and still lifes Heade married and moved to St. Augustine, Florida in 1883. He remained there and continued to paint until his death in 1904. During his later years in St. Augustine, Heade painted numerous still lifes of southern flowers, especially magnolia blossoms laid on velvet. This was a continuation of an interest in still life that Heade had developed since the 1860s. His earlier works in this genre typically depict a display of flowers arranged in an ornate vase of small or medium size on a cloth-covered table. Heade was the only 19th-century American artist to create such an extensive body of work in both still life and landscape. Heade died in St. Augustine in 1904. Heade and the Hudson River School Art historians have come to disagree with the common view that Heade is a Hudson River School painter, a view given wide currency by Heade's inclusion in a landmark exhibition of Hudson River School landscapes at the Metropolitan Museum of Art in 1987. The leading Heade scholar and author of Heade's catalogue raisonné, Theodore E. Stebbins, Jr., wrote some years after the 1987 exhibition, "Other scholars—myself included—have increasingly come to doubt that Heade is most usefully seen as standing within that school." According to the Heade catalogue raisonné, only around 40 percent of his paintings were landscapes. The remaining majority were still lifes, paintings of birds, and portraits, subjects unrelated to the Hudson River School. Of Heade's landscapes, perhaps only 25 percent treated traditional Hudson River School subject matter. Heade had less interest in topographically accurate views than the Hudson River painters, and instead focused on mood and the effects of light. Stebbins wrote, "If the paintings of the shore as well as the more conventional compositions...might lead one to think of Heade as a Hudson River School painter, the [marsh scenes] make it clear that he was not." Legacy and collections Heade was not a famous artist during his time, and for much of the first part of the 20th century was nearly forgotten. A re-awakening of interest in 19th-century American art around World War II sparked new appreciation of his work. Heade's work in particular received critical attention with the exhibition in 1943 of his painting Thunderstorm Over Narragansett Bay (1868), as part of the show "Romantic Painting in America" at the Museum of Modern Art. Art historians have come to consider him one of