MAURICE PRENDERGAST (1861-1924) belongs to the same pe riod but his work has been developed and relates to the Persian rather than the Chinese manner, direct in handling but highly imaginative patterns backed by high colour suggesting mosaic glass.
Sigurd Skou (1877-1929), Gifford Beal (1879– ), Rockwell Kent (1882– ), John E. Costigan (1888– ), and John R.
) use a fast and direct method and are ested in design first and colour second. Possibly Beal thinks more of tonality than the others. George Elmer Browne enters this same group, but with a broader handling of swift, wet colour used simply. Browne has taught painting for many years and has had a decided influence on young American painters. He was educated in Paris. Kent has the most striking sense of design in this group, while Koopman, subjecting colour to a decorative treatment rhythm, plays a strong part in creating this feeling. He paints and draws in water-colour and treats of broken pattern and colour, design translated to pattern, fresh and rich in handling. Costigan achieves beautiful water-colour handling daringly on smooth paper.
John Marin (1875– ) started from a conservative form of painting and steadily developed a swift and subjective manner in his late work. Objective things have little place in his scheme. This intense effort to throw off the representative type so domi nant for many years and work inward, not outward, causes one to wonder what the ultimate answer will be.
Chauncey Ryder presents another phase, not exactly realistic but rather decorative and free, treating mountains and trees in an extremely simple manner.
Other water-colourists who are enriching the art of the present time are Emerton Heitland, a modern painter in water-colour, brilliant in style ; Frank Hazell, who used tempera with force and freedom ; J. Scott Williams, who uses clear water-colour with effect ; and John Alonzo Williams, who illustrates and paints in a rich manner. John Goss, Emil J. Bistran, Paul Gill and Edward Hop per work in a direct and characteristic way, putting down their impressions with power, keenly observing the salient points of in terest and never becoming commonplace. Harley Perkins achieves
pattern and colour in an extremely modern way. William J. Ayl ward, Arthur Beaumont, Roy Brown, Julius Delbos, Sir Lloyd C. Griscom and Frank Tenney Johnson present work of distinction. Charles W. Hawthorne (1872-193o) used water-colour with liquid flowing effects.
George (Pop) Hart (1868-1933) and Eugene Higgins search out the heavy, gloomy feeling in life, both painting in a dark, strong manner. Walter Farndon views water-colour as a helper to his oils, sketchy and rather light in colour. Oscar Julius, Wayman Adams, Charles S. Chapman, Alpheous P. Cole, E. Irving Conse, Frederick K. Detwiller, Jonas Lie, George Laurence Nelson, G. Glenn Newell, Raymond Perry, Arthur E. Powell, Ernest D. Roth, W. Granville Smith, Stanley W. Woodward, Cullen Yates, Frank N. Wilcox, J. Lars Hoftrup and Howard Giles, Gordon Grant and Herbert B. Tschudy represent a few of the many water-colourists of note. Armin Hansen (b. 1886) paints the sea with fine feeling. Ezra Winter uses water-colour to plan and design the decorations which he finally paints in oil or fresco. His work has excellent mural quality; formal design holds a strong place in his field. He uses one of the methods employed by the Pompeians.
William J. Whittemore is a landscape and figure painter who has for many years been a devotee of this medium. His recent work is free and colourful, and has a fine quality. William Stark weather, a vigorous painter, spares no trouble in finding interesting motives, unusual and rich in colour. He is a personage in this field. Harry Vincent (1864-1931), another water-colourist, used the sea and boats to create luscious and fluid combinations of colour. George Walter Dawson, professor of drawing at Univer sity of Pennsylvania, is widely known as a water-colourist. J.