,the ,galleries of the ,exposition ,a ,critical ,review of the ,paintings1 ,statuary and the ,graphic ,arts in ,the ,palace of ,fine ,arts at the ,panama-,pacific ,international ,exposition ,by ,eugen ,neuhaus ,assistant ,professor of ,decorative ,design1 ,university of ,california and ,member of the ,international ,jury of ,awards in the ,department of ,fine ,arts of the ,exposition ,to ,john ,e4 ,d4 ,trask ,director of the ,department of ,fine ,arts of the ,panama-,pacific ,international ,exposition1 untiring worker and able executive ,contents ,introduction - ,an ,historical ,review4 ,the ,function of ,art4 ,retrospective ,art ,the ,foreign ,nations - ,france - ,italy - ,portugal - ,argentina - ,uruguay - ,cuba - ,philippine ,islands - ,the ,orient - ,japan - ,china - ,sweden - ,holland - ,germany ,the ,united ,states - ,one-,man ,rooms - ,whistler - ,twachtman - ,tarbell - ,redfield - ,duveneck - ,chase - ,hassam - ,gari ,melchers - ,sargent - ,keith - ,mathews and ,mc,comas - ,general ,collection ,the ,graphic ,arts - ,conclusion ,appendix ,bibliography - ,a list of helpful reference books and periodicals for the student and lover of art4 ,index to ,galleries ,list of ,illustrations ,phyllis --------------------- ,john ,w4 ,alexander ,woman and ,child3 ,rose ,scarf - ,mary ,cassatt ,morning in the ,provence ----- ,henri ,georget ,the ,promenade --------------- ,gustave ,pierre ,the ,procession -------------- ,ettore ,tito ,the ,fortune ,teller ---------- ,f4 ,luis ,mora ,water ,fall ------------------ ,elmer ,schofield ,the ,peacemaker -------------- ,ernest ,l4 ,blumenschein ,the ,white ,vase -------------- ,hugh ,h4 ,breckenridge ,winter in the ,forest -------- ,anshelm ,schultzberg ,winter at ,amsterdam --------- ,willem ,witsen ,in the ,rhine ,meadows -------- ,heinrich ,von ,zugel ,the ,mirror ------------------ ,dennis ,miller ,bunker ,coming of the ,line ,storm ---- ,frederick ,j4 ,waugh ,lavender and ,old ,ivory ------ ,lilian ,westcott ,hale ,green and ,violet3 ,portrait of ,mrs4 ,e4 ,milicent ,cobden - ,james ,mc,neill ,whistler ,the ,dreamer ----------------- ,edmund ,c4 ,tarbell ,whistling ,boy --------------- ,frank ,duveneck ,self ,portrait --------------- ,william ,merritt ,chase ,spanish ,courtyard ----------- ,john ,singer ,sargent ,oaks of the ,monte ----------- ,francis ,mc,comas ,blue ,depths ----------------- ,william ,ritschel ,floating ,ice3 ,early ,morning - ,charles ,rosen ,the ,land of ,heart's ,desire -- ,william ,wendt ,the ,housemaid --------------- ,william ,mc,gregor ,paxton ,my ,house in ,winter ---------- ,charles ,morris ,young ,quarry3 ,evening ------------- ,daniel ,garber ,beyond ---------------------- ,chester ,beach ,in the ,studio --------------- ,ellen ,emmet ,rand ,eucalypti1 ,berkeley ,hills --- ,eugen ,neuhaus ,floor ,plan1 ,palace of ,fine ,arts ,introduction ,the artistic appeals of the ,panama-,pacific ,international ,exposition through architecture and the allied decorative arts are so engrossing that one yields to the call of the independent ,fine ,arts only with considerable reluctance4 ,the visitor1 however1 finds himself cleverly tempted by numerous stray bits of detached sculpture1 effectively placed amidst shrubbery near the ,laguna1 and almost without knowing he is drawn into that enchanting colonnade which leads one to the spacious portals of the ,palace of ,fine ,arts4 ,it was a vast undertaking to gather such numbers of pictures together1 but the reward was great - not only to have gratified one's sense of beauty1 but to have contributed toward a broader civilization1 on the ,pacific ,coast specifically1 and for the world in general besides4 ,it must be admitted that it was no small task1 in the face of many very unusual adverse circumstances1 to bring together here the art of the world4 ,mr4 ,john ,e4 ,d4 ,trask deserves unstinted praise for the perseverance with which1 under most trying circumstances1 unusual enough to defeat almost any collective undertaking1 he brought together this highly creditable collection of art4 ,wartime conditions abroad and the great distance to the ,pacific ,coast1 not to speak of difficulties of physical transportation1 called for a singularly capable executive1 such as ,john ,e4 ,d4 ,trask has proved himself to be1 and the world should gratefully acknowledge a big piece of work well done4 ,i do not believe the art exhibition needs any apologies4 ,its general character is such as fully to satisfy the standards of former international expositions4 ,it seems only rational that1 with the notorious absence of any important permanent exhibition of works of art on the ,pacific ,coast1 an effort should have been made to present within the exhibit the development of the art of easel painting since its inception1 because it seems impossible to do justice to any phase of art without an opportunity of comparison1 such as the exposition affords4 ,the retrospective aspects of the exhibition are absorbingly interesting1 not so much for the presentation of any eminently great works of art as for the splendid chance for first-hand comparison of different periods4 ,painting is relatively so new an art that the earliest paintings we know of do not differ materially in a technical sense from our present-day work4 ,archaeology has disinterred various badly preserved and unpresentable relics of old arts such as sculpture and architecture4 ,it is little so with pictures4 ,painting is really the most recent of all the fine arts4 ,it must seem almost unbelievable that the greatest periods of architecture and sculpture had become classic when painting made its dbut as an independent art4 ,it is true enough that the ,assyrians and ,egyptians used colour1 but not in the sense of the modern easel painter4 ,we are also informed1 rather less than more reliably1 that a gentleman by the name of ,apelles1 in the days of ,phidias1 painted still-lifes so naturally that birds were tempted to peck at them1 and we know much more accurately of the many delightful bits of wall-painting the rich man of ,pompeii and ,herculaneum used to have put on his walls1 but the easel painting is a creation of modern times4 ,the sole reason for this can hardly be explained better than by pointing out the long-standing lack of a suitable medium which would permit the making of finer paintings1 other than wall and decorative paintings4 ,the old tempera medium was hardly suited to finer work1 since it was a makeshift of very inadequate working qualities4 ,briefly1 the method consisted of mixing any pigment or paint in powder form with any suitable sticky substance which would make it adhere to a surface4 ,sticky substances frequently used were the tree gums collected from certain fruit-trees1 including the fig and the cherry4 ,this crude method is known by the word tempera1 which comes from the ,latin temperare1 to modify or mix1 and denotes merely any alteration of the original pigment4 ,tempera painting1 as the only technique known1 was really a great blessing to the world1 since it prevented the wholesale production in a short time of such vast quantities of pictures as the world nowadays is asked to enjoy4 ,i am not so sure that the two brothers1 the ,flemish painters ,hubert and ,jan van ,eyck1 who are said to have given us the modern oil method1 are really so much deserving of praise1 since their improved method of painting with oils caused a production of paintings half of which might much better have remained unpainted4 ,the one thing that can be said of all paintings made before their day is that they were painted for a practical purpose4 ,they had to fit into certain physical conditions1 architectural or other4 ,most modern paintings are simply painted on a gambler's chance of finding suitable surroundings afterwards4 ,nowadays a picture is produced with the one idea of separating it from the rest of the world by a more or less hideous gold frame1 the design of which in many cases is out of all relation to the picture as well as to the wall4 ,in fact1 most frames impress one as nothing but attempts to make them as costly as possible4 ,i imagine that practically all true painters would rather do their pictures under and for a given physical condition1 to support and be supported by architecture2 but with the unfortunate present-day elimination of paintings from most architectural problems1 most artists have to paint their pictures for an imaginary condition4 ,the present production of paintings has become absolutely unmindful of the true1 function of a painting1 which is to decorate in collaboration with the other arts - architecture and sculpture4 ,it is necessary to bear these facts in mind in trying to do justice to a large aggregate of canvases in an international exhibition1 or any exhibition4 ,thousands of pictures1 created by a host of different artists1 are temporarily thrown together4 ,the result1 of course1 can never be entirely satisfying4 ,many devices are employed to overcome this very disturbing condition and with varying success4 ,the hanging of pictures against neutral backgrounds1 the grouping of works of one man1 the selection of works of similar tonality1 colour schemes1 technique1 subject1 style1 etc4 - these are all well known methods of trying to overcome the essential artificiality of the methods of exhibition of modern paintings4 ,i doubt whether so long as we insist upon art exhibitions of the conventionally accepted type1 we shall ever be able to present pictures with due regard to their meaning4 ,we must not make the mistake of blaming a director of an exhibition for a difficulty which he cannot possibly overcome4 ,so long as painters turn out thousands of pictures1 we can expect only the results which are much in evidence in all modern exhibitions4 ,the fault is entirely with the artist1 who is forever painting easel pictures1 and neglecting the great field of decorative painting4 ,on investigation of our exhibition we shall find that the good picture - that is1 the picture of a certain respectful attitude toward its function1 which is largely decorative - is far less injured by unavoidable neighbors than the loud-mouthed canvas of the ,look6 ,here ,i am6 variety1 which is afraid of being overlooked4 ,art exhibitions of the generally adopted modern type are logically intolerable1 and the only solution of the problem of the correct presentation of pictures is to display fewer of them1 within certain individual rooms1 designed by artists1 where a few pictures will take their place with their surroundings in a unity of artistic expression4 ,it is certainly no small task to enjoy a large exhibit like ours and to preserve one's peace of mind4 ,the purpose of these pages is to assist in guiding the uninitiated1 in his visit and in retrospect1 without depriving him of the pleasure of personal observation and investigation4 ,it is not to be expected that all pictures exhibited should be of a superior kind4 ,if so1 we should never be able to learn to recognize the good among the bad4 ,so many pictures are only experiments4 ,only by having the opportunity for comparison can we learn to discriminate4 ,the predominant characteristic of our art exhibition is its instructive value in teaching the development of painting by successive periods1 sometimes represented and some times only indicated4 ,the person who never had the opportunity to visit the larger historical collections of paintings abroad1 could here obtain an idea of the many changes in subjects1 as well as in technique1 which have taken place in the relatively short existence of the art of painting4 ,it is unfortunately true that the majority of people are not at all interested in the technical procedure of the making of the picture1 but wholly in the subject matter4 ,if this be pleasing1 the picture is apt to be declared a success4 ,the artist1 on the other hand1 and to my mind very justly1 looks primarily for what he calls good painting1 and a simple statement of these two points of view explains a great deal of very deplorable friction between the artist and the willing and enthusiastic layman1 who is constantly discouraged by finding that his artist friend greets his pet canvas with a cynical smile4 ,the subject of the appreciation of pictures from a theoretical point of view is not exactly the purpose of this book4 ,so enormous is it that it could be dealt with adequately only in a separate volume the writing of which ,i look forward to with joyful anticipation4 ,what ,i should like to do - and ,i should be very glad if ,i could succeed - is to bring the public a little closer to the artist's point of view through the discussion of the merit of certain notable works of art4 ,it is my conviction that it is the manifestations of an artists artistic conscience which make exhibitions good1 and not the question whether the public likes certain pictures or not4 ,only by constant study1 a serious attitude1 and a willingness to follow the artist into his realm can the public hope fully to enjoy the meaning of the artist's endeavors4 ,the ,galleries of the ,exposition ,retrospective ,art ,it would seem only logical to begin our investigation with the pictures chronologically oldest1 at the same time recognizing that ,european art has the right to first consideration4 ,we are the hosts to the art of the world4 ,our own art is the newest1 and yet occupies a large number of galleries most conspicuously1 but it will not lose by waiting for attention till the end4 ,gallery #fc4 ,some of the very earliest paintings in the exhibition are found in one of the large center rooms on the left1 where a very stately ,tiepolo controls the artistic atmosphere of a large gallery4 ,this picture has all the qualities of an old ,italian master of the best kind4 ,its composition is big and dignified and in the interest and richness of its color scheme it has here few equals4 ,the chief characteristic of this splendid canvas is bigness of style4 ,in its treatment it is a typical old master1 in the best meaning of the term4 ,on the left of this ,tiepolo1 a rather sombre canvas by ,ribera claims attention by the peculiar lighting scheme1 so typical of this ,italian master4 ,while there is what we might call a quality of flood lighting in the ,tiepolo1 giving an envelope of warm1 mellow light to the whole picture1 ,ribera concentrates his light somewhat theatrically upon his subjects1 as in the ,st4 ,jerome4 ,the picture is freely painted1 with the very convincing anatomical skill that is manifest in most of ,ribera's work4 ,his shadows are sometimes black and impenetrable1 a quality which his pictures may not have had at the time of their production1 and which may be partly the result of age4 ,the ,goya on the same wall is uninteresting - one of those poor ,goyas which have caused delay in the just placing of this great ,spaniard in the history of art4 ,the ,turner below the ,goya has all the imaginative qualities of that great ,englishman's best work4 ,venice may never look the way ,turner painted it1 but his interpretation of a gorgeous sunset over a canal is surely fascinating enough in its suggestion of wealth of form and color4 ,sir ,william ,beechey's large canvas of a group of children and a dog probably presented no easy task to the painter4 ,the attempt at a skillful and agreeable arrangement of children in pictures is often artificial1 and so it is to my mind in this canvas4 ,nevertheless the colouring1 together with the spontaneous technique1 put it high above many canvases of similar type4 ,the ,spanish painting on the right of the ,beechey could well afford to have attached to it the name of one of the best artists of any school4 ,the unknown painter of this ,spanish gentleman knew how to disclose the psychology of his sitter in a straightforward way that would have done honor to ,velasquez1 or to ,frans ,hals1 of whom this picture is even more suggestive4 ,below this very fine portrait ,sir ,godfrey ,kneller is represented by a canvas very typical of the eighteenth century ,english portrait painters4 ,the canvas has a little of the character of everybody1 without being sufficiently individual4 ,reynolds' ,lady ,ballington has a wonderful quality of repose and serenity1 one of the chief merits of the work of all those great ,english portrait painters of the eighteenth century4 ,no matter whose work it is1 whether of ,reynolds1 ,romney1 ,hoppner1 or any of that classic period of the painters of distinguished people1 they always impress by the dignity of their composition and colour4 ,we do not know in all cases how distinguished their sitters really were1 but like ,reynolds' ,lady ,ballington1 they must often have been of a sort superior physically as well as intellectually4 ,above the ,reynolds a small ,gainsborough landscape blends well with the predominant brown of these old canvases4 ,from the point of view of the modern landscape painter1 who believes in the superiority of his outlook and attitude toward nature1 we can only be glad that ,gainsborough's fame does not depend upon his representation of out-of-doors4 ,this small canvas1 like the very big one on the opposite wall1 is interesting in design4 ,but neither gives one the feeling of outdoors that our modern landscape painters so successfully impart4 ,historically they are very interesting1 and even though they carry the name of such a master of portraits as ,gainsborough undoubtedly was1 they are devoid of all the refreshing qualities that modern art has given to the world4 ,sir ,peter ,lely and ,sir ,henry ,raeburn claim particular attention on the north wall - the first by a deftly painted portrait of a lady1 and the other by a broadly executed likeness of ,john ,wauchope4 ,as portraits go1 the first picture is one of the finest in the gallery4 ,very conspicuous by their size1 the two big ,romney portraits on the east wall are not in the same class with either the ,lawrence or the ,reynolds on the same wall4 ,the great ,lawrence portrait1 the lady with the black hat1 is one of the most superb portraits in the world4 ,there is a peculiar charm about this canvas quite independent of the very attractive ,lady ,margaret represented in the picture4 ,the luscious blacks and pale reds and the neutral cream silk cape make for a colour harmony seldom achieved4 ,reynolds' portrait of ,john ,thomas1 ,bishop of ,rochester1 is equally rich and full of fine colour contrasts4 ,the shrewd-looking gentleman is psychologically well given1 although one's attention is detracted from the head by the gorgeous raiment of a dignitary of the church4 ,i think ,hogarth's portrait on the small wall to the right does not disclose this master at his best1 nor does ,hoppner rise to the level of his best work in the large portrait alongside of it4 ,the ,marchioness of ,wellesley is better and more sympathetically rendered than her two children1 who barely manage to stay in the picture4 ,on the whole an atmosphere of dignity permeates this gallery of older masters4 ,one may deplore the lack of many characteristics of modern art in many of the old pictures4 ,they are very often lifeless and stiff1 but the worst of them are far more agreeable than most of those of our own time4 ,the serene beauty of the ,tiepolo1 the ,lawrence1 and the ,gainsborough portrait has hardly been surpassed since their day4 ,our age is1 of course1 the age of the landscape painter1 the outdoor painter1 as opposed to the indoor portraits of these great masters4 ,it would not be right to judge a ,gainsborough by his landscapes any more than it would be to judge a modern landscape painter by his portraits4 ,but no matter how uninteresting these old landscapes are1 their brown tonality insures them a certain