Such reserve on Stuart’s part is the measure of his ranking as an artist. He worked, as he said himself, to express sentiment, grace, and character. In Washington he found all three; with many of his sitters he was less fortunate. Consequently, he is not a painter of great pictures, but of some great portraits. Yet the limitation is in a way an evidence of greatness. It was the fashion of his time to try and paint great pictures. From this he had the hardihood to separate himself, reaching with a true originality of feeling after what really interested him, the big essentials in the subjects that he studied. Thus he put himself in line with the great painters, shaking himself free of the fads and nostrums of his time, and betaking himself straight to nature. In the story of American art he holds a unique and dignified position. [Illustration: colophon] THE COUNTRY LIFE PRESS GARDEN CITY, N. Y. End of Project Gutenberg's American Masters of Painting, by Charles H. Caffin