In the latter city the portrait was preserved two hundred years, and Dibutades became so famous for the excellence of his work that at his death several cities claimed the honor of having been his birthplace.

KRAFFT, ANNA BARBARA. Member of the Vienna Academy.  She was born at Igto in 1764, and died at Bamberg in 1825.  She received instruction from her father, J. N. Steiner, of which she later made good use.  Having married an apothecary, she went for a time to Salsburg, and again, after nine years in Prague, spent eighteen years in Salsburg, retiring finally to Bamberg.  In the Gallery at Bamberg may be seen her portrait of the founder, J. Hemmerlein; in the Nostitz Gallery, Prague, a portrait of the Archduke Charles; in Strahow Abbey, Prague, a “Madonna”; and in the church at Owencez, near Prague, an altar-piece.

KUNTZE, MARTHA. Born in Heinrichsdorf, Prussia, 1849.  Pupil of Steffeck and Gussow in Berlin.  In 1881 she went to Paris and studied under Carolus Duran and Henner, and later travelled in Italy, pursuing her art in Florence, Rome, and Southern Italy.  She has an excellent reputation as a portrait painter, and occasionally paints subjects of still-life.

KUeSSNER, AMALIA. See Coudert, Amalia Kuessner.

LABILLE, ADELAIDE VERTUS. Was born in Paris in 1749.  She early developed a taste for art and a desire to study it.  J. E. Vincent was her master in miniature painting, while Latour instructed her in the use of pastels.  She was successful as a portrait painter and as a teacher, having some members of the royal family as pupils, who so esteemed her that they became her friends.  She is known as Madame Vincent, having married the son of her first master in painting.

Her portrait of the sculptor Gois gained a prize at the Academy, and in 1781 she was made a member of that institution.  We know the subjects of some large, ambitious works by Madame Vincent, on which she relied for her future fame, but unhappily they were destroyed in the time of the French Revolution, and she never again had the courage to attempt to replace them.  One of these represented the “Reception of a Member to the Order of St. Lazare,” the Grand Master being the brother of the King, who had appointed Madame Vincent Painter to the Court.  Another of these works was a portrait of the artist before her easel, surrounded by her pupils, among whom was the Duchesse d’Angouleme and other noble ladies.

As Madame Vincent and her husband were staunch royalists, they suffered serious losses during the Revolution; the loss of her pictures was irreparable.  She was so disheartened by the destruction of the result of the labors of years that she never again took up her brush with her old-time ambition and devotion.

She died in 1803, at the age of fifty-four, having received many honors as an artist, while she was beloved by her friends and esteemed by all as a woman of noble character.