Among her important portraits are those of Frederick VII. of Denmark, the brothers Grimm, and “Hans Christian Andersen Reading His Fairy Tales to a Child.”

Mme. Jerichau was also an author.  In 1874 she published her “Memories of Youth,” and later, with her son, the illustrated “Pictures of Travel.”

JOPLING-ROWE, LOUISE. Member of Royal Society of British Artists, Society of Portrait Painters, Pastel Society, Society of Women Artists.  Born at Manchester, 1843.  Pupil of Chaplin in Paris; also studied with Alfred Stevens.

Since 1871 Mrs. Jopling has been a constant exhibitor at the Royal Academy and other London exhibitions, and frequently also at the Paris Salon.

[Illustration:  MISS ELLEN TERRY AS “PORTIA”

LOUISE JOPLING ROWE]

Her pictures are principally portraits and genre subjects.  Her first decided success was gained in 1874, when she exhibited at the Academy the “Japanese Tea Party,” and from that time she was recognized as an accomplished artist and received as many commissions as she could execute.  The Baroness de Rothschild had been convinced of Mrs. Jopling’s talent before she became an artist, and had given her great encouragement in the beginning of her career.  The portrait of Lord Rothschild, painted for Lord Beaconsfield, is thought to be her best work of this kind, but its owner would not allow it to be exhibited.  Her portrait of Ellen Terry, which hangs in the Lyceum Theatre, was at the Academy in 1883.  It is in the costume of Portia.  Mrs. Jopling’s pastels are of an unusual quality, delicate, strong, and brilliant.  Her portraits are numerous, and from time to time she has also executed figure subjects.

Of late years Mrs. Jopling has been much occupied with a School of Painting.  The large number of pupils who wished to study with her made a school the best means of teaching them, and has been successful.  From the beginning they draw from life, and at the same time they also study from the antique.

Many of her pupils receive good prices for their works, and also earn large sums for their portraits in black and white.

Mrs. Jopling writes:  “What I know I chiefly learned alone.  Hard work and the genius that comes from infinite pains, the eye to see nature, the heart to feel nature, and the courage to follow nature—­these are the best qualifications for the artist who would succeed.”

In the Art Journal, July, 1874, I read:  “‘The Five-o’Clock Tea’ is the largest and most important design we have seen from Mrs. Jopling’s hand, and in the disposition of the various figures and the management of color it certainly exhibits very remarkable technical gifts.  Especially do we notice in this lady’s work a correct understanding of the laws of tone, very rare to find in the works of English painters, giving the artist power to bring different tints, even if they are not harmonious, into right relations with one another.”