dignity of inoffensiveness which a mediocre modern work of art never possesses1 ,i would rather any time have a bad old picture than a bad one of the very recent schools4 ,modesty is not one of the chief attributes of modern art1 and the silent protest of a gallery such as the one we are now in1 the artist can well afford to heed4 ,the sculpture in this gallery has no relation to the historical character of the room1 but fits well into the atmosphere4 ,adolph ,a4 ,weinman's admirable ,descending ,night is so familiar to all ,exposition visitors1 in its adaptation in a fine fountain in the ,court of the ,universe1 that no more reference need be made to it4 ,here in bronze on a small scale1 it is even more refined4 ,mrs4 ,saint ,gaudens' charming family group1 in burnt clay1 is not so well in harmony with this gallery of older work1 but infinitely more appealing than ,j4 ,q4 ,a4 ,ward's ,hunter or ,cyrus ,dallin's ,indian4 ,both of these groups lack suggestive quality4 ,they are carried too far4 ,edward ,kemeys' ,buffaloes lacks a sense of balance4 ,the defeated buffalo1 pushed over the cliff1 takes the interest of the observer outside of the center of the composition1 and a lack of balance is noticeable in this otherwise well modelled group4 ,gallery #ia4 ,in this room one is carried farther back into the earlier phases of painting by a ,luini of pronounced decorative quality4 ,the picture is probably a part of a larger scheme1 but it is well composed into the frame which holds it4 ,besides1 it is of interest as the only piece of old mural painting included in the exhibition4 ,the ground on which the angel is painted is a piece of the plaster surface of the original wall of which this fragment was a part4 ,the method of producing these fresco paintings 7al fresco calco7 necessitated the employment of a practical plasterer besides the painter4 ,the painting was first drawn carefully on paper and then transferred in its outlines upon freshly prepared plaster1 just put upon the wall4 ,having no other means of making the paint adhere to the surface1 the painter had to rely upon the chemical reaction of the plaster1 which would eventually unify the paint with itself4 ,it was a very tedious process1 which nowadays has been superseded by the method of painting on canvas1 which after completion in the studio is fastened to the wall4 ,above the ,luini hangs a very ,byzantine looking ,timoteo ,viti ,madonna of interesting colour and good design1 but with a ,christ child of very doubtful anatomy1 and also two old sixteenth century ,dutch pictures - a ,jan ,steen and a ,teniers4 ,i have my doubts as to the authenticity of the last two pictures4 ,they are both interesting as disclosing the fondness of the ,dutch painters of the sixteenth century for over-naturalistic subjects4 ,on wall ,b two pictures1 without author or title1 appeal to one's imagination4 ,they are both well painted and rich in colour4 ,a certain big decorative quality puts them far above their neighbor - a ,dutch canvas of bad composition with no redeeming features other than historical interest4 ,jacopo da ,ponte's big ,lazarus has a certain noble dignity4 ,though it is rather black in shadows1 it is not devoid of colour feeling4 ,on either side are two old ,spanish portraits of children of royalty4 ,they impress by their very fine decorative note1 charmingly enhanced by the wonderful frames4 ,another ,ribera1 as forceful as the one mentioned before1 easily stands out among the many pictures in this gallery1 most of which are only of historical interest4 ,the whole aspect of this little gallery is one of extreme remoteness from modern thought and idea1 but as an object lesson of certain older periods it is invaluable4 ,gallery #ib4 ,chronologically a typical old ,charles ,le ,brun presides over a very interesting lot of pictures1 mostly ,french4 ,this academic canvas1 of ,darius' family at the feet of ,alexander1 has not the simplicity and decorative quality of the ,italian pictures of that period1 and it is entirely too complex to be enjoyable4 ,the beautiful ,courbet on the left1 while suggestive of ,ribera in its severe disposal of light and shadow1 has also a quality of its own1 a wonderful mellowness which gives it a unity of expression lacking in its turbulent neighbor on the right4 ,among the other bigger pictures in this small gallery1 a very poetic ,cazin1 ,the ,repentance of ,simon ,peter1 commands attention by a certain outdoor quality which faintly suggests the ,barbizon school4 ,one does not know what to admire most in this fine canvas4 ,as a figural picture it is intensely beautiful1 and merely as a landscape it is of convincing charm4 ,it is to my mind one of the finest paintings in the exhibition1 and a constant source of great pleasure4 ,the big ,tissot offers few excuses for having been painted at all4 ,it is nothing but a big illustration - all it tells could have been said on a very small canvas4 ,there is no real painting in it1 nor composition - nothing else1 for that matter4 ,the two ,monticellis on the same wall make up for the ,tissot4 ,rich in colour and design1 the one to the left is particularly fine4 ,the ,van ,marcke on the same wall is typical of this painter's methods1 but does not disclose his talent for very interesting pictorial compositions1 for which he was known4 ,on the opposite wall an older ,israels gives lone a good idea of the earlier period of this great ,dutch painter1 justly counted as one of the great figures of the second half of the last century4 ,while of recent date1 his art belongs to the older school - without attaching any odium to that classification4 ,the ,barbizon school1 the most important of the last century1 is very fitly represented by two charming and most delicate ,corots on either side of the ,israels4 ,the one to the right is particularly tender and poetic4 ,while by no means an attempt at a naturalistic impressionistic interpretation of nature1 like a modern ,metcalf1 for instance1 their suggestive power is so great as to overcome a certain lack of colour by the convincingness of the mood represented4 ,daubigny and ,rousseau1 of that great company of the school of #ahbe1 are merely suggested in two small and very conscientious studies4 ,gallery #fb4 ,this will always be remembered as the gallery of the ,green ,madonna4 ,whatever caused this ,green ,madonna to be honored by a ,grand ,prix at ,paris will always remain one of those mysteries with which the world is laden4 ,of all disagreeable colour schemes1 it is certainly one of the least appealing ever put upon a canvas4 ,it is hardly a scheme at all1 since ,i do not believe the juxtaposition of so many different slimy greens1 nowhere properly relieved nor accentuated by a complementary red1 can ever be called a scheme4 ,technically speaking1 the canvas is well painted1 but it is hardly worthy of the attention its size and subject win4 ,dagnan-,bouveret has rendered good service as a teacher and also as a painter of animal life1 but in this canvas he surely is not up to his best4 ,the ,barbizon men continue to hold one's attention by a splendid ,troyon4 ,it is one of the best of his canvases ,i have ever seen4 ,the little ,diaz alongside of it is also typical of this very luminous painter1 who often attains a lusciousness of colour in his work not reached by any other of the ,barbizon men4 ,fortuny1 in an ,algiers picture1 shows the same brilliant technical quality which is so much in evidence in a small watercolor in the preceding gallery4 ,jules ,bastien-,le,page's studio nude seems very unhappily placed in a naturalistic background into which it does not fit1 and ,cazin's big canvas1 while very dignified1 hardly comes up to the level of his repenting ,simon ,peter1 in the other gallery4 ,pelouse's landscape1 of singularly beautiful composition and colour1 should not be overlooked4 ,it is alongside the ,cazin4 ,while almost all the pictures referred to so far are of the ,french school1 there are three pictures of the older ,german school - two ,lenbachs1 one a very accurately drawn portrait of the ,german philosopher ,mommsen1 and the other a portrait of himself4 ,they show this powerful artist in two different aspects4 ,while the ,mommsen is one of his later1 broader pictures1 the portrait of himself is of an earlier date1 showing the artist as the serious student he has always been4 ,adolph ,schreyer1 another ,german1 with his ,bedouin pictures1 was the pet of the art lovers in his day1 and pictures like this can be found in almost every collection in the world4 ,the miscellaneous sculpture in this gallery is full of interest and gives one a good suggestion of the great mass of small modern sculpture found throughout the galleries4 ,mora's ,indian figures are particularly interesting from their originality of theme4 ,mora tries hard to be unconventional1 without going into the bizarre1 and succeeds very well4 ,gallery #fa4 ,the difference of appearance in the four older galleries discussed and the one now visited is so marked as to lead one to believe that our investigations have not been conducted in the proper chronological order4 ,all the art of the world1 up to and including the ,barbizon school1 is characterized by a predominant brown colour which1 on account of its warmth1 is never disagreeable1 although sometimes monotonous4 ,the daring of the ,englishman ,constable in painting a landscape outdoors led to the development of a new point of view1 which the older artists did not welcome4 ,constable and the men of the ,barbizon school realized for the first time that outdoor conditions were totally different from the studio atmosphere1 and while the work of such men as ,corot1 ,millet1 ,daubigny1 ,rousseau1 and ,diaz is only slightly removed from the somber brown of the studio type1 it recognizes a new aspect of things which was to be much farther developed than they ever dreamed4 ,just as ,constable shocked his contemporaries by his - for that time - vivid outdoor blues and greens1 so the men of the school of #ahgj1 or the impressionists1 surprised and outraged their fellowmen with a type of picture which we see in control of this delightfully refreshing gallery4 ,we can testify by this time that ,constable1 although much opposed in his day1 seems very tame to us today1 and caution seems well advised before a final judgment of impressionism is passed4 ,the slogan of this gallery seems to be1 ,more light and plenty of it6 ,the ,monet wall gives a very good idea of the impressionistic school1 in seven different canvases ranging from earlier more conventional examples to some of his latest efforts4 ,one more fully understands the goal that these men1 like ,monet1 ,renoir1 ,sisley1 ,pissarro1 and others in this gallery were striving for when1 in an apparently radical way1 they discarded the attitude of their predecessors1 in their search for light4 ,it is true they encountered technical difficulties which forced them into an opacity of painting which is absolutely opposed to the smooth1 sometimes licked appearance of the old masters4 ,many of these men must be viewed as great experimenters1 who opened up new avenues without being entirely able to realize themselves4 ,they are collectively known generally as impressionists1 though the word plein-airist - luminist - has been chosen sometimes by them and by their admirers4 ,the neo-impressionists in pictorial principle do not differ from the impressionist4 ,their technical procedure is different1 and based on an optical law which proves that pure primary colours1 put alongside of each other in alternating small quantities1 will give1 at a certain distance1 a freshness and sparkle of atmosphere not attained by the earlier technical methods of the impressionistic school1 which does not in the putting on of the paint differ from the old school4 ,besides1 this use of pure paint enabled them to have the mixing of the paint1 so to speak1 done on the canvas1 as the various primary colours juxtaposed would produce any desired number of secondary and tertiary colours without loss of freshness4 ,in other words a green would be produced1 not by mixing yellow and blue on the palette1 but by putting a yellow dot and a blue dot alongside of each other1 and so ad infinitum4 ,according to the form of their colour dots they were called pointillistes1 poiristes1 and other more or less self-explanatory names4 ,the service of these men to art can never be estimated too highly4 ,the modern school of landscape painting particularly1 and other art involving indoor subjects1 are based entirely on the principles ,monet discovered to the profession4 ,pissarro1 on either end of the wall opposite the ,monet1 appeals more in the new method of the neo-impressionists than ,monet1 by reason of much more interesting subjects4 ,the one ,pissarro on the right is of the first order from every point of view1 demonstrating the superiority of the neo-impressionistic style applied to a very original and interesting subject4 ,the ,river ,seine1 by ,sisley1 is also wonderfully typical of this new style1 while of the two ,renoirs1 only the still-life can really be called successful4 ,there is an unfortunate fuzziness in his landscape which defeats all effect of difference of texture in the various objects of which this picture is composed4 ,there are a number of canvases in this gallery which have nothing to do with the predominating impressionistic character of the gallery4 ,the ,puvis de ,chavannes gives one a very fine idea of the idealistic outlook of this greatest of all modern decorators4 ,his art is so genuinely decorative that to see one of his pictures in a frame seems almost pathetic1 when we think how infinitely more beautiful it would look as part of a wall4 ,eugne ,carrire is very well represented by a stately portrait of a lady with a small dog4 ,carrire's mellow richness is entirely his own and rarely met with in any other artist's work4 ,on the west wall opposite the ,puvis four very different canvases deserve to be mentioned4 ,in the center a young ,russian1 ,nicholas ,fechin1 displays a very unusual virtuosity in a picture of a somewhat sensual-looking young creature4 ,aside from the fascination of this young human animal1 the handling of paint in this canvas is most extraordinary1 possessing a technical quality few other canvases in the entire exhibition have4 ,there is life1 such as very few painters ever attain1 and seen only in the work of a master4 ,this work is not entirely a ,nell ,brinkley in oil1 either4 ,i confess ,i have a strange fondness for this weird canvas4 ,the international character of this gallery is most pronounced4 ,directly above the ,fechin1 ,frits ,thaulow1 the ,norwegian1 justifies his reputation as the painter of flowing water in a picture of great beauty4 ,gaston ,la ,touche faintly discloses in a large canvas his imaginative style1 carried so much farther in his later work4 ,joseph ,bail1 the ,frenchman1 got into this gallery probably only on the basis of size1 to balance the ,la ,touche on the other side4 ,to all appearances ,bail has very little in common with the general modern character of this gallery4 ,nevertheless his canvas has merit in many ways4 ,foreign ,nations ,france ,a discussion of the impressionistic school makes it almost imperative to continue our investigation by way of the ,french ,section4 ,france is easily to modern art what ,italy was to the art of the ,renaissance or ,greece to antiquity4 ,almost all countries1 with the exception of those of northern ,europe1 have gone to school at ,paris4 ,it becomes quite evident at first glance that a certain very desirable spaciousness in the hanging of the pictures contributes much toward the generally favorable impression of this section of the exhibition1 though it is hard to understand why this fine effect should have been spoiled by the pattern used on the wall-covering4 ,it seems unbelievable that a people like the ,french should so violate a fundamental principle1 which a first-semester art student would scarcely do4 ,the otherwise delightful impression of the ,french section1 so excellently arranged1 is considerably impaired by this faux pas4 ,there is no chronological succession in evidence in the hanging of pictures in the six galleries of this section1 and old and new1 conservative and radical1 are hung together with no other consideration than harmonious ensemble4 ,gallery #ah4 ,in the western end of the section presided over by a decorative painting of some aras among orange trees 7over the west door71 a beautiful1 almost classic canvas by ,henri ,georget commands immediate attention4 ,the poetic idealism of this decorative landscape1 together with a fine joyousness1 give it unusual character4 ,alongside of it a very intelligently painted little canvas by ,albert ,guillaume shows the interior of an art dealer's shop4 ,the agent is making ,herculean efforts to bamboozle an unsuspecting parvenu into buying an example of some very advanced painting4 ,the canvas is fine persiflage in its clever psychological characterization of the sleek dealer and the stupid helplessness of the bloated customer and his wife1 who seem hypnotized by the wicked eye in the picture4 ,as a piece of modern genre in a much neglected field1 it is one of the finest things of recent years4 ,on the extreme left of this wall a very fine bit of painting of an ,arabian fairy tale by ,e4 ,dinet deserves to be mentioned4 ,almost opposite this small canvas ,lucien ,simon has a large picture painted with the bravura for which he is famous4 ,the atmosphere of this fine interior is simply and spontaneously achieved1 and the three figures of mother1 nurse and balky baby are excellently drawn4 ,the still-life by ,moride1 to the left of this picture1 shows all the earmarks of the modern school without sacrificing a certain delicacy of handling which is often considered by many modern painters a confession of weakness4 ,a fine ,dutch canvas on the extreme left of this wall1 by ,guillaume-,roger1 attracts by a fine decorative note seldom found in pictures of ,french easel painters4 ,the east wall of this gallery is distinguished by a number of fine landscapes by different men4 ,beginning on the left side of the door ,jules-,emile ,zingg presents two tonally skillful winter landscapes of great fidelity1 while on the right is ,henry ,grosjean's delicate atmospheric study of a broad valley floor4 ,a decorative watercolour of the ,versailles ,gardens1 by ,mlle4 ,carpentier1 commands admiration by reason of its fine composition as well as by the economical but effective technique of putting transparent paint over a charcoal drawing4 ,the sculpture in this gallery is of no great moment4 ,like much of the modern ,french sculpture it is very well done in a technical sense without disclosing great concentration of mind4 ,gallery #ag4 ,a variety of subjects continues to impress one in this gallery4 ,portraits1 landscapes1 and historical subjects1 with here and there a genre note1 make the general character of the ,french exhibit1 showing at every turn the great technical dexterity for which ,french art has long been celebrated4 ,there is no picture of outstanding merit in this gallery1 unless one would single out a very sympathetic1 simple landscape by ,paul ,buffet and the ,lucien ,griveau landscape called ,the ,silver ,thread1 diagonally opposite1 a canvas of rich tonality and distinctive composition4 ,gallery #af4 ,an adjoining gallery toward the east has a great number of excellent pictures to hold the attention of the visitor4 ,to begin with the figure painters1 the ,desch portrait of a little girl in empire costume appeals by its genuinely original design4 ,the