son, whose technique has developed
through many interesting phases from exceeding delicacy to a
sculpturesque boldness of line without losing its rich texture, and
without becoming monotonous. Mr Gibson is chiefly beloved by his
public for his almost idolatrous realizations of the beautiful
American woman of various types, ages and environments. His works are,
however, full of the most subtle character-observations, and American
men of all walks of life, and foreigners of every type, impart as much
importance and humour to his pages as his "Gibson girls" give
radiance. His admitted devotion to Du Maurier, in reverence for the
beautiful woman beautifully attired, has led some critics to set him
down as a mere disciple, while his powerful individuality has led
others to accuse him of monotony; but a serious examination of his
work has seemed to reveal that he has gone beyond the genius of Du
Maurier in sophistication, if not in variety, of subjects and
treatment. As much as any other artist Mr Gibson has studiously tried
new experiments in the new fields opened by modernized processes of
photo-engraving, and has been an important influence in both English
and American line-illustration.

Among other students of society, particular success has been achieved
by C.S. Reinhart (1844-1896), Charles Howard Johnson (d. 1895), H.W.
M'Vickar, S.W. van Schaick, A.E. Sterner, W.H. Hyde, W.T. Smedley and
A.B. Wenzell, each of them strongly individual in manner and often
full of _verve_ and truth.

_Life_, and other comic papers, including for many years _Truth_, also
brought forward caricaturists of distinct worth and a marked tendency
to specialization. F.E. Atwood (d. 1900) was ingenious in cartoons
lightly allegorical; Oliver Herford has shown a fascination elusive of
analysis in his drawings as in his verse; T.S. Sullivant has made a
quaintly intellectual application of the old-world devices of large
heads, small bodies, and the like; Peter Newell has developed
individuality both in treatment and in humour; E.W. Kemble is
noteworthy among the exploiters of negro life; and H.B. Eddy, Augustus
Dirk, Robert L. Wagner, A. Anderson, F. Sarka and J. Swinnerton have
all displayed marked individuality.

In distinction from the earlier period, the modern school of American
caricature is strongly national, not only in subject, but in origin,
training and in mental