During the exhibition at the National Academy of Design in New York in 1900 a young painter awoke one fine morning to find himself famous. He was a youth of German extraction by the name of Charles Schreyvogel (1861-1912), and his painting, “My Bunkie,” was the sensation of the display. It was an episode of the United States army campaign against the Indians, a cavalryman rescuing his chum, whom he had drawn up on his horse. Another painter of western life had appeared, and had made astonishingly good. Schreyvogel followed this picture with many more of no less excellence. He painted the life of the plains,--the Indian hunting the buffalo, attacking settlers, at his war dance, the fighting of the American trooper,--in short, he disclosed a fine pictorial insight in that wild and stirring life that has now practically passed away. [Illustration: Copyright, 1900, by Charles Schreyvogel. A HOT TRAIL By Charles Schreyvogel] E. IRVING COUSE Trained in the Paris schools, E. Irving Couse (1866-), after doing some decorative work, devoted his attention entirely to painting the Indians of the Southwest, depicting rather the intimate life out of doors, or at the peaceful occupation of weaving, hunting, and other distractions. He gives these canvases a decorative treatment, and they disclose an intimate knowledge of his subject. Mr. Couse has a studio at Taos, New Mexico, and is represented in many public collections throughout the country. Besides he has had many medals and honors. PAINTERS OF PLAIN AND FOREST Another artist to paint the same sort of subject with distinguished success is Ernest L. Blumenschein (1874-), who began as an illustrator, and after work at portraiture became interested in the life of the Indian. He too went some years ago to Taos, where quite a colony of painters assembled. His first important picture to attract attention was his “Wiseman, Warrior, and Youth,” a group of three characteristic red men. Both Mr. Couse and Mr. Blumenschein may be said to represent the “tame” Indian; for all their canvases depict the savages at peaceful occupations. W. Herbert Dunton is still another of the Taos colony, where he paints much of the year; though he gives attention to illustrative work as well. He has seized upon the characteristics of the Indian with artistic fidelity. [Illustration: E. IRVING COUSE In His Studio] In a similar manner N. C. Wyeth, both in painting and in illustrative work, has been no less successful. Mr. Wyeth was a pupil of the late Howard Pyle, whose influence is felt strongly in his work.