too became associated with Giverny and with French Impressionism and he passed his confidence in the Impressionist palette to his many students. A younger artist, Louis Ritman, was Russian born and Chicago-trained and he came to Giverny in 1911 and spent the next eighteen summers there, even during World War I, when most of the Americans had left for home. Ritman was highly influenced by Frieseke and he painted women in interior and outdoor settings, usually approaching the figure with some delicacy and handing the background in a manner reminiscent of French Impressionism. Another American painter whose work clearly falls under the description of "Decorative Impressionism" is Robert Reid. Although Reid was not part of the Giverny Colony, he was Paris-trained and at the same time it was active, he was working out his own solution of how to reconcile his academic training with a decorative aspect. His solution was different from the Giverny painters. He used boldly decorative compositions, full of cool tones, that had a distinct organic influence that made them reminiscent of Art Nouveau. A second generation Because several members of the Giverny Colony were teachers and mentors to a number of other American painters, their style of painting lived on through the works of their students. Two of these artists, the Chicago trained painters Theodore Lukits and Christian von Schneidau both ended up in California, where American Impressionism remained popular for a longer time than anywhere else. Both Lukits and Von Schneidau were students of the Giverny Impressionist Karl Albert Buehr, at the School of the Art Institute of Chicago where they both excelled and won traveling scholarships. Both were also students of Richard E. Miller. Lukits studied with Miller in St. Louis, when he was a young prodigy and von Schenidau studied with him in the art colony of Provincetown, Massachusetts where Miller lived until his death. Lukits was already doing large, decorative works with well modeled figures and highly patterned backgrounds in Chicago in 1918 and 1919 and he continued the practice in California, with many works of Asian subjects like the silent film actor Sōjin Kamiyama and portraits like "Mrs. Ray Milland" (1942). Theodore Lukits used the term "Decorative Portraits" himself in describing such works, so the alignment with Brinton's original thesis is clear. Like Miller's work, the artist painted the figure quite realistically, but created the background with more decorative elements. Von