REVEST, CORNELIA LOUISA. Second-class medals in 1819 and 1831 in Paris.  Born in Amsterdam, 1795; died in Paris, 1856.  Pupil of Serangely and Vafflard in Paris.  In 1814 she painted a “Magdalen at the Feet of Christ” for a church in Marseilles.  She also painted many good portraits and a picture called “The Young Mother Playing the Mandolin.”

RICHARD, MME. HORTENSE. Honorable mention, Exposition of 1889; third-class medal, 1892; silver medals at Antwerp and Barcelona, and gold medal in London.  Born at Paris, 1860.  Pupil of James Bertrand, Jules Lefebvre, and Bouguereau.  Has exhibited regularly since 1875.  Her picture of “Cinderella” is in the Museum of Poitiers; “At Church in Poitou” is in the Luxembourg.  She has painted many portraits.

RICHARDS, ANNA MARY. Norman Dodge prize, National Academy, New York, 1890.  Member of the ’91 Art Club, London.  Born at Germantown, Pennsylvania, 1870.  Pupil of Dennis Bunker in Boston, H. Siddons Mowbray and La Farge in New York, Benjamin Constant and J. P. Laurens in Paris, and always of her father, W. T. Richards.

Miss Richards’ work is varied.  She is fond of color when suited to her subject; she also works much in black and white.  When representing nature she is straightforward in her rendering of its aspects and moods, but she also loves the “symbolic expression of emotion” and the so-called “allegorical subjects.”  The artist writes:  “I simply work in the way that at the moment it seems to me fitting to work to express the thing I have in mind.  Where the object of the picture is one sort of quality, I use the method that seems to me to emphasize that quality.”

When but fourteen years old this artist exhibited at the National Academy, New York, a picture of waves, “The Wild Horses of the Sea,” which was immediately sold and a duplicate ordered.  In England Miss Richards has exhibited at the Academy, and her pictures have been selected for exhibitions in provincial galleries.  Miss Richards is earnestly devoted to her art, and has in mind an end toward which she diligently strives—­not to become a painter distinguished for clever mannerism, but “to attain a definite end; one which is difficult to reach and requires widely applied effort.”

Judging from what she has already done at her age, one may predict her success in her chosen method.  In February, 1903, Miss Richards and her father exhibited their works in the Noe Galleries.  I quote a few press opinions.

[Illustration:  MAY DAY AT WHITELANDS COLLEGE, CHELSEA

ANNA M. RICHARDS]

“Miss Richards paints the sea well; she infuses interest into her figures; she has a love of allegory; her studies in Holland and Norway are interesting.  Her ‘Whitby,’ lighted by sunset, with figures massed in the streets in dark relief against it, is beautiful.  Her ‘Friends,’ showing two women watching the twilight fading from the summits of a mountain range, the cedared slopes and river valley below meantime gathering blueness and shadow, is of such strength and sweetness of fancy that it affects one like a strain of music.”