MAYER, MARIE FRANCOISE CONSTANCE. As early as 1806 this artist received a gold medal from the Paris Salon, awarded to her picture of “Venus and Love Asleep.”  Born 1775, died 1821.  She studied under Suvee, Greuze, and Prud’hon.  There are various accounts of the life of Mlle. Mayer.  That of M. Charles Guenllette is the authority followed here.  It is probable that Mlle. Mayer came under the influence of Prud’hon as early as 1802, possibly before that time.

Prud’hon, a sensitive man, absorbed in his art, had married at twenty a woman who had no sympathy with his ideals, and when she realized that he had no ambition, and was likely to be always poor, her temper got the better of any affection she had ever felt for him.  Prud’hon, in humiliation and despair, lived in a solitude almost complete.

It was with difficulty that Mlle. Mayer persuaded this master to receive her as a pupil; but this being gained, both these painters had studios in the Sorbonne from 1809 to 1821.  At the latter date all artists were obliged to vacate the Sorbonne ateliers to make room for some new department of instruction.  Mlle. Mayer had been for some time in a depressed condition, and her friends had been anxious about her.  Whether leaving the Sorbonne had a tendency to increase her melancholy is not known, but her suicide came as a great surprise and shock to all who knew her, especially to Prud’hon, who survived her less than two years.

Prud’hon painted several portraits of Mlle. Mayer, the best-known being now in the Louvre.  It represents an engaging personality, in which vivacity and sensibility are distinctly indicated.

Mlle. Mayer had made her debut at the Salon of 1896 with a portrait of “Citizeness Mayer,” painted by herself, and showing a sketch for the portrait of her mother; also a picture of a “Young Scholar with a Portfolio Under His Arm,” and a miniature.  From this time her work was seen at each year’s salon.

Her pictures in 1810 were the “Happy Mother” and the “Unhappy Mother,” which are now in the Louvre; the contrast between the joyousness of the mother with her child and the anguish of the mother who has lost her child is portrayed with great tenderness.  The “Dream of Happiness,” also in the Louvre, represents a young couple in a boat with their child; the boat is guided down the stream of life by Love and Fortune.  This is one of her best pictures.  It is full of poetic feeling, and the flesh tints are unusually natural.  The work of this artist is characterized by delicacy of touch and freshness of color while pervaded by a peculiar grace and charm.  Her drawing is good, but the composition is less satisfactory.

It is well known that Prud’hon and his pupil painted many pictures in collaboration.  This has led to an under-valuation of her ability, and both the inferior works of Prud’hon and bad imitations of him have been attributed to her.  M. Guenllette writes that when Mlle. Mayer studied under Greuze she painted in his manner, and he inclines to the opinion that some pictures attributed to Greuze were the work of his pupil.  In the same way she imitated Prud’hon, and this critic thinks it by no means certain that the master finished her work, as has been alleged.