law, but abandoned that profession in favor of Painting, and established himself in Philadelphia. In 1832 he started on a journey among the tribes of American Indians, and made the acquaintance of no less than forty-eight of them. On his return to civilization in 1839, he published the result of his journey in the form of a book, with illustrations by his own hand. He resided for eight years in Europe. Many of his Indian sketches were exhibited at Philadelphia in 1876.

Robert Charles Leslie (1794-1859), who was born

1869 to 1871, when he went to Florence. He painted chiefly genre subjects until his later years. Among his best paintings are Wages of War, sold for $5,000, and now in the Metropolitan Museum, New York, and The Apple of Discord, which was highly commended by the judges at Philadelphia in 1876. He was also famous for his female portraits.

On the other hand, Thomas Cole (1801-1848)— who was born at Bolton-le-Moor, Lancashire, of American ancestry, and went when eighteen years of age to Steubenville, Ohio-belongs to America. After

of American parents in Clerkenwell, was taken when quite a child to the United States; in 1811 he went to England, and, with the exception of a short visit to America in 1833, resided there for the rest of his life.

Gilbert Stuart Newton (1795-1835), who was born at Halifax, Nova Scotia, in America, studied under his uncle, Gilbert Stuart, went to Europe in 1817. He paid but one short visit to America in 1832, and died in London; he belongs to the English School.

Henry Peters Gray (1819-1877), a pupil of Huntington, was president of the National Academy from

BY J. F. CROPSEY.

traveling about the country for some time, he visited New York, where he was patronized by Trumbull and other artists. Cole made two journeys to Europe, and stayed chiefly in Italy and England, the scenery of which countries furnished him with subjects for many of his best works. He died among his "own dear Catskills," as he calls them; for with all the magnificent scenery of the Alps and elsewhere in Europe, and the works of Claude Lorraine, Salvator Rosa, and Turner and Constable, which he saw in England, he remained true to his first love. Of Cole's works we may notice, in the possession of the

New York Historical Society, the Course of Empirefive landscape scenes, his masterpiece; his famous series of The Voyage of Life, formerly in the Taylor Johnston Collection of New York; and the Mountain Ford and Kenilworth Castle, both of which were shown in Philadelphia in 1876. Many of his worksfrequently views of the Catskills-are in the private and public galleries of America. He may be considered the father of American Landscape Art. The Tornado, in the Corcoran Gallery, is a fine example of his skill.

Side by side with Cole must be mentioned Thomas Doughty (1793-1856), who did much for the furtherance of landscape art. He did not commence painting until he was twenty-eight years old, and he was entirely self-taught. Of the next generation of landscape painters, a foremost man was:

John F. Kensett (1818-1873), who began life as an engraver, studied Painting for seven years in Europe-visiting Italy, Switzerland and the Rhine; he then settled in America and rose to fame as a landscape painter. The Ruins of the Parthenon is one of his best works. Others are his Lake George, Sunset in the Adirondacks, Mount Washington, White Mountains, and Scenes on the Genesee River. One of his earliest pictures, A View of Windsor Castle, was exhibited at the London Royal Academy as long ago as 1850. He has been called the Bryant of our painters; a little sad and monotonous, but sweet, artistic and unaffected. "Kensett's best pictures," says Tuckerman, "exhibit a rare purity of feeling, an accuracy and delicacy, and especially a harmonious treatment, perfectly adapted to the subject."

Henry Inman (1802-1846), studied for some time in New York under Jarvis, a good artist of the period. After several years spent in New York, he settled at Philadelphia, where he became famous as a painter of portraits, and occasionally of landscapes and genre pictures. In 1843 he went to England, where he remained for two years; and painted among other portraits those of Wordsworth and Macaulay.

The works of this artist are commonly seen in the public and private galleries of America. The City Hall, New York, has some good portraits by him ; noteworthy among these is that of Governor Van Buren; others are in the Boston Athenæum. His landscapes and genre pictures are best seen in private galleries.

William Sidney Mount (1806-1868), who has been called the "American Wilkie," was one of the first in this country to practice genre painting successfully. His works, such as The Long Story and Bargaining for a Horse, display great sense of humor. The Fortune Teller and the Truant Gamblers, are also rich in humor and expression.

