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FINALLY THE "DISTINCTIVE LOCAL FRESHNESS AND UNTAUGHT, NATURAL BEAUTIES" ADMIRED BY JONES MAY BE SEEN IN [[UNDERLINE]] EEL-SPEARING AT SETAUKET [[/UNDERLINE]] SURELY AN AMERICAN CLASSIC.

[[marginal note]] EEL-SPEARING AT SETAUKET 1845 [[/marginal note]]

AGAIN, AMERICAN ART WOULD BE THE POORER WITHOUT THIS MASTERPIECE OF NOSTALGIC UNDERSTATEMENT.

/ HOW CAN WE ACCOUNT FOR THE INTELLECTUAL SNOBBISM WHICH SEES IN SUCH ARTISTS NO MORE THAN THE "STORY" OF THE AMERICAN PAST?

GENRE PAINTING CONTINUED AS A VISUAL RECORD OF AMERICAN LIFE WITH QUIDOR, WOODVILE, BLYTHE AND EASTMAN JOHNSON [[STRIKE THROUGH]], AMONG OTHERS, [[/STRIKE THROUGH]] CARRYING ON THE TRADITION.

QUIDOR, WITH MOUNT, MADE HIS RE-INCARNATE RE-APPEARANCE IN 1942, THANKS TO [[STRIKE THROUGH]] THE LABORS OF [[/STRIKE THROUGH]] JOHN BAUR. THE SLIDES SHOWN DO NOT GIVE THE FANTASTIC IMAGE OF HIS BEST WORK, AS ILLUSTRATED IN THE CATALOG OF THE BROOKLYN MUSEUM EXHIBITION. THEY TO TIE IN, HOWEVER, WITH THE EARLIEST REFERENCE TO THE ARTIST, BY DUNLAP: