Her portrait of the Princess Marie, of Roumania, was exhibited in Munich in 1901; its reality and personality were notable, and one critic called it “an oasis in a desert of portraits.”  “Anno 1793” and “A Mother and Child” have attracted much favorable comment in Munich, where her star is in the ascendant, and greater excellence in her work is confidently prophesied.

SCHWARTZE, THERESE. Honorable mention, Paris Salon, 1885; gold medal, 1889.  Diploma at Ghent, 1892; gold medal, 1892.  At International Exhibition, Barcelona, 1898, a gold medal.  Made a Knight of the Order of Orange-Nassau, 1896.  Born in Amsterdam about 1851.  A pupil of her father until his death, when she became a student under Gabriel Max, in Munich, for a year.  Returning to Amsterdam, she was much encouraged by Israels, Bilders, and Bosboom, friends of her father.

She went to Paris in 1878 and was so attracted by the artistic life which she saw that she determined to study there.  But she did not succeed in finding a suitable studio, neither an instructor who pleased her, and she returned to Amsterdam.  It was at this time that she painted the portrait of Frederick Mueller.

In the spring of 1880 she went again to Paris, only to “feast on things artistic.”  A little later she was summoned to the palace at Soestdijk to instruct the Princess Henry of the Netherlands.  In 1883 she served with many distinguished artists on the art jury of the International Exhibition at Amsterdam.

In 1884 she once more yielded to the attraction that Paris had for her, and there made a great advance in her painting.  In 1885 she began to work in pastel, and one of her best portraits in this medium was that of the Princess (Queen) Wilhelmina, which was loaned by the Queen Regent for the exhibition of this artist’s work in Amsterdam in 1890.

The Italian Government requested Miss Schwartze to paint her own portrait for the Uffizi Gallery.  This was shown at the Paris Salon, 1889, and missed the gold medal by two votes.  This portrait is thought by some good judges to equal that of Mme. Le Brun.  The head with the interesting eyes, shaded by the hand which wards off the light, and the penetrating, observant look, are most impressive.

She has painted a portrait of Queen Emma, and sent to Berlin in 1902 a portrait of Wolmaran, a member of the Transvaal Government, which was esteemed a work of the first rank.  She has painted several portraits of her mother, which would have made for her a reputation had she done no others.  She has had many notable men and women among her sitters, and though not a robust woman, she works incessantly without filling all the commissions offered her.

Her pictures are in the Museums of Amsterdam and Rotterdam.

Her work is full of life and strength, and her touch shows her confidence in herself and her technical knowledge.  She is, however, a severe critic of her own work and is greatly disturbed by indiscriminating praise.  She is serious and preoccupied in her studio, but with her friends she is full of gayety, and is greatly admired, both as a woman and as an artist.