carefully considered pattern effect of this canvas is most agreeable and well assisted by a very refined colour scheme4 ,although a trifle dry1 the quality of painting in this canvas is the same as that which makes ,whistler's work so interesting4 ,this painting is one of the great assets of the ,french section1 and to my mind one of the great pictures of the entire exhibition4 ,balancing the ,desch canvas1 one finds another figural canvas of great beauty of design1 by ,georges ,devoux4 ,farewell1 while of a sentimental character1 is strong in drawing and composition4 ,it is very consistent throughout4 ,everything in the picture has been carefully considered to support the poetic1 sentimental character of the painting1 which is admirably delicate and convincing without being disagreeably weak4 ,jacques-,emile ,blanche is represented in this gallery by his well-known portrait of the dancer ,nijinski4 ,a certain ,oriental splendor of colour is the keynote of this canvas1 which is much more carelessly painted than most of ,blanche's very clever older portraits4 ,on the opposite wall ,caro-,delvaille shows his dexterity in the portrait of a lady4 ,the lady is a rather unimportant adjunct to the painting and seems merely to have been used to support a magnificently painted gown4 ,there is a peculiar contrast in the very naturalistically painted gown and the severe interpretation of the face of the sitter4 ,ernest ,laurent's portrait of ,mlle4 ,x is typically ,french in its loose and suggestive style of painting1 and easily one of the many good portraits in the gallery4 ,among the landscapes ,andr ,dauchez' ,concarneau1 ,charles ,milcendeau's ,washerwomen1 on the opposite wall1 and last but not least1 ,ren ,mnard's ,opal ,sea - a small picture of great beauty - deserve recognition4 ,pierre ,roche has a statuette of ,loe ,fuller in this gallery which is conspicuous by its daring composition and simple treatment4 ,gallery #ae4 ,entering this gallery1 the first canvas to attract one's attention1 by reason of its boldness of composition and colour1 is a large ,lucien ,simon called ,the ,gondola4 ,the versatility of this artist is well brought out by another picture of a baby1 about to be bathed1 previously referred to1 and by a third canvas1 of ,the ,communicants1 near ,the ,gondola4 ,simon seems to have no difficulty in using several mediums and styles of expression equally well1 as a comparison between ,the ,gondola and ,the ,communicants will easily prove4 ,this former picture is the more original of the two technically1 in colour as well as in composition4 ,it is in danger of losing one's sympathy by a badly selected frame4 ,near it hangs a trifolium of virgins1 of very anaemic colour4 ,the drawing1 however1 is so very sensitive in this canvas that it makes good for the unconvincing anaemic colour scheme4 ,the gem of this gallery is a small landscape of ,amde-,julien ,marcel-,clment1 of extraordinarily fine composition4 ,a fine decorative quality is its chief asset1 and its sympathetic technical handling adds much to the enjoyment of this picture4 ,bartholem's kneeling figure in the center of the room is of wonderful nobility of expression and entirely free from a certain extreme physical naturalism so often found in modern ,french sculpture4 ,gallery #ad4 ,passing into the next gallery1 where figural pictures predominate1 a very swingy composition of a ,brittany festival1 by ,charles-,ren ,darrieux1 is most conspicuous1 for the forceful handling and the fine quality of movement which characterize the procession of figures rhythmically moving through the picture4 ,of the two large nudes on the same wall1 one1 a ,besnard1 is vulgarly physical1 although well painted1 and the other too insipid to make one feel that the ,french penchant for nudes is sufficiently justified4 ,le ,sidaner's poetic evening recommends itself for the quiet intimacy with which it is handled4 ,herrmann ,vogel's portrait of a gentleman in a chair1 also on the east wall1 while not very spontaneous in handling1 is interesting nevertheless in its composition and the psychological characterization of the sitter4 ,most of the other pictures in this gallery have really not enough individual character to single them out1 no matter how high their general standard may be4 ,gallery #ac4 ,the last and smallest of the ,french galleries is given over to some recent phases of ,french art4 ,after looking at the serious work of the ,french in the other galleries1 a first-hand acquaintance with this medley of newest pictures is hardly satisfactory4 ,there is a feeling of affected primitiveness about most of them1 particularly in a small canvas of a bouquet of flowers in a green vase1 which is the acme of absurdity4 ,if ,odilon ,redon wanted to be trivial1 he has achieved something quite wonderful4 ,certain ultra-modern manifestations of art are never more intolerable than when seen together in large numbers1 as in this gallery4 ,still1 the ,french section can well afford some of these experimenting talents1 since the general character of their other work is so high4 ,maurice ,denis' canvas of a spring procession1 in just a few silvery tones1 is really lovely2 the large number of decorations by him1 all around on the second line1 scarcely comes up to the beauty of this small canvas4 ,the ,french representation deserves much credit for a great number of reasons1 not least for an astounding versatility1 always accompanied by technical excellence4 ,italy ,going over into the ,italian galleries1 the first impression is that while there are certain groups of pictures of a very high order1 the general standard of this section is not quite so high as in the ,french ,department4 ,the ,italians seem to have the advantage over the ,french in regard to the selection of a background for their galleries4 ,they made no such mistake as putting a ,pullman car floor pattern on the wall1 and the general effect is one of calmness4 ,as in the ,french section1 the work of the modern painter seems superior to sculptured work of the same period4 ,the work of ,tito and of ,mancini1 among the painters1 stands out in this ,italian collection4 ,gallery #ba4 ,tito1 whose work can be found in a group of five pictures in this gallery1 has a very pronounced decorative sense1 which he employs with great ease in a group of five most excellent pictures4 ,to students of technical procedure his work is worthy of study4 ,his under-painting is done in tempera1 and sometimes the complete work1 as in the cattle picture1 is done in this medium1 which1 by an application of varnish1 is then transformed into an oil4 ,the most interesting pictures in his group of five are the two on the right of his wall4 ,the mythological subjects underlying both canvases have a classic note1 but their refreshing colour scheme removes these pictures from any classic affiliation4 ,the woodland scene1 enlivened by a few hilarious centaurs pursuing nymphs1 is tremendously sure in handling and very gorgeous in the many golden browns and greens which control the colour scheme4 ,the kneeling ,venus alongside is unusually alluring in its blue and gold tones1 and is one of the really fine pictures in the exhibition4 ,while the ,venus and the ,centaurs are the backbone of the ,italian section1 ,tito's ,blue ,lady is very chic and1 as a colour arrangement of blue-blacks and flesh colour1 most decorative4 ,the canvas in the center1 evidently belonging to an older period of the artist1 has nothing of the direct method of the accomplished master1 although in composition it has a certain bigness4 ,tito's art has the full and rich expression of an original personality4 ,the landscapes in this gallery1 of which there are a goodly number1 are all typically ,italian in their artificiality of colour and in a certain sweetness which makes them lose in one's estimation the longer one studies them4 ,clever as they are technically1 they do not convince and they do not reflect a thorough knowledge of the spirit of outdoors4 ,all one admires in the ,barbizon men - the lyric feeling of a ,corot or the more dramatic note of a ,rousseau - is missing in the modern ,italian landscape as seen in these pictures4 ,they are flippant in their catchy technique and in the absence of any thought4 ,gallery #bb4 ,this room is dominated by three portraits by ,antonio ,mancini1 of unusual cleverness and very fine psychological characterization4 ,mancini's work grows on one4 ,while seeming at first rather loose and superficial1 these portraits disclose on more intimate study a fine constructive quality4 ,they are not particularly interesting in colour2 as a matter of fact they are very monochromatic4 ,their appeal is based on an intensely serious quality of studious experimentation1 which a very sketchy technique cannot hide4 ,to the left of the three ,mancinis hangs a simple picture of large proportions called ,maternity1 by ,pietro ,gaudenzi4 ,this is one of those modern interpretations of the birth of ,jesus which appeals by the individualistic note4 ,the picture is sympathetic by reason of its restriction to a few simple facts4 ,no doubt it will fail to receive a wide appreciation1 since sociologically any picture of its type disclosing human life under poverty-stricken conditions is rarely approved by the public4 ,nevertheless one of the greatest of all stories is1 with feeling and restraint alike1 well rendered on this canvas4 ,on the opposite wall ,arturo ,noci has a very striking interior4 ,there is nothing tricky about this most effective canvas4 ,the result is simply and directly attained by good1 sound painting4 ,the red curtain in the distant room is a trifle raw and refuses somewhat to take its place in the picture4 ,two landscapes on this wall deserve mention for their fine skies and their decorative note4 ,giuseppe ,carosi's little landscape with the oxen is so much better than the one below by the same artist that it is hard to believe both were done by the same man4 ,la ,valle dell' ,aniene1 by ,dante ,ricci1 is big in feeling1 well painted1 and unquestionably one of the best landscapes in the ,italian section4 ,gallery #bc4 ,the east gallery is almost entirely given over to sculpture1 with one exception which is notable so far as the dear public is concerned - a painting1 ,the ,arch of ,septimius ,severus1 by ,luigi ,bazzani4 ,i cannot fathom why ,luigi ,bazzani should go to all this trouble in trying to imitate a photograph when the result over which he so painfully laboured could be done by any good photographer for less than five dollars4 ,it seems to me an absolutely futile thing to try to represent something in a medium very badly chosen for this particular stunt4 ,a stunt it is1 and always will be1 no matter how much we admire the painstaking drawing and the infinite care involved4 ,texturally the canvas is all wrong1 because the sky1 the stone1 everything in the picture1 looks like glass and not like the various things it is intended to represent4 ,however1 it is a wonderful piece of patience - so much should be said for it4 ,millet's man with the hoe sitting down is the strongest piece of sculpture in this gallery4 ,the figure doubtless belongs to an older school1 as its discolorations as well as its technical treatment indicate4 ,alongside the rest of the things in this small room it is1 in spite of being carried somewhat too far1 very forceful and convincing4 ,no matter whether the man succumbed to the dreariness of work or to the malarial fever of the ,pontine swamps1 all that has ever been said about ,millet's man and the terrible fatalism of his facial expression is found in this piece of sculpture4 ,rodin's influence is making itself felt in most of the other pieces in this room1 as in the ,vedani kissing pair4 ,the beautiful colour in the marble in this group puts much life into it4 ,nicolini's work shows much breadth and a fine mastery of form4 ,a frame of animal plaques by ,brozzi adds considerably to the artistic merit of the sculpture4 ,a certain muscular mannerism is evident in all of them1 though not in the least disturbing4 ,gallery #bd4 ,two portraits by ,enrico ,lionne of very repulsive colour are prominently hung in the east gallery1 without convincing one in the least of this artist's high standing at home4 ,cold and artificial1 they are not deserving of the prominent place they occupy4 ,near the door on the opposite wall ,vincenzo ,yrolli presents a street musician and his audience in a canvas riotous with good colour4 ,the composition and the literal technical treatment of this work commend themselves highly by good judgment and spontaneous handling4 ,the two figure pictures by ,pietro ,chiesa1 on an adjoining wall to the right1 ought to be remembered1 and also an interior on the opposite wall by ,vianello4 ,gallery #be4 ,in the last of the ,italian galleries1 on the west wall1 we observe the unusual spectacle of a whole family of artists distinguishing itself in a group of pictures4 ,there is ,beppe ,ciardi1 the father2 ,guglielmo1 the son2 and ,emma1 the daughter4 ,all of their pictures are conspicuous for their saneness and big feeling4 ,the father1 ,beppe1 with the center canvas1 has not the breadth and bigness that is so typical of both the son's pictures of similar subjects4 ,the skies in the younger man's pictures are particularly fine4 ,the daughter's single canvas1 on the left1 to me seems even better than those of both father and brother4 ,a certain imaginative quality1 shown in this big formal garden1 constitutes ,emma ,ciardi's superiority over the rest of the family4 ,on the whole the showing of this family is excellent in every way4 ,the landscapes in this gallery are far above those mentioned in the ,tito gallery4 ,in fact there are so many other good pictures that a mere mention of names must suffice4 ,from the ,ciardi group on toward the right1 ,guido ,marussig's ,walled ,city1 ,italico ,brass' ,pontoon ,bridge1 and particularly ,scattola's ,venice are all worthy of comment4 ,scattola's picture is very sensitively studied1 discreetly painted and full of the poetry of a summer night4 ,before leaving the ,italian section1 ,mentessi's big imaginative architectural study should be appreciated4 ,it will crystallize the visitor's opinion of the general excellence of ,italy's contribution to the exhibition4 ,as a matter of racial tradition1 and not so much because of similarity of standards1 we are almost obliged to continue our investigations into the other nations most closely allied with the ,latin people1 of ,southern ,europe and elsewhere4 ,there is much room to believe that in a contemporaneous art exhibition the ,paris influence should make itself felt in more than one way4 ,paris1 after all1 is the ,mecca of all art students1 particularly of the foreign ,latin countries4 ,the technical superiority of the ,french school of painting has for years caused an influx of foreign students into ,paris1 who are now giving us1 in such national sections as those of ,portugal1 ,argentina1 ,uruguay1 ,cuba1 and the ,philippine ,islands1 the result of this contact4 ,it will easily be seen that unless a distinct national outlook1 based on scenery1 climate1 history1 and tradition generally1 is added to the mere technical performance1 no matter how clever1 a national art can hardly develop4 ,so we find that with all the good intentions in the art of any of the countries mentioned1 very little typical national expression is brought out4 ,in choice of subject and colour scheme the art of all of these countries is very much alike4 ,portugal ,the ,portuguese section does not present any great painter such as ,spain1 for instance1 has produced in ,sorolla or ,zuloaga1 though both seem to be very much admired by all ,latin painters1 as well as by some of the ,germanic artists1 as a certain canvas of a ,dutch lady in the ,holland section will demonstrate4 ,nudes are still in vogue1 or rather naked women1 and probably will be as long as the sale of strong drink needs to be increased by the kind of creation commonly known as the saloon picture4 ,there is surely nothing nobler than the truly idealized interpretation of the human figure by artistic means1 but the purposely sensuous nude is becoming rather a bore4 ,painting flesh is one of the most difficult of all things1 particularly as to the correct texture1 but there ought to be a limit in the production of such a type of picture as the one by ,veloso ,salgado in the ,portuguese section4 ,here a great variety of subjects is treated1 mostly with entirely too much realism4 ,photographic truthfulness is not the function of painting1 because1 first of all1 the medium will not allow it without losing a certain quality indicating the fact that it is painting2 and secondly1 art can only be an approximation anyhow1 and it should carry its point by forceful and convincing suggestion rather than by a tightly rendered photographic fact4 ,the great pictures are first those of a strong suggestive quality and1 secondly1 those possessing a certain something the artist calls design - meaning thereby a more or less arbitrary arrangement of form and colour effects which will please the eye4 ,the idea of design has not struck the ,portuguese artist as yet2 at least it is not apparent in the pictures of that section4 ,the technical excellence of their work is uniform and in some cases very creditable1 particularly in the many small canvases by ,senhor de ,sousa ,lopes1 the art commissioner of his country4 ,continuing in the western gallery of the ,portuguese section1 directly opposite the nude referred to1 an outdoor sewing circle by ,jos ,malhoa arouses interest4 ,the outdoor quality in this canvas is very pronounced1 and the gay enlacement of the luxuriant wistaria with the orange trees in the distance1 together with the multi-coloured ensemble of children1 make for a lovely effect4 ,the middle gallery doubtless holds ,portugal's most important claims upon artistic distinction1 in the group of three portraits and two still-lifes by ,columbano4 ,the three portraits are unusually dignified and psychologically suggestive enough to show that the painter was not interested in exterior facts alone4 ,the portrait of the bearded gentleman in the middle is fine1 though somewhat academic in colour4 ,the two little still-lifes wedged in between the larger portraits are exquisite in every way1 and make up for a lot of superficialities found in this section4 ,all around in this gallery1 in more than a dozen sketches from ,spain and ,italy1 ,sousa ,lopes shows fine ability in the handling of paint and great power of observation4 ,all of these apparently recent things by ,senhor ,lopes are far more enjoyable than a huge ,pilgrimage1 which1 while well painted1 is too scattered4 ,the unity of feeling in the work of ,columbano is much more necessary in a canvas of this size than in a small sketch4 7,rembrandt's famous ,nightwatch and ,velasquez's ,surrender of ,breda illustrate this point very well47 ,malhoa's well-painted interior called ,the ,native ,song has more of this desirable feeling of oneness1 which may be due to the fact that it deals with an indoor setting1 while de ,sousa ,lopes' ,pilgrimage in the adjoining gallery presents a far more difficult problem in the reflected and glaring light effect of a southern country4 ,among the sculptures of this country ,vaz ,jor's ,grandmother is of unusually high merit and intensely well studied4 ,on the whole there is more academic training in evidence than originality of expression1 but we may expect good things hereafter from the art of this country1 which practically at no time in the history of art has produced any really great name4 ,argentina ,retracing our steps1 