Emanuel Leutze (1816-1868), a native of Emingen in Würtemberg, went, when still young, with his father to America. He at first maintained himself by portrait-painting, but his favorite subjects were of an historic nature. His earliest work of note is an Indian gazing on the Setting Sun. In 1841 he determined to visit Europe. He arrived at Amsterdam early in the year, and thence went to Düsseldorf, where he studied under Lessing. His Columbus before the Council of Salamanca was purchased by the Art Union of that city. From Düsseldorf Leutze went to Munich, and became the disciple of Cornelius and Kaulbach. After his Wanderjahre through Italy and Switzerland, he returned to America in 1859 and became justly famed as a painter of historic subjects. A picture of Western Emigration by him is in the Capitol at Washington. Other good works by him are: Washington crossing the Delaware and the Iconoclast. Shortly after Leutze had died, a letter came announcing his election to the presidentship of the Düsseldorf Academy, rendered vacant by the death of Lessing.

Charles Loring Elliott (1812-1868), was a pupil of Trumbull, in New York. On the completion of his studies, he established himself as a painter in that city, where, with the exception of several years spent in the western part of the State, he chiefly resided. He is said to have executed nearly seven hundred portraits, many of which are highly praised for their representation of individual character. Of these the acknowledged masterpiece is that of Fletcher Harper, which was selected to represent American portraiture in the Paris Exhibition.

Louis Rémy Mignot (1831-1871), the landscape painter, lived some part of his life in New York; he then removed to South Carolina, and subsequently, at the outbreak of the Civil War, took up his resi dence in England, though he paid visits to his native land. He exhibited in the Royal Academy from time to time, and many of his works are in England. One of his best pictures is Snow in Hyde Park.

Two foreigners, who settled in America, executed many landscapes and sea-pieces of considerable

merit

M. F. H. De Haas (1832-1880), a native of Rotterdam, where he had been appointed painter to the Dutch Navy; and Johann Erik Christian Petersen (1839-1874) a native of Copenhagen, where he first studied Art, who settled in America in 1865-worked, the former in New York, the latter in Boston. De Haas had studied in London, and for two years at the Hague under Meyer, and had spent much time in sketching on the Dutch and English coasts. In

New York his

Farragut's Fleet passing the Forts below New Or

leans was one of

the first of his pict

ures to attract attention. Other of his best pictures are Sunset at Sea, Storm on the Coast, Passing Shower and Rapids above Niagara. He excels in moonlight effects, as may be perceived by looking at our engraving of his On the French Coast. His style is rather dashing and his effects broad. He confined his attention chiefly to the painting of large canvases. Mr. De Haas was made an Associate of the National Academy in 1863, and an Academician in 1867, and was one of the original members of the American Society of Painters in Water Colors.

LAMBS ON THE MOUNTAIN-SIDE.

J. B. Irving (1826-1877), a pupil of Leutze, painted

genre subjects in a French manner. One of his best works is The End of the Game.

William Henry Furness (1827-1867), of Philadelphia, was one of the most successful portrait-painters of his time. He was especially noted for his crayon drawings. He studied Art in Munich, Paris, Dresden, and Düsseldorf. Among the best of his portraits are those of Lucretia Mott, Charles Sumner,

BY WILLIAM MORRIS HUNT.

and Hamilton

Wilde.

became celebrated for his genre subjects, but more especially for his landscapes and his portraits, and where he had great influence on the rising artists of the day. In 1878 he began and completed the decoration of two great walls in the Senate Chamber of the new Capitol at Albany. Among his best works are the Prodigal Son, the Fortune- Teller, the Violet Girl, and the Flight of Night, his masterpiece. He

occasionally lithographed from his own designs. The picture of which we give an engraving, Lambs on the Mountain-Side, is in his earlier style, when he was still under the influence of Couture. Mr. Hunt probably did more than any living man to impress the younger school of painters with respect for the ideal in Art.

George A. Baker (1825-1875), was a native of New Orleans, where he studied, and for some years was a portrait painter there. He moved to New York about 1865, and in addition to portraits painted a number of pictures on ideal subjects of considerable merit. Cupid Disarmed (1866) was his first picture in the National Academy. In 1869 he was given charge of the schools of the Brooklyn Art Association, and his later pictures were exhibited there. Among the best are May Flowers, Morning Glories, Cherry Time, and Truants from School. Mr. Baker was an accomplished instructor and a good though not a great painter.

