D. W. Tryon is an example of this new spirit at its best. His sentiment, if not so deep and strong as Inness at his best, is yet more delicate and subtle. That is due to a difference of temperament; but the way in which the picture is developed is a matter of training. With Inness the first thing was to express somehow his feeling, and then the canvas was worked over until it was got into construction; with Tryon the draftsmanship was fundamental and indispensable, and the sentiment was built upon that. One may say of our recent landscapes that they show a construction gained from the study of the nude and a handling adapted from the best foreign models. This education has greatly raised the average of our art; but a few men of the older time had strength and feeling to work out a training for themselves more personal and perhaps as permanent as that of the later day. Time tests all things, and its verdict cannot be foreseen; but it is doubtful if it will place any of our modern landscape artists before Martin or Inness. Among these modern landscape painters are men of such talent as H. W. Ranger, Bruce Crane, and J. Francis Murphy, without mention of whom no article on American landscape painters would be complete. [Illustration: H. W. RANGER] [Illustration: BRUCE CRANE] [Illustration: J. FRANCIS MURPHY] _SUPPLEMENTARY READING_ [Illustration] American Painters _George W. Sheldon_ Art in America _S. G. W. Benjamin_ American Masters of Painting _C. H. Caffin_ The Story of American Painting _C. H. Caffin_ A History of American Painting _Samuel Isham_ A History of American Art _K. S. Hartman_ Book of the Artists _Henry T. Tuckerman_ Life and Times of Asher B. Durand _John Durand_ Homer Martin _Frank Jewett Mather_ George Inness _Elliott Daingerfield_ George Inness: A Memorial _Alfred Trumble_ Homer Martin: A Reminiscence [Illustration] _QUESTIONS ANSWERED_ Subscribers desiring further information concerning this subject can obtain it by writing to _The Mentor Association_ _381 Fourth Avenue, New York City_ [Illustration: AUTUMN OAKS By GEORGE INNESS Metropolitan Museum of Art] _AMERICAN LANDSCAPE PAINTERS_ _George Inness_ ONE George Inness is said to have painted more good pictures than anyone else ever painted. At any rate, he painted more than he himself could remember. A landscape supposed to be Inness’s was brought by the man who owned it to the artist’s studio, with a request to know if it was genuine. Inness looked at the painting carefully for a long time. “Leave it, leave it,” he finally said. “Perhaps I shall recall it.”