She adopted the full tones and broad style to which she was accustomed in her larger works, and revolutionized the method of miniature painting in which stippling had prevailed.  When eighteen years old, she went to Italy, where she made copies from the masters and did much original work as well.

Among her best portraits are those of the Baroness Habert, Guizot, Rossini, Isabey, Robert-Fleury, M. and Mme. de Torigny, Count de Zeppel, and her own portrait.  Besides portraits, she painted a picture called “A Child Holding a Rose,” “Souvenir,” and “A Young Girl Playing with a Fan.”

JOHNSON, ADELAIDE. Born at Plymouth, Illinois.  This sculptor first studied in the St. Louis School of Design, and in 1877, at the St. Louis Exposition, received two prizes for the excellence of her wood carving.  During several years she devoted herself to interior decoration, designing not only the form and color to be used in decorating edifices, but also the furniture and all necessary details to complete them and make them ready for use.

Being desirous of becoming a sculptor, Miss Johnson went, in 1883, to England, Germany, and Italy.  In Rome she was a pupil of Monteverde and of Altini, who was then president of the Academy of St. Luke.

After two years she returned to America and began her professional career in Chicago, where she remained but a year before establishing herself in Washington.  Her best-known works are portrait busts, which are numerous.  Many of these have been seen in the Corcoran Art Gallery and in other public exhibitions.

Of her bust of Susan B. Anthony, the sculptor, Lorado Taft, said:  “Your bust of Miss Anthony is better than mine.  I tried to make her real, but you have made her not only real, but ideal.”  Among her portraits are those of General Logan, Dr. H. W. Thomas, Isabella Beecher Hooker, William Tebb, Esq., of London, etc.

KOEGEL, LINDA. Born at The Hague.  A pupil of Stauffer-Bern in Berlin and of Herterich in Munich.  Her attachment to impressionism leads this artist to many experiments in color—­or, as one critic wrote, “to play with color.”

She apparently prefers to paint single figures of women and young girls, but her works include a variety of subjects.  She also practises etching, pen-and-ink drawing, as well as crayon and water-color sketching.  The light touch in some of her genre pictures is admirable, and in contrast, the portrait of her father—–­ the court preacher—­displays a masculine firmness in its handling, and is a very striking picture.

In 1895 she exhibited at the Munich Secession the portrait of a woman, delicate but spirited, and a group which was said to set aside every convention in the happiest manner.

KROENER, MAGDA. The pictures of flowers which this artist paints prove her to be a devoted lover of nature.  She exhibited at Duesseldorf, in 1893, a captivating study of red poppies and another of flowering vetch, which were bought by the German Emperor.  The following year she exhibited two landscapes, one of which was so much better than the other that it was suggested that she might have been assisted by her husband, the animal painter, Christian Kroener.