BELLOWS, Albert F., painter, born in Milford, Massachusetts, 29 November 1829; died in Auburndale, Massachusetts, 24 November 1883. He was taken as a child to Salem, and, when sixteen years old, entered an architect's office in Boston, where he remained three years. He then went into partnership with an architect of established reputation, but, in 1840, decided to give his entire attention to painting. He accepted in that year the principalship of the New England school of design, and held it until 1846, when he went abroad and studied for many years in Europe, especially in Paris and Antwerp. His early works, mostly genre pictures in oil, include "The First Pair of Boots," "The Sorrows of Boyhood," and "The Lost Child." In 1865 he turned his attention to watercolor painting, studying chiefly in England, and he has excelled in this branch of the art, especially in his landscapes. Among his later watercolors are "The Notch at Lancaster" (1867); "Afternoon in Surrey" (1868) ; "The Thames at Windsor" ; "The Reaper's Child " ; "New England Homestead"; and "A Devonshire Cottage." His "Sunday in Devonshire" (in oils) and his " Study of a Head," "Autumn Woods," and "Sunday Afternoon in New England" (in water-colors), were sent to the exhibition at Philadelphia in 1876. To the Paris exhibition of 1878 he sent "A New England Village School" (in oil) and "A New England Homestead" (in water-colors). Other pictures by his hand are " The Willow Wagon," " The Nook," "Salem Turnpike," "The Christening Party," and "Coasting in New England." About a dozen of his pictures have been engraved. Most of his work in this country was done in New York and Boston. He was elected associate of the national academy in 1859, academician in 1861, and in 1868 honorary member of the royal Belgian society of water-colorists*an honor rarely bestowed upon foreigners. He was also one of the early members of the American society of painters in water-colors. Mr. Bellows frequently painted in oils with the spatula, without using a brush*a method that gives great purity to the tints, but is only productive of good results in the hands of a skilful artist. In watercolor painting he followed almost entirely the old school, which, for the high lights of the picture, depends on the color of the paper on which it is painted.