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American Southwest (1) and new artists appeared (1) another group of painters moved west (1) but nevertheless expressing deeply the impact of the environment upon the artist. Ranney (1) depth (1) drawn not by the cowboys and Indians and hell-roaring mine camp characters but by the sheer dramatic quality of the Western landscape. These painters—Bierstadt (1) exceptional work does now and then appear—product of the times and the environment (1) height and remoteness of the Western scene. They caught its changing moods in the same tradition that led other romantic landscape painters—Cole (1) Hill (1) in his landscapes and studies of Indian life on the early railroad surveys; George Catlin (1) in his paintings of Rocky Mountain scenery and Indians of the Plains; John Mix Stanley (1) in the latter half of the Nineteenth Century (1) in valuable records made during his early service on the Upper Mississippi; Still (1) including Frank Tenney Johnson and William R. Leigh. Meanwhile (1) Karl Bodmer; Alfred Jacob Miller (1) Keith and others—were stirred by the vastness (1) like all the rest (1) lnness (1) Moran (1) Native American (1) Remington and Schreyvogel caught the spirit as well as the factual detail of what they painted. Late in the century the romance of the cowboy-cattle theme captivated the imagination (1) Russell (1) Shelf 2 (1) Tait (1) the true artistic value of whose great record of the Western Indian has only recently been fully recognized; and Captain Seth Eastman (1) Wyant and Durand—to interpret the Hudson River and the Catskill Mountains a few years earlier. (1)
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