Mr. George Barten Normand,

MISS

WARMAN.

By Permission of

T.

IV

itt

Cafe,

Esq.

EARLY EXHIBITS AND COMMISSIONS.

her future father-in-law, and one of Mr.

31

W.

A.

Surridge.
In 1883 further progress was made,
Henrietta Rae's name appears twiee in

for

the

"
Miriam " a
Royal Academy Catalogue with
school study and a portrait of Miss Lilian
Woodcock, a commission brought about by

further good offices of John Steeple, who

had introduced the young artist to his dealer,
Mr. Woodcock. To this gentleman went also
her first subject picture " Love's Young Dream,"
which was painted in this year.
Mr. Steeple
himself showed a practical interest in her

the

welfare

"

"

study
Sappho
purchasing the
and others executed in the schools and by
giving her a commission to paint his wife's
These works were dispersed at the
portrait.
sale of Mr. Steeple's belongings after his death,
and all trace of them has unfortunately been

by

The study of " Miriam " was purchased

the Academy by C. Sharland, Esq., and

lost.

in

"
Passion Flowers," was also acquired
another,
charcoal
by that gentleman in this year.
at the
was
which
exhibited
landscape study,

Mendoza

Gallery, was also sold, the purchaser

Mr.
G. P. Baker.
being
The following year was an eventful one in
the life of Mrs. Normand; the success of 1883

was followed by the acceptance for the Academy

Exhibition of the most important figure picture
she had yet painted " Lancelot and Elaine."
Elaborate pains were taken to secure a good

HENRIETTA RAE.

32

The

result.

dress

and worked out by the

made

Lancelot was designed

of

artist

and

careful studies

in the

grounds of the Crystal Palace for

background of foliage. The picture, of

the

course, illustrates the story as given by Tennyson in his " Idylls of the King," and is based

on the following passage

"
.

Seeing
'

one morn

He found
And said

her in

among

it

chanced

the garden yews,

Delay no longer, speak your wish,

then out she brake
go to-day
'

'

Going ? and we shall never see you more,

I must die for want of one bold word.'
Speak that I live to hear,' he said, is yours.'

And
'

'

Then suddenly and

passionately she spoke

have gone mad. I love you let me die

Ah, sister,' answer'd Lancelot, what is this ?
And innocently extending her white arms,
Your love,' she said, your love to be your wife.' "
'

'

'

'

'

'

'

As may be seen from the reproduction

of

is
an ambitious effort for a
if she has
and
young
caught the pose
of the models and overlooked the passion that

the picture

it

artist,

surged through the originals of the characters

they were representing, this and much else
must be forgiven.
The great thing for her

was that the picture was hung and fairly well

hung in the Academy Exhibition. The crown-

ing

success of

style

its

sale did not,

unfortunately,

and it now serves as a record of a

which the artist never indulged in before

follow,

LANCELOT AND ELAINE.

EARLY EXHIBITS AXD COMMISSIONS.

or

"The

since.

the fitting
it

from

artist-colourman's

friend"

33
is

name that has been bestowed upon

the amount of paint used in its

execution.

Other work of

this

year was a replica of

Love's Young Dream," which was made for

Mr. Steeple, and portraits of John Steeple

11

and George Underbay, Esq.

But the most important event
her

of 1884 was
Mr.
with
Ernest
Normand, who
marriage

had been fortunate enough

picture

"

respectable

Palace,

sum

of

to sell his

yet
three

Prison

"

hundred

Academy
the
for

guineas.
too good to be neglected,
and a wedding with a honeymoon trip to Paris
was the immediate outcome.

The opportunity was

34

CHAPTER

IV.

1885-1888.

"Ariadne"; "Elaine Guarding the Shield

"
" Eurydice
"
Doubts "
of Lancelot
"
"A Naiad "
Sinking Back to Hades
"Zephyrus Wooing Flora"; "A Reverie."
;

London Mr. and Mrs.

Normand settled down in a studio in
Life was now a
Wright's Lane, Kensington.
the

ON

return to

very serious matter to them, and hard work

was to be the order of the day for both, for it

was agreed between them that theirs was to

be a working partnership. The long and close
association of the student days had given each
a confident belief in the ability of the other;
and each now determined that the belief should
be justified. No time was lost, therefore, and
the canvases for their next Academy pictures
were prepared and subjects discussed and
planned.
Mrs.
sion

to

Normand determined
a

long -entertained

to

give

expres-

for

classic

love

legends and characters. The desultory reading

of her childhood had included Pope's and

Lempriere's translations of the wonderful myths

of Greece

and Rome, and the

spell

had

fallen

BACCHANTE.

"ARIADNE?

35

Its fascination had remained

heavily upon her.
with her through the student days had indeed
been strengthened by the intimate study of the
;

beauties

Greek

sculpture at the British

that opportunity served, the
desire to paint a classic subject could not be
the plaintive story of Ariadne was
denied
of

Museum.

Now

chosen
at

for

this

first

effort,

Naxos by Theseus

for

and her desertion

special

treatment.

addition to this picture there was also put

" A
in hand a life-size nude figure of
Bacchante,"
In

which was to accompany

seat of the

it

the judgment

to

Academy.

Only a few months were spent in the Wright

Lane studio, for the Normands then took a
house in Holland Park Road, next door to
Val Prinsep's and next but one to Leighton's.
Here the two pictures were finished and duly
sent to Burlington House. Both were accepted,
"
was well hung on the
and the " Ariadne
Ariadne is reprelow line in the first room.
sented seated on the sea shore, with arms extended in front of her on the rock, the right

hand over the

left

and clutching

it

convulsively
at the
;

whole attitude expressive of grief

the

departure of her lover, and of desire for his

The full rounded figure of the young

and bright through a transparent
clear
shows
girl
The bid for success was a bold
veil.
gossamer
one for a woman painter to submit two studies
"
was practically
from the nude for " Ariadne
was
them
such and have
quite out of
accepted
presence.

HENRIETTA RAE.

36

the usual, but the success justified the attempt.

Ariadne " was purchased in the Exhibition by

"

Mr. Pochin, and the copyright secured by the

Berlin Photographic Co.

There

no question that Mrs. Normand's

is

love of flesh painting, with its charm and delicacy

of colour, and its demand for tender treatment,
influenced her as much as the classic legends
in her choice

of subject.

The

subtle

tints

of

the living human flesh and the beautiful modelling of the figure appealed to her by their very
difficulty of interpretation, and she deliberately
Even in
set herself to conquer the difficulty.
first pictures she attained an amount of
success that marked her as a painter of more

these

there was nothing in

ability
to suggest that they were the work of a
artist barely out of the schools.

than average

them

young
As paintings of the nude, of course, they
attracted a certain amount of adverse criticism
from that irresponsible section of the public
which sees in this class of subject nothing but
One of these selfimpropriety or indecency.
constituted guardians of artists' and the public's
morals wrote to Mrs. Normand as a new
exhibitor

brink

"

"
to pause upon the
implored her

and not pervert her

artistic

gifts

by

painting such works. When the letter reached

her she was rejoicing in the presence of her
infant son, who had been born shortly after the

opening of

shown

the

exhibition.

to the doctor

who was

The
in

was
attendance, and
letter

"ARIADNE."

37

he made the suggestion that the

to

reply

the

should
she had

artist

letter and state that

birth to a son " who came into

recently given
the world entirely naked," which fact seemed
to suggest to her that there was no impropriety
form as it was
in representing the human
created.

The

suggestion recalls the story of John

Gibson, R.A., the sculptor who was questioned
by a Scotch lady in the following manner
"
Pray, Mr. Gibson, why do sculptors always
indulge in representations of the nude human
:

form

It

is

so

indecent and

demoralising."

"Madam," was the reply, "it is because we

think that God Almighty knew how to represent
the human form far better than the tailor or
and, as to indecency, I should
have no opinion of the modesty of a woman who
could not look on the noblest works of creation
the

milliner;

without a blush."
Curiously enough, a critic in the Art Journal
fell foul of Mrs. Normand for clothing Ariadne
He described the picture as
too bounteously.
11
a good instance of the attempt at a compromise between classicism and convention-

and by it an otherwise clever picture is

marred"; he suggested that the artist would
have done better to follow the example of
others in the exhibition and go in boldly for
the completely nude in such subjects.
At the Grosvenor Gallery exhibition of
" Elaine
this year, too, was a small picture
ality,

HENRIETTA RAE.

38

Guarding the Shield

Mrs.

Normand

of

again

Lancelot," for which

found inspiration in

"

The
Elaine."
Lancelot and
love smitten girl, robed in green, is seated
in a richly-draped chamber, gazing at the
shield of her hero, which she supports in
front of her.
With head resting on her other
hand she dreamily weaves her romantic fancies
round this war-scarred emblem of Lancelot's
Tennyson's

She

prowess.
"

Stript off the case, and read the naked shield,

a hidden meaning in his arms,

Now guess'd
Now made a

pretty history to herself

Of every dent

And

a sword had beaten in it,

every scratch a lance had made upon

it."

The

year 1886 was productive of but one

picture, for the cares of maternity absorbed
"Doubts"
much of Mrs. Normand's time.
was sent to the Academy, where it was accepted and accorded a good position near
to Sargent's portrait of the Misses Vickers.
Classicism was for the time being abandoned,
and a return made to the style of the first
"
Love's Young Dream," which
subject-picture
was suggestive of that of Mr. Marcus Stone.
On Private View Day Mr. Stone expressed
"
his opinion of the attempt as
Charming
"
colour of
in
The
Charming
reproduction
this picture precludes the necessity of
any
It marked a distinct advance in
description.
technique, and was received favourably by the
!

critics.

DOUBTS.

"LOVE'S YOUNG DREAM."

It

was while

this

picture

was

in

progi

that their neighbour, the late Val Prin-< p, R.A.,

introduced himself to Mr. and Mr -. Normand,
1

and

proffered the request that he

might
This was the comcall and see their work.

mencement

and intimate friendwhich

artist,
brought them
ship
into the innermost circle of the Holland Park
Lord Leighton was the
coterie of which
Each Sunday the Prinseps' lawn was
centre.
devoted to tennis, tea, and talk, to which came
with

the

all

of

close

that

artistic

of

celebrities

the

adjacent

Melbury Road, and many other people of

note, among whom Browning was occasionally
numbered.
At Prinsep's suggestion they made a
formal
call
upon Lord Leighton a call
undertaken in fear and trembling at their
temerity and of awe of the President of the
Royal Academy. It was all needless, for they
were most warmly welcomed by Leighton,

who promised

to

come

the

next day

"

to see

The promise was

they were doing."
time
fulfilled, and from that
Leighton took
what

the greatest
of his young

possible

interest

neighbours.
studio he was

in

the

frequent

wor!;
visitor

ready with advice,

criticism, and practical demonstration to assist
The value of such
them in their work.
too highly
assistance
cannot, of course, be
without
doubt,
was,
Leighton
appreciated.
his
a
time:
man
of
the most accomplished
to

their

HENRIETTA RAE.

40

perfect

master

of

the

technicalities

of

art,

and suggestion that fell from him

purpose and of the utmost value
to the recipients.
From the academic point
of view he was a perfect artist
composition,
the laws of light and shade, tone and colour
values, were all at his command. As a draughtsman few could equal him, and his methods
of work kept his skill in this direction in
constant and untiring practice. All this knowledge and experience he cheerfully drew upon
for the
benefit of these two beginners in
practical artistry, and in every way possible
he endeavoured to put them on the right
track.
His dominating personality, with its
confidence in its own strength, told somewhat
every hint
was to the

against the
ship

him

in

desirability

matters

of

artistic;

it

such

close fellow-

unconsciously led

endeavour to mould others into his

methods, and to the adoption of his point of
view.
To an impressionable nature such an
influence was irresistible, and its continuous
exercise on such an one must have meant
to

artistic ruin.

Leighton had a method peculiarly his own

and construction of his pictures,

for the design

a method that was the outcome of his experience and extraordinary knowledge and skill.
A design once thought out was never departed
from in its essentials.
Once recorded even
but in chalk on brown paper, which was the

favourite

method

it

was

carefully followed

up

VAL

PRINSEP.

R.A.

FRIENDSHIP WITH LEIGHTON.

So
by step to completion.
the
was
concerned
picture
design

step

with

the

With

idea.

this

far

41

the

as

had

birth

fixed

design
then entered

on

were
upon.
on brown paper were mad<The model posed,
of each separate part.
drawings were first made from the nude figure,
and then the drapery added and drawn from.
" There is
my next picture," he said on
one occasion, pointing to a drawerful of these
brown paper sketches. Not until each detail
had been worked out was the canvas prepared
and the design placed upon it. Then there
was thin painting in burnt sienna and white,
so thin that the ground of the canvas was
never lost, and then on to the full colour
scheme, working from the detailed drawings
paper

Studies

to

the

in

details

chalk

the finish.

To

Leighton

system suited

this

his

was

style

very simple; the

completely, and he
all

For
thoroughly and confidently.
himself and his own requirements there is no
doubt that it was efficacious he could always
believed in

it

own

particular end by its mean-.

But curiously enough he had the idea that
the system could be adapted to any requirements and would suit any style and temperament.
When he had known the Normands
for some time he proposed that they should
execute a work by his method with which, of
course, they were by then thoroughly familiar.
" I
want you," he said, " each to paint a head.

secure

his

HENRIETTA RAE.

42

send you two canvases prepared in the

same manner in which mine are prepared,
together with a set of brushes such as I use.
I

will

make your design

are to pose the model
from the first and never depart from it
keep

You

your shadows open and stage by stage bring

your work to completion. Let me see which
of you can the more intelligently render your
impressions of the model in my method, and
with

my

materials."

The

proposal was laughingly accepted, but

with no very confident hopes of success. The
model was posed and draped as Leightonesquely
as possible, and the prescribed method duly
followed as closely as was practicable to the
two novices in its application.
Progress was
the studies dragged in
not very satisfactory
:

and their instigator was for

But at length he had to
the time avoided.
"
be met, and the first question was
Well,
when am I to come and see those two
their

difficulty;

studies

"
?

Mr.

Normand

"
replied,

We

would

like

you

a week or so, for I am rather

in a mess with mine."
" Mess
My dear " Normand, there is no
mess in my method
responded the Presito leave

for

it

dent.

But he had to acknowledge that it was not

a method for everybody's use when he saw
the

resultant

effects.

They

were

but

two

weak, far-away reflections of a Leighton study,

FRIENDSHIP WITH LEIGHTON.

43

individuality or strength.
They had
carried out according to instructions, to

without

been
which close adherence had been given by the
artists, who were prompted by the prevailing
idea of pleasing Leighton
through the performance. Seated in a comfortable chair (his

necessary position for criticism) in front of the

canvases, the President drew a deep sigh as
he resigned his cherished opinion of his method

and
"

its

universal adaptability.

no use trying to
graft one's methods upon people whose work-

Oh,

inclines

well,

it's

suppose

a different groove.

to

think

that

you had better paint them out."

The suggestion was not adopted, and later
on Mrs. Normand painted over her study in
thicker colour, and by chance, four years later,
Leighton
11

Whose

happened
pretty work

catch

to

sight

of

it.

"

he asked, and
the history of the sketch had to be recalled
to his mind.
With a predilection for classic subjects
already existing in
for

that,

surprise

that

is

her

mind

under

it

the

is

no matter

influence

of

Leighton, Mrs. Normand should directly turn

to them for her next pictures.
The success
of the "Ariadne" had, before this, naturally encouraged her bias towards classicism, and the
conviction was

now

subjects were her

laid

down

and

the

for

the

subjects

definitely
metier.

formed that such

canvases were

Two

Royal Academy of

1887,

them

were

selected

for

HENRIETTA RAE.

