For fifteen years no picture by him was seen at the exhibitions, and only a few intimate friends knew that he still painted in the intervals of farm labour; at first in one of the rooms of his home, and later in an old carriage house, converted into a studio. His subjects were elaborations of the sketches made in Europe, small landscapes, and portraits of his children, relatives, and friends; often never finished, sometimes destroyed because they did not reach what he desired. Meanwhile his work on the farm was successful; many improvements were carried out, and tobacco culture was introduced with good results, until the fall of prices in 1875. This forced him into bankruptcy and restored him to art. During the ensuing winter he finished twelve canvases, which were exhibited at Boston, meeting with hearty praise and a ready sale. In 1878 appeared at the exhibition of the National Academy “By the Wayside” and “The Turkey Pasture in Kentucky,” followed in succeeding years by “The Romany Girl,” “And She was a Witch,” “The Quadroon,” and “Winifred Dysart.” Being elected a member of the Society of American Artists, he sent to its exhibitions “Evening--Lorette, Canada,” “Priscilla Fauntleroy,” and “Nydia.” Among his other works, exclusive of numerous portraits, especially of ladies and children, were “Psyche,” “The Bird Catcher,” “Girl and Calf,” “Fedalma,” and “Arethusa,” the last named being his single example of the nude. But this rich aftermath of creative work was all too short, lasting only eight years, for George Fuller died after a brief illness in March, 1884. He was buried at Deerfield, and a few weeks later a memorial exhibition was held in Boston comprising 175 paintings: an almost complete _résumé_ of what existed of his art work, produced through forty years. Two years later the house of Houghton, Mifflin & Co. published a sumptuous memorial volume, containing appreciations by W. D. Howells, Frank D. Millet, Thomas Ball, W. J. Stillman, and J. J. Enneking; a sonnet by Whittier, and engravings by Closson, Kruell, and Cole.