considerable accuracy in drawing, though it was
faulty in lighting and gaudy in coloring. Brilliant autumn scenes were
his favorite subjects. His work had the merit of originality and,
moreover, it must be remembered that Cole was one of the beginners in
American landscape art. Durand (1796-1886) was an engraver until 1835,
when he began painting portraits, and afterward developed landscape with
considerable power. He was usually simple in subject and realistic in
treatment, with not so much insistence upon brilliant color as some of
his contemporaries. Kensett (1818-1872) was a follower in landscape of
the so-called Hudson River School of Cole and others, though he studied
seven years in Europe. His color was rather warm, his air hazy, and the
general effect of his landscape that of a dreamy autumn day with poetic
suggestions. F. E. Church (1826-[A]) was a pupil of Cole, and has
followed him in seeking the grand and the startling in mountain scenery.
With Church should be mentioned a number of artists--Hubbard
(1817-1888), Hill (1829-,) Bierstadt (1830-),[21] Thomas Moran
(1837-)--who have achieved reputation by canvases of the Rocky Mountains
and other expansive scenes. Some other painters of smaller canvases
belong in point of time, and also in spirit, with the Hudson River
landscapists--painters, too, of considerable merit, as David Johnson
(1827-), Bristol (1826-), Sandford Gifford (1823-1880), McEntee
(1828-1891), and Whittredge (1820-), the last two very good portrayers
of autumn scenes; A. H. Wyant (1836-1892), one of the best and strongest
of the American landscapists; Bradford (1830-1892) and W. T. Richards
(1833-), the marine-painters.

[Footnote 21: Died, 1900.]

[Illustration: FIG. 105.--EASTMAN JOHNSON. CHURNING.]

PORTRAIT, HISTORY, AND GENRE-PAINTERS: Contemporary with the early
landscapists were a number of figure-painters, most of them
self-taught, or taught badly by foreign or native artists, and yet men
who produced creditable work. Chester Harding (1792-1866) was one of
the early portrait-painters of this century who achieved enough
celebrity in Boston to be the subject of what was called "the Harding
craze." Elliott (1812-1868) was a pupil of Trumbull, and a man of
considerable reputation, as was also Inman (1801-1846), a portrait
and _genre_-painter with a smooth, detailed brush. Page (1811-1885),
Baker (1821-1880), Huntington (1816-), the third President of the
Academy of Design; Healy (1808