44

"

"

"

A
and
Eurydice Sinking Back to Hades
Naiad."
The former was the most important canvas
yet attempted, both in point of subject and
its dimensions being seven feet
size
by four

feet.

It

an original

is

illustrate the

myth

of

and

when,

the

result

to

Orpheus and Eurydice.

The moment chosen

as

attempt

daring

illustration

for

of

Orpheus's

is

that

backward

glance, Eurydice sinks down, lifeless and inert,

to the depths from which she had so joyrisen

fully

at

the

bidding

her

of

hero.

It

was a difficult subject to render on canvas,

and one from which many would have shrunk
but Mrs.

intuitively;

when

without

was,

Normand

is

at her best

way, and Eurydice

her most successful

difficulties are in the

work up

question,

to this point.

Eurydice

is

shown

in profile

in the

centre

of the picture
one hand is
extended convulsively to clutch at the jutting
of the

forefront

her legs are doubling lifelessly and her

body is swaying backwards into the dark
gulf from which she has but just emerged.
rock

Her

eyes are passionately fixed

on Orpheus, who is seen over the corner of
the rock higher up
the path, turning the
fateful glance which sent his beloved back
Hades.
The beauty of the figure of
to
and
the delicacy
of
the
flesh
Eurydice,
formed
a
veritable
painting,
triumph for
fast

closing

EURYDICE SINKING BACK TO HADES.

In

the possession of G.

L.

Beeforth,

Esq.

"EURYDICE SINKING HACK TO HADES?

The

was hung in the

the Academy, and attracted con-

Mrs. Normand.
sixth

room

the

at

attention.

siderable

45

of

collection

picture

afterwards passed into

G. L. Beeforth, of

It

Mr.

Scarborough, by whose courtesy we are enabled

to reproduce

it

in

these pages.
"

Naiad," was hung

on the line in the last room, and brought
The Times
additional repute to the artist.

The second

as " the best study of the nude

Henrietta Rae has ever painted.

referred to

that
'

picture,

it

Miss

The Naiad

intelligence,

'

is

treated with very great ability,

and delicacy."

Curiously enough, there were but few nude

four altosubjects, not more than three or
gether, in the
the
to
due

exhibition

whether

this was
" British

completed
recently
campaign which had been raging in
the newspapers for some time previously or

matron
not

"

cannot

now be

said.

The

The Echo

however, was not lost.

"
marised the matter

It

is

opportunity,
thus sum-

not an exhibition

which the British matron will be shocked,

for, with two exceptions painted by a British
matron herself, there is hardly a nude figure
on the walls."

at

The

"

"

Eurydice

exhibited Mrs.

Normand

as an artist as well as a painter, for there are

imagination and feeling in this work such as
in any other, save in
It marked
Ariadne."
a lesser degree, in the
a very distinct advance in her art, her powers

had not been displayed

"

HENRIETTA RAE.

46

The
ability as a painter.
of
wrote
well
the
critics, generally,
it, though
Daily Telegraph, after congratulating the artist
on " her courage in dealing with unadorned
"
she can scarcely
beauty," went on to say that
be felicitated on the beauty of her models,
who are given to attenuation, or on the
attitude of Eurydice, which is strained and
of expression,

and

disagreeable."

Punch

favoured the

caricature, emphasising
was inscribed " After

picture
this

same

Six

with

a small

point,

which

Lessons,

Lady

Amateur Imitating Eminent Tragedian."

The two

pictures undoubtedly greatly enhanced Mrs. Normand's reputation, and marked

her as one of the most promising women
artists of the day, as well as one of the most
refined and skilful painters of the nude then
The absurd argument
exhibiting in England.
of the purists that such works were degrading
and sensual in their conception and influence
was confuted and set at naught by these

canvases painted by a woman, for such

con-

siderations were, under these conditions, futile.

The success of the pictures was material, and

not merely one of repute, for both canvases

were sold (the copyright of the " Naiad " was
secured by the Berlin Photographic Company),
perhaps the most satisfactory form of success
that can be desired by an artist.
In any case
there can be no doubt that it is the most

encouraging, for

it

denotes to the

artist

that

"ECJRYDICE SINKING HACK TO HADES."

47

appreciation of his, or her, efforts which

the greatest incentive to good work.
The " Eurydice " was sent to the Inter-

full
is

and
at
Paris
(1889)
awarded an Honourable
the former and a medal at the

national

Exhibitions

Chicago,

and

Mention

at

was

latter.

By

this

time Mr. and Mrs.

Normand had

thoroughly settled down in Holland Park Road,

and had been adopted as the proteges of the
Their
older artists among whom they lived.
studio was constantly visited by Leighton,

Watts and others, who each, in

a measure, seemed to hold themselves responsible for the work they happened to have in
hand. Criticisms and advice were freely offered,
Millais, Prinsep,

which, if not in every case accepted, was chiefly

for the reason that the obiter dictum of one artist
was negatived by that of another. The consequence, often enough, was that all had to be

abandoned, and their own schemes and plans

carried through without regard to the suggestions of their

many

friends.

The

close interest

manifested by Leighton was, however, of the

His wonderful knowgreatest value to them.
ledge and skilful help were always at their

and unstintingly bestowed to their

His criticisms were always kindly
advantage.
and to the point his advice always sound and
With a piece of pastel he would
reliable.
demonstrate on the canvas the point which he
was urging, and with a few deft touches prove
disposal

hbnrii
His kindness and
nen and his skill.
were unfailing; no troubk was too
him to take in a matter in which he
for
great
was really interested, and that the work of
Mrs. Xormand was such there is no shadow of
doubt That Mrs. Normand wes much to hi
In an au:
as since acknowledged.
e has
.

sketch

biographical

To Leigh
wrote
debt of gratitude.
:

in

published

'

erhaps.

she

1901

owe the deepc

His dominating persona

from the outset exercised on my impressionable
nature a most wonderful and permanent in-

and

fluence,

to his fostering care

of

a; tribute

the

design
may
any powers
velopment
and
at
severe,
His
criticisms,
though
possess.
times almost scathing, always left me with the
feeling that he expected me some day to do
vhich
good work, and the very pen -..nee v
he superintended our productioi
for years
in

specially

and

desicr..

use one

of

[>

the

early

was

in

his

own

sition

stages

itself

ex

To

liment.

ss

as,

one

felt

one

was working 'in an atmosphere of sympathy.'

were
Sir John Millais and Val Prinsu
The
former
would
devote
equally generous.
.

his

almost

advice

to

entirely

questions

of

would tender it in the bluff,

manner
which was his great charactergenial
istic.
Prinsep was notably unsparing in his
the closer his friendship the more
criticisms
colour,

and

frank,

Mrs.

or

rather

Xormand

blunt,

was

were

not

his

exempt

criticisms.

from

the

ZEPHYRUS WOOING FLORA.

"ii\sion

of Messrs.

Owners of the Copyr:

/.

P.

Mendoza

Ltd.,

"ZEPHYRUS \VOOL\G FLORA."

smart of his caustic remarks;

49

her work

was

as remorselessly dealt with as that of his other

the fault-finding was probintimate friends
all
perfectly just, and the criticism true,
ably
;

but

the

resentment

roused by the untonrd

brusqueness of its presentment doubtless greatly

interfered with the salutary effect it was in-

tended to have.
It was under such conditions of tutelage,
therefore, that Mrs. Normand's next work was
"
was
Zephyrus wooing Flora
prepared.
submitted to the Royal Academy in 188S, and
The picture was even more
duly accepted.
ambitious than the " Eurydice," and in its re'

showed that the progress of the previous

Decorative in
year was being maintained.
whole
scheme
the
treatment,
gave the artist an
opportunity to reveal her powers more fully as
a colourist, an opportunity of which she availed

sult

herself

to

the

utmost.

The

reproduction

of

picture will serve as a memorandum of

general colour scheme, for the great reduction, of course, does not allow of the facsimile
this
its

rendering of the beautiful details. The

almost perfect, flesh painting of the two

wondrous

of

figures,

the

wings of
of
flowers
mass
the
among which
Zephyrus,
the goddess is seated, and with which she is
garlanded, and the bright green of the background of foliage, make a whole which is
the

a veritable

Zephyrus

iridescence

skilful,

feast
floats

of

The

colour.

downward

to

figure

of

meet that

of

HENRIETTA RAE.

50

whose pose expresses an exultant welcome, as with head thrown back she presents
Flora,

her lips for the expected kiss.

In connection with this picture there is
an incident relative to the late G. F. Watts

which

illustrates

anatomy a

his

extraordinary knowledge

knowledge which enabled him

to paint without models for the greater part
He visited Mrs. Normand's
of his working life.
"
"
was in
studio while
Zephyrus and Flora
course of progress, and at once discovered a
of

flaw

in

the

the

of

foreshortening

figure

of

To

demonstrate his point he drew

Zephyrus.
on the canvas, over the figure, the complete
" where
foreshortened skeleton to show
you
must make an alteration in the swing of the
and make
figure, to account for the design,
correct with nature."

it

This picture was hung on the line in the

eighth room at the Academy, where it attracted
considerable attention and gained from the
critics

in

"

a cordial reception.

grandfatherly

way,

Even

the AthencBum,

gave

'

"

its

said

benison

its

critic,
Zephyrus wooing Flora,'
an interesting illustration of a lady's skill
and taste in painting nudities and an amorous

"

is

subject in

us of Bronzino's

way reminding

'Venus and Cupid'

in the National Gallery.

slender deity stoops over the willing goddess in her rose-bower. A dainty design, it is
The carnations
nicely as well as ably drawn.
the faces are a
are bright, pure, and varied

The

LU

uj

>

w
<

-;

"./

reverie:'

51

little thin, and the forms are too slender, hut

do not lack grace, appropriate
or elegant
and
nacreous
Zephyrus's large
splendidly
moth's wings are very pretty, and the landA little more
scape is pleasing and true.
fibre and solidity would have justified
the
,

lady's hopes of high distinction in her art."

This extract forms a characteristic example

of the position taken up by some of the older

art critics of the day in relation to women-

Acknowledgment of skill was grudgingly

and
was always tempered with that touch
given,
of superiority and condescension which irritates
and annoys.
At the Grosvenor Gallery of this year
Mrs. Normand was represented by " A Reverie,"
artists.

now

Mr. Ernest
a study from the model who
"
sat for " Doubts
dressed in a somewhat similar
Directoire gown, seated on a couch over which
is placed a tiger-skin rug.
a picture

De

la

Rue.

in the possession of

It is

52

CHAPTER
889-1 890.

"

The Death
"

Sylvia,"

THE1889,important
was the
classic

V.

of Procris,"
"

"

Sleep,"

Ophelia," Paris.

work of the following year,

Death of Procris," another

"

semi-nude

subject.

The

myth

of

Cephalus and Procris, with its poetry and

pathetic tragedy, inspired the artist to make
yet another effort to outshine her previous
The moment chosen for illustration is
work.
that when the fatal dart shot by Cephalus
has pierced the bosom of the loving, jealous
daughter of Erechtheus, who in her search
for her supposed rival has thus drawn death
upon herself through the medium of her
Procris has sunk to earth
husband's hands.
with one hand clasped to her wounded breast
she lies across the foreground of the picture
with her back to the spectator, leaning heavily
her beautiful face raised
on her right hand
is seen in profile.
Heaven
in grief and pain to
On the left of the picture the figure of
Cephalus is seen breaking madly through the
;

forest

growth, with

terror

in

his

eyes

as

he

THE DEATH OE PROCRIS."

11

realises

the quarry brought

at a venture.

The

difficulties

bered connected

difficult

problems

shot

with

the
great.

be it rememexecution of this
It

Normand

Mrs.

his

self-imposed

work were many and

that

down by

S3

deliberately
for
to
solve

would seem
set

the

herself

sheer

and

of

overcoming
wrestling with,
so much easier
It would have been
them.
to have painted pretty little costume pieces,
which would have sold far more quickly and
taken far less time to paint than these gallery
pictures with their ingenious evasions of the
But such
commonplace and conventional.
was not Mrs. Normand's nature.
Easy success was, to her, not worth achievement, and
so with the justifiable pride of ambition she
set herself to solve difficulties of her own

delight

creation.

from the

The pose
first

of Procris, predetermined
conception of the idea for the

picture, was one that could not be sustained

by a model for any useful length of time
the strain upon the back and arm was too
What was to be done ?
great to be borne.
Mrs. Normand, unlike Mr. J. C. Horsley, was
in the habit of working from the living model
it was absolutely
necessary for her to do so
if correctness was to be attained and maintained
;

in

her studies.

The progress of "The Death of Procris"

was being carefully followed by the academic
this
advisers, and
neighbours, friends and

HENRIETTA RAE.

54

difficulty

and

ways

was duly explained

means of meeting

to
it

them, and
formed the

subject of eager discussion.

Leighton it was
who offered a practical solution, and his suggestion was that a small figure should be

modelled in clay. " It's the only way out of

" Work from the
it," he said.
living model

and get

it

cast, as

do.

Have

the arms cast

that you can arrange miniature

on
the
figure."
draperies
was very well known, was
This, as

separately so

frequent
Leighton's
in
clay or
Modelling
as drawing
attention

or

course

wax was

painting,

of

procedure.

him as easy
but Mrs. Normand's
to

had

been given exclusively

to
and
was
art,
modelling
altogether
out of her domain. Here Mr. Normand came
the

one

rescue, as he so often did when obstacles to progress demanded extraneous skill

to the

He is peculiarly gifted with

or knowledge.
constructional ability, and he set to work to
"
with as light a heart
model the " Procris
as,

on another occasion, he

bow of peculiar build

when he was painting

for
"

did

to

make a

Leighton's

use

Hit."

all the members of the

bound to have a finger in the clay,
became a question as to whom the credit

Moreover, nearly
coterie felt

and it
was to go for the construction of the figure.
Each, of course, laid claim to the good points
as they were developed, but when it was
Mr.
creditably finished, and the cast made,

LU

"

THE DEATH OF PROCRIS."

Normand decided

definitely

that

55

was

it

and that to him alone belonged the

was seen by Onslow Ford, who
and Mr. Normand thought that was

glory.

It

it,

incentive

to

finish

for

it

sufficient

in

casting

his,

bronze.

commendation from the

Eager
of
him
sculptor he
enquired
tentatively,
" How
it
would
taken you to
have
long
further

for

do?"
"

Oh, about a day-and-a-half," was Ford's

reply.
11

Good heavens
"

ejaculation,

long would
"
bronze ?
"

Well,

work

into

"
!

was

the

it

involuntary

taken us a week
take you to get it

it's

But how

ready

for

should put another three months'

said
it,"
Ford, a reply which

effectually destroyed the project.

"
cast of the miniature " Procris

The

plaster

still

reposes
on a bracket in the studio, dusty and mutilated
by Time a mute record of a difficulty and
a co-operative solution.

The background

of this picture was painted

but
the foliage through which
Coldharbour,
Cephalus is forcing his way was studied from
nut saplings which grew in Holland Park.

at

The gardener
in

the

train

there
of

was another willing helper

and kept her
the
artist,

each

day with saplings

work was finished.
With "The Death of Procris"

supplied

until

that

portion of the

mand

again secured

a good

Mrs. Nor-

position

in

the

HENRIETTA RAE.

