But it is these several painters I speak of, Martin, Ryder, and Fuller, who figure for us as the originators of American indigenous painting. They will not be copied for they further nothing beyond themselves. No influence of these painters has been notable, excepting for a time in the early experience of one of the younger modernists who, by reason of definite associations of birthright and relativity of environment, essayed to claim Albert Ryder as a very definite influence; just as Courbet and Corot must in their ways have been powerful influences upon Ryder himself. Albert Ryder is too much of a figure to dismiss here with group-relationship, he must be treated of separately. So far then, there is no marked evidence that the influence of Fuller or Martin was powerful enough to carry beyond themselves. They had no tenets or theories other than those of personal clarification. All three remained the hermit radicals of life, as they remain isolated examples in American art; and all of them essentially of New England, in that they were conspicuously introspective, and shut in upon their own exclusive experience. But for all these variances, we shall find Homer Martin, George Fuller, and Albert Ryder forming the first nucleus for a definite value in strictly American painting. They were conscious of nothing really outside of native associations and native deductions. The temper of them is as essentially American as the quality of them is essentially Eastern in flavor. They seldom ventured beyond more than a home-spun richness of color, though in Ryder's case Monticelli had assisted very definitely in his notion of the volume of tone. We find here then despite the impress of artists like William Morris Hunt, Washington Allston, and the later Inness with the still later Winslow Homer, that gripping and relentless realist who took hold of the newer school of painter-illustrators, that the artists treated of here may be considered as the most important phase of American painting in the larger sense of the term. If I were to assist in the arrangement of an all American exhibition to show the trend toward individualism I should begin with Martin, Fuller and Ryder. I should then proceed to Winslow Homer, John H. Twachtman, Theodore Robinson, Hayes Miller, Arthur B. Davies, Rockwell Kent, then to those who come under the eighteen-ninety tendency in painting, namely the Whistler-Goya-Velasquez influence.