GEORGE INNESS, “Sunset at Montclair” 34 Reproduced by the courtesy of F. F. Sherman, publisher of “George Inness,” by Elliott Daingerfield GEORGE INNESS, “Hackensack Meadows” 38 ALEXANDER H. WYANT, “Mohawk Valley” 52 ALEXANDER H. WYANT, “Broad, Silent Valley” 58 HOMER D. MARTIN, “View on the Seine” 78 HOMER D. MARTIN, “Westchester Hills” 84 Reproduced by the courtesy of F. F. Sherman, publisher of “Homer Martin,” by Frank Jewett Mather WINSLOW HOMER, “Undertow” 102 WINSLOW HOMER, “Marine” 104 WINSLOW HOMER, “Fox and Crows” 108 JOHN LA FARGE, “Paradise Valley” 130 JOHN LA FARGE, “The Muse” 134 JOHN LA FARGE, “The Three Kings” 138 JAMES A. MCNEILL WHISTLER, “Nocturne. Gray and Silver. Chelsea Embankment” 158 JAMES A. MCNEILL WHISTLER, “The Princesse du Pays de la Porcelaine” 162 JAMES A. MCNEILL WHISTLER, “The Yellow Buskin” 168 WILLIAM MERRITT CHASE, “The Woman with the White Shawl” 202 WILLIAM MERRITT CHASE, “Afternoon at Peconic” 204 WILLIAM MERRITT CHASE, “Child Dancing” 212 JOHN W. ALEXANDER, “The Ring” 230 JOHN W. ALEXANDER, “Walt Whitman” 236 JOHN S. SARGENT, “Mrs. Pulitzer” 256 JOHN S. SARGENT, “Carnation Lily, Lily Rose” 260 JOHN S. SARGENT, “Carmencita” 262 I THE ART TRADITION IN AMERICA During the Revolutionary Period, and immediately thereafter, art in America was something of sporadic growth, something not quite indigenous but rather transplanted from England. Painting was little more than portraiture, and the work was done after the English formula. America had no formula of its own. There was no native school of art, no tradition of the craft, no body of art knowledge handed down from one generation to another. West and Copley started out practically without predecessors. They were the beginners.