56

picture and
copyright were sold, during the course of the
-exhibition, to Mr. George Woodiwiss, of Bath.

Academy

and

Exhibition,

In 1889

"Sleep" and

the

"

Sylvia," studies of
the more
relief from

which afforded
work in hand, were exhibited at the
Grosvenor Gallery and the Society of Lady

heads,

serious

Artists respectively.

with an
artist's

The former

picture

met

untimely end at the hands of the

son whilst he was indulging in some

gymnastic exercises.
Classic subjects were
for

a few

years

for

now
the

to be

abandoned

following

year's

Academy picture Mrs. Normand turned to

Shakespeare, and decided to add her contribution to the long list of paintings of " Ophelia."
Originality of treatment was an absolute necessity if success was to be gained with such a
"
"
is doubtless the most
Ophelia
subject, for
character
of
be-painted
any created by ShakeIn the majority of cases artists have
centred all their strength on the depiction of
"
"
Ophelia alone, at one or other stage of her

speare.

dementation.
for

an

Mrs.

scheme was
which
in
composition

Normand's

important
should take her place with others
Ophelia
The
in the representation of her tragedy.
outcome was the picture which now hangs in
the Walker Art Gallery, at Liverpool, the
"

"

property of the Liverpool Corporation.

Ophelia is shown as she passes through
the court of the palace in which are seated

"OPHELIA."
the

king and

queen

57

beautiful

figure,

with

the

strained, intense look of insanity in her

eyes as she glances at the occupants of the
room.
With flowers entwined in her hair,

and others

trailing

the

to

offers

"There's rue

Danes stand
During

Normand

for
in

skirt, she
a
of
rue
pair
twig
while Laertes and his

you,"

the background.
of this

the painting

picture

Mrs.

was again overwhelmed by the

and suggestions of her numerous

criticisms
artistic

from her uplifted

startled

The

godfathers.

composition

of

the

king and queen group was to them a great

cause of worry, far more so than it would
have been to the artist had she insisted on

her

following
this she

own

Instead of doing

design.

endeavoured

to please her friends by

advice, with the usual result

following their
that she gave herself unnecessary labour on
the picture and offended, rather than pleased,

her critics. The position of the heads was the

source of contention one was for placing them
one way, and another suggested something
totally different, while the perplexed artist spent
her time in shifting the heads to suit the
;

various opinions.
Leighton had watched these
continuous alterations with growing impatience,
for

it

was, of course, opposed to

all

his

prin-

At length he could contain

Turning to Mrs.
longer.
Normand he said, sharply " This is becomthere's now only one place where
ing folly

ciples of design.
his
no
feelings

HENRIETTA RAE.

58

you haven't put that king's head, and that's

on the floor."
He would have nothing more to do with
the picture, and steadfastly declined to express
another opinion upon it. " I have nothing to
say about it," was all that could be obtained
from him.

The

was accepted by the Academy,

but on varnishing day a great disappointment
awaited both Mrs. Normand and her husband.
For some years before this they had each
been fortunate in the positions given their
works by the Hanging Committee, but on this
occasion they found "Ophelia" placed pendant
to"Vashti Deposed" Mr. Normand's picture
picture

on

either side of a doorway, above the line,

in one of the smaller rooms. They looked with

with

blend

at
of disgust
the positions awarded them, and whilst they
were contemplating the arrangement, Edwin

dismay

strong

Long who proved

the scene.

to
"

be the

"

hanger,"
Normand," he

came

said,
Well,
"
The reply,
your positions ?
naturally, was not an enthusiastic one, and
the hope was murmured that the pictures
would have proved worthy of a place on the
"
line.
Ah, but you must understand that
you can't take a lease of centres on the line
at the Academy, you know," was the retort,
and the disconsolate pair were left to their

upon
"

how do you

pictures.
Sir John

like

Millais

commiserated with them,

APPLE-BLOSSOM.

"OPHELIA?

59

and suggested that if the pictures were tilt* d

This suga little they would look better.
had
been
made and Long had
already
gestion
declined to accede to it, as it "would interwith

fere

small

the

pictures down the sides"

that had been hung to fill

little

canvases

space between the wall and the frames

two larger works.
Millais was not
with
satisfied
and went himself to
that,
seek Long and bring him to the scene of

the

of the

discontent.
11

Now, Long," he

to

tilt

these

Eh

What

"
said,

of

pictures

the sides

Both

pictures,

"
!

you manage
Normands'

d n the
and the point

Oh

down

can't

the

little

curiously enough,

pictures

was gained.
were

subse-

quently purchased for Corporation collections,

"
"
Vashti
for
"Ophelia" for Liverpool, and

Oldham.

The

rebuff, for so

Mr. and Mrs.

it

was considered by both

Normand gave

rise

to

serious

questionings and communings between them.

Was the hanging justified by the quality of
the work ?
Did it really mean that there was
deterioration

that

their

standard of achieve-

ment was lower instead of higher ? If

what could be done to arrest the falling

so,

off

of power; to bring back the full vigour of their

artistic
In their dishealth and strength ?

heartened and dispirited condition they came

to the conclusion that the only means of grace
lay in their once more going to school, and

HENRIETTA RAE.

60

that the road to salvation ran through Paris.

The conclusion reached, decisive action followed.

The house

Kensington was let, as it stood,

John Charlton the child was sent to
the country with his nurse, and the two
seekers after knowledge took up their quarters
at

to Mr.

in Paris

Julian.

and entered

their

names

at the Atelier

STUDY OF A HEAD
Drawn

in

Paris,

1890.

IN

CHALK.

6i

CHAPTER

VI.

1890.

Study

in

Paris:

Life at Grez.

persons they met in Paris,

they knew, was Edwin Long, the
unwitting cause of their presence there. Asked
by him as to their reason for being in Paris,
he was told that their experience at the Royal
of the

ONEwhom

first

led them to believe that there

was something wrong in their work, so they
had decided " to go to school again."
The

Academy had

chastened humility of the reply should have

the heart of the Academician, and
given him cause to think whether his application
of the rod had not, in the circumstances, been
rather more severe than was necessary.
softened

to school they went

through the
of
curriculum
ordinary
Julian's, working alternately under Benjamin-Constant and Jules
Lefebvre.
It was not easy, after the pleasures
of her own studio, for Mrs. Normand to settle
down to work in a crowded atelier; after the
delights of independence, to become a pupil
and work to order; to be reprimanded even, for
not diligently adhering to the school routine,

However,

On

one

occasion,

after

setting

the

model,

HENRIETTA RAE.

62

There
Benjamin-Constant examined her work.
was not the close realistic following of the model
expected of the student, but rather the selection
and general treatment of the experienced artist
who used the model just so far as it was needed.
she was not
Benjamin-Constant protested
as
she
had entered
a
student
should;
working
as a pupil at Julian's, and must abide by the
rules and regulations laid down for her guidance
and benefit
she " must please adhere to the
faithfully accurate copying of the model."
The same day the master visited the men's
atelier and saw Mr. Normand doing exactly the
same kind of work for which he had administered
a reprimand in the morning although, of course,
;

nothing was known by Benjamin-Constant of

the relationship of the two students.
" A most
extraordinary coincidence

claimed the master;

"
!

"when superintending

ex-

the

women's work to-day, I had to complain of the

work of one of them which was equally wrong
with yours. This might be permissible in a
finished

artist,

but

we cannot

allow

it

in

our

pupils."

Neither Benjamin-Constant nor Lefebvre was

aware that their pupils had been for some years
constant exhibitors at the Royal Academy, but
it must have
been obvious to them that in
entering as ordinary
sense,

sailing

under

Normand and

students they were, in a

false

colours.

But both

her husband worked hard

and conscientiously in the schools, and gained

Mrs.

LA

CIGALE.

By Permission of Messrs.
Owners of the Copyright.

H.

Graves

Co.,

Ltd.,

LIFE AT GREZ.

63

many complimentary remarks from

months

After a few

artists.

the visiting
of atelier life, In the

hottest part of the year, Mrs. Normand felt the

need of a fresher atmosphere in every sense of
the word.
They had made their temporary

home

Latin

the

Quarter, and, in spite of

excursions
up the river, the life
daily sketching
A move
in town was a great strain upon her.
in

was, therefore, decided upon, and acting on

the advice of some of their Paris friends they

pitched their camp at Grez par Nemours,

the rival artists' resort to Barbizon.
R. A. M. Stevenson has given the following
"
Grez
picturesque description of the village
is one of the lesser dependencies of Fontaine:

Barbizon and Marlotte are the greatest,

though it was reported that the men of 1830
favoured Grez before Rousseau went to Barbizon.
Grez looks as if it had crept down
from the forest upland, drawing a long tail
bleau.

of tall

poplars

rolling plain

till

after
it

it

across a mile or so of

finally

settled

in

hollow

by the sluggish stream that drains the Gatinais.

But for a square in the middle and a stray
house or two, the village consists of a single
a
street, a strand running along the Loing
river about as large as the Cam.
Old gardens
run down to the water and give each house
its
Fronting the
port or marine approach.

street, of course, all is

stern stone, bare gableAs in the East,

ends, and big yard-doors.

all
the life and amenity

lie

behind

in

the

HENRIETTA RAE.

64

old
terraced
courtyards and ample
Tradition and the ruins of a castle
gardens.
are all that speak of a former existence greater
I cannot
and busier than the present.
explain the politics of a colony, nor tell how,
large

...

Grez rose, Barbizon declined, and became

a place where diamonds glinted among blouses
and the cabotin was seen in his glory. Such

as

a lurid sunset ushers in the night of the

the artist fades, and out comes
outer world
an innumerable host of twinkling tourists,
flitting past with guide-books and ready silver
in their hands.
Colonies arise in a village
;

remote from the sophistication of the

1

botirgeozse.

part
easily

The

artist

of the

'

maison
earlier

century had few wants and was

Imposing
pleased, except professionally.

of the

neither in dress, conversation, nor manners, the

painter soon propitiated the peasant at the

blacksmith's

or

the

carpenter's,

at

the

inn

Profit, too, attended the

village fetes.
who
was shaved, dressed,
the
of
stranger,
sojourn
and supplied with picture cases, stretchers,
Customs went
easels, and other necessaries.

and the

on as usual, without grandeur or formality.

Anything like a duty or a bore the denizens
dodged with the instinctive zeal with which
game avoids the hunter. The bonds and the
circumspection of society kill enjoyment of
For
nature and aptitude for landscape art.
of
town
life
the intolerable pastime duties
which were made to create work and amuse-

LANDSCAPE STUDY FOR

FLOWERS PLUCKED AND CAST

In

the possession of Sir Alfi

'

Bart,

ASIDE.

LIFE AT GREZ.

65

merit for people in Society, there 1- no

in a life already well stocked with both."

room

Such were the conditions of life in Gr<

when Mr. and Mrs. Normand arrived there
in July of 1890.
There was gathered there a
cosmopolitan party of artists who, for the
time being, were more or less rabid exponents
of impressionistic art.
strictly

limited,

The accommodation was

being restricted to the single

village inn and a pension, the guests of which,

it was afterwards found, considered themselves,
for some inscrutable reason, the elect and select

Application was first made to the

but
there was no room for them there,
pension,
a fact for which they were never sufficiently
At the inn Chevillon's they were
thankful.
lucky enough to find a room which had that
day been vacated. True, its door was lacking
the upper panels a tribute to the exuberance
but in comof the previous tenants' spirits
were
its
walls
beautifully decorated
pensation
with caricatures in oil, which were amusing it
of Grez.

As for the door, the

not altogether decent.
host suggested that two or three coats hung on
the inside would effectually secure privacy for
" Madame." "
Madame," however, was not satisfied until the

gaping breach had been securely

boarded up. The incident, and its lightsome

treatment by the proprietor of the inn, was
suggestive of a Bohemianism that was somewhat appalling in its freedom even to Mrs.
Normand and her husband, who were familiar
E

HENRIETTA RAE.

66

with the free and easy manners of the

artistic

communities of London and Paris. The house

reeked of an indefinable combination of cheap
caporal and absinthe, and although easels and

huge canvases impeded one's progress

at every
the
of
step, denoting
presence
painters, not a
soul was visible save the personnel of the
establishment.
The arrangements for the

apartment duly settled, an excursion was

made through the village. A few yards across
the bridge an object familiarised to visitors
to art exhibitions of those days
they were
hailed by a familiar voice which emanated from
a bronzed person in a Panama hat, shabby
tweeds, and leggings, who proved to be their
old friend Mr. Ernest Parton.
To their delight
his
found
that
he
and
wife were also
they
staying at Chevillon's, and contentment drove

out the fears raised by

first

impressions.

Mr. Parton had then been living at Grez

some

time,

community

for

and was evidently the doyen of the

at Chevillon's.

the new-comers into

the

He

soon initiated
of

mysteries
Grez curious, almost

life

as

weird,
they existed at
their
Here
were
cosmopolitan
range.
artists
all
of
from
the
earth,
gathered
quarters
all eagerly industrious in the search for and
Frenchmen,
interpretation of beauty in nature.
Englishmen, Americans, Danes, Swedes, and
in

Japanese, of which last there were three representatives.

So long as there was daylight the
company was dispersed in the neighbourhood,

FLOWERS PLUCKED AND CAST

In

the possession of

J.

Schulz, Esq.,

Moscow.

ASIDE.

LIFE AT GREZ.

67

busily engaged on their painting, but when the

twilight shadows eclipsed the last of the suns

afterglow easels and canvases were shouldered

and all paths converged on Chevillon's.
Tl

painting paraphernalia was stowed away and

the usual preliminaries of dinner observed
an
absinthe and a plunge in the river, which ran

at the

bottom of the garden. Dinner was served

under the lime trees in a manner

at a long table

as unconventional as the general habits of those

who partook of it. The men sat down for the

most part
during the
so

prompt

the

without

coats

intervals

or

and

waistcoats,

for the serving was not

as the appetites of the diners would

whole company smoked furiously.

At their first meal Mr. and Mrs. Normand
made the acquaintance of the crowd, and under
the introduction of Parton were warmly welcomed. On their part they found this curious
company as clever and amusing as it was

wish

The freemasonry of art broke

cosmopolitan.
down every international barrier, and all were on
terms of true "liberty, equality, and fraternity."

Some
After dinner there was a dispersal.
for
in the moonlight by the river

wandered
others

there

was

music

of

on
;

sort

an

and discordant piano, with songs in

To
tongues, uproarious and hilarious.
of
some
the
came
these evening recreations
guests of the pension whose preferences w<

ancient
divers

conviviality rather than the select convenIt v.

tionalities of their own establishment.

for

HENRIETTA RAE.

68

everyone

was
and
There
light-hearted, gay
joyous.
certainly
were undercurrents of seriousness, of earnest
sober thought, of pathos and tragedy even,
but superficially all was smooth and unruffled
all

delightfully

irresponsible

R. A.
joie de vivre.
this aspect of the

M. Stevenson has recorded

grey colouring far better

can
hope to do, and I
anyone
make no excuse for quoting further from his
" It is
article
by no means my object," he

than

else

"

says,

to

describe

the

the

of

life

French

painting colonies where more than half of the

ideals of the nineteenth century have been

English people would condemn the

manners without understanding the qualities
or sympathising with the purposes of such a
A whole theory of life would be
society.
necessary before I could venture to be honest
hatched.

and honesty was virtue

pocrisy

scarcely

in

those places.

recommended

whose mental work lay in facing

impressions of things and accepting
sequences

in

Art.

