,
she exhibited "A Pensioner," "A Beggar," a portrait of Senorita M. J.,
and a landscape; in 1878, "A Coxcomb," "Street Venders of Avila," and a
landscape; and in 1881, at an exhibition held by D. Ricardo Hernandez,
were seen a landscape and a portrait of D. Lucas Aguirre y Juarez.

<b>GEEFS, MME. FANNY ISABELLE MARIE.</b> Born at Brussels. 1814-1883. Wife
of the sculptor, Guillaume Geefs. A painter of portraits and genre
subjects which excel the historical pictures she also painted. Her
"Assumption of the Virgin" is in a church at Waterloo; "Christ Appearing
to His Disciples," in a church at Hauthem. "The Virgin Consoling the
Afflicted" was awarded a medal in Paris, and is in the Hospital of St.
John at Brussels. The "Virgin and Child" was purchased by the Belgian
Government. Her portraits are good, and among her genre subjects the
"Young Mother," the "Sailor's Daughter," and "Ophelia" are attractive and
artistic in design and execution.

<b>GELDER, LUCIA VAN.</b> Born in Wiesbaden. 1864-1899. This artist was the
daughter of an art dealer, and her constant association as a child with
good pictures stimulated her to study. In Berlin she had lessons in
drawing with Liezenmayer, and in color with Max Thedy. She was also a
constant student at the galleries. She began to work independently when
eighteen, and a number of her pictures achieved great popularity, being
reproduced in many art magazines. "The Little Doctor," especially, in
which a boy is feeling, with a grave expression of knowledge, the pulse
of his sister's pet kitten, has been widely copied in photographs,
wood-engravings, and in colors. She repeated the picture in varying
forms. She died in Munich, where she was favorably known through such
works as "The Village Barber," "Contraband," "The Wonderful Story," "At
the Sick Bed," and "The Violin Player," the last painted the year before
her death.

<b>GENTILESCHI, ARTEMISIA.</b> 1590-1642. A daughter of Orazio Gentileschi,
whom she accompanied to England when he was invited to the court of
Charles I. Artemisia has been called the pupil, and again the friend, of
Guido Reni. Whatever the relation may have been, there is no doubt that
the manner of her painting was influenced by Guido, and also by her study
of the works of Domenichino.

Wagner says that she excelled her father in portraits, and her own
likeness, in the gallery at Hampton Court, is a powerful and life-like
picture. King Charles had se