Painter. A decorative impressionist particularly fond of combining attractive young women with flowers, he also painted landscapes, nudes, and other figure subjects. Among the most active muralists of his day, in this pursuit he generally adopted the period's prevailing classical idealism. Numbering among founding members of The Ten, he also taught for many years in Boston at the School of the Museum of Fine Arts, in New York at Cooper Union and the Art Students League, and from 1920 to 1927 at the Broadmoor Art Academy in Colorado Springs. Born in Stockbridge, Massachusetts, Robert Lewis Reid enrolled in Boston's museum school in 1880. In the fall of 1885, after studying for several months at the Art Students League, he continued on to Paris. There he studied at the Académie Julian for three winters, while painting during summers in a Normandy fishing village. He also traveled in Italy during the winter of 1886–87. Only after returning to New York during the summer of 1889 did he begin to relinquish his academic training for more up-to-date impressionism. He did not fully embrace the new style until the mid-1890s, after completing his first murals at the 1893 World's Columbian Exposition in Chicago. Subsequently, for more than twenty years he alternated between easel and mural painting. In addition, he devoted the years between 1901 and 1905 largely to stained glass windows for the new Gothic-style Unitarian Memorial Church in Fairhaven, Massachusetts, near New Bedford. His murals decorated the walls and ceilings of numerous public venues, including the new Library of Congress (1897), the United States pavilion at the 1900 Exposition Universelle in Paris, the Massachusetts State House (1901), and the Palace of Fine Arts at the 1915 Panama-Pacific Exposition in San Francisco. In The White Parasol (Smithsonian American Art Museum, 1907), a young woman in white, her head framed by the parasol, stands before a bank of flowers and holds in one arm a large bouquet. The lush floral screen in a limited range of harmonious tones sets off the characteristically crisply drawn figure. By this time, Reid had become fascinated with Japanese art, which provided a number of his canvases with more overtly exotic motifs. From around 1915, he often employed a sketchy approach. After suffering a stroke, Reid lived for the final two years of his life in New York's Finger Lakes region, at a sanatorium in Clifton Springs.