Many

you that they found those colonies

for the

study of the
of trees and rocks.

men

their

own

human heart
You saw the

their con-

could

writers

Hy-

to

itself

as

tell

fitted

as for that

very bones

and muscles of the passions laid bare. But

such anatomy disgusts the true Englishman.
He dislikes this want of reserve no less than
the old

woman who

said

Jane about her inside

besides,

it's

rude.'

"

it

Don't tell Mary

does her no good
'

LIFE AT GREZ.

The morning saw

banished

ing

mind,
after

for

for

the

all,

was

the frivolity of the eventime being from the

the

day was
the

69

work

for

chief

and

work,
object of the comof impressionism was

munity. The influence

then rampant in France

the

exponents

of

shadows of wondelighted
landscape
derful purple or violet hues, which stretched
in

art

across

their

canvases with extraordinary uniNormand says that even

and Mrs.

formity,

on grey days some of these painters of Grez

still
saw these same violet shadows so enamoured were they of their new truths in art.
The figure painters, too, worked en plein air,
and they, also, were imbued with the purple
shadow theory, which they found still more

of consistent

difficult

Japanese went utterly

application.
to grief in

The

three

attempting
phase of Western art.
They had a local girl model to themselves
whom they posed under a tree, and steadily
worked away all day at the solution of the
mysteries of the vibration of atmosphere and
to assimilate

light.

sun's

had

this latest

from
part nor

transit

no

East
lot

the

of

oblivious

Utterly

in

to

fact

West,

of

the

shadows

their

productions.
studies usually developed into mere flat
map-like drawings, the sole charm of which was

The

the decorative quality inherent to their native

art,

which

Normand

still
it

had a model

managed

to assert itself.

was a continuous puzzle

at

all, for

To
why

Mrs.
they

they always represented

HENRIETTA RAE.

70

her with almond eyes and a face of pronounced

The only explanation that
Japanese type.
offered itself to her in relation to the matter
was that they adopted this method of improving
their

French by getting the model

to talk rather

than pose.
It was under these conditions and amid
such surroundings that the summer was spent.
Mrs. Normand early fell under the prevalent
spell of Monet, and became a proficient ex-

ponent of the impressionistic principles. Her old

love of landscape re-asserted itself, and emulating the example of the painters around
her she
produced many sketches in their
methods, with purple and violet shadows
that ranked with the best of them.
Her
less impressionable husband was almost proof
against such influences, and did not hesitate
discuss

the

exaggerated tendencies of the

theorists with them after the evening meal.
That such discussions were by no means
dull can readily be imagined.
Mr. and Mrs. Normand worked here all
through the remainder of the summer and
autumn, and found it difficult to sever themselves from the charm of the place.
The

to

colony was continually changing its constituents,

men went and came, and the interest never
slackened.
Friendships were formed that have
stood the test of time, and antipathies devel-

oped that have proved as undying.

It was the
recognised custom

at Chevillon's

MEMORIES.
iwssession of

J.

Stewart, Esq.,

LIFE AT GREZ.
that before a

71

man went away

he should (ill a
panel on the dining-room wall with a specirm
of his work.
Many well-known names arc re1

presented there to this day, and many oth<

are now represented where the owners never
intended them to be.
The panels of that
room are never all filled; "mine host" h
always a spare one or two, no matter how

be the number of artists staying

under his roof.
It
was just such an exhibition of the

many may

of passion referred to by Stevenson

broke up the particular colony to which

anatomy
that

the

Normands belonged.

French

tragedy, peculiarly

concomitants an adventuress,
a young man ensnared, a life ruined, a pale
drowned corpse in an outhouse, the cries of
in

its

distraught parents, the horror of funeral ceremonials.

It all weighed on the souls of the

community, its terror overshadowed the place,

and the hearts that had been so light and
jovial were filled with depression and gloom.

One by one
and

went

the

men packed

their belongings

various ways, silently and

this memory of the realism
with
thoughtfully,
of life
and death to temper the pleasant
recollections of their stay at Grez.
Mr. and Mrs. Normand returned to London,
and once more took possession of their house

their

Holland Park Road. There was much to

show to their friends, and more to talk about.
Their experiences were full of interest, and
in

HENRIETTA RAE.

72

none more so than those

pressionistic

craze.

relative to

the

im-

Normand's sketches

Mrs.

were shown, and provoked a violent protest from

Leighton against such perversions of nature
and truth. Needless to say the matter had
not been taken seriously by Mrs. Normand:
she had yielded almost irresistibly to the
influence of the enthusiastic exuonents of imshe had found the
Grez
pressionism at

and, after all,

practice pleasant and recreative
the
there was some truth in
theory, albeit it
was magnified out of all proportion by its

extremist supporters.

As a footnote

to

the experiences

of Grez,

Mr. Normand has written to me to say

"
Years after, in Paris, I told a friend that I
would introduce him to a painting camp that
would amuse him, for I doubted not that we
should find another generation afoot there.
The same wily host met us, and remembered
:

my

wife

and myself.

Ernestine, the maid, and

an
The outhouse was a
easel was to be seen.
the yard was full
and
bicycle-repairing shop,
The village was on the direct
of cycle racks.
road from Paris to Nemours, and the votaries
of the wheel had driven the painters away to
"
fresh woods and pastures new.'
Paul, the groom, were

still

there, but never

<

73

CHAPTER

VII.

i 891-1894.

"

La Cigale "
"
Mariana

"
;

"

The Lady
"

Flowers

of the Lamp

Plucked

"
;

and

Aside"; Removal to Norwood;

Psyche before the Throne of Venus."

Cast
"

picture undertaken after the return

Paris was " La Cigale," a subject
taken from La Fontaine's fable.
All
the
summer, through the sunshiny days and balmy
first

THE
from
"

La

Cigale," the grasshopper, had sung

and sported, taking no heed to the morrow with
When the
its inevitable
change of season.
nights,

winds of autumn blew poor " Cigale " was

driven to seek shelter and aid from her industrious neighbour, the ant, who had utilised the
chill

long summer days to the laying up of stores for

the winter. Prudence reproaches folly and refuses
"
La Cigale " has to find what
assistance, and
comfort and shelter she can in the dry autumn
leaves under the bare trees, until the cold hand
of winter grips her and extinguishes the remaining sparks of

life.

"

La

Cigale,"

thoughtless,

crouches close to the tree in

frivolous,
her effort to find shelter from the cold breath of
foolish,

HENRIETTA RAE.

74

autumn evening; the setting sun is rapidly

closing down its blaze of splendour, and soon
the

the grey shadows will fold around the luckless

and darksome night engulf her.

full effect was given to the
experience gained at Paris and Grez, both in
drawing and colour. Whereas in all the picminstrel,

In this picture

tures

hitherto

painted by Mrs.

Normand

the

"

had been more or less

edgy," there
was exhibited in " La Cigale " a determined

figures

to

effort

avoid

painted figure

this
is

The delicately
quality.
off into the back-

rounded

ground with no suggestion of defined outline.

This meant working in direct opposition to the
teaching of Leighton, who insisted that all
figures in nature had a certain amount of
"edge," and that this should be represented in

question one entirely

for experts to settle, if there be a settlement
to it.
But Leighton was irate with " La
"
"
The
because of its lack of
edge."
Cigale
autumn leaves on which the figure is seated,
painting.

It is

difficult

and with which the foreground is strewn, were

the outcome of much time and labour on the
They are painted crisp and
part of the artist.
sharp on the canvas, with well defined edges
such as are seen in their natural prototypes.
To Leighton these appealed with great force,

and
he

as

he stooped to

exclaimed,

"

Why

examine them closely

paint

these

leaves
'

so

and deny all edge to the figure ?

The picture was accepted for the Academy

crisply,

V)

D
Z
UJ
>

O
UJ

o
I
I-

u
I
ILU
cr

O
LL
UJ
CD
UJ

I
u
>

a.

.o

"LA

cic.il:

75

Exhibition of 1891, and once again the artist

"
a
was gratified by seeing her work occupy
"
"
La
line.
afforded
centre" on the
Cigale
sufficient

evidence that the fears of the previous

year were groundless, but also that the course

of tuition which the fears had dictated had
The work was
been extremely beneficial.
every respect, the outcome of
widened thought and experience.
Congratulations were showered upon the artist, and none
were more welcome than those of Sir John
" I
Millais, who in praising the picture said,
would give my left hand to be able to paint
in

stronger

flesh

like

Both

that."

the
"

"

and the copyright of

sold, and at the Inter-

picture

La Cigale
this
national Exhibition at Paris of 1899
work secured for the artist another Honourwere

able Mention.
"

Day- Dreams," a small

at the Institute of
shown
was
figure-subject,
"
The Lady of
Painters in Oil Colours, and
"
was painted for Messrs. Cassell and
the Lamp
was commissioned for reproIt
Company.
In

1891,

duction

too,

Yulc-Tidc,
" The
annual.

Florence
night

in

by chromo-lithography

with

Messrs.

Lady

Nightingale

among

the

Cassell's

the

of

going

wounded

in

connection

Christmas

Lamp

her

'

was

round

the hospital

by
at

Scutari.

an

Eighteen hundred and ninety-two was not

important year from the point of view of

HENRIETTA RAE.

76

exhibits, for it was then that was commenced

the chef d'ceuvre " Psyche before the Throne
"
of Venus
and smaller works were put in

hand
that

by

from the great labour

At
important canvas.

relief

to

this

Academy Mrs. Normand was

the
of

afford

to

attached

"

"
Mariana," she of the

whom Tennyson
"

sang

represented

Moated Grange,"

She only said, My life is dreary,

He cometh not,' she said
She said, I am aweary, aweary,
"
I would that I were dead.'
'

'

At the Institute of that year was hung

Memories," a study of artificial light, which
was purchased by Mr. Stewart, of Paisley.
In 1893 a daughter was born, and work
in the earlier part of the year was conseAt the
quently not very great in extent.
"Flowers
Plucked
and
was
Cast
Academy there
Aside," in which almost as much importance
attached to the landscape as to the figure. At
the New Gallery Mrs. Normand was represented by one of the several studies entitled
"
Spring," and at the Institute by the charming
"
little
Apple Blossom," which is here illusIn this year, too, a return was made
trated.
to portraiture, the subject being Mr. Marcus
"

Davis.

Cast Aside " was

afterwards sent to Moscow to an exhibition of
English art, and was 'purchased there by Mr.
"

Flowers Plucked

John Schulz.

and

PANDORA.
//i

the possession of C.

Bjwring,

Esq.

REMOVAL TO NORWOOD.
The most

important

event

;:

the

of

year,

however, was the removal from Holland Park

An offer had been made by Mr.
Road.
Normand's father to build them a studio in
of

"

Aucklands," at
Norwood, if they would go to live near him.
The removal meant the severance of many
pleasant associations, and the discontinuance
the

garden

his

house,

of their

of the critical visits

bours and friends.

academic neigh-

As a matter

objection was
appeals in favour of

one

latter

the

of fact, the

the

of

strongest
Criticism

removal.

and advice were good and welcome aids to

work, but both Mr. and Mrs. Normand felt
"
run alone," and
that they would now like to
paint

their

pictures

free

from

external

in-

It
was not inappreciation of the
kindness of their friends, but merely the desire

fluence.

for

independent

action.

They

the

that

felt

was becoming stronger

them, and that it would

influence of Kensington

than was good for

be better for them to shake
fettered them in mannerisms.

The new

studio

was

"

to
"

it

off

include

before

it

glass

effects could be
which
house,
open air
in
artistic
an
innovation
secured,
requirements
which was then greatly in demand much to
in

the

amusement

of the older artists,

who could

not see the necessity

anything more than
But the inthe ordinary top-lighted studio.
fluence of the French plein air school was
next to completely
rapidly extending, and
for

HENRIETTA RAE.

78

in

working
the

best

the open, the glass studio afforded

follow

opportunity to

its

principles.

For " Psyche before the Throne of Venus " it

was a necessity, and this, with the considerations already mentioned, decided the accomplishment of the removal.
In the autumn of 1893, too, Mrs. Normand
had the unique experience of being asked to
serve as a " hanger " at the autumn exhibition
of

the

The

Liverpool

Corporation

Art

Galleries.

was accepted, and a record

for
it was the first occasion on which
created,
a woman had served on the Hanging Cominvitation

mittee of an important public art exhibition.

The fact aroused much interest at the time
Liverpool, and Mrs. Normand was feted by
the various artistic bodies of the city.
At a

in

dinner of

the

demanded
a demand

of her

upon

in

excused.

that

spite

At

tinuous

call,

express,

in

"

this

is

Society a speech was

the
assembled company,
by

Artists'

was good humouredly

of

insisted

anxiety to be
response to the con-

her evident

length,

in

she stood up, and managed to

faltering tones, the conviction that
the happiest moment of my life," a

statement that was so utterly at variance with

her looks that it secured for her the compassion of the company, and she resumed her

and applause.
"
the privilege of the " hangers
at the
Liverpool Exhibition to act also as advisers
to the Purchasing Committee of the gallery,
seat amidst laughter
It is

z
I
a.
<
Q
Q
Z
<

o
Q.
<

"PSYCHE."
and it was owing to the suggestion of Mrs.
Normancl and her fellow-hanger, Mr. David
"

The PunishMurray, R.A., that the picture

ment of Luxury," by that extraordinary genius
Giovanni Segantini, was acquired for the permanent collection of the gallery. Segantini's
work was not very well known in England in
those days, and the recommendation to purchase this example was somewhat of a surprise
committee
was
picture

to the

the

but the actual purchase of

greeted with a storm of

by certain of the Liverpool public.

years went by, and the reputation of
the artist increased, it was recognised that
Liverpool had done the right thing in securing
the picture, and the acumen of its reprein
sentatives
so
doing became matter of
protest
As the

congratulation.
The next year

1894witnessed

"

comThrone of
the

Psyche before the

at
its
Venus,"
triumphant exhibition
The picture in point of
Burlington House.
composition and dimensions was the most imIt was
portant work of Mrs. Normand's life.
commenced in 1892 when the artist was Living
in Holland Park Road, and its size
ten feet
of

pletion

and

by

six feet four

of

its

inches

precluded the

being executed

in

her

Richmond came

William

to

own
the

possibility
studio.
Sir

rescue and

offered the loan of his studio, which

at hand
the offer was gratefully
;

was

close

accepted,

and the earlv work on the canvas was done

HENRIETTA RAE.

80

The

there.

was

built

of the
It

glass-house of the Norwood studio

specially to meet the requirements
the

painting of this picture.

was so constructed that one end fitted in
artist

in

under the spreading branches of some fine

"
trees in the garden of " Aucklands
through
the foliage of which the
filtered
sunlight
to the studio

below.

In this

tempered light
posed and the direct effect
obtained that was required by the artist.
The picture contains no fewer than fourteen figures, of which Venus and Psyche form
the models were

the central interest.

In her return to classic

themes Mrs. Normand chose the

The
the myths for treatment.
and Psyche with its beauty,
drama

prettiest of
story of Cupid

and
pathos,
and has afforded

is

always fascinating,
"
through all the ages.
present-day interest
her disof Cupid
love
and
distrust
Psyche's
him
her wanderings in
obedience and loss of
search of him, and the treatment of her by
"

Venus, constitute the most charming theme of Greek mythology and an allegory
For the purposes of her
of life for all time.
Mrs.
Normand
had recourse to William
picture
Morris's version of the story as recounted in
her rival

"

Psyche with many

Earthly Paradise."
in
vain for her love,
sufferings has searched
and has come by evil chance upon the Court
of Venus.
Hidden by the trees she watches
their sports
the maidens of the Court at

his

when

53

tr
uj

?
;

C/5

"PSYCHE."
"From

8i

lip~> unwitting came a moan,

strong arms about her body thrown
And, blind with fear, was haled along till :-he
Saw floating by her faint eyes dizzily

She

her

fell

That vision of the pearls and roses fresh,

The golden carpet and the rosy flesh.

