While working at his trade as wagon painter, Willard devoted all his spare time, energy, and what little money he could save to the study of painting on canvas. He had a very decided sense of humor and nearly all of his earlier subjects are of a humorous character. It was early in the seventies that he painted the first two pictures from which he received compensation. These were the outcome of a request by his employer’s daughter asking him to paint a picture for her. “Pluck number One” was the result. It depicts a dog hitched to a little wagon, a boy driving, and his baby sister in the wagon with him. The dog takes off the road in chase of a rabbit, and the little boy desperately trying to stop him. A wreck follows where the rabbit jumps a log, but the youthful occupant clinging to the lines, and the little sister, escapes unhurt. [Illustration: “YANKEE DOODLE” Willard’s original conception for the humorous painting submitted to J. F. Ryder. From this, the “Spirit of ’76,” with its far-reaching inspiration, was finally evolved] In Cleveland at this time was a photographer and art dealer named J. F. Ryder. This painting came to his attention with other early productions by Willard. The astute Ryder quickly recognized the quaint humor and natural ability displayed in these early pictures. Willard thereupon painted a sequel to “Pluck” which he entitled “Pluck number Two.” Mr. Ryder had these two paintings reproduced in color by chromo-lithography. They became two of the most popular pictures of their day. They sold at ten dollars the pair. Many thousands were sold. This proved to be the beginning of a long and profitable business acquaintance and lasting friendship between Willard and Ryder. The proceeds from the sale of these pictures permitted Willard to take an art course in the studio of J. D. Eaton, of New York. This was in 1873. Following this, Willard painted among other things a picture which he called “Yankee Doodle.” It was an ordinary sized canvas and delineated a Fourth of July celebration in a country village. An old man in the center beating a drum, with a younger man on each side, the one with a drum, the other with a fife. The surroundings and background were rural. This painting was finished a few months prior to the opening of the Centennial Exposition of 1876 at Philadelphia. When Mr. Ryder saw the picture, he immediately conceived the idea of changing the subject from humorous to patriotic, and Willard concurred in the idea.