we invade the ,argentine1 in a well-appointed gallery4 ,the first general impression is very good1 though on closer examination nothing of really great merit holds one's attention for any length of time4 ,while naturalism reigns in ,portugal1 a more pronounced decorative conventional note predominates in this section1 particularly in the portraiture4 ,there is a peculiar superabundance of purple and dark reds in the ,argentine section1 which gives this gallery a morbid quality4 ,on the main wall1 in the left corner1 ,hctor ,nava has a very distinguished ,lady in ,black4 ,among all of the portraits on this wall it is easily the best1 although some charming interiors of a singularly cool tonality are not without interest4 ,they are too reminiscent of ,frieseke to convince one of their originality4 ,another ,black ,lady1 continuing toward the right on the next wall1 has much to recommend her4 ,a better frame would enhance the merit of this canvas4 ,there is no landscape of any importance in the ,argentine section1 no matter how hard the effort to find one4 ,they are all singularly artificial4 ,a small harbor picture by ,pedro ,delucchi is strong in colour1 as well as in technical treatment4 ,it has an unusual wealth of colour1 and great richness which contrasts strongly with the general coldness of this section4 ,uruguay ,here another ,south ,american republic holds forth in a small gallery off the ,italian section4 ,the gallery is dominated by a large equestrian portrait of ,general ,galarza1 by ,blanes ,viale4 ,a certain fondness for disagreeable greens and for decorative effects is noticeable in this gallery1 and one is not convinced of the necessity for a more comprehensive display4 ,cuba ,the same remark applies to the ,cuban section1 where ,romanach's ,dsseldorf style of picture shows at least good academic training1 without rising1 however1 above illustration in any one of the very well painted figure pictures4 ,rodriguez ,morey's big1 intimate foreground studies are commendable for their faithfulness and for a certain poetic quality which takes them out of the realm of mere accurate truthfulness4 ,philippine ,islands ,the small ,philippine section makes one curious to know whether there is nothing in the tradition of this people related to the art of ,asia that could serve as a basis for their artistic endeavors4 ,to any serious-minded person it must be evident that the ,filipino is not going to work out his artistic salvation by way of the ,paris studio4 ,it must come out of the soil1 so to speak1 and must be based on the racial1 religious1 and other national elements4 ,it would do the ,filipino people good to see their collection in close proximity to that of other nations4 ,aside from that1 a natural sequence of artistic development by developing the more decorative arts of making useful things beautiful - such things as pots and pans1 rugs1 and jewelry - would be much more becoming than this ,european affectation4 ,the real art of the ,filipinos is to be seen in their art industries in the ,philippine ,building4 ,the ,orient ,for historical reasons alone1 if not for supremacy along artistic lines1 ,japan and ,china should by right be dealt with at the very beginning4 ,but having had1 since time immemorial1 a very detached1 highly original note1 they fit in anywhere1 if not best in between the art of the ,romanic and ,germanic races4 ,practically the entire world owes a great debt to ,japan1 for a certain outlook in decorative art has been adopted from ,japan by the best artists of the world4 ,oriental art is so truly an art of the people1 devoting itself most closely to the artistic development of the utilitarian things of life1 that to see them at their best one has to look at their furniture1 including folding screens1 pottery1 jewelry1 rugs1 and practically everything else that is needed in the daily life of the people4 ,the art of ,china and ,japan is so old that its real origin is almost a matter of guesswork1 and has a certain general obscurity to most outsiders1 owing to language1 religion1 and customs4 ,this has led to a commercial exploitation of their art in ,europe1 and in ,america particularly1 based mostly on humbug and partly on facts4 ,if all the pottery1 rugs and furniture said to have come from distinguished artists and from even more distinguished circles of ownership1 mostly palaces of the ,ming dynasty1 were enumerated1 there would be nothing left to have come from the atmosphere of the ordinary ,oriental4 ,the ,japanese and ,chinese are taking quick advantage of the guilelessness of the western lover of art1 and much that is to be seen in either one of the two sections is rather a concession to western demand than to native ,oriental talent4 ,only the special student of oriental art will consent to learn enough of the ,japanese or ,chinese language to familiarize himself with any other than the commonly known artists of these countries1 and all that one can do within the frame of an international exhibition is to single out those things which appeal on the basis of certain artistic principles which are the same the world over4 ,to go into the many religious and other sentimental considerations which are sometimes the basic justification for some very extraordinary fantastic things1 charmingly exploited by certain art dealers1 is impossible within the scope of this book4 ,japan ,the ,japanese people1 at the extreme southern end of the ,palace of ,fine ,arts1 have a representative show of painted screens1 of extraordinary beauty4 ,anyone1 without being in the least familiar with the fauna and flora of ,japan1 must admire the tremendously acute power of observation and surety of drawing which made these designs possible4 ,the two sixfold screens by ,taisei ,minakami on the east wall of the eastern gallery are probably the most magnificently daring examples of modern ,japanese art4 ,to the student of design they offer a most stimulating opportunity for study4 ,acutely observed1 their tropical subjects1 very daring in colour1 are exhaustively beautiful4 ,the spacing of the design1 the relative distribution of the few daring colours against a gold background of wonderful texture1 combine in a picture of great vitality4 ,the art of no people is so scientific as that of these people1 whose every effort1 no matter how insignificant1 is technically always sound4 ,our modern art schools could very profitably imitate the ,japanese principle of teaching their young students how to do a thing well and of leaving the choice of subjects to their own inclination4 ,almost opposite1 a vertical composition of a lumber camp on a mountainside1 by ,bunto ,hayashi1 attracts by an unusual subject very descriptively rendered4 ,the picture belongs to the older school1 not so much for the lack of colour1 which is often erroneously identified with the older ,japanese works1 as for a certain quality of less decoration and of more detailed treatment of the drawing4 ,the drawing is1 of course1 the important element in all ,japanese art1 since all of their work has to yield a great deal of pleasure of the intellectual kind at close distance1 on account of the smallness of ,japanese dwellings1 which keeps the owner of the picture in close proximity with his artistic possessions4 ,a picture of crows in a rainstorm1 on the same wall1 on the right side of the southern door1 and also a very characteristic study of some kind of cedar1 with birds on the left of it1 give one an excellent idea of the astonishing variety of material that the ,japanese artist successfully controls4 ,in two irregularly shaped triangular galleries adjoining1 ,shodo ,hirata maintains the standard of the first gallery1 not to forget1 either1 ,toyen ,oka with his oleander bush and the cat on the picturesque fence4 ,tesshu ,okajima's hollyhock screens are marvels of decorative simplicity1 while ,kangai ,takakura uses a washday as a motive for a double twofold screen decoration4 ,the last two artists can both be found in the second irregular triangular gallery1 opposite the first one mentioned4 ,the central octagonal gallery also is devoted to screen pictures1 done by means of embroidery4 ,some of them1 largely those of native design1 are successful in really giving the quality of the subjects depicted1 but cannot grow enthusiastic over two unduly protected screen embroideries1 a ,german marine and an ,english pair of lions1 done in silk4 ,they are both as hard as nails and devoid of any real suggestion of the spirit which animates either water or lions in reality4 ,if it is so great an achievement as we are often asked to believe to do certain things in badly chosen material1 then why not try to reproduce ,rafael's ,sistine ,madonna with thumbtacks8 ,most such attempts to find an agreeable substitute for the various painting media are merely silly4 ,sharing the hospitality of the cases with the embroidery pictures are the wood sculptures1 some of which are intensely interesting1 as1 for instance1 the ,man with the ,spade4 ,the underlying idea of cubism is very intelligently embodied in this small figure1 without any affectation4 ,the many small woodblock prints to be seen here do credit to the reputation which ,japanese artists have long enjoyed in this special field4 ,the remaining smaller galleries are given over to replicas of the originals of older art1 modern sculpture1 and painting in the modern style4 ,why the modern ,japanese artists want to divorce themselves from the traditions of their forefathers seems incomprehensible4 ,there is not a thing in the western style in this gallery of ,japanese painting that comes anywhere near giving one the artistic thrills won by their typically ,japanese work4 ,i think the sooner these wayward sons are brought back into the fold of their truly ,oriental colleagues1 the better it will be for the national art of ,japan1 the most profound art the world has ever seen4 ,china ,the first impression of the ,chinese section is disappointing4 ,there is no real life in any of the work here displayed1 and most of it consists of modern replicas - some of very excellent quality - of their oldest and best art treasures4 ,the ,chinese seem to be absolutely content to rest upon their old laurels1 the fragrance of which can hardly ever be exhausted2 but nevertheless that does not relieve them of the obligation of working up new problems in a new way4 ,there is so much religious and other sentiment woven into their art that to the casual observer much of the pleasure of looking at the varied examples of applied art is spoiled by the necessity of having to read all of the longwinded stories attached to many of them4 ,the freshness of youth1 the spirit of progress1 which enliven the ,japanese section1 are entirely missing in this display1 which seems like a voice from the past - a solemn monument to an old civilization without any connection with the ,new ,republic and its modern pretensions4 ,i am afraid ,china is laboring under conditions of internal strife which are detrimental to the development of any artistic expression4 ,sweden ,of all the foreign nations represented1 with the exception of ,japan and ,china1 none possesses so distinct a national character as the art of ,sweden4 ,i cannot help expressing my personal conviction that it is the best national section in the whole exhibition1 showing1 as it does1 not merely easel painting1 but also many splendid examples of so-called applied art1 which often permits one to get a deeper insight into the standard of art of a people than easel painting alone4 ,it is true that certain examples of painting in the ,french or ,american sections are more appealing to us1 but in the light of the national characteristics of the people and the country1 ,swedish art has a very definite quality1 consistently shown4 ,their work has a robustness which has nothing to do with the salon aspect of the art of southern ,europe1 particularly ,france4 ,in fact it is almost opposed to the art of the ,romanic races1 and distinctly apart from the art of ,germany4 ,it is fortunate ,sweden could make such a splendid showing without the support of the art of such a man as ,anders ,zorn1 who1 while decidedly ,swedish1 is after all much of a cosmopolitan painter1 with all the earmarks of an international training4 ,the art of the most artistic of all people1 that of the ,french1 is often said to have a decadent note4 ,in comparison1 ,swedish art may be said to be absolutely robust1 healthy1 and vigorous1 without being coarse4 ,to those who pretend to find a certain physical brutality in ,swedish art1 ,i should like to point out that the most delicate pictures in the entire exhibition - those of ,john ,bauer - are the chief asset of the ,swedish exhibit4 ,the great variety of the work in this section makes it very interesting1 and permits1 as said before1 close insight into many phases of modern art4 ,the most pronounced individualities in the collection1 covering all fields1 are ,bruno ,liljefors1 ,gustav ,fjaestad1 ,carl ,larsson1 ,john ,bauer1 ,mr4 and ,mrs4 ,boberg1 ,david ,edstrm1 ,mas-,olle1 and others too numerous to mention4 ,bruno ,liljefors for many years has been known internationally as one of the best of animal painters1 and particularly of sea fowl4 ,he has had the experience common to many great artists1 of working himself up from very academic beginnings to a wonderful personality of marked freedom4 ,his canvas of the nine wild swans is perhaps the biggest single picture in the entire ,exposition4 ,it is immediately suggestive of a decoration1 and to think of it in that sense1 as a part of a wall seen from a great distance1 makes one almost tremble with expectation4 ,this truly great picture is a rhythmic masterpiece4 ,the placing of these graceful swans is marvelously well studied from the point of view of design1 yet none the less does an expression of reality animate these divine birds4 ,there is something about swans which puts them even above the king of birds1 the eagle4 ,i can conceive of men killing any animal1 but the thought of one of these noble birds falling victim to man's perverse desires is incomprehensible to me4 ,of the other pictures by the same artist1 the flock of wild geese1 standing in the shallow water of a stony beach1 carries all the conviction of being well studied which applies to any of ,liljefors' pictures4 ,the eagles and the seagulls are scarcely as interesting as the swans4 ,liljefors is never better than when he depicts flying birds - and fly they do4 ,there is never any doubt about it4 ,those swans are actually in the air1 and moving4 ,a certain disagreeable fuzziness in the skies of all of his pictures interferes somewhat with their full enjoyment4 ,of the other painters ,mrs4 ,boberg should be mentioned next4 ,she is the wife of ,ferdinand ,boberg1 the architect of the ,swedish ,building1 who himself1 as a true artist excelling in a number of things1 has a splendid collection of etchings in the long black and white gallery adjoining the ,liljefors' room4 ,mrs4 ,anna ,boberg's pictures1 in a very small gallery at the eastern end of this section1 are not advantageously hung4 ,her work is so decorative1 and so painted for distant effect1 that to see it close at hand is disappointing4 ,the eleven of her pictures are unusual in subject and for that reason win less sympathy than they deserve4 ,all of them were painted on a trip she made with her husband to the ,lofoden islands1 and when one considers the proverbial coldness of the ,arctic seas1 her interpretations seem marvelous in their beauty and richness of colour4 ,a study of their titles in the catalogue seems hardly necessary for understanding of their meaning1 and ,i for one am perfectly satisfied to feast on the gorgeous colouring and the great veracity they possess4 ,some of them are already sold1 a most surprising thing when one considers that to most people a picture actually executed in three dimensions is seldom considered meritorious4 ,i do think that while the physical width and height of ,mrs4 ,boberg's pictures are governed by conventional considerations1 a little less depth of paint might accomplish the same solid appearance without making one feel like slipping sideways past them into the next gallery for fear of knocking off a few lumps of paint4 ,in the adjoining gallery1 a somewhat larger one on the east1 ,gustav ,fjaestad's very fine decorations form what we are in the habit of calling a one-man show4 ,mr4 ,fjaestad certainly has the decorative feeling1 whether he paints a picture or designs a rug4 ,in fact all of his pictures look like designs for rugs4 ,and why not8 ,if a wall rug is a decoration1 a picture should be one in just the same way4 ,it is hard to single out among the many good examples the best one1 and it may be left to the taste of the individual1 who among nothing but good things cannot make a poor choice4 ,the time will come again when our artists will find it honourable and profitable to apply their talents to utilitarian art1 as does ,fjaestad1 and the interrelated activities of the ,swedish in both fine and applied arts afford a lesson which is by no means new4 ,it is the basic condition on which the art of the ,renaissance flourished that develops men like the ,swedes4 ,there is a big difference between ,liljefors and ,mrs4 ,boberg1 or again between her and ,fjaestad1 but not any greater than between all of these artists and ,john ,bauer4 ,john ,bauer's paintings are exquisite1 and even such abused adjectives as sweet and delicate are not out of place when applied to his work4 ,i hope we have some enlightened person among us who can afford to buy the whole batch of them1 and do it quickly1 before any more of them are sold singly4 ,it takes more time to enjoy these little fairy tales than one can afford to give to them4 ,they possess everything a good illustrative painting ought to have4 ,a wealth of ideas imaginatively represented1 good drawing1 and intimate feeling tell of the keen pleasure the artist must have had in producing these gems4 ,as an illustrator1 though very different1 ,carl ,larsson appeals in a comprehensive group of pictures in another gallery4 ,carl ,larsson's extraordinary resourcefulness in getting everything he needs out of the confines of his home has for years been the cause of his great popularity abroad1 and in his thirty-three cheerful drawings he discloses his entire home life1 in all the variety of happenings which makes married existence a success4 ,his drawing is faultless1 his sense of colour supple and refreshing1 and his ability to make such extensive use of the relatively narrow atmosphere of his home without exhausting it proves his caliber4 ,larsson has a roommate of great distinction and modesty in ,oscar ,bergman1 who has contributed some twenty tender bits of northern landscapes and marines4 ,they are reminiscent of the ,japanese1 although it becomes almost foolish to think of the ,japanese every time someone develops a capacity for acute observation and drawing4 ,bergman's little lighthouse is particularly convincing and1 like most of these things1 should not be allowed to return to the artist4 ,i shall probably have to retrench in attention to the ,american section if ,i keep on giving pages to this section4 ,but in spite of their great merit1 the work of ,kallstenius1 ,schultzberg1 ,carlberg1 and ,osslund will have to go with only meager reference4 ,osslund's pictures are somewhat startling at first1 owing to a complexity of technical treatment4 ,he does not seem to be working in the right medium1 for ,i believe his ,japanesque landscapes could be far more sympathetically presented in watercolour4 ,of the group comprising his