"Then,

as in vain

make some sound,

she strove to

sweet voice seemed to pierce the air around

With bitter words; her doom rang in her ears,
She felt the misery that lacketh tears.

Come hither, damsels, and the pearl behold

That hath no price. See now the thrice-tried gold
That all men worshipped, that a god would have
1

To be

his bride

how

like a

wretched slave

She cowers down, and lacketh even voice

To plead her cause
Come, damsels, and rejoice
That now once more the waiting world will move
!

Since she
*

is

found, the well-loved soul of Love.'

*
*
*
*

"

"
Oh, thou fool, I will not let thee die
But thou shalt reap the harvest thou hast sown
And many a day thy wretched lot bemoan.
Thou art my slave, and not a da)- shall be
But I will find some fitting task for thee.' "
'

"

The picture was brought

Show Sunday," and among

to

the

town

for

many

in-

none was more interested

than Leighton. He had seen its commencement, but after its removal to Norwood did
not see it again until it was presented ready
His praises were many, but to
for exhibition.
the artist's great disappointment they were
terested

all

callers

discounted

criticism

"

that

in

her estimation

it

had a tendency

of which he could not approve."

F

by

his

final

to prettiness

HENRIETTA RAE.

82

Mr.

George McCulloch, who had

the

practically purchased
see it immediately after

picture,

already

came

Leighton

to

in

had

left,

and hearing that the President had been, he

asked Mrs. Normand what he had said of the

With

disappointment still keen

within her she unthinkingly repeated the whole
This indiscretion came
of Leighton's criticism.
picture.

the

to Leighton's ears, and the administration of a

lecture to Mrs. Normand duly followed on the

sanctity of friendly criticism between artists.

For the avoidance of any misconception on

part of Mr. McCulloch, that might have

arisen from his remarks
upon the picture,

the

Leighton at once wrote a letter, from which,

by the courtesy of Mr. McCulloch, we are
enabled to reproduce the following extract
:

"

Let

pleased I

me
am

seize this opportunity of saying

how

sincerely

you have bought Mrs. Normand's

Mrs. N. is full of talent, and a most

to hear that

charming picture.

but she is given to self-depreciation

artist
and the purchase of so important
rare
attribute)
very
an effort is a great and merited encouragement to her."
enthusiastic
(a

The picture was given a " centre " at the

Academy and was one of the chief features
The following appreciative
of the exhibition.
remarks upon it by Mr. M. H. Spielmann ap" Miss Henrietta
peared in the Magazine of Art:
Rae contributes a large canvas of Psyche
which is very
before the Throne of Venus
'

'

remarkable in its conception and execution.

This elaborate composition, full without being

ROSES OF YOUTH.
By Permission of Messrs.
Owners of the Copyright.

E.

W. Savory,

Ltd.,

"PSYCHE."
crowded, graceful in the drawing of its figures,
dainty in its appreciation of feminine beauty,
delicate in its tones and tints, is a work we
But we
hardly expected from a woman.
feel

instinctively

the

that

painter

grasped the greatness of this

quite
classic

mythology

the

figures,

with

has never
scene of
their

all

not

inhabitants of Olympos, but

charm, are
denizens of an ungodly earth."
Of course, it could easily be urged in reply
to the latter part of these remarks that the
relative
"

to

these

"

inhabitants
of
so
are
human
that there
Olympos
distinctly
cannot be very great error in representing their

passions

Venus and Psyche

possessors in human form.
so
were
undoubtedly feminine in character and
disposition, the

one

in her

queenly beauty and

and

the other in her

pleasantries
abject love and woe of heartbreak, that their
portraiture as women seems a positive necesspiteful

sity for their

proper representation.
following extract from the Daily
serve as a typical example of the

The

may

News

many

other references in the press to the picture

" Mr. William Morris
has made the legend
the subject of a beautiful poem, and Mrs.
:

Normand

an ambitious composition.
It
canvas
with
many figures skilfully
large
grouped, and the courage of the painter in
attempting such a task has been justified by
her success. She shows us the goddess seated
on her classical golden throne, beautiful and
is

of

HENRIETTA RAE.

84

all

unadorned,

her

displayed, the
over the seat set

loveliness

draperies carelessly thrown

upon the throne of her temple.

White Parian

columns support its dome, and the steps of

the cool marble pavement lead down to the
rich growing grass
of the
Her
enclosure.
maidens are around her in groups, and no
part of the picture is more successful than
the

treatment

to the left

is

Tall, graceful

of

these

groups.

The group

in

especially happy
arrangement.
their
draperies pale blue
figures,

and low-toned powdered purple, making such

agreeable harmony with the full rose of the
oleander blooms, assisted by a passage of
orchid purple, where a piece of some overgarment rests on the marble steps even the

not the white

writers finds excuse
dove
the

harmony

pigeon
for

its

of
soft

of the whole scheme.

the

classic

colour

The

in

faces

beautiful, varied, and not too remote from

But to the right of the
the Greek ideal.
throne, on the green sward, is another group
of maidens, also picturesque, attendant on the
goddess they, indeed, have some employment
for their lazy loveliness.
Poor Psyche, straying
into the midst of all this beauty, and over-

are

as she well may be, has fallen

it,
at
the
prostrate
very steps of the shrine her
arms just rest on the marble ledge, as if

powered by

not approach nearer.

Venus conindifference
of
with
the
templates
easy
a goddess, and the maidens standing by her,
she dared

her

HER EYES ARE HOMES OF SILENT PRAYER.

By Permission of Messrs.
Owners of the Copyright.

E.

W. Savory, Ltd.,

"

pandora:'

grouped, and not unconscious

beauty in their clinging draperies of
yellow and amber, and salmon red, have an
interest in the penitent that is
undisturbed
the
turf
stretches
by pity. In the background
away under the shade of low growing trees
and a bronze door, dimly seen through the
open, shows how Psyche gained her access to
picturesquely

of their

the shrine."

The

picture

went

to

from

Liverpool

Academy, and after the exhibition at the

Dore Gallery, to which reference will presently

the

be made, passed into

McCulloch at Queen's
gravure reproduction,
Tooth, served to make
widely known.
There was
Mrs.

but

Normand on

the

collection

Gate.

large

published
the

one

by

picture

other

exhibition

in

of

photoMessrs.

more

still

work
1894

Pandora " which was shown at the

Gallery, and which is illustrated herewith.
"

Mr.

by
the

New

86

CHAPTER

VIII.

1895-1896.

Exhibition at the Dore Gallery

and Daphne

"

was usual

"
;

for

Summer

"
;

"
;

Apollo

Visit to Italy.

Mr. and Mrs.

Normand

to

ITspend
and

part of each summer at Scarborough,

during one of their visits they had been

introduced to Mr. George Lord Beeforth, the

proprietor of the Dore Gallery in Bond Street,
who had made his residence in the Yorkshire
The acquaintance developed into
coast town.
an intimate friendship. In 1895 he commissioned Mrs. Normand to paint his portrait

costume as Mayor of Scarborough,

and suggested to her husband the desirability
of their having an exhibition of their collected
in his official

works.

To make

ditions

that

the suggestion a practicable

one he offered them the use of the Dore Gallery
for the unexpired term of his lease on con-

contained no risks for them, but

share of any profits that might

included a
The offer was
accrue from the undertaking.
immediately accepted, and the various works
These included
collected from the owners.
most of the important exhibited pictures of

G.

L.

BEE FORTH.

ESQ.

EXHIBITION AT THE DORK GALLERY.

both

87

numbering in all eighteen, elev<

of which were by Mrs. Normand.
first to keep
the two
It was decided at
and separate, but
distinct
sets of pictures
when they were hung it was found that the
arrangement was not at all satisfactory. Mr.
Normand in several of his pictures had introduced a floor of marked geometric design,
and in this preliminary hanging these all came
Moreover, the fact that he and his
together.
wife had been in the habit of working each
at one end of their studio was revealed to
them forcibly in this collection of their works,
for they found that each had adhered to one
scheme of lighting all through the series a
scheme dictated by their particular position
artists,

The hanging was, therefore,

of the two artists were
works
all re-done
the
arranged together, and harmony and balancein

the

studio.
;

thereby secured.

The

exhibition

remained

open

for

nine

months, and

materially assisted to familiarise

It
Mrs. Normand's work.
with
the public
afforded an opportunity of judging her work
and its development in a manner which had

not before been possible.

"
criticism as to the
prettiMrs.
Normand
led
"Psyche"

Lord Leighton's
ness

"

of

the

determination to do something really

"strong"; the outcome of which was the

to
"

"

of the 1895 Academy

Apollo and Daphne
a picture which she now regards as her

HENRIETTA RAE.

88

and

greatest
it
is
a

most

dismal failure.
Indeed,
if
she ever did regard

question
with any feeling of pleasure and satisfaction.
Any doubts she may have had regarding it were confirmed when the picture
it

was on " show " previous to sending-in day.

Once again it was Leighton who was to
administer

the

The

corrective.

made him

at the picture

first

glance
That won't
exclaim,
arms are not like
"

Those
You want a strong man's
Here,
Apollo's
a
to
friend
who
was
with
," turning
them,
"you are an athlete; just show them what
a strong man's arms are like." The young
do

for

Apollo

man

demurred, but at length consented to adopt the pose of "Apollo," and

at

first

At Leighton's suggestion
Mrs. Normand repainted the arms there and
"
then on " Show Sunday
but the picture
never came right. It lacked spontaneity and
was too evidently " forced " to be successful.
exhibit his muscles.

On

varnishing day Sir John Millais was

quite depressed with the picture, and reproved
the artist in his kindly, blunt manner.
"

that

My

It's

picture

"
dear," he said,

your own

a very bad

a very
line

bad

did you paint

a very bad
picture

why

picture.

You

stick

to

don't be influenced by others,

but paint as Nature intended you to paint."

The chastisement was continued in the
press,

and the comments may be represented

"Mrs. Normand's

by that of the Art Journal:

AZALEAS.
By Permission of Marcus Davis, Esq.,

Owner of the Picture and Copyright.

"SUMMER."

S,j

hut when
touch is nice and colour sweet
she comes to such a subject as 'Apollo and
Her
Daphne,' she very nearly breaks down.
and
her
school-boy
Daphne is expressionless,
muscle."
wants
Apollo
Altogether, then, it must be acknowledged
"
Mrs. Normand
that in her effort to be " strong
;

it
was not that
did not do herself justice
she attempted to do something beyond her
power, but that the obsession of the inordinate
desire to display strength hindered her faculties
;

led
"

her,

to

own

her

use

Sir

Millais's

words, off
line," and instead of strength there

John

display of weakness which was quite

foreign to her usual work.
At the New Gallery of 1895 Mrs. Normand

was

was represented by two ideal heads, " Edie "

and "Azaleas," the latter of which we are

enabled to reproduce in colour, by the courtesy

of its owner, Mr. Marcus Davis.
"
Summer," which w as shown at the
Academy in the following year, was a frank
r

study
full

of

the

the

nude,

artist's

skill

and
in

exhibited

to

and

the
flesh

drawing
This fair personification of " Summer," recumbent amid a bower of roses, is
without doubt one of the best examples of Mrs.
Normand's power in this direction. There is
a quality of colour which is seldom seen in
The
the usual studies of the nude figure.
wide range of colour and texture of fleshpainting.

painting as interpreted by various artists

may

HENRIETTA RAE.

9o

be represented at one extreme by the pecuwax-like

liar

Leighton,

and

tint

and

at

the

surface

other

affected

by

the

by
ugly,

coarse-skinned, unwholesomely fleshed representations of the ultra New English Art Club

Between these, and nearest akin to

comes
the work of Mrs.
Normand,
nature,
with its tenderness and delicacy with its sufficient idealisation to remove the figures beyond
the plane of mere studies from the living
model. She imparts to them all the beauty
of texture and colour that pertains to nature.
The painted flesh glows under the charm of
school.

her brush as though

in

life

rich

it

of "

this

picture
setting of rose

were palpitating with

Summer,"

while

the

blooms emphasises

its

beauteous qualities.
This background of foliage and magnificent
display of roses was painted in Mr. Beeforth's
charming rose garden at Scarborough redeemed from the wildness of the usual cliff"
into
a veritable
frontage, and transformed

Paradise.
"

Summer

"

was sent with

"

Flowers Plucked

and Cast Aside" to an Art Exhibition promoted

Russia, and was purchased by the Grand

in

Duke Boris Vladimirovitch

for his private col-

lection.

curious accident occurred at this Exhibition in connection with these two pictures.
Owing to the indifferent knowledge of English

possessed by those responsible for the catalogue,

LADY

NEWTON.

VISIT TO

ITALY.

91

the titles of the pictures were transposed, and

the works were sold under their wrong names.
In

was

addition to

"

Summer

represented at the

"

Normand
Royal Academy of 1896
Mrs.

the portrait of Mr. Beeforth, to which

reference has already been made.
But the great event of this year was one

by

that brought to Mrs. Normand and her husband

a realisation of one of the greatest hopes of
an extended tour through Italy,
their lives
and a personal acquaintance with the great
masterpieces of Art which can alone be seen

The opportunity was presented to them

an invitation from Mr. Beeforth to accompany him on such a tour, an opportunity, of
course, that could not be allowed to pass unMr. Beeforth had done the round of
grasped.
the galleries many times, and had an intimate
there.
in

and the best conwhich they were to be studied.

He knew exactly where each great work was
to be seen and the shortest and quickest way
to get there.
Under his guidance there were
knowledge of

their contents

ditions under

direct visits to objects of interest, without that

loss of time endured by the ordinary visitor

ignorant of the devious ways of Italian

cities.

The

impressions of an artist on this Meccapilgrimage of Art are so personal and individual

that

it

is

almost impossible

for a third

person

to give adequate expression to them.

I have
therefore transcribed a summary of the journey
and its influences given me by Mr. Normand,

92

HENRIETTA RAE.

in preference

to attempting to record

my own

"We

words

them

in

had, of course, like

most other

painters,

the delights
been looking forward
of seeing with our own eyes the masterpieces
that were familiar to us through reproductions,
and of which we had read much and heard
more from the artists among whom the earlier
had been spent.
part of our artistic lives
for years to

Leighton's

biennial

addresses

at

the

Royal

impressed us imAcademy
our
and
subsequent intimate associamensely,
tions with him and with Watts, Richmond,
had, as

students,

us to place enormous
lessons
value on the object
likely to be derived
from the study of the mighty works that have
come down to us as records of magnificent

and Prinsep had

led

We were, of
achievement.
of the
with the examples

course, familiar
Italian
various

represented in our own

National Gallery and in the Louvre, and we
had each year diligently studied the Old
Masters' Exhibitions at Burlington House, so
that our minds were in a condition to receive
schools

that

are

the right impressions that an extended visit to

the galleries of Italy was likely to afford.
"
knew theoretically the influences exer-

We

cised by the various masters that formed the

knew
them.
style of those who succeeded
of the beginnings of Raffaello under the dom-

We

Perugino, but in the Vatican we

saw with our own eyes how, commencing at
ination

of

Q
Z

o
z
h
<
g
c

I
h

VISIT TO ITALY.
the

the

top of

of Perugino

lower

'

fresco, the ang<

intruded themselves, and how,

still

down

'

Disputa

the

Kaffaello's indidesign,
viduality gradually asserted itself and eventually
became the expression of a spontaneous im-

that

in

evolved

the

marvellous

powers
which have dominated so triumphantly through
pulse

the succeeding ages.

had, as I have observed, been well prepared in all the traditions that are necessary
all

"

We

a just appreciation of these titanic works,

and yet the impressions far surpassed in intensity everything of which we had imagined
to

ourselves capable of experiencing.

in

Rome

at midnight,

at

some

of

old

friend,

its

arrived

and drove round

antiquities

who was

We

to look

by moonlight.