Sanford R. Gifford (born in Saratoga County, N. Y.) was impressed from childhood with the beauty of the great Hudson River, by which he lived; he was never tired of depicting it in its grand repose, and was peculiarly successful in painting the effects of sunrise. Mr. S. G. W. Benjamin says of Gifford that, "if he had lived in Persia or Peru two thousand years ago, he might well have been an enthusiastic fire-worshiper or have daily welcomed the rising sun with reverent adoration." He studied in New York City under Mr. John Smith, and in 1850 visited Europe, spending a year or two in study at Paris, London, and other art centers. After his return he settled permanently in New York, though two extensive sketching tours-one in 1868, along the Rhine, in Italy, Switzerland, and Egypt; the other in 1870 among the Rocky Mountains-greatly improved his intimacy with and power of reproducing the grandest natural scenery. Mr. Gifford was made an Associate of the National Academy in 1850 and a full Academician in 1854. During the civil war of 1861-65 he was a member of the famous Seventh Regiment of New York, and several of his best pictures were suggested by camp life. One, representing a tall sentinel standing by a cannon on a bastion, in the full glow of the ruddy sunset, is a portrait of the artist himself. Mr. Gifford belongs to the splendid school of landscape painters which succeeded that of which Thomas Cole and Durant were the representatives,

and of which the best exponents are Bierstadt, Church, Moran and Kensett. It has been justly said that the main effect of his work is atmospheric, and that none have surpassed him in rendering the splendor of sunset skies and the tender sheen of light reflected on still water. Perhaps his Sunset on the Hudson is his best picture. It has doubtless been seen by many of our readers, and is a lovely rendering of one of the most beautiful scenes in the world. Other of his best works are: Morning in the Adirondacks (his first exhibited picture, 1867); Mount Mansfield; Pallaniza; Lago Maggiore; Venetian Sails; Fire Island Beach; Sunset; Bay of New York; Lake Geneva; The Golden Horn; Coming Storm (belonging to Edwin Booth); the Camp of The Seventh Regiment, and Fishing Boats of the Adriatic. The death of Mr. Gifford took place in 1880, and since that time hiş pictures have appreciated materially in value.

LIVING AMERICAN PAINTERS.

Albert Bierstadt has been called the "apostle of the Rocky Mountains," and is one of the four or five really great American landscape painters. He was born in Düsseldorf in 1829, but was brought to this country when a child and received here his early education. Subsequently he studied at Rome and Düsseldorf, sketching also in Germany and Switzerland and returning to this country in 1857. He accompanied the Lander expedition across the continent in 1858. His great picture, The Rocky Mountains-Lander's Peak, was painted after his return. The grandeur of the subject and the bold and powerful treatment at once made Bierstadt a famous man. None of his later pictures have approached it in popularity. The Rocky Mountains was sold for $25,000 to Mr. James McHenry. In 1867 Mr. Bierstadt visited Europe again, having received a Government commission to make studies for a great historical work, Discovery of the North River by Hendrik Hudson. Other of his best works are, Storm in the Rocky Mountains; Mount Rosalie (valued at $35,000); Valley of the Yosemite; North Fork of the Platte; Diamond Pool; Mount Hood; Estes Park, Colorado (sold to the Earl of Penraven for $15,000), and the Sierra Nevada Mountains. His smaller Rocky Mountain pictures, though, as we have said, they have never obtained the popular applause bestowed on his first picture, are more finished and are freer from crudities of coloring and tone. Bierstadt is un

doubtedly strongly under the influence of the German Düsseldorf School, and has a marked tendency to exaggeration. An eminent critic has pronounced his later works "vast illustrations of scenery, carelessly and crudely executed," but this is too severe and sweeping criticism. Certainly the Big Tree of California is a bold and yet carefully finished picture, the handling of the light being admirable.

Thomas Hill is another of the American painters who have been fascinated by the sublimity and savage beauty of the mountains of the Far West.

tennial at Philadelphia. It appeals strongly to the popular taste, and in the shape of photographs and chromos is familiar to every one. Mr. Hill is a bold and massive colorist, not free from sensationalism in his effects. The chief element of his success is his careful and loving study of nature. Some of his wood-interiors, that of the Forest of Fontainebleau for instance, are delightfully graceful. Of his best paintings we may mention the White Mountain Notch, representing the noted and disastrous avalanche ; The Great Cañon of the Sierras, The Home of the

Mr. Hill is an Englishman by birth (born in Birmingham, 1829), but came to the United States in 1841 with his family, where he began life as a coachpainter in Taunton, Mass. He studied in a desultory fashion in Boston and Philadelphia, and, after deciding on an artist's career, visited Paris for a short time. Mr. Hill is distinctly a self-taught artist, and his style is purely original. He has painted but one picture which deserves to be called really greatThe Yosemite Valley-generally admitted to be the finest American landscape on exhibition at the Cen

Eagle, and Donner Lake. Mr. Hill has done much to encourage the love of artistic decorative painting in this country. Of late years he has spent much of his time in California.

Still another, and, in the opinion of many, the most artistic, of the group of painters who idealize Rocky Mountain subjects is Thomas Moran (born in Lancashire, England, 1837), of whom we give a fine portrait. He was brought to this country when a child, and, displaying artistic taste, was apprenticed to a Philadelphian wood-engraver. His first pictures