idual point of view and
method of expression. Born in Boston in 1836, and early developing a
taste for drawing, he entered a lithographer's shop at the age of
nineteen and two years later set up for himself. During the Civil War he
acted as correspondent and artist for _Harper's Weekly_, and, when peace
came, began his paintings with a series of army scenes. After that he
tried his hand at landscape, and finally found his real vocation as a
painter of the sea. From the first, his pictures possessed obvious
sincerity. More than that, they convince by their absolute veracity, as
a reproduction of the thing seen--seen, be it understood, by the eyes of
the artist--and so they have lived and been remembered where more
ambitious work would have been forgotten. Again, he chooses his subjects
with a fine disregard of what other men have done or decided that it was
impossible to do, and painted them in a manner wholly independent and
original. No other artist has so conveyed on canvas the weight and
buoyancy and enormous force of water; no one else approaches his as an
interpreter of the power of the sea.

Lineal successor of Inness is Dwight William Tryon, not that his work
resembles the older man's, but because both paint the American landscape
with a deep personal feeling and with a superb technique. Tryon has not
yet developed into so commanding a figure as Inness, but there is no
telling what the future holds for him, for his work seems as full of
poetry and emotion as the older man's, with a spirit more delicate and a
foundation more firm.

The work of Francis D. Millet has attracted wide attention and is also
full of promise and inspiration. Millet has the American versatility--he
has been a war-correspondent, an illustrator, has written travels,
criticism, and even fiction, has acted as an expert on old pictures,
raised carnations, and even, in time of need, performed surgical
operations on wounded soldiers--all of it, not as an amateur, but as a
professional asking no odds of anyone. In addition to which, he has
been a painter, and a painter whose work has shown no sign of haste or
distraction. The quiet, human side of English life in the seventeenth
and eighteenth centuries is what has most appealed to him, the country
parlors and white-washed kitchens, peopled with travellers and buxom
serving-maids, and these groups are unusually attractive and well
executed.

Allied with Millet in taste and viewpoint, and with a