Our

acting as our pilot, had

that our introduction to

evidently arranged
this shrine of all that

is

beautiful

should not

lack the mystery likely to impress the receptive

temperament. On the following morn-

artistic

ing we were further attuned to the enjoyment

of our quest by an early visit to St. Peter's,
hours before the arrival of the crowd of

ordinary tourists.
"

These preliminary

rites

having been ob-

served, as artists we then immediately devoted

our attention to the Vatican Galleries, and

among all

the splendid things that there

met our

eyes none impressed us more than the Raffaello

frescoes and the Sistine decorations
indeed,
we were not more impressed by anything we saw

HENRIETTA RAE.

94

subsequently, either in Rome or elsewhere, not

even excepting the Botticellis in Florence, nor
the Titians.
Michael Angelo's ceiling alone
to ruining us.
We felt that nothing
than a six-feet photograph of the whole,

came near
less

and

large,

detailed

prints

of

the

individual

panels and figure (printed in permanent brown

carbon to last for all time), could possibly
satisfy

our

craving

to

study

at

leisure

the

magnificent design and drawing of this most

wonderful of all works of the master. I had
to satisfy this craving, in a measure, at the
expense of my purse, but our friend wisely
pointed out that nothing short of the purse of
Fortunatus could possibly carry us through
Italy if we determined to bring away expensive
records of each masterpiece by which we were
moreover, did we do so, special
impressed
would
have to be built for the records
galleries
if we wished
properly to enjoy them.
"
Our visit to Rome was rendered additionally enjoyable by a chance meeting with Sir
Charles Holroyd, who, like ourselves, had gone
but for a much longer time to
to
Italy
the
Old Masters. When we met him
study
he had brought the matter to so exact a
science that he gave us a list of the notable
pictures, with the precise time marked against
each, at which it could best be seen.
Thus,
he told us to make our first acquaintance with
Titian's
Sacred and Profane Love,' in the
Borghese Palace, at 1.30 precisely on a sunny
;

'

THE CHARITIES OF
From

SIR

RICHARD WHITTINGTON.

the Wall Painting in the Royal Exchange.

By Permission of Messrs. S. Hildesheimer & Co.,

Owners of the Copyright, and Publishers of the
Colour-reproduction of the Picture.

VISIT TO ITALY.
morning. Guided by a ground plan wo were
to walk through the preceding rooms without
paying attention to any paintings they contained
to walk straight to the end of the
gallery and, when we reached the end, to turn
sharp round and face the picture, which would
then burst upon us in all its glory, illuminated
by a sun reflection from the floor. We were
;

bound
fully
fairly

to

admit that

this preliminary trouble

The

canvas, always brilliant,

to illuminate its

repaid

us.

glowed, and

seemed

surroundings.
"

Our

friendship
Mr. Holroyd was

with Sir Charles

then plain

one of long standing, and

dated back to the time when we were working
in the Academy Schools, and he himself was
a successful student at
Morethe Slade.'
his
over,
people hailed from Yorkshire, and
were known to Mr. Beeforth, so that our party
assimilated, greatly to our profit, as I have
already shown in one instance.
11
Thus it came to pass that we never presented our many letters of introduction to the
various houses in Rome where artists are ever
welcome. Our time was so fully occupied in
'ganging our own gait' by day, that the
Besides, our
evenings found us ready for rest.
discussions of the various items of the day's
programme, which were natural, and to us inevitable, would, perhaps, have wearied anyone
less interested than ourselves.
'

"

Among

all

the masterpieces of the Italian

HENRIETTA RAE.

96

school to be found in

an

Rome,

it

struck us that

Velasquez to wit, easily holds his

one notable portrait enshrined in a
Indeed, it
special room of the Doria Palace.
seems to us that his
Pope Innocent X.'
looms large above any portraits that we saw
in that wonderful panorama of a
journey that
even now registers itself in our minds as a
delight such as will never for us be equalled.
It was a glimpse of the wonderland of which
we had dreamed, but which we had not
alien,

own

in

'

imagined half as entrancing as it proved to

be.
We spent weeks in Florence familiarising
ourselves with the great works of Botticelli,
the awe-inspiring masterpieces of Cellini, and
the charming productions of Donatello and
the Delia Robbias.

In Venice, Milan, Bologna

and Naples, we followed,

in

innumerable ex-

the

progress of the grand procession

whose names are writ immortal on
the roll of Fame.
Titian, Guido, Mantegna,
Fabriano, and the holy men who worked their

amples,

of workers

souls'

desires

into

Angelico

and

Mino da

Fiesole,

others, all

their

creations,

the

monks

Bartolommeo,

Filippo Lippi,
Ghirlandaio, and countless
members of the glorious host born

on that classic soil, and whose names had

been to us but as sounds. Here their lives
were laid bare before us in their works lives
full of earnest endeavour towards
the highest
achievement in art men who, in their simple
;

requirements,

shame us ephemeral and pigmy

MRS.

NORMAND PAINTING THE

ROYAL EXCHANGE PANEL.

From a Photo by George Netvnes,

Ltd.

(The canvas, mounted on runners, could be raised from, or lowered

a pit sunk below the floor of the studio.)

into,

VISIT TO

ITALY.

97

to-day; giants whose triumphs

be handed down to generations yet unborn.
"Imagine us among this wealth of wonders;
the masterpieces of Greek sculpture and the
marvellous creations of Michael Angelo's chisel

craftsmen of
will

and mallet. Imagine us face to face with the

original Greek works, of which we had as
students
schools

Iriends,

made
at

but

living

our

every

laborious

turn

we

studies

the

in

met these old

and propor-

refined in outline

all

marble instead of lifeless plaster

To understand this immeasurable difference let
a comparison be made between a photograph
of Michael Angelo's
Pieta
of St. Peter's
Chapel with the cast in the Crystal Palace
or South
Kensington Museum, and even as
tion

'

'

the

fiat

print

renders but a suggestion of the

cast, so in its turn the cast

grandeur of the

but a shadow of the original.

Imagine all
this presented to two impressionable and enthusiastic artists, and some idea can be formed
is

of

the

revelation

it

was

to

my

wife

and

myself.
"

Every

artist

worthy of the name

is,

of

same emotions, but our

had fallen among a group of men whose
life's work had been based upon these classic
masterpieces, and as we stood before the
various canvases and statues, we conjured up
our friends and mentors as living entities, and
imagined what they had said of each work
when first confronted with it. When, later on
course, capable of the
lines

HENRIETTA RAE.

98
in

the

Uffizi,

we met our
and

friends

Leighton.

to
face,
Watts, Poynter,
honoured
limned by their own hands,
guests
among the modern masters, we felt almost
capable of continuing our discussions with

Millais

face

them, and longed to bring disputed points to

This satisfaction, however, we
their notice.
had to reserve until our return, when we did
not fail to let off some of our exuberant
enthusiasm to sympathetic ears."

ISABELLA.
By Permission of Athol

the Picture

Tn,

and C

99

CHAPTER

IX.

1897-1905.

"Isabella"; "Diana and Callisto"; "The

Charities of Sir Richard Whitti.v
ton " (Royal Exchange Wall Painting)
"
Dufferin "
The
of
Marquess
"Sirens"; "Songs of the Morning."
-

ON

the return from Italy the

first

picture to

"

be taken in hand was

Isabella," based
on Keats's rendering of Boccaccio's story of
With Miss
Isabella and her pot of basil.
as her model, Mrs. Normand
an
"Isabella"
of surpassing beaut}-.
painted
Her hands are clasped round the pot which
enshrines the ghastly remains of her murdered
lover, and her head leans against it in an
attitude expressive of the heartbreaking sorrow
It is, in fact,
under which she is suffering.

Muriel

Newton

most successful realisation of the subject as

imagined and described by Keats
a

And she forgot the stars, the moon, and sun,

And she forgot the blue above the trc
And she forgot the dells where waters run,
And she forgot the chilly autumn breeze
'

She had no knowledge when the day was done.

HENRIETTA RAE.

ioo

And the new morn she saw not but

Hung over her sweet Basil ever more,
And moisten'd it with tears unto the

in

peace

core.

And so she ever fed it with these tears,

Whence thick, and green, and beautiful

it

grew,

So that it smelt more balmy than its peers

Of Basil-tufts in Florence for it drew
Nurture besides, and life, from human fears,
From the fast mouldering head there shut from view
So that the jewel, safely casketed,
Came forth, and in perfumed leaflets spread."
;

The
Academy
artist's

was hung in the Royal

Exhibition of 1897, and formed the
only contribution to the public exhibipicture

tions of that

year.

She was, however, occu-

pied on a portrait of Mrs. Beeforth (which

passed direct into Mr. Beeforth's possession)
and in a heavy round of duties connected with
the presidentship of the Women's Art Section
of the Victorian Exhibition, which she had
the
invitation
of
Mr. Imre
accepted on
Kiralfy.

who had published

a large photogravure reproduction of " Pysche
before the Throne of Venus," now approached
Mrs. Normand with a commission to paint a
Messrs. Tooth and Sons,

companion picture to that subject the commission was accepted, and " Diana and Calwhich appeared at the Academy in
listo,"
the outcome.
was
The work demanded
1899,
:

undivided attention during 1898,

and in that year, for the first time since 1881,
the artist's

THE MARQUESS OF DUFFERIN AND

Painted for the Belfast Yacht Club.

AVA.

-DIANA AND (ALIAS IDA

she was unrepresented at
indeed, at

the galleries.
and Callisto'

the

101

Academy, and,

all

"Diana

is

a canvas

;is

im-

"

Psyche," with sevenportant in size as the

Diana and her maidens have
teen figures.

been bathing in a stream which runs through

In
a shady glade in a classic landscape.
front of the majestic figure of the goddess
kneels the nymph Callisto, cowering under
the scathing denunciations of the irate Diana.
The subject afforded Mrs. Normand another
excellent
in

opportunity

the

for

for

flesh

display of her
the attendants

painting,
power
of Diana are all in the act of robing after
the bath, and are all more or less nude.
Some of these figures are most beautiful in
pose, and all are painted in the artist's best
But it is the pathetic figure of
manner.
that
absorbs the attention with arms
Callisto
;

her breast she clutches the drapery

which one of Diana's amazons is trying to remove it is one of Mrs. Normand's happiest
efforts.
But, in spite of these beauties of detail,
the picture, as a whole, was not altogether sucacross

cessful,

and the

failure of its first reproduction in

photogravure completed the artist's disappointment. The anti-nude crank was again on the
war path over this work, and among other

by the artist was the following typical example of the impudent letters
sent
to
by these self-constituted
painters
effusions received

keepers of public morals

HENRIETTA RAE.

102

"

Madam,

trust

you

in

relation

Callisto,'

to

now on

not think

that you will

me presumptuous beyond pardon

in
'

your picture
exhibition

in

addressing

Diana and
the

Royal

Doubtless from the artistical (sic)

Academy.
point of view it ranks very high amongst the
productions of the day. But from an ethical
point of view it is also doubtless dangerous
to many.
So far as a large proportion of
men are concerned, the presentation of beautiful
women so scantily draped cannot but
appeal to passions that are already of volcanic
Then as regards
force in their nature
the models themselves.
For women to sit to
women in this way is probably not so deterBut, as you
iorating to their moral sense.
know, it habituates them to sit thus also to
men and herein must be found a trespass
upon feminine modesty on the one hand and
also on masculine chivalry on the other.
"
It will
be a great day when artists so

gifted as yourself set your faces against public

or private presentation of such pictures and
all
I

to

that

am

is

associated with their painting.

And

sure an appeal to your own kindly heart

those who here and elsewhere are

aid

labouring under great disadvantages to become

will not
their brothers' and sisters' keepers
be thrown aside as wholly irrational and
'

'

vain."

Such curious communications are common

to all artists

who choose

to paint such subjects,

<
a
h-

gz
-

HI

ui
LL
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cy

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"ROSES OF YOUTH."
and
form
is

fortunate

is

it

so small

that the

\o\

writers

them

of

a proportion of the public.

It
think what might
to

somewhat appalling

result
in

were

like

the bulk

manner,

thoughts.
At the

of

with

people overweighted,
prurient

and

sensual
"

New

Gallery of 1899 was

DayDreams," a study which passed into the collection of Mr. Beeforth, and to this year, too,
belongs
son of

the

portrait

Sir

Alfred

Mayor

of

of

Mr.

H.
the

K. Newton,
then Lord

Newton,
London.
A portrait of Lady
Newton, which appeared at the Academy in
the following year, must be esteemed one
of the most successful portraits of a woman
At the New
painted by Mrs. Normand.
of
there
were
two
studies of
1900
Gallery
"
Roses of Youth " and " Her
heads, entitled

Eyes are Homes of Silent Prayer" (which

were commissioned for publication by Messrs.
Savory, of Bristol), and a portrait of Dr. W. H.

Cummings, F.S.A.
But the most important work to be accredited to this year was the completion of the large
"
The
wall-painting for the Royal Exchange,
Charities of Sir Richard Whittington."
This

work had been

hand for some time, and had

immense amount of labour and
The
thought.
space to be covered measured
feet
eighteen
by twelve feet, and the composiinvolved

in

an

included no fewer than fourteen life-sized

Mr. Normand had also received a
figures.
tion

HENRIETTA RAE.

io4

commission
11

one

for

King John

of

Magna Charta

Granting

and

decorations

these

"

the difficulty connected with the handling of

two works on this scale in one studio was

by him

solved

manner

in

in-

peculiarly
each
sunk one

Two pits were

genious.
end of the studio equal in depth to the height
of the
canvases.
In
these the canvases,
mounted on frames, could be raised or lowered
at

at the will

of the

the level of

artists,

they worked at

as

The advantages

the studio floor.

of such a device were obvious, and it is doubtful if any other of the series of pictures at the

Exchange was produced under such

easy conditions. There was no folding of the
Royal

canvas, so that

be

and

seen,

whole composition could

the

due

proportions

maintained,

throughout.

But

in

of this

spite

the strain upon Mrs.

labour-saving device,
in the produc-

Normand

work was very great, especially in

view of the fact that it had to be completed
by a specified date. Many careful studies had
tion of this

to

made

be

coal

and

The
the

of each

colour

reproduction

head

Surridge,

model

amount

of

the

separate

char-

and again of the groups.

in

colour of the

Whittington

serve

of

work put

for

study for
Mr.

which

brother-in-law,

artist's

will

as

sat

of

suggestion
of these

into each

they
liminary studies
ately dealt with as the
;

figure, in

are

as

the
pre-

almost as elabor-

finished

picture.

The

...
jomciNAL study

L^_

/,

"

.:

.-

nut

I
STUDY F03 THE HEAD OF WHITTINGTON.

