ess
opinions.

[Illustration: MAY DAY AT WHITELANDS COLLEGE, CHELSEA

ANNA M. RICHARDS]

"Miss Richards paints the sea well; she infuses interest into her
figures; she has a love of allegory; her studies in Holland and Norway
are interesting. Her 'Whitby,' lighted by sunset, with figures massed in
the streets in dark relief against it, is beautiful. Her 'Friends,'
showing two women watching the twilight fading from the summits of a
mountain range, the cedared slopes and river valley below meantime
gathering blueness and shadow, is of such strength and sweetness of fancy
that it affects one like a strain of music."

"Miss Richards becomes symbolic or realistic by turn. Some of her figures
are creatures of the imagination, winged and iridescent, like the 'Spirit
of Hope.' Again, she paints good, honest Dutchmen, loafing about the
docks. Sometimes she has recourse to poetry and quotes Emerson for a
title.... If technically she is not always convincing, it is apparent
that the artist is doing some thinking for herself, and her endeavors are
in good taste."

Miss Richards has written "Letter and Spirit," containing fifty-seven
"Dramatic Sonnets of Inward Life."

These she has illustrated by sixty full-page pictures. Of these
drawings the eminent artist, G. F. Watts, says: "In imaginative
comprehension they are more than illustrations; they are interpretations.
I find in them an assemblage of great qualities--beauty of line, unity
and abundance in composition, variety and appreciation of natural
effects, with absence of manner; also unusual qualities in drawing,
neither academical nor eccentric--all carried out with great purity and
completeness."

<b>RICHARDS, SIGNORA EMMA GAGIOTTI.</b> Rome.

[_No reply to circular_.]

<b>RIES, THERESE FEODOROWNA.</b> Bronze medal at Ekaterinburg; Karl Ludwig
gold medal, Vienna; gold medal, Paris Exposition, 1900. Officer of the
Academy. Born in Moscow. Pupil of the Moscow Academy and of Professor
Hellmer, Vienna, women not being admitted to the Vienna Academy.

A critic in the _Studio_ of July, 1901, who signs his article A. S. L.,
writes as follows of this remarkable artist: "Not often does it fall to
the lot of a young artist to please both critic and public at the same
time, and, having gained their interest, to continue to fill their
expectations. But it was so with Feodorowna Ries, a young Russian artist
who some eight months ago had never even had a piece of clay