work1 his ,waterfall1 ,summer ,evening1 and ,evening on ,angermann ,land are very fascinating4 ,mas-,olle's portraits are interesting not only for good technical painting but also for fine characterization4 ,his portrait of an old peasant of ,dalecarlia is almost faultless4 ,near the ,mas-,olle portrait ,herman ,lindquist has a ,sunny ,april ,day of unusual poetic claim4 ,schultzberg's big sunlit winter scenes hardly need recommendation to justify their increasing popularity4 ,alfred ,bergstrom's poetic landscapes add more interest1 in the small adjoining room on the east4 ,marine pictures by ,hullgren are the only contributions in that field1 but quite sufficient to maintain the general standard of excellence4 ,the drunken man seated at a caf table is psychologically interesting4 ,as an object lesson to discourage the consumption of liquor it is the most effective picture ,i have ever seen1 and certain interests would do well to buy it for that reason alone1 not to speak of the relief this would afford4 ,ernst ,ksel's animal pictures1 opposite ,john ,bauer's delightful group1 seem quite out of place4 ,his ducks and the goats are satisfactory enough1 but ,i wish he had to live with that calf picture and see it every day4 ,ksel is undoubtedly humourously inclined1 without knowing proper limitations4 ,the sculpture of the ,swedes is of the same unusual excellence that commands so much respect in their other work4 ,edstrom easily outranks his fellow-artists in his group of naturalistic and conventional architectural heads1 in the ,liljefors gallery1 while in the long and narrow adjoining gallery a multitude of excellent etchings1 drawings1 and black and white work compel mention4 ,they hardly need any explanation1 since in their very character they readily convey their meaning4 ,one could dwell at greater length upon this most representative of all national displays1 but ,i fear that it would have to be done at the expense of the ,american section1 which hospitality has already placed under a disadvantage4 ,holland ,the ,netherlands representation is conspicuous for its conservative note1 together with the absence of any single picture which might unduly excite one by its merit4 ,i do not wish to prejudice the art lover who strolls into this well appointed section1 but coming from ,sweden1 as we do1 so to speak1 since it is ,sweden's next door neighbor1 it gives one rather a shock4 ,most of the ,dutch pictures are good1 almost too good1 in their academic conventional repetition of the timeworn subjects we have been in the habit of seeing for the last twenty years4 ,the ,swedish section is full of real thrills1 but the complacency of the ,netherlands section can hardly be explained by their national temperament alone4 ,while the ,swedish people seem to be blessed just now with an unusual number of men of great gifts in the field of art1 the ,netherlands have entered into what ,i hope will be only an interregnum of not overly original painters4 ,the last quarter of the last century saw their glory in the careers of men like the elder ,israels1 the ,mesdags1 the ,maris1 ,jacob and ,willem1 ,bosbom1 ,mauve1 ,weissenbruch1 ,poggenbeck1 and many others who have departed during the last ten years1 or who1 if still living1 have scarcely maintained their high standards of earlier days4 ,the most illustrious name among the older men is ,willem ,mesdag1 who can hardly be expected at his age to be doing his best4 ,speaking of ,mesdag1 one of their best marine painters of the older days1 one is forcibly reminded of the fact that though a people of the sea the ,dutch do not seem to possess a single strong marine painter4 ,one looks in vain for any pictures of the open sea reflecting the seafaring traditions and activities of the ,dutch1 and if it were not for ,mastenbroek's masterly harbor pictures1 one would have to console oneself over this lack of the briny element with a view of the ,amsterdam ,marine ,aquarium4 ,mastenbroek's big canvas is full of life and well painted4 ,it shows the harbor of ,rotterdam animated by a host of vessels of all kinds and descriptions4 ,while there is a fine feeling of loose accidental arrangement about this big picture1 it is nevertheless well composed4 ,his small canvas in the adjoining gallery is technically superb1 and to my mind the best canvas in the whole ,dutch show4 ,in the middle of the same wall ,gorter's very decorative autumnal landscape1 of a group of beech-trees1 commends itself by an unusual feeling for colour and design1 so lacking in the two almost monochromatic1 untemperamental ,witsens on either side4 ,almost opposite in the same gallery1 the most western in the ,netherlands section1 hangs a broadly painted canvas by ,breitner1 of the timber harbor of ,amsterdam4 ,it is not so original a subject as one is accustomed to see from ,breitner1 but fully deserving of the best place on the wall4 ,thrse van ,duyl-,schwartze's portrait alongside is equal to her usual performances1 and very broad in style and full of vigor4 ,jurres' ,don ,quixote1 ,goedvriend's little canvas1 and ,bauer's ,oriental ,equestrian should all be mentioned in this gallery4 ,in the middle gallery1 on the right of the big ,mastenbroek1 ,christian ,addicks' ,mother and ,child charms by its richness of colouring1 while in the left corner hangs a very decorative still-life in the best manner of such old ,dutch painters as ,hondekoeter4 ,nicolaas ,bastert has a typical ,dutch canal1 and ,willy ,sluiter a good study of a ,volendam fisherman4 ,one gallery is entirely devoted to etchings1 woodcuts1 and mezzotints1 and the standard maintained in this gallery is high4 ,martinus ,bauer's three etchings are among the finest to be seen anywhere in the exhibition1 and the work of ,harting1 van ,hoytema1 and ,haverman do not fall much below his standard4 ,there is young ,israels 7,isaac7 with some very snappy sketches4 ,nieuwenkamp is intensely interesting in the few things he has there1 with a certain sense of humor which is conspicuous for its absence in most ,dutch work4 ,the woodcuts of ,veldheer are vital and unusually free from any academic feeling4 ,considering the relative size of the ,netherlands1 they have a remarkably large number of artists1 but scarcely of sufficient bigness of caliber and independence of character to live up to the traditions of this people4 ,germany ,very modestly tucked away and surrounded by art of the few remaining neutral nations1 in a small gallery adjoining ,holland and ,sweden1 ,germany unofficially and probably even without her knowledge is represented by a small group of pictures which after many adventures reached the hospitable shores of ,california4 ,originally exhibited at the last ,carnegie ,institute ,exhibition at ,pittsburgh1 they found themselves on the high seas on their return voyage at the beginning of the war1 only to be captured by an ,english cruiser whose captain was so painfully struck by the undeniable evidences of ,german ,kultur that instead of taking them to ,england he returned them to the ,united ,states1 to be included eventually in our exhibition4 ,it would be very wrong to generalize upon the standard of ,german art from this small display1 but a number of these pictures can well afford to go entirely upon their own merit4 ,zgel's cattle picture is a canvas of the first order1 by one of the very important modern animal painters1 a man whose fame has penetrated into all lands where art is at all cultivated4 ,the silvery light of a summer morning1 filtering through overhanging willow-trees upon the backs of a few ,holstein cows1 is full of life and admirably loose in its treatment4 ,above ,zgel1 ,leo ,putz1 another ,munich man1 has a lady near a pond1 broadly painted1 and executed in the peculiar ,putz method of square1 mosaic-like paint areas which melt into a soft harmony of tender grays and greens4 ,stuck's ,nocturne is affected and unconvincing and scarcely representative of this master's style4 ,the many other men give a good account of themselves1 particularly ,curt ,agthe1 whose classic ,nude at the ,spring is of wonderful surface quality4 ,wenk has an ,italian marine and ,benno ,becker a landscape from the same country4 ,ghler's ,castle ,terrace has a particularly fine sky and a true rococo atmosphere4 ,hans von ,volkmann's ,field of ,ripe ,grain is typical of this ,karlsruhe painter1 whose stone lithographs have given ,german art a unique place in the art world4 ,the ,united ,states ,almost one-third of the entire ,fine ,arts ,palace is occupied by the art of the ,united ,states1 and considering the privileges it enjoys1 we have no reason to offer any excuses4 ,one thing should be said1 a fact which must force itself immediately upon any careful observer - that we have been very hospitable to the foreign nations at the loss of our own physical comfort4 ,the growing demand from some of the foreign nations for more space than originally applied for has crowded the ,american section in some instances into rather uncomfortable conditions4 ,on the other hand we do not seem to have acquired such attractive ways of hanging our pictures as the ,swedes1 ,hollanders1 or ,italians practice2 probably for lack of funds4 ,at any rate the ,american section looks very businesslike and very democratic1 without all the frills and fancies of other nations1 where every psychological advantage has been taken in order to make things palatable4 ,we have even been criticized for our lack of spaciousness in hanging1 but let us not grieve over this1 since it does at least save steps in walking from one picture to the next4 ,gallery #fj4 ,our historical section is largely a mausoleum of portraits which really have no other excuse for existence than historical interest1 unless one excepts the always excellent portraits of ,gilbert ,stuart1 who certainly stands out in all that dull company of his fellow-painters of his own time4 ,he is about the only one who can claim professional standards of workmanship as well as lifelike characterization of his sitters4 ,his group of pictures on wall ,a does his great talent full justice4 ,the mellow richness of the portrait of ,general ,dearborn stands out as a fine painting among the many hard and black historical documents in this gallery4 ,the ,captain ,anthony portrait above is not less important4 ,i think his technical superiority and breadth of manner must be doubly appreciated when one considers the absence of any artistic inspiration in this country in ,stuart's time1 although he had the advantage of several lengthy visits abroad1 where he was received with approval by profession and public alike4 ,most other portraits in this gallery are lacking in any individual note and are hopelessly stiff and academic in colour4 ,not even the very apparent influence of the great ,english portrait masters of their time could save them from mediocrity4 ,the only pictures worth excepting from this classification1 outside of the ,stuarts1 are ,charles ,elliott's ,colonel ,mc,kenney and ,s4 ,b4 ,waugh's portrait of ,thorwaldsen1 the ,danish sculptor4 ,gallery #ei4 ,in an adjoining gallery toward the north1 our chronological investigations bring us into an atmosphere of story-telling pictures of the most pronounced ,dsseldorf and ,munich styles4 ,this period has always been the source of delight to the populace1 which has no concern in the technical qualities of a picture1 a contention which led1 more than anything else1 to the healthy reaction we now enjoy as the modern school4 ,the sentimental tone of most of these pictures and their self-explanatory illustrative motives no doubt make them easily the lazy man's delight1 but ,i cannot help feeling that most of their themes could much more successfully be approached through literature than through the painter's art4 ,most of them explain themselves immediately1 and those which do not are helped along by descriptive titles fastened to the frames1 as the taste of that school demands4 ,the great men of this school in ,germany were primarily great painters4 ,men like ,defregger1 ,knaus1 ,vautier1 ,grtzner1 ,kaulbach1 and others will always command high respect by their technical achievements1 no matter how we may disagree with their choice of subjects4 ,the really worthy ones we have produced in this field of genre painting are to be found in other galleries and are represented by men like ,hovenden1 ,currier1 and ,johnson4 ,the only real painting among the many figure pictures in this gallery is ,peter ,frederick ,rothermel's ,martyrdom of ,st4 ,agnes4 ,very rich in colour and big in composition1 it compels great respect4 ,we have now reached the middle of the last century1 when the influence of the ,barbizon school asserted itself and caused increasing interest in landscape painting1 a field which up to that time had been mixed up with historical motives1 as in a typical composite canvas by ,cole 7,thomas71 who generally ranks as the most important of the ,hudson ,river ,school of landscape painters4 ,there is really not enough artistic moment to this ,american group to dignify it by the name of a school4 ,for historical reasons1 however1 this classification is very convenient4 ,cole's four sketches for the ,voyage of ,life show strong imagination1 giving the impression1 however1 that he was more interested in mythology than in the art of painting4 ,the first intimation of a really original step in ,american outdoor painting1 as based on the discoveries of the school of #ahbe1 the ,barbizon school1 one receives in this gallery in a number of small canvases by some of the men we have chosen to classify as the painters of the ,great ,west4 ,into this group are put ,thomas ,moran1 ,thomas ,hill1 and ,albert ,bierstadt4 ,they are so very closely identified with the ,west that they are of particular interest to us4 ,their artistic careers were as spectacular as their subjects4 ,stirred by the marvelous tales of the great scenic wonders of the ,west1 they heroically threw themselves into a task that no artist could possibly master4 ,they approached their gigantic subjects with correspondingly large canvases1 without ever giving the essential element1 of their huge motives1 namely1 a certain feeling of scale1 of monumentality1 as compared to the pigmy size of the human figure4 ,really great pictures of the ,yellowstone1 the ,grand ,caon1 and the lofty mountain-tops still remain to be painted4 ,the daring and courage of these men has benefited our art very much in a technical sense4 ,the study of panoramic distances and the necessity for closely observing out-of-doors new subjects which could not be studied in the work of other painters1 led to a facility in the handling of paint which really constitutes the chief merit of these artists4 ,in this gallery 7#ei7 two small outdoor sketches by ,thomas ,hill give a good suggestion of this ,californian's great dexterity in handling paint4 ,his career has been so closely identified with the ,yosemite ,valley1 where he lived and died1 that these two sketches will serve as a reminder of the very faithfully studied larger pictures he for many years produced4 ,peter ,moran1 a brother of ,thomas1 has a cattle picture in this gallery which needs the backing up of the reputation of the whole ,moran family to be accepted4 ,gallery #eh4 ,chronological order is not entirely maintained in gallery #eh1 where two large ,bierstadt pictures are in control4 ,bierstadt1 with all of his good painting1 does not get any nearer the real spirit of the lofty mountaintops than all the others of this school4 ,big and earnest as his efforts were1 they fall short of real achievement1 not so much for his lack of outdoor colour as for the misunderstanding of what is possible in art and what is impossible4 ,another landscape in this gallery1 belonging to the contemporary school1 however1 is ,henry ,joseph ,breuer's ,santa ,inez ,mountains4 ,it is a faithful study of a most difficult subject and very successful in its big feeling1 in spite of the introduction of great detail4 ,it is easily the best ,breuer in the collection4 ,the note of variety in this gallery is maintained in several portraits and genre pictures of unusual merit4 ,on the right of the ,breuer1 ,thomas ,hicks' ,friendly ,warning atones for a multitude of mediocre genre pictures in the preceding gallery4 ,eastman ,johnson's ,drummer ,boy shows good composition1 and ,j4 ,h4 ,e4 ,partington's study of a man's head is as fine a piece of painting as was ever done in the eighties4 ,gallery #fd4 ,in a big central gallery we meet the more meritorious work of our painters dependent upon foreign influence4 ,portraits1 genre pictures1 landscapes1 and marines tell the story of many individual men working out their salvation in more or less original fashion4 ,i have spoken at some length about the pitfall of genre painting1 but ,thomas ,hovenden's ,breaking ,home ,ties redeems the entire school4 ,irrespective of the fact that it is a picture very popular with the large public by reason of its sentimental appeal1 it is well painted1 and it will always be considered a good painting4 ,it is devoid of colour1 in the sense of the modern painter1 but its very fluent and simple technical character recommends it highly4 ,hovenden was a master of his trade4 ,anybody who doubts this from his large canvas can easily be convinced by studying the ,peonies to the left of it on wall ,c4 ,the large area of this wall is covered with six canvases by ,thomas ,eakins1 showing a variety of subjects4 ,his ,crucifixion is very good as an academic study but of no other interest4 ,in the ,concert ,singer he added an interesting subject to very admirable painting4 ,his other canvases are all sincerely studied and well done1 and they will always be sure of their place in the history of ,american painting4 ,opposite the ,crucifixion1 ,church's ,niagara reminds one that the painting of water involves more than mere photographic facility4 ,all that one can say about this serious effort is that if it had been painted under a different star than that which guided the painters of his time in outdoor studies1 it would doubtless look more like water4 ,another canvas on the right1 a marine by ,richards1 has the same feeling for drawing without showing any understanding of either texture or atmosphere4 ,the old and the new overlap in this gallery by the inclusion of some of ,remington's paintings and also of a few pieces of sculpture4 ,remington's paintings will never be classified as anything but very good illustrations1 and in the company of easel pictures they look much out of place4 ,their interest is only of a passing kind4 ,his sculpture is lacking in repose and looks wild and ill-mannered in the presence of the older things4 ,homer ,martin's appeal1 in two big landscapes on the same wall1 may not be very immediate1 but a serious contemplation of these big and noble landscapes will make them reassuringly sympathetic4 ,martin's pictures are not exhibition pictures4 ,they suffer in an exhibition which is after all as much of a specimen show of conflicting varieties as a display of canned goods in the ,food ,palace4 ,martin1 while never having enjoyed the popularity of an ,inness1 will always rank as high as any of our best interpreters of the ,barbizon school4 ,gallery #ed4 ,we have to go over into this gallery in order to get the full meaning of that great company of men who had something which is so difficult to discover in many artists1 namely1 style4 ,inness and ,wyant above everything have style1 a quality which carried their otherwise not very original work above that of their fellow-painters4 ,we shall never tire of such canvases as ,the ,coming ,storm1 ,the ,clouded ,sun1 