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Watson and the Skarl 1778
6

could boast prior to the revolution. 11

in an art devoted to the likeness,[[strikethrough]] naturally [[/strikethrough]] such a canvas as Copley's remarkable venture into romantic painting, Watson and the Shark, was likely to go unnoticed. 

Washington 1772

The Exhumation of the MAstodon, 1806
Portrait of the Artist in his Musum, 1818

In an age of formal perfections, such as Copley and West Fled to at the court of the Georges, and even a half century later (when Andrew Jackson was about to enter the White House), the crude but indubitably honest expression of Charles Willson Peale was not likely to win wide fashionable recognition. Yet his early portrait of Washington, painted in 1772, is a [[strikethrough]]sort of [[/strikethrough]] milestone in the development of the American tradition of realism or naturalism, (to use either [[strikethrough]]the word of [[/strikethrough]] Alan Burroughs [[strikethrough]]the word of [[/strikethrough]] or Lloyd Goodrick's [[strikethrough]]too [[/strikethrough]] word.) his genre subjects, The Exhumation of the Mastodon, 1906 and portrait of the Artist in his museum, 1818 (?) are also milestones in [[strikethrough]] the documentation of [[/strikethrough]]American life and art, by one [[strikethrough]]an artist [[/strikethrough]] whose unique position as "The Artist of the Revolution" allowed him the right to quote "all of which I saw, and part of