I
>

THE ROYAL EXCHANGE PANEL.

summer was one

of

105

ofti nunremitting toil

times work was commenced at six o'clock in
the morning and continued throughout the
day until the light failed at dusk. But the
;

was duly accomplished, and when the

panel was placed in position it bore favourtask

able comparison with those already there.

When the Gresham Committee announced
their

intention

walls of the

of

filling

Leighton immediately offered

first

of

ambulatorv

these

Exchange with decorations, Lord

the

with

and

series,

Ancient

Bartering
designed and painted.
by Leighton has been

to

his

Britons

"

provide the
Phoenicians

"

was

duly

The method adopted

more or

less

closely

followed by the other artists concerned.

The
strong flax canvas was prepared with a medium

composed of Sierra Leone copal, wax, and oil

"
spike, which was similar to the
Spirit
"
Fresco
mediums invented by T. Gambier

of

Parry for use in connection with pictures

painted direct on a specially prepared plaster
wall.
When the canvas was finished it was
attached to the wall by a process which was
frequently used in France, but had never
before been attempted in England.
Leighton
border which it was decided
designed a
should be repeated on each panel, so that his
in

more

than one respect, as a model to other

who should be engaged on the work.
There were twenty-four panels to be

artists

initial

picture

of the

series

served,

filled,

HENRIETTA RAE.

io6

and each was

to be dealt with

by a separate

of the

Many
pictures are the gifts of
private citizens, and others have been provided
"
"
by the City Guilds. The Whittington was
" sat "
presented by Mr. Abe Bayley, whose wife
artist.

for
the study of Dame Whittington.
The
whole forms a scheme of decoration that is

The appeartransformed
grey walls now glow with

unique and intensely interesting.

ance of the building has been
the aforetime dull,

colour, and make this court of the Exchange

an aesthetic oasis amid the arid commercialism

of the City.

Another interesting commission followed

hard upon the completion of the Whittington
this came from the Belfast Yacht Club for a
;

portrait of its
Dufferin.
The

commodore, the Marquess of

matter had to be taken up

immediately, and, in reply to the request for

sittings, Lord Dufferin wrote that he would be
in

London

convenient

three days after his letter, and, if

to the artist, he would like the

work commenced
well be

at

once.

As he could not

asked to travel to Norwood for the

purpose, hurried arrangements had to be

In their
to secure a studio in London.

made
diffi-

culty Mr. Normand wrote to their old friend,

Mr. G. F. Watts, to ask if he could let them
have the temporary use of his studio at Little

Watts was then living at

and
Guildford,
gave a ready acquiescence when
he heard the purpose that prompted the request.
Holland

House.

~'

a:

:-

*
z

UJ

tf>

s.

"THE MARQUESS OF DUFFERIN?

The
to

Belfast Yacht Club had communicate

Lord DuHcrin the name of the artist to

they had given the commission, a nam<

whom

to be
unacquainted
He
from
England.
long
went to Messrs. Graves to enquire

with

which

after

his

therefore

he

proved
absence

as to her credentials

and

and the

capabilities,

report he received from them at once settled

any doubts that existed in his mind. When
the request for an appointment came from
the artist it was, as we have seen, promptly
answered by Lord Dufferin, and in due course

he made his appearance at Little Holland

House. He at once expressed his conviction
that he knew the place, and it was explained
to whom it belonged and how it had been
lent

for

the

purpose

of the

"

portrait.

Oh,

"

Watts painted a portrait of

said,
yes."
me years ago." As a matter of fact it was
thirty years previously, and the impression
then received of the quiet studio had been
he

retained

through

all

the

stress

of

his

busv

He sat in the same chair

diplomatic life.
that he occupied when Watts painted his
"
Himsitter."
portrait, and proved a splendid
he
was
enthusiastic
self an
artist,
keenly
sensible of what was required of him, and did
his utmost to assist Mrs. Normand to secure
the
first

best

possible result.
sitting the anxiety

equally

awaited

great.

her

Mrs.

sitter's

At the end of the

on each side was

Normand

remark

as

nervously

he

stepped

HENRIETTA RAE.

108

from the throne and caught the

of the work

that

crucial

first

glimpse
every

moment which

so
But the
well.
painter knows
was
of
short
for
she saw
duration,
anxiety
from the expression on his face that all was
well, and when he exclaimed with pleasure,
portrait

"

Why, you have

got it like in the first halfhour," she knew that the portrait was going
to be a successful one.

After half a dozen sittings in London Lord

Dufferin was compelled to leave town, and he
invited Mrs. Normand to complete the work

Clandeboye, his Irish home. The pilgrimage was accordingly made, and the billiardroom was for the time being transformed into
Here on an improvised " throne "
a studio.
he sat and talked whilst Mrs. Normand
at

talked of his many and curious

painted
experiences in all parts of the world of India
and Canada, of adventure and incidents in
It
statecraft in which he had played a part.
;

delightful experience to the artist and

her husband, and called forth the best of her
The
talent to the work she had in hand.
visit extended over three weeks, and afforded
splendid opportunities to Mrs. Normand to
study her subject opportunities which occur

was a

all

too rarely in a portrait-painter's experience.

Among Lord Dufferin's choicest treasures

was

his

"Helen's Tower"

a collection of books that

The "Tower" was

library,
is

which

is

probably unique.
erected as a memorial to

LOOT.
In

the possession of H.

K.

Newton, Esq.

 '

THE

M.

R Q i ESS Oh D I

'/

FER IX. "

109

mother, and in it are placed autograph

best known authors
copies of books by all the
of his time, each exquisitely bound by Zaehnsdorf.
Celebrated artists were asked by Lord
his

Dufferin

to

select their favourite

book and

in

sketch and these, too, were

place
bound up, and with the literary souvenirs
form a collection of great interest. Mrs. Normand's contribution was a copy of Morris's
it

to

Earthly Paradise," with a sketch of Venus

from " Psyche before the Throne of Venus."
11

completion the portrait was pronounced by all to be a great success. Lord

and Lady Dufferin were both enthusiastic
over it, and declared it to be the best that had
ever been painted, and Mrs. Normand there-

On

its

upon

painted

Lady

Dufferin.

for

this

second

upon the

first,

replica

for

presentation

to

sittings were given

which,
although based
portrait,
is really an original work rather

Further

This was completed in the

than a replica.
October preceding Lord Dufferin's death in
February, 1902.

The first
Academy of

was sent to the Royal

added greatly to the
and
1900,
portrait

there can
reputation as a portraitist
be no question that it is the strongest work
in this direction achieved by Mrs. Normand.
The quiet dignity of the portrait as a whole
is
perfectly attuned to the character of the

artist's

kindly grand seigneur whom it represented

the strong, intellectual head is so painted that
:

HENRIETTA RAE.

no
while

the

strictest

accuracy

of

likeness

is

observed, there is sufficient ideality to suggest

the nobility of character and gentleness of
heart possessed by this great man.
Portraiture, indeed, became Mrs. Normand's
chief work at this time
at the New Gallery
;

901 there were portraits of Miss Beeforth

and Mr. and Mrs. John Brown.
During the first six months of 1902 Mrs.
Normand was incapacitated by a serious and
well-nigh fatal illness that rendered any great
exertion inadvisable for the remaining part of
of

This period was entirely devoted to

the year.
the execution of a commission from Mr. Athol

Thorne for two decorative panels for his house

"
in Park Street, with the subjects of " Venus
"
and
Diana."
The former is virtually the
central figure of " Psyche before the Throne of
Venus."
of the

In
first

place of the classic architecture

picture there is a background of

oleander foliage and bloom, and in the distance

a glimpse of blue sea. The other panel shows
Diana seated on the bank of a stream in a
shady forest glade. By the courtesy of Mr.

Thorne we are enabled to reproduce the

Venus " in colour, so that some sugges-

"

tion

of the delicacy

of the

original

may

be

recorded.
"

Sirens," which secured a place of honour

"
"
centre
on the
at the Academy of 1903, a
of
a
the
outcome
was
line,
suggestion made
to the artist

by Lord Dufferin.

The

painting

IN

LISTENING

MOOD.

"

was thus
"

The

referred

SIKENS."

to

in

gracefully

large,

Magazim of Art
composed canvas of

the

modelled with unusual care, presents a

colour-surface of broken tones which constitute
a great advance upon the artist's previous
If reference is made
to the
achievements."
'

Sirens,'

illustrations of this
will

be seen

that

picture and
the pose of

"

Summer,"

the

figure

it

in

the latter picture has been practically adapted

"
The backSiren."
to that of the central

ground of rock and sea was painted at Dinard.

The picture was sent to the Exhibition at
St. Louis in 1904, and was there purchased
by Mrs. J. R. Cardeza, of Philadelphia. There
was also in the Academy Exhibition of 1903 a
portrait of Lady Winifred Renshaw and Her
Son, the completion of which had been interrupted by the artist's illness.
At the New Gallery of 1903 Mrs. Normand had a portrait of Dr. MacNaughten

Jones a gift to the physician by whose skill

To 1903,
she had been restored to health.
of
Professor
a
too, belongs
portrait
Byers,
painted

for

necessitated

Queen's
a visit

to

College, Belfast, which

Belfast to secure the

An amusing incident
sittings.
necessary
occurred in connection with the work. Owing
to pressure of duties the Professor was unable
to give much time to the artist, and alter the
head had been painted it was arranged that
Mr. Normand, who had accompanied his wife,
should

"

sit

"

for

the

coat.

He

thereupon

HENRIETTA RAE.

ii2

donned the

professorial

garment, and during

moment

of abstraction, slipped

the sitting, in a

pocket the pipe which he had been

The sitting over, the pipe was
smoking.
forgotten, and the coat returned to the ProThe next scene is the operating theatre
fessor.

into

its

hospital, at

of the

which the Professor

demonstrate before the students.

He

is

to

most

is

being taken in
particular
the
students with
has
impressed
operations
the necessity of perfect attention to matters
of cleanliness, and has the reputation of being a
as to

care

absolute

non-smoker.

Imagine

students' delight,

his

chagrin,

when from

much

and

the

pocket fell a
pipe.
Explana-

his

used, highly perfumed

tion was, of course, impossible

and futile the

evidence was too strong in a double sense
to be explained away.
"
Loot," of which a reproduction is given,
was painted in this year for Mr. H. K.
Newton. The picture was never exhibited, as
Mrs. Normand intended to repeat the design

on a larger scale.
"
"
of the Academy
Songs of the Morning
of 1904 was a return to the lighter manner
of " Flowers Plucked and Cast Aside," a
dainty figure in a charmingly painted landa theme that was again adapted for
scape
the New Gallery picture of 1905, " In Listening
;

Mood."
Here, then,
of Mrs.

we

perforce

Normand's work

close

the

record

record which

tells

o
HI

o
cr

i
h
Z
W
CO

D
Z
HI
>

"

AV LISTENING

of a strenuous
to attain

MOODr

of continuous,
ftntiring effort
practice the-level of a lofty ideal

in

life,

record which has j

be completed. There are, we hope, still
many years of active work before her; her
aims and ideals are still to be fully attained;
her capacity for work and force of energy are
of

artistic

excellence

to

enduring as ever. The experher successes and failures

from
gained

strong and

as

ience
is

a valuable asset at this stage of her career,

is
it
not too much to forecast that the

and

former
in

be excelled, and the latter forgotten,

which is yet to be produced.
the women artists of our time Mrs.

will

the

Among

work

Normand

has gained a foremost position by

As we have seen from the
story of her career, there were no favouring
sheer force of merit.

circumstances, no kindly influences exercised

on her behalf; all has been gained by eneffort
and
during
industry.
indefatigable
Failures have been accepted as incentives to

renewed endeavour, and successes as inducements to yet higher achievement.

Beauty
is
the quest of her Art, and joyousness its
dominant note and that, perhaps, is the all

of Art.

in all

INDEX
of Scarborough,

Day's Sketching," Exhibited

Suffolk Street, 33

Alma-Tadema,

Sir

L.,

Italy with
at

the

"

Royal Academy, 87 Criticisms

by Leighton and Millais of, 88
Exhibited
at
Blossom,"
Apple
;

no

of,

160

Birthplace and date.

British

:'

Ariadne,"

Academy, 35

at

Royal

at,

i'i

Museum, Work

Galleries

Exhibited

to

1st Yacht Club, Portrait of MarqueSs of Dufferin for, 106

Benjamin-Constant, M., Mr. and Mrs.
X'irmand as pupils of,

at

Institute of Painters in Oil Colours,

"

of,

Mrs., Portrait

orth,

Royal Academy Schools, 26

"Apollo and Daphne," Exhibited

Visit

91
Beeforth, Miss, Portrait

as "visitor"'

at

86, 91

Mr. and Mrs. Normand,

in

Antique

ji

Brown, Mr. and Mrs. John, Portraits

Sale of Picture and

of, 1

Copyright of, 36 The Art Journal

on, 37
Art Journal, The. on " Ariadne," 37
on " Apollo and Daphne," 88
;

10

Byers, Professor, Portrait

of,

1 1 1

Atelier Julian,

Xormand

The, Mr. and Mrs.

61
on " Zephyrus
The,

Atheneeutn,
"

wooing Flora," 50
Aucklands," Norwood,
at,

"

Studio

"Charities of Sir Richard Whittington," Panel for Royal Exchange,

103
Chevillon's, Inn at Gre

Gallery,

"
Chicago, Medal awarded
Eurydice
sinking back to Hades" at Inter-

at,

New

77

Azaleas,'' Exhibited at

New

89

national Exhibition at, 47

First
exhibit
at

"Chloe,"

Royal
,_
my, _
Clandehovc, Visit of Mrs. Normand
to, 108
Classics. Mrs. Normand's love for, X4

B
"Bacchante, A," Exhibited

at

Royal

Academy, 35
"Bavarian Peasant

at

Royal

Girl,

A,"

Cummi;..^. Dr.

Society of British Artists, 28

trait of,

Rev. \V., Commissions

Portrait of Himself, 28

W.

II. F.S.A., Por-

103

Beardmore,

Beeforth, George Lord, Esq., purchases " Eurydice sinking back to

Hades," 45 Portrait of, as Mayor
;

"

Daily .V. ws, The, on Psyche before

the Throne of Venus," 83

INDEX.

n6

90 Sir J. E. Millais on Mrs.

Normand's work in, 75
" Flowers Plucked and Cast Aside,"
Exhibited at Royal Academy, 76
sent to Moscow and purchased by
Mr. Schulz, 76, 90
Ford, E. Onslow, R.A., on model

*'

Daily Telegraph, The, on Eurydice

sinking back to Hades," 46

of, 36,

Davis, Marcus, Portrait of, 76

Day Dreams," Exhibited at Institute

"

of Painters in Oil Colours, 75

'

Gallery, 103
" Death of
Procris,"

Royal Academy
culties in

New

Exhibited at

Day Dreams,"

of figure of

Exhibited at

"

Procris," 55

(1889), 52; Diffi-

connection with painting

54
"Diana,'' Decoration for Mr. Athol
of. 53-

Thome's House,
"

Diana and

Gibson, John, R.A., and

no

Callisto,"

in Art,

Exhibited at

'*

Royal Academy, loo

Dore Gallery, The, Exhibition of
works by Mr. and Mrs. Normand
at,

"

Glimpse of Sunshine, A," 27

Grez, Description of, by R. A. M.

