Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. eBook

This eBook from the Gutenberg Project consists of approximately 412 pages of information about Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D..

Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. eBook

This eBook from the Gutenberg Project consists of approximately 412 pages of information about Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D..

Mrs. Damer executed many portrait busts, some animal subjects, two colossal heads, symbolic of the Thames and the Isis, intended for the adornment of the bridge at Henley.  Her statue of the king, in marble, was placed in the Register Office in Edinburgh.  She made a portrait bust of herself for the Uffizi Gallery, in Florence.  Her portrait busts of her relatives were numerous and are still seen in private galleries.  She executed two groups of “Sleeping Dogs,” one for Queen Caroline and a second for her brother-in-law, the Duke of Richmond.  Napoleon asked her for a bust of Fox, which she made and presented to the Emperor.  A bust of herself which she made for Richard Payne Knight was by him bequeathed to the British Museum.  Her “Death of Cleopatra” was modelled in relief, and an engraving from it was used as a vignette on the title-page of the second volume of Boydell’s Shakespeare.

Those who have written of Mrs. Darner’s art have taken extreme views.  They have praised ad nauseam, as Walpole did when he wrote:  “Mrs. Darner’s busts from life are not inferior to the antique.  Her shock dog, large as life and only not alive, rivals the marble one of Bernini in the Royal Collection.  As the ancients have left us but five animals of equal merit with their human figures—­viz., the Barberini Goat, the Tuscan Boar, the Mattei Eagle, the Eagle at Strawberry Hill, and Mr. Jennings’ Dog—­the talent of Mrs. Damer must appear in the most distinguished light.”

Cerrachi made a full length figure of Mrs. Damer, which he called the Muse of Sculpture, and Darwin, the poet, wrote: 

    “Long with soft touch shall Damers’ chisel charm,
    With grace delight us, and with beauty warm.”

Quite in opposition to this praise, other authors and critics have severely denied the value of her talent, her originality, and her ability to finish her work properly.  She has also been accused of employing an undue amount of aid in her art.  As a woman she was unusual in her day, and as resolute in her opinions as those now known as strong-minded.  Englishwoman as she was, she sent a friendly message to Napoleon at the crisis, just before the battle of Waterloo.  She was a power in some political elections, and she stoutly stood by Queen Caroline during her trial.

Mrs. Damer was much esteemed by men of note.  She ardently admired Charles Fox, and, with the beautiful Duchess of Devonshire and Mrs. Crewe, she took an active part in his election; “rustling their silks in the lowest sinks of sin and misery, and in return for the electors’ ’most sweet voices’ submitting, it is said, their own sweet cheeks to the salutes of butchers and bargemen.”  She did not hesitate to openly express her sympathy with the American colonies, and bravely defended their cause.

At Strawberry Hill Mrs. Damer dispensed a generous hospitality, and many distinguished persons were her guests; Joanna Baillie, Mrs. Siddons, Mrs. Garrick, and Mrs. Berry and her daughters were of her intimate circle.

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Women in the fine arts, from the Seventh Century B.C. to the Twentieth Century A.D. from Project Gutenberg. Public domain.