UNITED STATES. In the Colonial period British portraitists were active in America, hut none of these possessed essentially American qualities. The Americans Copley, West, Lesley, and New ton were British painters, who passed most of their lives in England. Even after the Revo lution American painting remained under Brit ish influence, although there was an inclina tion to follow the Italians in larger subjects. The principal historical painter of this early period was Trumbull (1756-1843), who depicted Revolutionary subjects. Gilbert Stuart (1755 18'_'S), famous for his portraits of Washington, was the chief portraitist, and for the period an excellent colorist. Among other portraitists were .Vanderlyn, Allston, the two Peales, Jarvis, and Sully—none of them, except Sully, ever ris ing above mediocrity.
About 1825 an indigenous art began to appear. It manifested itself principally in the landscape painters of the Hudson River school (q.v.), founded by Thomas Cole. The earliest painters of this school were self-taught, but its work im proved with men like Durand, Kensett, and F. E. Church. Connected with this school, at least in sentiment, was the work of Hubbard, Bierstadt, Moran, and others, who painted extensive pano ramas of the Rocky Mountains and similar grand scenery, and the work of Sanford, :McEntee, Whit tredge, Bradford, and Richards, who painted smaller but much better canvases. 'Flue portrait painters of the period were Harding, Elliott, In man, Huntington, and Healey.
Meanwhile the influence of foreign schools, which was to some extent evident, in the work of these men, began to make itself felt with greater force. That of the Dusseldorf school was repre sented by Leutze (1816-68). the painter of Revolutionary subjects. More important was the French influence, introduced by flicks (1823 90), a pupil of Couture, and especially by W.
Hunt (1824-79), who was a disciple of the Barbison school, the methods of which lie intro duced into this country. Important contempo
rary figure painters were George Fuller, Eastman Johnson, and Vedder, and especially John La Farge and Winslow Homer. both men of high technical accomplishments and great originality. In landscape there were Wyant, Inness (d. 1897). the most original and able American landscape painter. and Homer Martin ((l. 1897).
The latest development may be said to have begun with the Centennial Exhibition of 1876. which revealed to American artists the achieve ments of foreign schools. Since that time it has been the general custom to study abroad, to sonic extent at Munich, but prineipally at Paris. In deed, French methods have become quite general ly adopted. although American art has remained national in its choice of subjects and in its con ceptions. The principal centre of art is New York, and the new development is especially rep resented by the Society of American Artists (q.v.). founded in 1878, in opposition to the more conservative National Academy (q.v.). Among the more important contemporary artists ing in America are \V. M. Chase, aim excellent technician in all respects, and in all subjects, Blum, Dewing, Thayer. and Kenyon Cox. Figure and genre painting are further represented by men like Simmons, Hassan', Wiles, Blaslithdd. and Turner; portraiture by Lockwood. Tarbell, and Vinton; landscape by Weir, Twachtman. Theodore Robinson (d. 1896), Horatio Walker and Alaynard.
There is nothing essentially national about the American painters who practice abroad. Prob ably the most important artist of American birth was Whistler the essence of whose work is refinement, both in conception and color. The work of the other Americans residing at Paris and elsewhere, like Alexander Harrison, ,Melehers, and Walter Gay. is rather French than anything else. Among the Americans at London E. A. Abbey ( is a good colorist, and Sargent is in many respects the est portrait painter of the present day.