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.

<b>VAN DER VEER, MISS.</b> "This artist," says a recent critic, "has
studied to some purpose in excellent continental schools, and is endowed
withal with a creative faculty and breadth in conception rarely found in
American painters of either sex. Her genre work is full of life, light,
color, and character, with picturesque grouping, faultless atmosphere,
and a breadth of technical treatment that verges on audacity, yet n