and the limpid pastorals by ,wyant4 ,they maintain their position as classics4 ,winslow ,homer occupies a position all by himself4 ,an entire wall full of specimens by him shows the evolution of the man1 his struggle with the problem of the choice of subjects1 and his technical development1 culminating in that one really great theme in the center1 showing his studio in an afternoon fog4 ,homer's colour is always disappointing1 even in his best1 but his sense of design and a certain simple restriction to a few essentials make up his chief claim upon distinction4 ,dennis ,bunker's ,lady with a ,mirror would scarcely be believed to belong to the older period of ,american art4 ,one of the finest pictures ever produced by an ,american painter1 it yields a most unusual degree of artistic pleasure4 ,there is real distinction about this picture1 not only in the graceful idealization of the lady1 but also in the refined colour scheme4 ,currier's art is very much like ,duveneck's1 an observation which is made emphatic by the fact that each one's masterpiece is a whistling boy1 of great simplicity4 ,after a discussion of ,duveneck's work1 ,currier's artistic antecedents will easily be established1 so no more need be said of his work4 ,gallery #he4 ,across the hall more of our academic school of painters are grouped4 ,there is ,george de ,forest ,brush1 the painter of the ,boston ,madonna1 in some of his earlier illustrative canvases and a very fine pre-,raphaelite ,andromeda4 ,brush is so contradictory at times that this small group is quite insufficient to do him full justice4 ,horatio ,walker clings persistently to his conviction of the supremacy of the older methods1 without giving any indication of contact with modern art4 ,his superiority depends largely upon the human-interest stories he tells with wonderful breadth and sympathetic understanding4 ,charles ,w4 ,hawthorne's canvases seem fumbled rather than painted4 ,they are very hesitating in a technical way and are not sufficiently endowed with interest to grip one4 ,gallery #eg4 ,in another gallery in this neighborhood1 ,edwin ,abbey's art is presented very comprehensively in a number of large and small illustrations - canvases of more than passing interest4 ,while they are largely illustrations1 their interest is made permanent by reason of the subjective note which all of them have4 ,abbey's intense imagination allowed him to carry a convincingness into his work which is largely responsible for the very high rank he attained4 ,his art is not the art of an ,american in any sense4 ,it is true he was born in ,philadelphia1 but a long and successful life spent in ,europe has left on his work the imprint of an aristocracy foreign to our interest4 ,in design1 in colour1 ,abbey's work is always supremely interesting1 and with the astonishing development of illustration in ,america1 it seems incredible that we should not have been able to make him return to the land of his birth4 ,galleries fifty-five and fifty-six are modern in aspect and their contents came into this part of the building for practical reasons4 ,wedged in between older periods1 it is difficult to combine them with the rest of modern ,american art1 largely represented in the north side of the ,palace4 ,gallery #ef4 ,here two interiors in distinctly different styles stand out among the multitude4 ,marion ,powers and ,elizabeth ,nourse add considerably to the achievement of our women artists in these well-painted canvases4 ,miss ,powers is very original in an older school1 while ,miss ,nourse displays all the technical dexterities of the present day4 ,hitchcock's ,dutch ,tulip ,beds1 with figural staffage1 remind one of a most original ,american who after a long struggle established himself with these colourful designs4 ,his recent death came entirely too soon4 ,gallery #ee4 ,this room is intensely animated by ,potthast's six seashore sketches1 which are composed and very sympathetic in their fine sunlight4 ,evelyn ,mc,cormick's ,monterey ,custom ,house is no less sunny1 and conscientiously studied in detail4 ,gallery #fe4 ,of particular interest are the pictures in this gallery1 constituting an achievement which few other nations could rival4 ,devoted exclusively to the work of living ,american women artists1 it contains convincing evidences of the good results which the emancipation of women in this country allowed them to accomplish in the field of art4 ,the standard in this gallery is very high1 and one must admit that ,mr4 ,trask's daring innovation of putting all the women artists in one big gallery was justified4 ,they do hold their own1 and they do not need any male assistance to convince one of their big part in the honors of the exhibition4 ,on two opposing walls1 ,mary ,cassatt and ,cecilia ,beaux give full expression of their very vital work4 ,miss ,beaux's work is compelling in its vigorous technique1 fine colour1 and daring composition4 ,her study in purple and yellow is bold and unusually successful4 ,on other walls more portraits by ,ellen ,emmet ,rand continue to hold our attention1 particularly the little girl and the black cat4 ,the portraits of our women painters are all far more original in composition and colour arrangement than those of the men4 ,mary ,cassatt's reputation is so universally established as not to need any introduction4 ,her art is more ,french in the many tone gradations of atmosphere than that of her ,american colleagues who are more decorative4 ,among others ,jean ,mc,lane1 ,mr4 ,johansen's wife1 and ,annie ,lang excel in a certain breadth of style2 while ,mrs4 ,richardson charms by the sympathetic rendering of the pride and happiness of the young mother4 ,the composition of this picture1 while it is unusual1 is successfully managed4 ,the impression one gains from this large gallery is most satisfying in every way4 ,the many portraits done by men seen in various galleries of the exhibition would scarcely make as good a showing in a group as the work of the women1 and it was very wise not to attempt it4 ,one-,man ,rooms ,an approach to the rest of the ,american section might be made through the one-man rooms1 and since we are on the south side1 and for other perfectly good reasons - not the least1 that of importance - we might start with ,whistler4 ,gallery #bh4 ,whistler4 ,no gallery reflects so much the really serious artist1 in his eternal struggle to express himself simply and exhaustively in line1 form1 and colour1 as does this ,whistler group4 ,a feeling of dissatisfaction1 expressed by many indications of experimentation and change1 of searching for the right line1 is clearly indicated in all of these paintings4 ,he often gives you a chance to choose between a number of tantalizing forms and lines4 ,it is very apparent that he set himself a high1 almost an unattainable standard1 toward which he worked with varying success4 ,his emotions must have been constantly swinging between the greatest heights of joy and the abyss of despair4 ,the numerous ,whistlers in this gallery show him in many periods and many styles4 ,on wall ,d1 at the lower right1 a portrait of an auburn girl1 one of his many fascinating models1 shows ,whistler more as a pure painter than any of the other canvases4 ,this doubtless belongs to the period when he was under ,courbet's influence4 ,the richness of pure paint1 dexterously applied1 is scarcely found in the many portraits on the same wall1 in which a certain thinness of paint is too much in evidence1 no matter how distinguished and suggestive these canvases are4 ,his sense of composition1 of the placing of areas of different tones and colour1 is markedly evident in all of his work1 no matter how experimental and casual it may be4 ,the ,falling ,rocket is the most wonderful example of this quality of design4 ,if it is true that it hung for weeks upside down in the present owner's house1 then most decidedly this fact speaks well for its excellent quality of design1 irrespective of its pictorial meaning4 ,the many small sparks descending rhythmically from an impenetrable sky are carefully considered in their relative position and size so as to insure that feeling of pattern which he almost instinctively gave to everything he did4 ,this picture of the ,falling ,rocket is of particular interest as the picture which made ,john ,ruskin1 the ,slade ,professor of ,art at ,oxford1 accuse ,whistler of flinging a pot of paint at the face of the public and having the impudence of a coxcomb to ask two hundred guineas for it4 ,surely this carefully and cleanly painted picture shows ,whistler as hardly a flinger of paint1 and we can only rejoice over the kind fate which saved ,mr4 ,ruskin from extending his career into the present age of paint flingers1 who1 had they lived in his day1 would have proved fatal to the learned professor4 ,the farthing damages which ,whistler received in a mock trial were scarcely as valuable as the universal admiration this picture receives4 ,there never was a painter who manipulated paint with more regard for the medium than did ,whistler4 ,his portrait of ,mrs4 ,milicent ,cobden has a noble beauty of restraint4 ,it is very sensitively painted1 and tender almost to the point of thinness4 ,it fascinates in its subtle appeal1 which the observer is induced to supplement by his own emotion4 ,this quality of subtlety is the one attribute which makes his work so beloved by the artist and so difficult of understanding for the layman1 who1 try as he may1 is not equipped with sufficient technical insight to do ,whistler's paintings full justice4 ,uneven as his work is1 as every painter admits1 it will always be more and more cherished by the profession and remain more or less of a mystery to the puzzled public1 who would like to follow this painter into the realm of his interests4 ,the six figural compositions on the opposite wall show ,whistler as concerned with design pure and simple1 rather than meaning or psychological expression4 ,they are beautiful for the fragrant looseness of their spacing of delightful1 tender areas of neutralized colour1 emphasized here and there by a stronger note of vermilion4 ,things like these express his attitude far more than any other thing he ever did4 ,they show his understanding of the fundamentals of painting - a small part in the whole unity of beauty of which the world consists4 ,his work as a painter is1 after all1 negligible in comparison with the principles he preached by his many artistic activities4 ,his historical position1 as time goes on and as his associates die1 becomes more and more mystical1 and even at this moment his personality has assumed an almost mythological character4 ,gallery #ic4 ,twachtman4 ,it is not a far cry to ,twachtman1 who presents a peculiar combination of ,whistlerian tonality with the methods of the modern impressionist4 ,his work is relatively high in key1 and devoid of any colour resembling black4 ,the covered skies of early morning1 before the breaking through of the sun1 are his chief motives4 ,snow plays also an important part in his work1 which is most suggestive in the tender beauty of the few values and colours it is composed of4 ,there is absolutely nothing of the sensational about his work4 ,to most people of not sufficient interest on first acquaintance1 on better familiarity they yield to the serious student and sympathetic lover of nature unlimited pleasure4 ,his poetry is of the true sort1 and in finished work like ,october1 ,view on the ,brette1 ,bridge in ,spring1 and ,greenwich ,hills1 he rises to a very high level4 ,manship's small statuettes are very effective features of this gallery4 ,their linear decorative architectural quality has put ,manship into the front rank of our younger men1 and he will have no trouble to maintain his place4 ,gallery #hi4 ,tarbell4 ,in an adjoining gallery1 ,edmund ,tarbell is much more striking1 in a number of canvases containing certain qualities1 which easily account for the great popularity he justly enjoys as one of the best of our ,american painters4 ,to the student of pictures who does not care whether they are well painted or not1 they are intensely interesting subjects1 reflecting the happy domestic atmosphere of the painter's home1 which has furnished him for years inexhaustible material for many delightful interpretations of similar subjects4 ,this ability to produce so many things of equal excellence in a relatively small circle1 in one way proves his greatness4 ,in the last analysis1 he has practically everything in his work one looks for in a work of art4 ,in addition to having an easily understood idea1 his pictures are well composed1 without showing the consciousness of it1 as does ,whistler4 ,fine in colour and handling1 beside the idealization of everything he includes in his work he achieves a certain something which we recognize as style4 ,he may be a realist in every sense1 but he shows how to deal arbitrarily with his figures in such a way as to endow them with admirable distinction1 without losing the expression of reality4 ,his recent outdoor work has not the unity of expression of his indoor subjects4 ,it is difficult1 and not really necessary1 to single out any work in a one-man representation of unusual uniformity of excellence4 ,every one of his pictures has the earmarks of having been carefully studied4 ,bela ,pratt's statue of ,nathan ,hale is much less academic than the other sculptures arranged in this gallery4 ,compared with the high standard of ,american small plastic art his works are somewhat dry1 though always conscientiously done4 ,gallery #hh4 ,redfield4 ,as a realistic painter of the outdoors1 ,e4 ,w4 ,redfield holds an enviable position in the field of ,american art4 ,he is the painter par excellence1 without making any pretension at being anything else4 ,the joy of putting paint on canvas to suggest a relatively small number of things which make up the great outdoor country1 like skies1 distance1 land foregrounds1 is his chosen task4 ,he is the most direct painter we have4 ,with a heavily loaded brush1 without any regard for anything but immediate effect1 he expresses his landscapes candidly and convincingly4 ,he is plain-spoken1 truthful1 free from any trickery - as wholesome as his subjects4 ,his a la prima methods embody1 to the professional man1 the highest principle of technical perfection1 without falling into a certain physical coarseness so much in evidence in most of our modern work4 ,his sense of design is keen1 without being too apparent1 and the impression one gains from his works is that they are honest transcriptions of nature by a strong1 virile personality4 ,winter subjects predominate in his pictures1 and he expresses them probably more convincingly than others - though his ,autumn is marvelous in its richness of colour1 and in the two night effects of ,new ,york he shows his acute power of observation in two totally different subjects4 ,his art is altogether most refreshing and free from all artificialities4 ,gallery #hg4 ,duveneck4 ,paradoxical as it may seem1 ,duveneck's art is carried by the same painter-qualities found in ,redfield4 ,from his dark colour it is self-evident that he belongs to an older ,german school - a school which has been superseded in the affection of ,americans by ,french methods4 ,we know relatively little1 entirely too little1 about the generous methods of the best men of the ,munich school1 of which ,duveneck is so conspicuous a member4 ,his importance in the history of art can hardly be set too high1 for the soundness of his methods alone4 ,only the greatest ever attain the capacity for direct painting which characterizes this astonishing collection of his pictures4 ,juiciness is the only word which will adequately express the result of his brush4 ,the pictures here are most interesting for the reason that they were all done while he was not yet twenty-five and while he lived in an atmosphere of workers of whom ,leibl was probably the most famous4 ,there are few paintings - and then only the greatest - which give one the same satisfaction at a big distance as well as at close range as ,duveneck's do4 ,men of his caliber appear only at great intervals4 ,this ,duveneck collection1 if brought together permanently1 as we are fortunate enough to see it temporarily here in ,san ,francisco1 would become the ,mecca of all painters who want to refresh their memory as to what constitutes real painting4 ,unfortunately these canvases are owned by different people1 and to think that they will all have to be scattered again among individual owners is a shocking thought4 ,the uniformity of excellence in the ,duveneck room forbids any attempt at picking out individual works2 however1 ,duveneck's equally great accomplishments on another wall1 in the field of etching1 are apt to be easily overlooked4 ,the sarcophagus of his wife1 done by his versatile hand1 increases the admiration that we1 must hold for this liberal genius4 ,duveneck's art1 no matter how much it is rooted in foreign soil1 will forever make its influence felt for the best of ,american art4 ,gallery #gi4 ,chase4 ,balancing ,duveneck's gallery on the south1 ,william ,m4 ,chase continues the ,munich traditions1 in the successful treatment of a variety of subjects for which he has always been famous4 ,closely associated with ,duveneck1 and showing all the rich qualities of the ,munich men1 ,chase's picturesque personality finds a reflection in his subjects1 which all seem to have been chosen to give him an opportunity to display a certain bravado of handling which characterizes all of his work4 ,the ,chase collection gives a good idea of the career of this most useful of all ,american painters1 who in an astonishingly active life has been teacher1 friend1 and counsellor to hundreds of the younger people in the field of art4 ,his life has been most useful - always in the interest of the very best1 with conspicuous success in aiding the uplift of ,american art4 ,his still-lifes have for years been famous for their fidelity of interpretation of a variety of contrasting things1 like fishes1 copper bowls1 and onions4 ,no less interesting have been his portraits of the great mass of people who have sat for him4 ,he has never been afraid of painting anything1 and whatever it may be1 he has treated it with great breadth1 fine pictorial feeling1 and charm of colour4 ,his ,woman with the ,white ,shawl has become a classic during his lifetime1 and some of his still-lifes are sufficient to serve as a permanent solid foundation for his reputation4 ,chase's art1 while decidedly academic1 excels in esprit1 in a certain elegant yet energetic expression which after all is nothing but the painter's own personality reflected in his work4 ,the delightful set of small landscapes of ,italian and ,american subjects adds much interest in this collection1 which is very well hung against an effective blue background4 ,gallery #gh4 ,hassam4 ,childe ,hassam's art at first is very disconcerting1 particularly under a strong midday light4 ,one has at first the feeling that a religious adherence to a certain impressionistic technique is of more importance to him than anything else4 ,entering his gallery from the ,chase collection1 one is almost overcome with the contrast of light and dark presented by these two masters4 ,the contrast of the classic academic atmosphere of ,chase's room shows ,hassam pronouncedly as the most radical impressionist we have4 ,his interest is light1 and always more light1 vibration at any cost2 which contrasted with ,chase's art1 or for that matter anybody's else1 ,duveneck's1 or1 for instance1 even ,whistler's1 becomes almost irritating in its lack of simple surfaces4 ,he does not