Painter Emma Eleonore Meyer is little known in the US, and it is a shame. In terms of staying power in the cultural consciousness, she unfortunately had several impediments to her being remembered: she worked in a period and style that became much maligned, even in her own lifetime; she was not associated with a 19th century powerhouse country like England, the US, or France; and she was a woman – a single woman – with no famous male artist spouse or relative to lend her fame through association. And even when one stumbles across her today, in this age of too much information, she is difficult to research, even in her progressive home country of Denmark, where she is considered an important painter. Emma Meyer was born Aug. 20, 1859 in Flensburg, a major port city on the Danish-German border. She was the third child of Maria Frederikke Dalberg, and Fritz Meyer, a Member of the Court of Appeals who later became a Supreme Court Justice. At a time when women could not study at the free Danish Art Academy, and when even schools formed by large women's rights groups only taught their students crafting skills like painting porcelain, designing textile patterns, or engraving the work of other artists in copperplate, Meyer had the good fortune to study with some of the most influential artists in her country. Among her teachers were Emilie Mundt and Marie Luplau, a feminist couple who trained in Munich and Paris and opened a school in Copenhagen that catered to female students, Harald Foss, a well-known landscape painter, and Peder Severin Krøyer, one of the best-known and most-celebrated artists in Denmark. Meyer showed her paintings in many prestigious exhibitions throughout Denmark, and won several important awards in her lifetime, including the Louise Ravn-Hansen Scholarship and the Sødringske Encouragement Prize, which allowed her to take several small trips abroad. She never married, probably in... (http://underpaintings1.rssing.com/chan-10103856/all_p9.html) undefined

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