Jervis McEntee (1828-1891) was one of the most distinctive American landscape painters of the 19th century, but has not been sufficiently appreciated or accessible in modern times. He was a prominent member of the loosely connected group of American landscape painters that became known as the Hudson River School. McEntee was greatly admired in the nineteenth century, but has not seen the resurgence in appreciation and public interest that artists like Thomas Cole, Asher B. Durand, and Frederic Church have received. This book, with its 26 full-color paintings, includes a number of McEntee's works not previously seen by the public, as well as family photographs from several of his descendants. McEntee today is remembered as much for the journal he kept as he is for his paintings. That journal, which McEntee faithfully recorded from 1872 to 1890, has become the most important record of the lives and concerns of the landscape painters of the Hudson River School. Inspiration for much of McEntee's artwork came from nature, the landscape that he saw around his hometown of Rondout, a busy river port that later became part of Kingston, and in the nearby Catskill Mountains. He studied under Frederic Edwin Church, the Hudson River School's most successful painter, was an artist-in-residence at the famous 10th Street Studio Building in New York City, and was a member of the National Academy of Design. He counted among his friends Sanford Gifford, Worthington Whittredge, Frederic Church, and Edwin Booth, assassin John Wilkes's brother and the foremost American actor of his time. His studio-cottage in Rondout (Kingston) was designed by another close friend, Calvert Vaux, one of the 19th-century's legendary architects and landscape designers, co-designer New York City's Central Park. The book consists of two illustrated essays—a biographical sketch of McEntee by Lowell Thing, and an essay on mid-Hudson Valley artists' studios by architectural historian William Rhoads.