D. W. Tryon is an example of this new spirit at its best. His sentiment, if not so deep and strong as Inness at his best, is yet more delicate and subtle. That is due to a difference of temperament; but the way in which the picture is developed is a matter of training. With Inness the first thing was to express somehow his feeling, and then the canvas was worked over until it was got into construction; with Tryon the draftsmanship was fundamental and indispensable, and the sentiment was built upon that. One may say of our recent landscapes that they show a construction gained from the study of the nude and a handling adapted from the best foreign models. This education has greatly raised the average of our art; but a few men of the older time had strength and feeling to work out a training for themselves more personal and perhaps as permanent as that of the later day. Time tests all things, and its verdict cannot be foreseen; but it is doubtful if it will place any of our modern landscape artists before Martin or Inness. Among these modern landscape painters are men of such talent as H. W. Ranger, Bruce Crane, and J. Francis Murphy, without mention of whom no article on American landscape painters would be complete.
H. W. RANGER
BRUCE CRANE
J. FRANCIS MURPHY
SUPPLEMENTARY READING
| American Painters | George W. Sheldon |
| Art in America | S. G. W. Benjamin |
| American Masters of Painting | C. H. Caffin |
| The Story of American Painting | C. H. Caffin |
| A History of American Painting | Samuel Isham |
| A History of American Art | K. S. Hartman |
| Book of the Artists | Henry T. Tuckerman |
| Life and Times of Asher B. Durand | John Durand |
| Homer Martin | Frank Jewett Mather |
| George Inness | Elliott Daingerfield |
| George Inness: A Memorial | Alfred Trumble |
| Homer Martin: A Reminiscence |