tistic intentions.

"The school to which they belong is one which has latterly gathered to
itself a very large number of adherents among the younger painters--a
school that, for want of a better name, can be called that of the new
Pre-Raphaelites. It has grown up, apparently, as an expression of the
reaction which has recently set in against the realistic beliefs taught
so assiduously a quarter of a century ago. At the end of the seventies
there was a prevailing idea that the only mission of the artist was to
record with absolute fidelity the facts of nature.... To-day the fallacy
of that creed is properly recognized, and the artists on whom we have to
depend in the immediate future for memorable works have substituted for
it something much more reasonable.... There runs through this new school
a vein of romantic fantasy which all thinking people can appreciate,
because it leads to the production of pictures which appeal, not only to
the eye by their attractiveness of aspect, but also to the mind by their
charm of sentiment.... It is because Mr. Young Hunter and his wife have
carried out consistently the best principles of this school that they
have, in a career of some half-dozen years, established themselves as
painters of noteworthy prominence. Their romanticism has always been free
from exaggeration and from that morbidity of subject and treatment which
is occasionally a defect in the work of young artists. They have kept
their art wholesome and sincere, and they have cultivated judiciously
those tendencies in it which justify most completely the development of
the new Pre-Raphaelitism. They are, indeed, standing examples of the
value of this movement, which seems destined to make upon history a mark
almost as definite as that left by the original Brotherhood in the middle
of the nineteenth century. By their help, and that of the group to which
they belong, a new artistic fashion is being established, a fashion of a
novel sort, for its hold upon the public is a result not of some
irrational popular craze, but of the fascinating arguments which are put
into visible shape by the painters themselves."

<b>HYATT, HARRIET RANDOLPH--MRS. ALFRED L. MAYER.</b> Silver medal at
Exposition in Atlanta, Georgia, 1895. Member of National Art Club, New
York. Born at Salem, Massachusetts. Studied at Cowles Art School and with
Ross Turner; later under H. H. Kitson and Ernest L. Major.

Among this artist's pictures are "Shouting