Among her pictures are the "Happy Mother," "Temptation," "Far from Paris," "Maternal Joys," and in the Salon des Artistes Français, 1903, "Youth which Passes."
<b>DELASALLE, ANGÈLE.</b> Honorable mention, Salon des Artistes Français, 1895; third-class medal, 1897; second-class medal, 1898; travelling purse, 1899; Prix Piot, of the Institute, 1899; silver medal, Paris Exposition, 1900. Member of the Société des Artistes Français, the Société Nationale des Beaux-Arts, Société des prix du Salon et boursiers de voyage de la Société Nationale. Born in Paris. Pupil of Jean Paul Laurens and Benjamin-Constant.
Her picture of "Diana in Repose" is in the collection of Alphonse de Rothschild; "Return from the Chase," a prehistoric scene, purchased by the Government; "The Forge," in the Museum of Rouen, where is also a "Souvenir of Amsterdam." Portrait of Benjamin-Constant and several other works of Mlle. Delasalle are in the Luxembourg; other pictures in the collections Demidoff, Coquelin, Georges Petit, etc.
At the Salon des Artistes Français, 1902, this artist exhibited the portrait of M. Constant and the "Roof-Maker." At the Salon des Beaux-Arts, 1903, "The Park at Greenwich," "The Pont Neuf," "On the Thames," and a portrait in oils; and in water-colors, "The Coliseum, Rome," "A Tiger Drinking," "A Lion Eating," "Head of a Lion," "The Forge," etc.
In the _Magazine of Art_, June, 1902, B. Dufernex writes of Mlle. Delasalle essentially as follows: This artist came into notice in 1895 by means of her picture of "Cain and Enoch's Daughters." Since then her annual contributions have demonstrated her gradual acquirement of unquestionable mastery of her art. Her characteristic energy is such that her sex cannot be detected in her work; in fact, she was made the first and only woman member of the International Association of Painters under the impression that her pictures--signed simply A. Delasalle--were the work of a man. Attracted by the dramatic aspects of human nature, she finds congenial subjects in the great efforts of humanity in the struggle for life. Her power of observation enables her to give freshness to hackneyed subjects, as in "La Forge." The attitudes of the workmen, so sure and decided, turning the half-fused metal are perfect in the precision of their combined efforts; the fatigue of the men who are resting, overwhelmed and stupefied by their exhausting labor, indicates the work of a profound thinker; whilst the atmosphere, the play of the diffused glow of the molten metal, are the production of an innate colorist. Her portrait of Benjamin-Constant represents not only the masterful man, but is also the personification of the painter. The attentive attitude, discerning eye, the openness of the absorbing look, the cerebral mask where rests so much tranquil power, the impressive shape of the leonine face, all combine to make the painting one of the finest portraits of the French school.