John La Farge (q.v.) is in a way a link be tween the old and the new, having been a pupil of Couture, and the first, practically, to seek color for its own sake, in oil, in his very numer ous water-colors and in his later monumental work both on walls and in stained glass. An other of the older men, Robert Weir (d. 1889), was noted for his important figure compositions, apparently influenced by the European schools; Alden Weir renders much simpler scenes in methods somewhat more affected by wholly modern processes; Thomas Moran, mountain landscapes and Venetian scenes inspired by the English painters of the early part of the cen tury. A number of the figure and landscape painters have established themselves in Paris, MacEwen, Melchers, Julius Stewart, Edwin Lord Weeks (d. 1903), Johnston and others; Hitchcock in Holland, Ulrich in Germany, etc. The list of marine painters is also long; among the most talented are Arthur Quartley (q.v.) (d. 1886), Henry Snell, T. W. Richards, C. T. Chapman and some others, and, among the older men, James Hamilton (d. 1878).
In figure painting there has seemed to be a lack of popular appreciation for anything more ambitious than small examples of genre, usu ally familiar and domestic themes, rather than for the historic or the more purely imaginative or mystical — the most important exceptions of late years being the dignified, almost monu mental canvasses of Abbot Thayer, and the Oriental interiors of Siddons Mowbray. The i
increasing use of large mural paintings in pub lic and private buildings has, however, devel (Ted a school of truly decorative artists, of which the first in point of time was Wm. Mor ris Hunt, Frank Millet (d. 1912); the living painters are Mowbray, Dewing, Simmons, Blashfield, Vedder, C. Y. Turner, Robert Reid and a few others.
Bibliography.— Cunningham,