Mme. Beaury-Saurel is also
Mme. Julian, wife of the head of the Academy in which she was educated.

<b>BEAUX, CECILIA.</b> Mary Smith prize at the Pennsylvania Academy of Fine
Arts, 1885, 1887, 1891, 1892; gold medal, Philadelphia Art Club, 1893;
Dodge prize, National Academy of Design, 1893; bronze medal, Carnegie
Institute, 1896; first-class gold medal, $1,500, Carnegie Institute,
1899; Temple gold medal, Pennsylvania Academy, 1900; gold medal, Paris
Exposition, 1900; gold medal, (?) 1901. Associate of National Academy of
Design, member of Society of American Artists, associate of Societe des
Beaux-Arts, Paris. Born in Philadelphia. Studied under Mrs. T. A.
Janvier, Adolf van der Weilen, and William Sartain in Philadelphia; under
Robert-Fleury, Bouguereau, and Benjamin-Constant, in Paris.

Her portraits are numerous. In 1894 she exhibited a portrait of a child
at the Exhibition of the Society of American Artists, which was much
admired and noticed in the _Century Magazine_, September, 1894, as
follows: "Few artists have the fresh touch which the child needs and the
firm and rapid execution which allows the painter to catch the fleeting
expression and the half-forms which make child portraits at once the
longing and the despair of portrait painters. Miss Beaux's technique is
altogether French, sometimes reminding me a little of Carolus Duran and
of Sargent; but her individuality has triumphed over all suggestions of
her foreign masters, and the combination of refinement and strength is
altogether her own."

Seven years later, in the _International Studio_, September, 1901, we
read: "The mention of style suggests a reference to the portraits by Miss
Cecilia Beaux, while the allusion to characterization suggests at the
same time their limitation. The oftener one sees her 'Mother and
Daughter,' which gained the gold medal at Pittsburg in 1899 and the gold
medal also at last year's Paris Exposition, the less one feels inclined
to accept it as a satisfactory example of portraiture. Magnificent
assurance of method it certainly has, controlled also by a fine sobriety
of feeling, so that no part of the ensemble impinges upon the due
importance of the other parts; it is a balanced, dignified picture. But
in its lack of intimacy it is positively callous. One has met these
ladies on many occasions, but with no increase of acquaintanceship or
interest on either side--our meetings are sterile of any human interest.
So one tu