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parently inherits his talent, calls him “preposterously prosperous.” 
Young Scott not only paints birds, but writes about them beautifully. 
His two books Wild Chorus and Morning Flight should be in every col- 
lection of bird books. At the time the war interrupted, he was working on 
an ambitious monograph on The Wild Geese of the World. It is to be 
hoped that he will soon be able to resume this important study. 
Returning to the United States, there are a number of older men who 
are still doing significant work. Allan Brooks, the Canadian painter, was 
considered by many people the logical successor to Fuertes. Brooks finished 
the plates in Forbush’s Birds of Massachusetts and Other New England 
States, which Fuertes had started, and during the next several years he 
was given many of the commissions that would probably have gone to 
Fuertes had he lived. Many of his paintings appear in Roberts’ Birds of 
Minnesota, and with Roger Tory Peterson he illustrated May’s Hawks of 
North America. He lives at Okanagan Landing, British Columbia. 
Bruce Horsfall, now in his 70’s, had a good background as an artist, 
having studied at the Cincinnati Art Academy, and in Munich and Paris. 
Some of the backgrounds for habitat groups in the American Museum of 
Natural History are his, and he has done similar work for Yale’s Peabody 
Museum, and bird murals for the Administration Building of the New 
York Zoological Park, and the United States National Museum. He is now 
an artist with the American Nature Association in Washington. He is a 
better painter than he is ornithologist. He has admitted that although he 
has painted every North American warbler many times, he still can’t tell 
one from the other in the field. 
Frank W. Benson is a gallery painter, and one of the country’s best 
known etchers, who often chooses ducks and geese as his subjects. He is 
a Bostonian, educated at the Boston Museum of Fine Arts, where he has 
been an instructor in drawing and painting since 1889. His work is 
represented in most of the leading art museums throughout the country. 
In 1941 he exhibited 68 of his drypoint etchings of ducks and geese — a 
retrospective show of work done since 1913. The etchings were reviewed 
enthusiastically by the art critics, but the more critical ornithologists find 
fault with the length of wings and various other structural details. 
The most publicized of the older men who work in the tradition of 
Audubon is Rex Brasher (pronounced bray-sher, according to Who’s Who). 
His life work, the labor of nearly 50 years, is assembled in a 12-volume 
set of plates which sell for $2,500. The story of these paintings is a saga 
of perseverance in the face of disappointment and frustration, of refusal 
to compromise, refusal to lose sight of the stars by which he had set his 
course. And in the end ornithologists point to his many anatomical 
inaccuracies and say it may be good art, and artists say it is good 
ornithology, and only rich sportsmen who are interested in neither art nor 
ornithology can afford to buy his books! 
He was born in 1869 in Brooklyn, the son of a Wall Street broker 
whose hobby was ornithology and taxidermy. The father assembled one 
of the finest collections of mounted birds of his time and left it to Yale 
University. The collection was destroyed by fire before the boy had* an 
