TREU, OR TREY, KATHARINA. Born at Bamberg. 1742-1811.  A successful painter of flowers and still-life.  Her talent was remarkable when but a child, and her father, who was her only master, began her lessons when she was ten years old.  When still young she was appointed court painter at Mannheim, and in 1776 was made a professor in the Academy at Duesseldorf.  Her pictures are in the Galleries of Bamberg and Carlsruhe, and in the Darmstadt and Stuttgart Museums.

URRUTIA DE URMENETA, ANA GERTRUDIS DE. Member of the Academy of Fine Arts, Cadiz, 1846.  Born in Cadiz. 1812-1850.  She began the study of drawing with Javier, and after her marriage to Juan Jose de Urmeneta, professor of painting and sculpture and director of the Cadiz Academy, continued her work under his direction.  A “St. Filomena” and “Resurrection of the Body,” exhibited in 1846, are among her best pictures.  Her “St. Jeronimo” is in the new cathedral at Cadiz, and the Academy has shown respect to her memory by placing her portrait in the room in which its sessions are held.

VIANI, MARIA. Born at Bologna. 1670-1711.  I find no reliable biographical account of this artist, whose name appears in the catalogue of the Dresden Gallery as the painter of the “Reclining Venus, lying on a blue cushion, with a Cupid at her side.”

VERELST, MARIAN. Born in 1680.  This artist belonged in Antwerp and was of the celebrated artistic family of her name.  She was a pupil of her father, Hermann, and her uncle, Simon Verelst.  She became famous for the excellent likenesses she made and for the artistic qualities of her small portraits.

Like so many other artists, she was distinguished for accomplishments outside her art.  She was a fine musician and a marvel in her aptitude in acquiring both ancient and modern languages.  A very interesting anecdote is related of her, as follows:  When in London, one evening at the theatre she sat near six German gentlemen, who expressed their admiration of her in the most flattering terms of their language, and at the same time observed her so closely as to be extremely rude.  The artist, in their own tongue, remarked that such extravagant praise was the opposite of a compliment.  One of them repeated his words in Latin, when she again replied in the same language.  The strangers then asked her if she would give them her name.  This she did and further told them that she lived with her uncle, Simon Verelst.  In the end she painted the portrait of each of these men, and the story of their experience proved the reason for the acquaintance of the artist being sought by people of culture and position.  Walpole speaks in praise of her portraits and also mentions her unusual attainments in languages.