This is a follow-up of the author's book Jan Van Eyck (1963, p.830 J-254). efore, all the museums that own Bellows' work will have final approval of the color reproductions used. The text is a running record of Bellows' life and development as a painter. His use of color and his placement of shapes and how his approaches to these changed over the years are briefly discussed. His ultimate position as an artist who was a social historian of the everyday and the sporting- life of his time is especially well done. One minor annoyance is the author's use of the painter's first name. Readers will prefer to remember him as ""Bellows"" than ""George"".