The ripeness of our art for a change before the new movement actually assumed definite shape had already been suggested and welcomed in advance by such artists as Eastman Johnson, Homer Martin, and Samuel Colman, the admirable painter in oil and water colors, strong in _chiaro-oscuro_, brilliant in color, and, although without academic training abroad, of a most excellent catholic spirit in all matters relating to art, ready to accept the good of whatever school, and to aid progress in the arts of his native land by whomsoever promoted. Benjamin C. Porter, whose massive characterizations in portraiture, broadly treated and admirably colored, have been among the most important achievements in recent American art, and Winslow Homer, A. H. Wyant, and E. M. Bannister are also among the artists whose sympathies are naturally with the new movement, although receiving their art training chiefly in this country, and who have thus indicated and prepared the way for the assertion of new influences in our art. R. Swain Gifford should be added to the list of the noteworthy landscape-painters who have thrown the weight of their influence in advance to welcome to our shores new elements of progress and change whereby to quicken American art to fresh conquests. This artist at one time devoted his efforts to marine-painting, in which he did and still does some creditable work, his knowledge of ships being sufficiently technical to satisfy the nautical eye; but since his sojourn in Algeria, and the observations made in the Continental galleries and studios, he has devoted himself to landscape, and adopted a bolder style and a truer scheme of color. The influence of French art is perceptible in his later methods, but altogether as an influence, and in no sense as an imitation, for in his works there is always evident a sturdy self-assertion, whether in subject or treatment. In catching the gray effects of brooding skies receding in diminishing ranks through an aërial perspective of great distance and space, and giving with fine feeling the Druid-like spirit of clumps of sombre russet-hued cedars moaning by the granite shore of old Massachusetts, and identifying himself with the mysterious thoughts they suggest, Mr. Gifford has no superior on this side of the Atlantic. As a professor in the Cooper Institute, his influence is of great importance to the future of American pictorial art. [Illustration: MOONLIGHT.--[JOHN J. ENNEKING.]]