from 1878 to 1887. His early paintings of the 1870s were often tonalist landscapes, sometimes including cattle, trees and small buildings. Artistic maturity The 1880s and 1890s are thought of as Ryder's most creative and artistically mature period. During the 1880s, Ryder exhibited frequently and his work was well received by critics. His art became more poetic and imaginative, and Ryder wrote poetry to accompany many of his works. His paintings sometimes depicted scenes from literature, opera, and religion. Ryder's signature style is characterized by broad, sometimes ill-defined shapes or stylized figures situated in a dream-like land or seascape. His scenes are often illuminated by dim sunlight or glowing moonlight cast through eerie clouds. The shift in Ryder's art from pastoral landscapes to more mystical, enigmatic subjects is believed to have been influenced by Robert Loftin Newman, with whom Ryder shared a studio. Later years After 1900, around the time of his father's death, Ryder's creativity fell dramatically. For the rest of his life he spent his artistic energy on occasionally re-working existing paintings, some of which lay scattered about his New York apartment. Visitors to Ryder's home were struck by his slovenly habits—he never cleaned, and his floor was covered with trash, plates with old food, and a thick layer of dust, and he would have to clear space for visitors to stand or sit. He was shy and did not seek the company of others, but received company courteously and enjoyed telling stories or talking about his art. He gained a reputation as a loner, but he maintained social contacts, enjoyed writing letters, and continued to travel on occasion to visit friends. While Ryder's creativity fell after the turn of the century, his fame grew. Important collectors of American art sought Ryder paintings for their holdings and often lent choice examples for national art exhibitions, as Ryder himself had lost interest in actively exhibiting his work. In 1913, ten of his paintings were shown together in the historic Armory Show, an honor reflecting the admiration felt towards Ryder by modernist artists of the time who saw his work as a harbinger of American modernist art. By 1915 Ryder's health deteriorated, and he died on March 28, 1917, at the home of a friend who was caring for him. He was buried at the Rural Cemetery in his birthplace of New Bedford, Massachusetts. A memorial exhibition of his work