PACZKA-WAGNER, CORNELIA. Honorable mention, Berlin, 1890.  Born in Goettingen, 1864.  She has been, in the main, her own instructor, living for some years in Rome for the purpose of study.  In 1895 she settled in Berlin, where she has made a specialty of women’s and children’s portraits in olgraphy (?) and lithography.  Beautiful drawings by her were exhibited at the International Water-Color Exhibition in Dresden, 1892.

An interesting account of a visit to the studio of the Hungarian painter Paczka and his German wife tells of a strong series of paintings in progress there, under the general title, “A Woman’s Soul.”  In freedom and boldness of conception they were said to remind one of Klinger, but in warmth and depth of feeling to surpass him.  Frau Paczka had just finished a very large picture, representing the first couple after the expulsion from Paradise.  The scene is on the waste, stony slope of a mountain; the sun shines with full force in the background, while upon the unshadowed rocks of the foreground are the prostrate Adam and his wife—­more accusing than complaining.

In 1899 Frau Paczka exhibited in Berlin, “Vanitas,” which excels in richness of fancy and boldness of representation, while wanting somewhat in detail; the ensemble presents a remarkably fine, symbolic composition, which sets forth in rich color the dance of mankind before the golden calf, and the bitter disillusions in the struggle for fame, wealth, and happiness.

PARLAGHY, VILMA, OR THE PRINCESS LWOFF. Great gold medal from the Emperor of Austria, 1890; great gold medal, 1894; small gold medal at Berlin, 1890, adjudged to her portrait of Windhorst.  Born at Hadju-Dorogh in 1863, and studied in Budapest, Munich, Venice, Florence, and Turin.  Her portraits having found great favor at the Court of Berlin, she removed her studio from Munich to that capital.

One of her instructors was Lenbach, and she is said by some critics to have appropriated his peculiarities as a colorist and his shortcomings in drawing, without attaining his geniality and power of divination.  In 1891 her portrait of Count von Moltke, begun shortly before his death and finished afterward, was sent to the International Exposition at Berlin, but was rejected.  The Emperor, however, bought it for his private collection, and at his request it was given a place of honor at the Exposition, the incident causing much comment.  She exhibited a portrait of the Emperor William at Berlin in 1893, which Rosenberg called careless in drawing and modelling and inconceivable in its unrefreshing, dirty-gray color.

In January, 1895, she gave an exhibition of one hundred and four of her works, mostly portraits, including those of the Emperor, Caprivi, von Moltke, and Kossuth, which had previously been exhibited in Berlin, Munich, and Paris.  The proceeds of this exhibition went to the building fund of the Emperor William Memorial Church.