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By Lloyd Goodrich

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21% x 38%. The St. Louis Art Museum. 57 The Bridle Path, White Mountains. 1 868. Oil. 24H x 38. 58 Sterling and Francine Clark Art Institute. TOEr Long Branch. 1869. Oil. 16 x 2 1 V2. 59 Museum of Fine Arts, Boston. r "^i^' OPPOSITE, above: On the Beach, c. 1870. Oil. 15 x 24V2. Canajoharie Library and Art Gallery. OPPOSITE, below: Beach Scene, An Adirondack Lake. c. 1870. Oil. 1 1 V4 x ioi/4. Private Collection. 1870. Oil. 24 x 38. Henry Gallery, University of Washington. 60 ^ :j*»» -"^'KS- V- Crossing the Pasture, c.

His fashionable young who did a man's was noted for work its in ladies their spectacle of clouds, the sea were things of the sunlit, the air, new awareness of the new drama of sense of the nature's shifting moods. He may have seen waterexcelled. He himself exhibited far. ) More indisputable and gray northern light. Hard edges and was more envelopment by atmosphere; grays, and a new depth and body; with the power no longer the quiet water of Gloucester harbor but a threatening or ( influences were the English softening outlines and subduing colors, and the climate of the East Coast with skies women sky no longer clear but a moving colors by English artists, a the were sturdy This part of the East Coast nets.

Successfully designed. viewpoint and emphasis. His works of were much preoccupied with women. But less in evidence, traces of artistic and these young ladies his attitude was less were picking flowers, catching butterflies, reposing in hammocks, reading novels, embroidering, and engaged in other gentle female occupations, or simply sitting in revery. Often they were individuals instead of parts of a scene. The note of sentiment was clearer but implicit rather than explicit: an appreciation of feminine grace but Though more intimate, the artist's attitude was bordered on sweetness, but their unmistakable Still not idealized, his women shown far from reality were portrayed with a 31 sensual.

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