w, C.
Y. Turner, Henri.

[Illustration: FIG. 108.--WHISTLER. WHITE GIRL.]

Most of the men whose names are given above are resident in America;
but, in addition, there is a large contingent of young men, American
born but resident abroad, who can hardly be claimed by the American
school, and yet belong to it as much as to any school. They are
cosmopolitan in their art, and reside in Paris, Munich, London, or
elsewhere, as the spirit moves them. Sargent, the portrait-painter,
really belongs to this group, as does also Whistler (1834-[23]), one
of the most artistic of all the moderns. Whistler was long resident in
London, but has now removed to Paris. He belongs to no school, and
such art as he produces is peculiarly his own, save a leaven of
influences from Velasquez and the Japanese. His art is the perfection
of delicacy, both in color and in line. Apparently very sketchy, it is
in reality the maximum of effect with the minimum of display. It has
the pictorial charm of mystery and suggestiveness, and the technical
effect of light, air, and space. There is nothing better produced in
modern painting than his present work, and in earlier years he painted
portraits like that of his mother, which are justly ranked as great
art. E. A. Abbey (1852-) is better known by his pen-and-ink work than
by his paintings, howbeit he has done good work in color. He is
resident in England.

[Footnote 23: Died, 1903.]

[Illustration: FIG. 109.--SARGENT. "CARNATION LILY, LILY ROSE."]

In Paris there are many American-born painters, who really belong more
with the French school than the American. Bridgman is an example, and
Dannat, Alexander Harrison, Hitchcock, McEwen, Melchers, Pearce,
Julius Stewart, Weeks (1849-1903), J. W. Alexander, Walter Gay,
Sergeant Kendall have nothing distinctly American about their art. It
is semi-cosmopolitan with a leaning toward French methods. There are
also some American-born painters at Munich, like C. F. Ulrich; Shannon
is in London and Coleman in Italy.

LANDSCAPE AND MARINE PAINTERS, 1878-1894: In the department of
landscape America has had since 1825 something distinctly national,
and has at this day. In recent years the impressionist _plein-air_
school of France has influenced many painters, and the prismatic
landscape is quite as frequently seen in American exhibitions as in
the Paris salons; but American landscape art rather dates ahead of
French impressionism. The strongest landscapist of ou