Mr. and Mrs. NorStevenson, 63
;

mand's

86

Doubts,"

visit

Deterioration

Exhibited

at

Life

65

to,

65

of,

as artists' resort, 72

at,

Grosvenor Gallery, The, Mrs. Normand's Exhibits at, 37, 51, 56

Royal

Academy, 38
Dudley Gallery, Henrietta Rae's

Nude

the

37

early

exhibits at, 27, 29

Dufferin, The
for Belfast

Marquess of, Portrait

Yacht Club of, lot)
;

Heatherley's School of Art, Position

Henrietta Rae first woman
of
pupil at evening classes at, 22

Exhibited at Royal Academy, 109

second
Portrait by Watts of, 107
;

portrait

by Mrs. Normand

of,

109

"Her

Eyes

Homes

are

Prayer," Exhibited at

of Silent

New

Gallery,

103

Early Life of Henrietta Rae, 16

Edie," Exhibited at New Gallery, 89
Education of Henrietta Rae, Musical,
artistic, 18 et seq.
17, 18, 19
" Elaine
Guarding the Shield of Lance-

"

"

lot," at Grosvenor Gallery, 38

Eurydice sinking back to Hades,"
exhibited at Royal Academy, 44
purchased by Mr. Beeforth, 45
Daily Telegraph, The, on, 46

Holland Park Road, Mr. and Mrs.

Normand's House in, 35, 47
Holloway, Henrietta Rae's home
at.

16

Holroyd, Sir Charles, Mr. and Mrs.

Normand's meeting in Italy with,

94
I

Punch

caricature

of,

46

at Paris

Impressionists at Grez, 69
of
Henrietta
Individuality
Art, 15
" In
Listening

and Chicago, 47

Rae's

Mood," Exhibited

at

New

Gallery, 112
Institute of Painters in Oil Colours,
Mrs. Normand's Exhibits at, 75, 76
International Exhibition, Paris (1889),

Fitzroy Square, Mr. and Mrs.

mand's studio

Nor-

29
love
Flesh-painting, Mrs. Normand's
in,

Mrs. Normand awarded Honourable

'*
Mention for
Eurydice," 47 1899,
" La
for
Honourable Mention
;

INDEX.
ilc,"

75

irded for

"

Eurydicc," 47
at
R
Exhibited
100

M.i,''

iy,

Mr. and Mrs. Normand'a

Italy,

Medal

<

McCulloeh,

"

before

Psyche
Venus,"

first

"

Visit to, mi

the

Magazine of Art" on "Psyche

before the Throne of Venus," 82
1

J
'

Jones,
11

"

Portrait

MacNaughten,

>r.

of,

La

"Edge"

in,

at Royal
Leighton on lack
74; Millais on

and the hanging of " Ophelia '

R.A.. 59; on "LaCigale," 7 =
'

awarded
in,
75
Honourable Mention, Paris, 75
"La fille de 1'Ancienne Nobles

"Lady

of the

Lamp,

Messrs. Cassell

" Lancelot

and

Academy,

31

32
Landscape, Henrietta

"

William,

at

Earthly

Royal

Method

of

Kae's work

in,

Naiad,

Exhibited

A,"

Academy, 44

Lefebvre, Jules, Mr.

New

and Mrs. Nor-

as Pupils of, 61

hton, Lord, as neighbour of Mr.

and Mrs. Xormand, 35 First call
of Mr. and Mrs. Normand upon
and friendship with, 39 Method of

at

The Times

Royal
on, 45

Exno, in,

Mrs. Normand's

Gallery,

hibits at, 70, 85, 89,

103,

112

of Mrs.

Newton, H. K., Portrait of, 103

Newton, Lady, Portrait of, Exhibited
at the Royal Academy, 103
Newton, Miss Muriel, as model fur

by, 47
Suggestion with
reference to " Death of Procris " by,
"
on " Ophelia," 58 on " edgy
5 1

Normand, Ernest, Influence of, on the

art of Mrs. Normand, 13, 14; First

work, 40

Interest in

Normand

work

"

in

quality

"

Long, Edward, R.A., as "hanger"

at Royal Academy Exhibition, e 3
Meeting with Mr. and Mrs. Nor;

mand

in

Paris, 01

112

Loot,''

"Love's Young Dream," 31

of, 33
Style of, 38
;

Replica

at

"

Phoenicians
Exchange,
Bartering with Ancient Britons,"
and method of Painting, 105

Royal Academy Schools, 25 Engagement with Henrietta Rae, 28

Portrait of,
30
Marriage,
Constructional ability of, Model
;

Royal

Isabella," 99

meeting with Henrietta Rae, 21

criticises
Painting, 74
before the
Throne of

Psyche
Letter
to
81
Mr.
Venus,"
McCulloch,82; Criticism of" Apollo
and Daphne,''
Panel
8
for

"

dise," 80, 8l, I09

70

27, 30,

31

Co., 75

Elaine,''

1883,

Morris,

at

at

of,

painting

mand

&

Exhibited

Miriam,"

Academy,

Painted

The,''

Institute

of Oil Painters, 76
Millais, Sir J. E., P. R.A., Friendship
ol Mr. and Mrs. Normand with, 47

Exhibited

flesh-painting

for

Royal

Exhibited at

Cigale,"

of

at

Academy,

Academy, 73

on " Sirens," 1 11
Exhibited
Mariana,"

for figure

Lord
"

of

Vashti

"

Deposed,"

lemy, 58

Bow

"Procris,"

Leighton's

Hit,"
at

for

54

Royal

decides to study

i:i

60; Impressions of vis

Panel for Royal ExItaly by, 91
"
change, King John granting M
Paris,

Charta," I04
Mrs.

Normand,

Henrietta

Ernest.

INDEX.

Ii8
Normand, George Barten,
30
Nude, The,

Portraits

of,

painter

of,

Objections

Normand

Mrs.

35, 36, 45, 46,

as

artist
Pupil
advises art
Cruikshank, 18
for
Henrietta Rae, 19
training
Rae, Henrietta, Self-depreciation of,
10 Lack of facilities in art educa-

of

89, Iol

101

to, 36,

Rae, Charles, uncle of

o
"

tion

Ophelia," Difficulties in painting of,

57; Exhibited at Royal Academy and

bad hanging of, 58 purchased for

Walker Art Gallery, Liverpool, 59
:

10

of,

band,

13

woman

as

artist,

13

matters from her husInfluence

of Ernest

art

in

Help

Normand

on her

in art of

Mr. and Mrs. Normand,

15

Born

at

14

art,

Differences

16

Hammersmith,

Early recollections of life at Holloway, 16 Musical training from her

;

mother,

"

New Gallery,

Pandora," Exhibited at
85

Paris,
"

efforts at

Honeymoon

spent

at,

33

"

Eurydice sinking back to Hades

Honourable Mention at

International Exhibition at (1889),

47 ; Mr. and Mrs. Normand as

"La

students

in,

awarded

Honourable

61

Cigale"
Mention at

International Exhibition at (1899),

75

Parton, Ernest, Meeting of Mr. and

W.

17
Portraitist, Henrietta Rae's work as

in

76

1892,

80

Special
Completion of
;

Criticisms of, 82, 83

Culloch, 82
Exhibition at Liverpool of, 85
;

at
;

24 ; First portraits, 25; Attends class

" Tadema "
for study of nude, 26
phase in art of, 26 First exhibits at
;

Royal Society of British Artists,

Dudley Gallery Exhibition, and
Studies in
Royal Academy, 27
;

28

Studio in Fitzroy
missions, 28, 29
Square, 29 Exhibits in 1881-2, 29,
30 Exhibits in 1883, 31 Marriage,
33 ; Studio in Wright's Lane, 34
;

a,

no, in

Academy,
by Mr. Mc-

Purchased

girl pupil

studio built for, 78

and exhibition at Royal
;

First

ship with John Steeple, 28; First com-

Prinsep, Val C., R.A., 35 ; Friendship of the Normands with, 39, 47

Punch, Caricature of " Eurydice
"
in, 46
sinking back to Hades
"
before
the
Throne
of Venus,"
Psyche

commenced

Museum, 21

Heatherley's evening classes, 22

gains admission to R.A. schools,

landscape,

S.,

28, 30, 31, 33, 86, 103, 106,

at British

Engagement with
Mr. Ernest Normand, 28 Friend-

Mrs. Normand with, at Grez, 66

" Passion
Flowers," 31
Penley,

oil-painting, 21

awarded

79,

17; Preliminary engagevocalist, 19 Sent to Queen

School
of Art, 19
Square
Early

ment as

Love

and early

for classic subjects

expression

of,

34

Love

of flesh-

Birth of son, 36 as
painting, 36
painter of the nude, 37 ; Friendship
;

with Val Prinsep, R.A., and Lord

Influence of Leighton
Leighton, 39
;

on art

Reputation enhanced
Eurydice sinking back to
Hades" and "A Naiad," 46;
Awarded medal at Chicago, and
Honourable Mention at Paris, 47
of,

43

"

by
;

Work

Queen Square School

Henrietta
teaching

Rae

at,

at,

19, 20

19

of Art, The,
Method of
;

of

1888,

51

Self-imposed
difficulties in connection t with
work,
"
with
S3 Difficulty
Ophelia," 57
Bad hanging of" Ophelia " at
;

Academy, 58

decides

to

Royal
go to

INDEX.
"

as pupil "i
Paris, no
Constant and Lefebvre

Benjamin-

61

Life at

list,

70

Grez,
Birth

Removal

-is

63;
ol

10;

as
77
exhibits

(1903), III ;"

complete portrait
Serious
Dufferin, 108

illness,

Art

113
Rae, Mrs., mother of the

to

ot

no;

artist,

Id

father of the

of,
'

Sir

artists

"

by, 11

Rae's

Henrietta

Chloe,"

Exhibit

first

at

(1880), 27; Portrait of Miss Warman

(1881), 29; Portrait of Ernest

at

Normand,

at

Esq.,

30;

(1882),

"Miriam" and Portrait of Miss

Lilian Woodcock at (1883), 31

'

Lancelot and Elaine" (1884) at,

" Ariadne"
31;
(1885) at, 35;
" Doubts "
"
1886) at, 38
Eurydice
sinking back to Hades" and "A
1

Naiad" (1887)

at.

at

70

and Cast Aside"

before

Psyche

Venus"
and

at

"Summer

1'

at

(1889), 53

1880-r, 28

in

Louis Exhibition, "Sirens"

and sold at, in

St.

"

58;

of, 26
Purchased by John Steeple, 31
BackScarborough, Visits to, 86
" Summer "
ground of
pain ted at.
90
Schulz, John (of Moscow), Purchaser
of "Flowers Plucked
and Cast

at

76;

(1893),

the

Throne

82;

of

"Apollo

87;
(1895),
89; Portrait
(1896),

91

Aside," 70, 90
"
Punishment
Giovanni,
Segantini,
"
of Luxury
purchased for Liverpool

Gallery, 79

"Sirens,"

Exhibited

at

Academy, no; Sold

Tt

"

at

Royal

St.

Louis,

Sketch
at

"La
"

ex-

hibited

at (1896),
at

Beeforth

Zephyrus
49;

Mariana
75
Flower:; Plucked

(1894),
Daphne" at

of Mr.

of

3o

(1888),

(1890),

at (1891),

(18QJ),

"

44;

Flora" at
Death of Procris"

Wooing

"Ophelia"

at, in

"Sappho,'' Study, Execution

of

Academy, non-recognition

Cigale"

K.C.B.,

Gallery, I03

women

2\

"

Psyche before the Throne of Venus," 79

Hoses of Youth," Exhibited at

"

to,

Conditions
Henrietta R
;

Society of British ArtistsHenrietta Rae's First Exhibit at, 27

the

at

William,

lends his Studio for

at

admission

Women

Schools,
II

Exhibited
A,"
Grosvenor Gallery, 51

"

at,

Exhibits

Reverie,

New

Academy

Students

III

Royal

at

Songs of the Morning'

Royal
Portrait

Winifred,

Lady

Richmond,

'

103

Club, 17

Renshaw,

of

Secretary of Whittington

" Sirens " at

Portrait

-4

17

artist, id,

Marqueai

Royal Exchange Panel, comparison

between that of Mrs. Normand and
Mr. Normand. 15
Execution of,

of,

Thomas Burbey,

Rae,

of

112

at (n*>4),

Royal

Clandeboye
of Marquess

(Idoo),

Winifred Renshaw and her Son

visits

100;

1900), lov

loo

at

no;

(1903),

Beauty

Art Section of the Victorian

;

S97)

Portrait

>ullerm at

lesh-painting 01,90; Visit to Italy,

as President of the Women's
mi

loo

"

hibition,

'

Callisto

impres-

daughter, 76;

hanger" at Liverpool, 78
works at Dor Gallery, 86

'-

and

at Juli

Norwood,

to

near

First

Lee,"

Royal Society of British

Exhibit
Artists,

-:
'

Sleep,"

Exhibited

at

Grosvenor

Gallery, 56
"
Songs of the Morning," Exhibited
at Royal Academy, 112
"
Psyche before
Spiclmann, M, H., on
the Throne of Venus," 82

"Spring," Exhibited
70

at

New

Gallery,

INDEX.

120
Steeple, John, Friendship of
Mrs. Normand with, 28

duction from, to Mr.

Portrait of, 33

Mr. and
Intro-

Woodcock, 32

Stevenson, R. A. M., on Grez, 63

" Still

Waters

"

at

Dudley Gallery. 29

Marcus, R.A., Influence of

on Mrs. Normand, 38
"
Study from Life, A," at Royal
Society of British Artists, 28
Stone,

style of,

"

Exhibited
Summer,"
Academy, 89

Surridge,

model
"

W. A

for

Sylvia,"

at

Portrait

"

Venus Enthroned," Decoration

Mr. Athol Thome's House, no

for

Victorian Exhibition, The, Mrs. Normand President of the Women's

Art Section

of,

loo

Vladimirovitch, The
Boris, Purchaser of

Grand Duke
Summer," go

*'

Royal

of,

31

as

head of Whittington, 104

Exhibited at Grosvenor

Walker
"

Art

Liverpool,

Gallery,

Ophelia" purchased

Normand as " hanger

Warman, Miss, Portrait

for,

59; Mrs.

''

Gallery, 56

Academy,

Terriss, William, 17

at,

78

of, at

Royal

30
Watts, G. F R.A., Friendship of
Mr. and Mrs. Normand with, 47
29,

Thacker, Mrs. S., Portrait of, 30

Thacker, Samuel, commissions portraits, 28
Thackeray, W. M., as Treasurer of
"

Whittington Club, 17
Way is Cold and Dark and

connection with, 16

The

Drear," 27
Thorne,
Athol,

for

no

28

Time

oil

painting,

charcoal drawing, 29
of Roses, The," at

30
"
limes, The, on

treasurer

Women
Commissions

decorations from,
"
Through the Woods,"
"

Extraordinary knowledge of anatomy

lends his studio for Marquess
of, 50
of Dufferin's Portrait, 106
Whittington Club, Mr. T. B. Rae's

in

of,

Thackeray as

17

Art,

Position

of,

10

Difficulties of, 12

Woodcock, Miss Lilian, Portrait of, 31

Wright's Lane, Studio of Mr. and
Mrs. Normand in, 34

Suffolk

Street,

Naiad,'' 45

"

Zephyrus Wooing Flora," Exhibited

Mr.
at Royal Academy (1888), 49
G. F. Watts, R.A., and, 50
;

Underbay, George, Portrait

Printed by Cassell

&

of,

33

Co., Limited,

La Belle Sauvage, London,

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