-[22]), a portrait-painter of more than
average excellence; Mount (1807-1868), one of the earliest of American
_genre_-painters, were all men of note in this middle period.

[Footnote 22: Died 1894.]

Leutze (1816-1868) was a German by birth but an American by adoption,
who painted many large historical scenes of the American Revolution,
such as Washington Crossing the Delaware, besides many scenes taken
from European history. He was a pupil of Lessing at Dusseldorf, and
had something to do with introducing Dusseldorf methods into America.
He was a painter of ability, if at times hot in color and dry in
handling. Occasionally he did a fine portrait, like the Seward in the
Union League Club, New York.

During this period, in addition to the influence of Dusseldorf and
Rome upon American art, there came the influence of French art with
Hicks (1823-1890) and Hunt (1824-1879), both of them pupils of Couture
at Paris, and Hunt also of Millet at Barbizon. Hunt was the real
introducer of Millet and the Barbizon-Fontainebleau artists to the
American people. In 1855 he established himself at Boston, had a large
number of pupils, and met with great success as a teacher. He was a
painter of ability, but perhaps his greatest influence was as a
teacher and an instructor in what was good art as distinguished from
what was false and meretricious. He certainly was the first painter in
America who taught catholicity of taste, truth and sincerity in art,
and art in the artist rather than in the subject. Contemporary with
Hunt lived George Fuller (1822-1884), a unique man in American art for
the sentiment he conveyed in his pictures by means of color and
atmosphere. Though never proficient in the grammar of art he managed
by blendings of color to suggest certain sentiments regarding light
and air that have been rightly esteemed poetic.

[Illustration: FIG. 106.--INNESS. LANDSCAPE.]

THE THIRD PERIOD in American art began immediately after the
Centennial Exhibition at Philadelphia in 1876. Undoubtedly the display
of art, both foreign and domestic, at that time, together with the
national prosperity and great growth of the United States had much to
do with stimulating activity in painting. Many young men at the
beginning of this period went to Europe to study in the studios at
Munich, and later on at Paris. Before 1880 some of them had returned
to the United States, bringing with them knowledge of the technical
side of art, which they