I'AINTING. 



Raphaeliu-, but later acquired greater freedom of 

 handling. Of late years hb attention has been directed 

 especially to the painting of marine and coast view-. 

 His excellent water-colors show the same careful finish 

 which characterizes hu work in oil. \V. K. NORTON 

 has shown his talents in compositions like the Fog 

 Horn and Crossing the Grand Banks, and Arthur 

 QfARTUCT (1839-86). who was originally a sign-painter, 

 Boooeeded, though self-taught, in placing himself in a 

 few years in the trout rank of our marine-painters. 

 Alfred T. HRICHKR has produced some fresh and 

 vigorous coast-scenes, and J. ('. Niroi.i. has worked 

 in tliis field, but like Bricher paints also landscapes. 

 He has more pocti.- fcdim: than that artist, however. 

 Francis A. Silva, Frank K. M. Rehn. Win. I'. W. Dana, 

 Harry Chase, R. C. Coxe, and S. S. Tuckerman are also 

 favorably known to the public. J. 0. Davidson and 

 M. J. Iturtis have given much attention to book- 

 illustration. One of the most prominent among our 

 marine-painters of to-day is Maurice F. H. I >K HAAS, 

 who was court -painter in Holland before he came to 

 America in l.vV.i. His iiictures, though broad, are yet 

 sufficiently finished in detail, and a number of strong 

 and brilliant compositions have come from his easel 

 He has probably had influence on our marine art. 



Coming now to animal-painting, we find that in this 

 department our art has not produced much that is 

 noticeable. As a scientific ornithological painter, John 

 J. AUDCBON (1780-1851) held high rank. T. H. 

 HINCKUEY was one of our earliest cattle-painters, but 

 never advanced beyond his first, really promising, at 

 tempts. Henry C. Bisphaui produced some spirited 

 cattle-pieces. William J. HAYS (183CM5) devoted him- 

 self with some success to the delineation of the animal 

 world of the western prairies, and Alfred G. Miller 

 painted similar subjects. Arthur F. TAIT, an English 

 artist who has settled in this country, is well known to 

 the public, many of his works having been litho- 

 graphed and widely circulated. Walter M. Brackett 

 and Gurdon Trumbull are among those who have made 

 the painting of fish a specialty. William H. BF.ARD 

 has gained a reputation through his pictures of bears 

 and monkeys, in which the weaknesses and foibles 

 of humanity are reflected with caustic satire. His 

 brother, James H. Beard, has also won a respectable 

 position as an animal-painter, as has also his nephew, 

 James Carter Beard, although the latter has devoted 

 himself more especially to book-illustration. Peter 

 MORAN, the third of this artist-family, has been suc- 

 cessful in painting sheep and cattle, and James Hart, 

 as has been remarked before, is also favorably known 

 for hb cattle-pieces. Thomas Robinson, George In- 

 ness, Jr., and J. Ogden Brown have also worked in 

 thb field. Miss Fidelia BIUIKJKH is known by her 

 charming pictures of bird-life. Frank Rogers has had 

 some success in painting dogs, and Henry H. h -. 

 has also produced some good work in this department 

 K M. SHURTLEFF, known beat as landscape-painter. 

 has introduced deer and other wild beasts into some of 

 hb paintings of forest scenery. 



In the department of still-life, Raphaelle PEALE, a 

 son of C. W. Peale. was probably the first to practice. 

 George H. Hall (ISiNV-ss) and A. J. H. Way have 

 both earned a reputation through their paintings of 

 fruit-pieces. H. W. Parton has been very successful 

 in some of hb paintings of flowers, as has also Ellen 

 Robbins. In fact, a large number of ladies have en- 

 joyed a certain degree of success in thb department. 

 William W. HARNETT has produced some still-life 

 pieces almost photographic in their truth to nature. 

 John IxAFARGF.'a ideal and brilliant flower-pieces 

 have been much admired. It is as a colons! that he 

 excels, and he has given much attention to decorative 

 art, in which department he has produced some ex- 

 cellent work, notably in Trinity Church. Boston. 

 Francis LATHROP has also distinguished himself in 

 this direction. 



Elihu VEPDEB has striven to express bis emotions 



and impressions in his works. Works like the Lair 

 of the Sea Serpent have especially aroused much 

 criticism as to their deeper intent and purpose. Vcd- 

 der b an artist of undoubted strength, who has shown 

 great imaginative jxiwer in hb paintings, and in his 

 powerfully drawn illustrations to the Rubaiyat of 

 Omar Khayyam. 



In entering upon the present period of our country 's 

 art development, we find a new force exerting itself. 

 new influences making themselves felt The influence 

 of France is now manifest. Our art has again made a 

 step in advance. A growing discontent with old meth- 

 ods and conventionalities has found exprewioD i" a cer- 

 tain degree in the founding of societies like the Amer- 

 ican Art Association and the Art Students 



William M. HINT (l>lM-7'.') did much to further 

 the cause of American art, and partly l>y introducing 

 the new art methods practised in France. He .-nulled 

 for a short time at Diisseldorf, and then went to Paris, 

 where he became a pupil of Couture, and was further- 

 more influenced bv J. F. Millet, whose art methods he 

 was one of the first to discover and to emulate. He 

 worked in genre, portraiture, landscape, and decora- 

 tive painting, a notable example of his work in the last 

 departmentbeing The Flight of Night and The Db- 

 covercr. in the eapitol at Albany. In the works of 

 some of the artiste already mentioned in this sketch, a 

 leaning towards the progressive spirit of the new move- 

 ment makes itself strongly felt Of our figure-painters, 

 of to-day, two, especially, have had a most decided in- 

 fluence on our art Walter SHIRLAW and William M. 

 ! CHASE, both of whom have been instructors in the Art 

 Students' league. Trained in the school of Munich, 

 Shirlaw has an excellent technical knowledge, paints 

 broadly, and has decided feeling for color-values. One 

 of his most important works, Sheep-shearing in the 

 Bavarian Highlands, has been favorably received at 

 home and abroad. Chase has been particularly suc- 

 cessful in the painting of single figures like The Ap- 

 prentice. Waiting for the Ride, etc., in which he shows 

 a fine sense of color. He has also produced some 

 characteristic portraits. Many of our " younger men " 

 show in their works a thorough sympathy with the 

 present tendencies of our art Frank Dim-neck, Wil- 

 liam Sartain. Robert Koehler, J. Alden Weir, Wmslow 

 Homer, Louis C. Tiffany, A. H. Thaver. A. P. Rvder, 

 Wyatt Katon. David D. Neal, F. 1'. Vinton, E. L. 

 Weeks, Henry Bacon, William H. Muhrman, F. A. 

 Bridgman, George Inness, Jr., William Dannat. Geo. 

 W. Maynard, F. D. Millet, E. H. Hlashlield, Charles 

 S. Pearce. J. C. Beckwith, T. W. Dewing, Gilbert 

 Gaul. A. Kappes, Hamilton Hamilton, C. F. Ulrich, 

 I. R. Wiles, C. Y. Turner, Robert Blum, Kenyon 

 Cox, H. S. Mowbray, George de Forest Brush, C. C. 

 Cumin. Louis Moeller, Fred. Dieluian, are among those 

 identified with the new art movement. To these 

 should be added nearly all of the younger land&capists 

 mentioned previously in this article. In realistic por- 

 traiture some excellent results have been achieved by 

 Eastman Johnson. Moses Wight, B. C. Porter, J. A. 

 Weir. Thomas Kakins, and John S. Sargent J. A. 

 M. WHISTLER, who has for many years lived in Lon- 

 don, is known chiefly for his experiments in color, and 

 his skill in etching. Will II. Low, Edwin A. Abbey, 

 and Charles S. Reinhart, although they have worked 

 with much success in color, have been more promi- 

 nent in the department of book -illustration. 



'As one critic has observed, this new movement 

 should be regarded not so much as an attempt at re- 

 form, but simply as another step in advance, another 

 stage in the progress of art in this country. It can, 

 of '-nurse, not lie said that all the qualities of good art 

 are united in the methods of this new school. With 

 the great advance in technical knowledge there 

 come in also an undue leaning towards ultra-realism. 

 It remains for the succeeding generation of artists_to 

 modify many of these aims and principles, and to raise 

 American art to a still higher level. (K. i. w.) 