eliminate in the sense of the older men1 who care more for a unity of expression than for an approximation to the actual outdoors4 ,there is sunlight in his work1 without a doubt1 but it is not always spread over agreeable subjects4 ,the wooden quality of his figures and the frugal aspects of his fruit1 to us ,californians are particularly painful4 ,of all his oils in this gallery the two on either side of the ,aphrodite on the east wall are by far the best4 ,in them he succeeds in carrying his point agreeably and convincingly4 ,they are both lovely in colour1 and they give you the feeling of having been well studied4 ,the two groups of watercolours and gouaches on the side walls are1 with the exception of a wash blue sea1 very discreet in quality of paint and most intimate in feeling1 and to my mind do ,hassam more credit than the many other canvases1 which seem to be painted for expounding a technical principle rather than to reveal his innermost feelings4 ,gallery #gg4 ,gari ,melchers4 ,melchers' style is much more sympathetic than ,hassam's without being less personal4 ,of modern painters ,i confess to a particularly great fondness for ,melchers' art4 ,while standing firmly on classic tradition1 it is modern in every sense4 ,one can say everything of good and find little fault with any of these most conscientiously painted canvases which make up his contribution to the exhibition4 ,beginning with his ,fencing ,master1 one of his older works1 he shows in a great number of similar subjects his loyalty to ,egmond aan den ,hoef1 a little ,dutch village where he has worked for years4 ,the quality of pattern and colour in his work is very pronounced1 and this1 combined with a fine psychology1 makes his work always interesting4 ,he is no radical2 the best as he sees it in any school he has made subservient to his purpose without any loss of individuality4 ,his pictures yield much pleasure to public as well as to artist1 even in sentimental stories like the ,sailor and ,his ,sweetheart1 or the ,skaters4 ,his finest note he strikes undoubtedly in the many sympathetic glorifications of motherhood in his fine modern ,madonnas4 ,these works will be the sure foundation of his fame4 ,no matter whether he calls them ,madonna of the ,fields1 ,maternity1 or simply ,mother and ,child1 he presents this greatest of all subjects as few have ever done4 ,his art is wholesome and sane1 but endowed with a subtle quality of insight into his subjects that will always assure him a very high place in the history of art4 ,for years he has been one of the reliable painters of the world1 and to meet with his work at intervals is always a source of great satisfaction4 ,gallery #ge4 ,sargent4 ,a small adjoining gallery is given entirely over to a few ,sargents which are quite sufficient to maintain this great stylist1 whom many believe the towering giant of the profession4 ,one thing is evident from this work - that for surety of touch and technical directness he stands practically alone1 though he does not possess the deliberate ease in which ,duveneck rejoices4 ,sargent's ,john ,hay and ,henry ,james are absolutely exhaustive as character studies4 ,his ,nubian ,girl1 however1 is woody1 no matter how interesting in posture4 ,in nothing does he disclose his marvelous precision of technique so completely as in some of the outdoor studies1 like the ,syrian ,goats and the ,spanish ,stable4 ,there is nothing like them in the exhibition anywhere1 and these two things alone make up for what is really not a comprehensive display of one of the greatest of modern living painters4 ,however1 a man whose standard of excellence is relatively very even does not need a large representation4 ,gallery #ij4 ,keith4 ,in two other small galleries of similar size three ,california painters have their inning4 ,while all these are of different caliber1 they have something in common which ties them closely together4 ,it seems peculiar that a country famed for its sunshine should produce men like ,keith1 ,mathews11 and ,mc,comas1 who surely do reflect a rather somber atmosphere1 in a type of work which must be called tonal and arbitrary rather than naturalistic4 ,keith's collection1 with the mass of modern landscape all around1 and even compared with other followers of the ,barbizon school1 seems somewhat somber1 as compared with the vital buoyancy of ,redfield and others of ,redfield's type4 ,his range of idealistic landscape subjects is intimate1 but not characterized by the stirring suggestion of outdoors which ,inness1 ,wyant1 and others of his school possess4 ,keith's marvelous dexterity of brushwork really constitutes his chief claim upon fame1 and some of his best things are gems in easy-flowing methods of painting which the best men of the ,barbizon school seldom approached4 ,keith must not be looked upon as a painter of nature nor even an interpreter of nature4 ,he used landscapes simply to express an ever-changing variety of personal emotion4 ,his attitude toward nature in his later work was of the most distant kind1 although his early career was that of the most painstaking searcher for physical truthfulness4 ,gallery #gf4 ,mathews and ,mc,comas4 ,mathews and ,mc,comas do not exactly make good company4 ,while closely related in the decorative quality of their work1 they are not alike in any other way4 ,mathews' art is emotional4 ,it tells something beyond mere colour1 form1 and composition1 while ,mc,comas' art is mostly technical1 in the clever manipulation of a very difficult medium4 ,his sense of construction and feeling for effect is very acute4 ,he is becoming so expert1 however1 in the handling of watercolour that one sometimes wishes to see a little more of that accidental charm of surface that his older work possesses4 ,general ,collection ,having reached far into the heart of the modern ,american section by way of the one-man galleries1 a chronological pursuit of our study is no more necessary nor possible4 ,almost all of the pictures in the modern ,american section have been produced since #aijd1 the year of the last international exhibition1 at ,st4 ,louis1 and they reflect in a very surprising way the tremendous advancement of native art to a point where comparison with the art of the older nations need not be feared4 ,in all the fields of painting1 including all subjects1 portraits and figures generally1 landscapes1 marines1 and still-life1 we can turn proudly to a great number of painters who interpret candidly and vigorously the world in which we live4 ,gallery #ga4 ,the gallery nearest to the one just visited gives a good idea of the mastery of a variety of subjects in the art of painting1 and to continue our investigations from this point is just as logical as from any other part of the modern ,american section4 ,in this gallery1 easily located by two large parvenu portraits of dubious merit1 are some others which are really vital expressions of modern art4 ,beginning on wall ,a1 going to the right1 ,luis ,mora's ,fortune ,teller and ,meakin's landscapes should be singled out4 ,on the west wall ,frederic ,clay ,bartlett's painting of an interior and ,norwood ,mc,gilvary's nocturne charm in different ways1 while on the adjoining wall ,ritschel's marine and ,rosen's winter scenes display excellent quality of design1 with fine outdoor feeling4 ,miss ,fortune's ,mission interior deserves its distinction of having been bought by ,william ,m4 ,chase4 ,robert ,nisbet contributes a rare green tree design1 and ,hayley ,lever's harbor pictures are all performances of superior merit1 ,gallery #gj4 ,this gallery is given over entirely to portraits1 most of which are so devoid of any real merit that it is relatively very easy to single out the good ones4 ,flagg's portrait of the sculptor ,bartlett1 a portrait by ,robert ,david ,gauley over the door1 the lady with the fur on the second line on wall ,b1 with her neighbor1 ,lazar ,raditz1 by himself1 are better than the many others1 which are all well done but do not interest one enough1 for one reason or another4 ,the one picture in this gallery that comes very near being of supreme beauty is the young lady reclining on a chaise lounge1 the work of ,e4 ,k4 ,wetherill4 ,very few pictures in this gallery come up to the placid beauty of this distinguished canvas1 which is somewhat handicapped in its aesthetic appeal by some unnecessarily tawdry bits of furniture and bric--brac used in its make-up4 ,gallery #fi4 ,phyllis here represents ,john ,w4 ,alexander1 that most capable artist1 lost to the world recently at the height of a very useful career4 ,john ,w4 ,beatty's and ,francis ,murphy' landscapes1 on either side1 are both beautiful1 in the ,barbizon spirit4 ,howard ,russell ,butler's ,spirits of the ,twilight is very luminous1 and ,lawton ,parker's ,paresse in its sensual note runs ,stella a close second in a colour scheme and design of such beauty that one cannot help getting a great deal of aesthetic satisfaction from it1 aside from its too apparent sensational character4 ,gallery #fh4 ,this large central gallery averages unusually high in the large number of excellent things it contains4 ,four big1 well studied marines by ,william ,ritschel make one feel proud of the contribution they make to the field of ,american marine painting4 ,it is very hard to say which one of our four well-represented marine painters1 ,carlsen1 ,waugh1 ,dougherty1 and ,ritschel1 is most captivating4 ,however1 a canvas like ,ritschel's ,in the ,shadow of the ,cliffs will always hold its own among the best4 ,ritschel's work is easily recognized by this robust1 healthy tone2 it reveals sound values and intimate study4 ,one of ,johansen's small landscapes1 and another one by ,h4 ,m4 ,camp1 on the second line of this wall1 grow in one's estimation on longer acquaintance4 ,they are in fine style and very big for their size1 largely by reason of their monumental skies4 ,howard ,cushing's group in the center is full of skillfully presented detail1 without losing in breadth in the many different subjects he paints4 ,his portrait of a lady1 in the center1 is distinguished in every way1 not least so in expression4 ,johansen's main group of pictures1 all on one wall1 stand for breadth and intimate study alike4 ,the ,venetian square canvas in the middle is one of the jewels of this exhibition4 ,there is no end of distinctive canvases in this gallery1 as one must conclude on going over to the two big ,daniel ,garbers1 which are more of the typical ,american type than his others in the group4 ,the one on the right is a perfect unit of colour1 atmosphere1 and pattern4 ,in between1 ,spencer's backyard pictures reveal a sympathetic younger painter who1 for reason of his choice of proletarian subjects1 does not get the attention he more than deserves4 ,most original in technique and charming in tone1 they interest wherever one meets them in the exhibition4 ,on the second line a delightful ,speicher landscape should not be overlooked4 ,on wall ,d an important winter landscape by ,schofield reminds one forcibly of the many excellent painters of ice and snow we have in this country4 ,they are really the backbone of our ,american outdoor artists1 and all of them1 with the exception of ,gardner ,symons1 can be found in the exhibition4 ,to this group1 beside ,redfield and ,schofield1 before mentioned1 belong ,charles ,morris ,young1 ,john ,f4 ,carlson1 ,charles ,rosen1 and others4 ,leon ,kroll's ,river ,industries and ,weehawken ,terminal1 on the second line1 are so typically ,american in subject that they would have been unacceptable to the public here twenty years ago4 ,gallery #fg4 ,this large room continues to hold the attention of the visitor by more excellent specimens of present-day art4 ,dougherty's marines as well as ,waugh's very precise1 somewhat metallic seascapes have been referred to before4 ,dougherty's group of four pictures is augmented by two ,spanish canvases by ,lewis ,cohen1 of which the one to the right is far more convincing than the other4 ,they are somewhat artificial in colour4 ,emil ,carlsen's only contribution1 a fine open sea1 has a quality all its own4 ,the feeling of pattern in sky and water surface1 combined with great delicacy and suggestion of absolute truthfulness1 gives it a quality quite apart from the energetic art of ,waugh1 ,ritschel1 and ,dougherty4 ,john ,f4 ,carlson always has style to his work1 a certain unaffected1 noble simplicity1 well brought out in three sympathetic pictures grouped near the ,emil ,carlsen marine4 ,adding to the conspicuousness of that wall1 ,charles ,h4 ,davis and ,leonard ,ochtman hold their own in their important setting4 ,the only two figure pictures in this neighborhood are particularly lovely in colour and design1 and ,r4 ,p4 ,r4 ,neilson deserves much praise for having struck a unique note conspicuous among the many commonplace portraits of the present day4 ,wendt's ,land of ,heart's ,desire is unusually happy1 and it supports its title admirably4 ,very decorative in feeling1 it is compelling in its appeal to the public4 ,maynard ,dixon1 another ,californian1 shows an original small canvas1 ,the ,oregon ,trail1 endowed with big feeling4 ,two cases in this gallery encourage investigation of ,american accomplishments in the field of animal sculpture1 and on closer examination of offerings in this most interesting field1 we find an unusually creditable lot of work by ,frederick ,roth1 ,albert ,laessle1 ,arthur ,putnam1 and ,charles ,cary ,rumsey4 ,they should be considered in a group if their relative merit is to be fully appreciated4 ,kemeys and ,proctor somewhat antedate them all in their work 7in galleries #fi and #gb74 ,roth is next door to ,kemeys in #de1 among a variety of things done mostly in glazed clay4 ,a very fine sense of humor comes to the surface most conspicuously in ,the ,butcher1 ,the ,baker1 and ,the ,candlestick ,maker4 ,putnam and ,laessle are in this gallery side by side4 ,in sharp contrast with the former's muscular and broad type of modeling1 the latter has a very precise and ,japanesque quality of detail modeling which is sometimes a little photographic4 ,charles ,cary ,rumsey is only a few steps away1 in gallery #dh4 ,in his original subject of a horse and man drinking he strikes a particularly unique note4 ,gallery #hj4 ,here ,metcalf's ,blossom ,time reveals the most poetic of our modern ,american painters4 ,the man who bought it made a good investment4 ,in ten years it will be a classic and worth its weight in gold1 including the frame4 ,this canvas gives one more thrills than almost all the others by the same man - good as they are4 ,the ,trembling ,leaves is superb1 but a fussy frame destroys half the pleasure4 ,mrs4 ,philip ,hale's elegant and refined interior1 together with ,paxton's figural work1 prove that we have conquered successfully a certain field of genre which the ,american art-lover has been in the habit of buying in ,europe4 ,paxton's ,housemaid is entirely in the spirit of the old ,dutch1 and his ,bellissima is most luminous alongside of his other works4 ,gallery #ea4 ,this magnetic collection comes somewhat as a shock to the public1 which can't be blamed for its disapproval of the recent sensational experiments of ,henri and ,glackens4 ,it is impossible to understand why a man like ,glackens should so illogically abandon the soundness of his older work and do those inharmonies of form and colour which he presents on the ,a wall4 ,his ,woman with ,apple is absolutely absurd and vulgar beyond description4 ,she has character1 if that is what he is after1 because her vulgarity is convincing4 ,the rest of the things are ridiculous in their riotous superficiality4 ,carles seeks the same expression of individuality for which ,glackens strives so hard4 ,in his small1 square picture1 ,repose1 ,carles is most successful4 ,here he has created a great work of art - beautiful as well as full of character4 ,this canvas is one of the most successful of the new style4 ,it needs no apologies1 and it has all the qualities of an old master1 with modern virility and colour added to it4 ,let us have new things like this and we shall not regret having tolerantly and patiently watched all the many idiocities which are paraded around under the pretext of research and experimentation4 ,breckenridge's still-lifes are startling at first1 but studied singly they reveal a fine sense of colour4 ,they constitute a serious and successful contribution to modern art1 without being in the least grotesque4 ,i should like to have one of them in my house1 without fear of their very vigorous colour4 ,in a totally different vein ,everett ,l4 ,bryant gives some still-lifes which continue certain impressionistic methods with wonderful delicacy4 ,in certain surroundings they will add distinction even to a commonplace room4 ,anshutz's ,lady in ,red is a very good academic study in a colour which in large quantities is very difficult to handle4 ,gallery #ej4 ,the academic school is continued in spirit in ,sergeant ,kendall's refined portraits1 augmented by a painted wood sculpture of unusual quality1 reminiscent of the masters of the early ,german ,renaissance4 ,louis ,kronberg has his customary ballet girl and ,hermann ,dudley ,murphy some of his typical1 refined marines4 ,his surfaces are always delectable and like the inside of a shell in their glistening blues and pinks4 ,both ,nelson and ,hansen1 two native ,californians1 are well represented - one by a ,monterey coast1 the other by a forcefully painted decorative picture called ,the ,belated ,boat4 ,lathrop adds two placid pictures1 of which the canal is the more skillfully composed4 ,gallery #di4 ,peace reigns supreme in this gallery of ,tryon and ,weir4 ,tryon reflects all the poetic qualities of the ,barbizon group without striking a new note either technically or in composition4 ,his larger canvases are of great beauty1 very tender and poetic1 and altogether too sweet to have you feel that they were painted for any other reason than to make a pretty picture4 ,his smaller work gives you that feeling more than his larger ones4 ,alden ,weir's art is the direct opposite of this4 ,searching for truth1 character1 and beauty1 he labors over simple subjects with great concentration and does not stop until they seem like silver symphonies4 ,his art is personal and must be studied at great length to be fully appreciated4 ,it expects a great deal of concentration1 but one willing to take the trouble will be amply rewarded by ever increasing pleasure4 ,the art of ,mc,lure ,hamilton is more interesting in the power of psychological characterization than in painting4 ,his pictures are painted thinly1 more like watercolours than oils4 ,gallery #dh4 ,no noteworthy contribution is made here1 unless one excepts the academically clever portraits by ,troccoli1 a landscape by ,vonnoh1 and a sumptuous bed of rhododendrons by ,edward ,f4 ,rook4 ,two large ,grand ,caons again demonstrate the utter futility of trying to paint such motives1 which1 in their success1 depend entirely upon a feeling of scale that is almost impossible to attain on a small canvas4 ,gallery #dg4 ,here ,blumenschein's large ,indian compositions are of decorative character4 ,they are well composed and dramatic4 ,the ,peace ,maker is big in feeling4 ,typically ,american and very unusual are ,colin ,campbell ,cooper's ,new ,york street perspectives4 ,his originality as a painter is well demonstrated by this choice1 which must have taken much courage at a time when ,american subjects were more or less despised4 ,richard ,millers ,pink ,lady does not look a bit convincing1 cleverly as it is painted2 it is not interesting enough in the large surfaces of overnaturalistic pink flesh4 ,half that size would have been just enough for this canvas1 which is chiefly a concession to the modern mania for painting large exhibition pictures to attract attention by their size alone4 ,groll's desert pictures are disappointing4 ,they have neither interesting colour nor sufficient atmosphere to come up to the standard of this typical desert painter4 ,gallery #df4 ,there is a lovely note in this gallery1 contributed by ,ruger ,donoho's garden scenes4 ,most unusual in subject1 they are full of life1 vibrant with colour1 and altogether very delightful1 a most pleasant change from the ordinary run of subjects4 ,frank ,dumond's work on another wall 7,b7 excels in a pleasant mannerism4 ,his work is most thoughtful and well studied4 ,the two smallest of his paintings are perfect gems in every way - well balanced by two small tender canvases of southern ,europe by ,mrs4 ,dumond 7on the opposite wall74 ,two portraits in this gallery1 ,inez ,addams' ,daphne and ,adolphe ,borie's ,spring1 should not be slighted4 ,borie's is very strong1 and one of the best portraits on exhibition4 ,alongside of it is a winter landscape by ,ernest ,albert1 which1 while a little timid1 is nevertheless poetic and more convincing than others of that type near by4 ,gallery #de4 ,charles ,morris ,young's art is so refreshing1 so spontaneous in every way1 that it catches one's eye immediately on passing on into this room4 ,his work deserves recognition for more than one reason4 ,his handling of paint is fresh and clear and a direct aiming for a final expression of what he wants to convey4 ,any one of the six subjects is well handled4 ,they give one the feeling of the artist's thorough understanding of his material4 ,his own ,house in ,winter and the ,red ,mill reach the high-water mark of landscape painting in the exhibition4 ,griffin's pictures1 on another wall1 so openly disregard technical rules in their careless superimposition of unnecessary paint that in spite of a great richness of colour and a certain suggestion of truth1 they are not apt to hold one one's affection very long4 ,they are sincere1 ,i admit1 but careless in technique4 ,there is no doubt about it1 because heavy paint and bare pieces of canvas will not make durable pictures4 ,birge ,harrison is disappointing in two pastels which seem too chromo-like1 too mechanical1 to carry their point4 ,gallery #dd4 ,this collection is not at all without interest1 but with few exceptions the pictures in it are not strong enough to hold their own with so many good things abounding elsewhere4 ,ralph ,clarkson's portrait1 ,bartlett's schoolyard1 ,perrine's technically unique landscape1 are all meritorious4 ,gallery #dc4 ,frederic ,m4 ,du,mond's ,sea ,carvings in the corner1 and ,nahl's decorative composition attract1 each in its way1 while in another corner a badly skyed portrait by ,hinkle is scarcely given a chance4 ,gallery #gd4 ,it will be necessary to make a little journey over to the inner side of the arch of the building to continue and finish the art of modern ,america4 ,in this small ,gallery1 adjoining ,sargent's1 nothing stirring happens4 ,landscapes predominate1 with varying interest1 but nothing with any style or unity of expression presents itself1 with the exception of ,carl ,oscar ,borg's ,campagna ,romana and a fine sky over the door by ,william ,j4 ,kaula4 ,the landscapes of ,g4 ,w4 ,sotter and ,will ,s4 ,robinson stand out among the rest4 ,gallery #gc4 ,next door1 in #gc1 ,alson ,skinner ,clark has been given the privilege of almost an entire ,gallery1 without any other justification than historical interest in his shallow ,panama scenes1 devoid of any quality4 ,they are illustrations - that is all4 ,gifford ,beal disappoints in some superficial paintings of commonplace subjects1 which a skillful technique might easily have turned into something worth while4 ,his ,old ,town ,terrace is much the best1 but the collection makes one apprehensive for ,beal's future performances4 ,paul ,king's canvas over the door is excellent1 well painted1 and interesting in subject4 ,gallery #gb4 ,there seems no end of productiveness of ,american painters1 and justice demands more investigation and undeniably more steps4 ,ladies with parrots1 with and without clothes1 are numerous1 but the one in here is more interesting than the others4 ,i hope that not all of these parrot pictures are meant symbolically4 ,walter ,mc,ewen arouses memories of times gone by1 technically and otherwise1 in a huge storytelling ,salon picture4 ,more ladies in conventional sitting posture willingly sat for more pictures without adding new thrills4 ,meyer's portraits1 ,gertrude ,fiske's sketch1 ,olga ,ackerman's group of children1 are all deserving of study4 ,max ,bohm's two big figural pictures are decoratively interesting enough1 but bad in paint4 ,one of the best landscapes can be found here in ,henry ,muhrman's work1 over the ,mc,ewen4 ,there is nothing sensational about it1 but its somber dignity stands out among many modern works4 ,on the opposite wall ,mrs4 ,sargent's ,mount ,tamalpais is unusual in composition and rich in colour4 ,separated from the rest of the ,american section by ,holland and ,sweden1 a series of galleries are in grave danger of being overlooked4 ,undoubtedly1 to offset this apparent isolation1 some of the most alluring paintings can be found at this end4 ,gallery #aag4 ,here is ,frederic ,frieseke1 our expatriated ,american1 with his fascinating boudoir scenes4 ,very high in key and full of detail1 at first they seem restless and crowded1 which some actually are1 in a degree4 ,but canvases like ,the ,garden and ,the ,bay ,window and ,the ,boudoir are real jewels of light and colour4 ,the ,bay ,window is the most placid of his canvases and in conception much finer than his outdoor subjects4 ,frieseke's clear1 joyous art is typically modern1 and expresses the best tendency of our day4 ,luis ,mora's two watercolours1 while illustrative1 hold their own in ,frieseke's company4 ,tanner's big religious canvas falls far below this capable painter's usual efforts4 ,native talent helps out in a delightful marine1 honestly painted by ,bruce ,nelson1 and an apple green and pale pink colour-harmony by ,charlton ,fortune4 ,very much in the style of the ,frieseke1 ,rittman's ,early ,morning in the ,garden is easily taken for the art of his fascinating neighbor1 but it should be recognized as the work #j;f another kindred spirit4 ,gallery #aah4 ,in #aah1 landscapes predominate over figural work1 at least in quality4 ,harry ,leslie ,hoffman's ,spring ,mood1 ,wilbur ,dean ,hamilton's tender and poetic canvas1 and ,louise ,brumbach's city view bathed in the grays of an early morning call for recognition4 ,gallery #aai4 ,the general character of the next gallery is different from the preceding4 ,given over to oils1 watercolours1 pastels1 lithographs1 and drawings1 it presents an interesting appearance4 ,six pastels by ,henry ,muhrman and ,frank ,mura's charcoal drawings are the leaders here1 and the drawings generally are the best things among the many oils and watercolours1 which were mostly made for purposes of illustration4 ,drawings by ,martinez1 pastels by ,miss ,percy1 two sympathetic drawings by ,miss ,hunter1 and a few still-lifes in watercolour1 by ,miss ,boone1 all bear testimony to native ability as represented by ,california4 ,gallery #abj4 ,the last gallery contains ,bellow's bold canvases1 of which ,the ,polo ,game is the best known1 another fine canvas by ,henry ,muhrman1 and some older ,american work by ,stewart1 typical of what we used to send to ,europe in years gone by4 ,in the ,garden4 ,while many plastic works have been mentioned in the survey of the galleries1 still great numbers of statues1 statuettes1 and fountain figures call for investigation1 out of doors4 ,sculpture is1 on the whole1 not so complex as painting1 and dealing with the expression of emotions much more directly than painting1 it can easily be understood4 ,of the many pieces displayed outside1 ,janet ,scudder's fountain figures earn all the applause they receive1 and most of the other sculptors are old friends1 since they have been met with in the decorative embellishments of the architecture of the ,exposition4 ,there is ,aitken1 with a bust of ,taft2 ,chester ,beach1 with a young girl in marble1 of great charm2 ,solon ,borglum's ,washington1 ,mrs4 ,burroughs' garden figure1 ,stirling ,calder1 and ,piccirilli - all well remembered4 ,it is gratifying to meet all these men1 and many others1 in freer and more detached expression of their art1 under conditions where no severe architectural restrictions were put upon them4 ,the ,graphic ,arts ,conclusion ,it will be necessary to retrace our steps to take up a series of galleries all along the outer curve of the building4 ,they are devoted to illustrations1 miniatures1 stained glass1 plaques1 and the many expressions of graphic art we know as black and white1 charcoal and pencil drawing1 monotypes1 lithotints1 etchings1 and so on4 ,with ,whistler's etchings on one end of the arch1 we find ,howard ,pyle at the other4 ,gallery #db4 ,pyle1 since his death a few years ago1 is recognized as the most important of ,american illustrators4 ,his art is most intellectual4 ,it commands immediate respect for its historical interest1 which is based on more than mere knowledge of the story illustrated4 ,his milieu is always right1 distinctly so when he deals with the ,west ,indian buccaneers4 ,his sense of colour is simple and dignified4 ,it has the typical breadth and decorative feeling that men like ,jules ,gurin and ,maxfield ,parrish developed4 ,pyle was not an ordinary illustrator4 ,his interest in his work showed much depth and great originality4 ,there is nobody to take his place4 ,in the small adjoining gallery 7#da7 his black and white drawings strengthen one's impression of this versatile man's art4 ,gallery #dj4 ,here we have ,gurin in all the glory of his rich colour harmonies1 which have made the ,exposition famous4 ,painstaking and conscientious as his art is1 it is always full of power of suggestion4 ,every square inch of his most agreeably framed decorations is well considered1 with nothing left to accidental effect4 ,still1 they are full of freedom1 very loose in handling1 and always convincing4 ,to choose the best among his eight is very difficult1 although his ,cemetery on the ,golden ,horn on longer study does not seem to be free from a certain artificiality of colour1 in the reddish hue of the reflected sunlight on the cypresses4 ,the ,blue ,mosque at ,cairo is wonderfully poetic1 and his ,temple of ,sunium has all the tragic feeling of the classic ruins of ,asia ,minor4 ,opposite ,gurin ,mr4 and ,mrs4 ,hale display unusual refinement and grace of form in a unit wall of drawings and pastels4 ,mrs4 ,hale's drawings are the quintessence of delicacy1 without possessing any of the sugary disagreeable sweetness of so many of our popular illustrators4 ,mr4 ,hale's pastels are no less enchanting in his outdoor compositions in many soft greens - a difficult colour to deal with4 ,the many other things in this gallery are all worth studying in their conservatism and radicalism4 ,miniatures abound here and endless sighs are heard of entranced ladies who have succumbed to the sentimental insipidness of these misplaced artistic efforts4 ,miniature painting holds no charm for me4 ,most of them are technical stunts and concessions to a faddism which has never had anything to do with the real problem of painting4 ,practically all of the miniatures in the cases are very well done1 but when ,i think of the physical discomfort of adjusting one's eyes to this pigmy world1 then ,i cannot help feeling that1 considering the low cost of canvas1 a great effort deal of fine effort has been wasted4 ,looking at miniatures1 ,i am always reminded of the man who spent several years of his useless life in writing the ,old ,testament on the back of a postage stamp4 ,gallery #ci4 ,mc,lure ,hamilton has a fascinating group of anatomical sketches in this small gallery4 ,they are all charming fragments of a lady one would like to know more about4 ,as drawings they are spirited and full of rhythmic linework4 ,their fragrant rococo style brings one back into that original atmosphere the destinies of which were so largely controlled by similar attractions4 ,the apotheosis in his collection is furnished by a drawing of a recently abandoned or to-be-occupied nest1 presented in a most suggestive manner4 ,in the cases plaques and medallions abound1 the interest of which is largely attributable to ,fraser's excellent work4 ,gallery #ch4 ,this room continues to hold one's interest1 with some small pieces of plastic art1 all of great merit4 ,gallery #cg4 ,watercolours make up the chief problems of study in this long room1 without convincing one that we have any too many great painters in this medium4 ,the best thing among the many commonplace paintings is a marine by ,woodbury which takes you far out on the open sea4 ,in spite of its size it is a big picture1 one of the really big ones in any medium in the whole exhibition4 ,all of ,woodbury's paintings are big in their way1 and prove what can be done in this medium4 ,many other things here are only coloured photographs and technical experiments1 the exceptions being ,dawson's clever flower studies1 ,miss ,schille's market scenes1 and ,henry ,mc,carter's ,king of ,tara4 ,murphy's small ,venetian sketches are not so good as they seem at first4 ,gallery #cf4 ,things look up considerably in the last of the galleries on the north4 ,a fine watercolour by ,mrs4 ,mathews1 good drawings by ,sandona and ,fortune1 exposition sketches by ,donna ,schuster1 decorative designs by ,lucy ,hurry1 are all compelling in their way1 while in the cases are any number of good caricatures1 and especially worthy of mention the bird designs by ,charles ,emile ,heil4 ,gallery #cd4 ,across the vestibule the graphic arts are continued1 beginning with colour lithographs and monotypes1 and continued with etchings4 ,george ,senseney1 ,arthur ,dow1 ,helen ,hyde1 ,pedro ,lemos1 ,clark ,hobart1 and others too numerous to mention excite considerable interest4 ,a battle of elephants by ,anna ,vaughan ,hyatt is worthy of study on account of its unusual subject1 so handled4 ,gallery #ee4 ,this room is entirely devoted to etching and is full of good people4 ,auerbach ,levy has some portraits splendidly characterized4 ,arthur ,covey1 ,mahonri ,young1 ,lester ,hornby1 ,clifford ,addams1 and ,robert ,harshe are all equally well represented1 in their many fine etchings1 and ,perham ,nahl with some monotypes of fine quality4 ,gallery #cb contains ,george ,aid1 ,frank ,armington1 ,d4 ,c4 ,sturges 7reminiscent of ,zorn71 and ,ernest ,roth4 ,franklin ,t4 ,wood's dry-point portraits are noteworthy as examples of a very difficult technique4 ,galleries #ca and #cj4 ,pennell's admirable lithographs and etchings of various scenes are so descriptive1 aside from their technical excellence1 that they are not in need of further recommendation4 ,and neither are ,mullgardt's lithographs nor those of ,worth ,ryder next door4 ,the general character of all of these somewhat inconspicuous galleries is most satisfactory4 ,they contain in well-arranged fashion the real art of the people1 the things that people who cannot afford to buy paintings can easily afford to own4 ,original etchings1 mezzotints1 and wood block prints and other process work often more truly contain the real point of artistic effort than big paintings done laborously with no other interest than to make a large painting for some show4 ,it is gratifying and it speaks well for our public to see so many of these small works of art sold and scattered among the public4 ,only in this way can we hope to make our exhibition useful to artist and public alike4 ,mr4 ,harshe1 ,mr4 ,trask's able and conscientious assistant1 has put much labor and thought into the arrangement of these many cases and wallspaces1 in a really instructive way4 ,it does not seem necessary to go into the meaning of the many examples of graphic art4 ,they are often self-explanatory1 particularly where used for illustration1 and so far as their technical production is concerned1 it is too big a subject to fit into the physical confines of this book4 ,much of this work to all indications1 is going to remain with us1 and the success of our exposition can hardly be measured better than by the ever-increasing number of purchasers4 ,art has to live1 and in our country it exists only by the patronage which comes directly from the people1 since federal1 state and municipal governments seldom contribute toward its support4 ,not until the community feels it a privilege rather than a duty to give substantial encouragement to our artists will they ever feel completely at home or will they be able to do their best work4 ,art is becoming more of a necessity in our midst1 while not so long ago it was more or less an affected interest of the rich4 ,we have all the conditions and the talent to allow us to push ahead into the front rank of the art of the world1 and an exposition like this gives more than encouraging evidence of the awakening spirit of national ,american art4 ,may this exposition mark an epoch in the art of ,america6 - and particularly of the ,west1 as other expositions have in the westward march of civilization1 which has now found its goal where it must either achieve or perish4 ,for us to stand still or to return to the pre-exposition period would be calamity4 ,we have here in ,california1 of all the states of the ,union1 conditions to offer1 which1 if properly availed of1 would give us a unique position on the continent4 ,climatically and historically we have all the stimulating necessities for a great art1 and it is our duty to take advantage of them4 ,appendix ,bibliography ,to the student and lover of art1 a list of helpful reference books and periodicals might be of interest1 and the following publications are recommended as sources of reference1 of information and for study4 ,they cover a wide range of subjects treated historically1 technically and biographically1 and they will be found very interesting as a nucleus for a home library of art4 ,art ,for ,life's ,sake - ,chas4 ,h4 ,caffin ,american ,masters of ,painting - ,chas4 ,h4 ,caffin ,american ,masters of ,sculpture - ,chas4 ,h4 ,caffin ,how to ,study ,pictures - ,chas4 ,h4 ,caffin ,the ,story of ,american ,painting - ,chas4 ,h4 ,caffin ,short ,history of ,art - ,edited by ,charles ,h4 ,caffin - ,julia ,de ,forest ,the ,classic ,point of ,view - ,kenyon ,cox ,what is ,art8 - ,john ,c4 ,van ,dyke ,the ,meaning of ,pictures - ,john ,c4 ,van ,dyke ,how to ,judge of ,a ,picture - ,john ,c4 ,van ,dyke ,history of ,painting - ,john ,c4 ,van ,dyke ,art ,for ,art's ,sake - ,john ,c4 ,van ,dyke ,new ,guides to ,old ,masters - ,john ,c4 ,van ,dyke ,studies in ,pictures - ,john ,c4 ,van ,dyke ,the ,appreciation of ,sculpture - ,russell ,sturgis ,the ,appreciation of ,pictures - ,russell ,sturgis ,the ,history of ,modern ,art - ,muther ,modern ,art - ,meier ,graefe ,arts and ,crafts in the ,middle ,ages - ,julia de ,wolf ,addison ,apollo1 ,a ,history of ,art ,throughout the ,ages - ,s4 ,reinach ,six ,lectures on ,painting - ,g4 ,clausen ,landscape ,painting - ,birge ,harrison ,landscape ,painting - ,alfred ,east ,history of ,american ,art - ,sadakichi ,hartmann ,pictorial ,composition and the ,critical ,judgment of ,pictures - ,henry ,r4 ,poore ,design in ,theory and ,practice - ,ernest ,a4 ,batchelder ,line and ,form - ,walter ,crane ,heritage of ,hiroshige - ,dora ,amsden ,impressions of ,ukiyo-,ye - ,dora ,amsden ,biographical ,sketches of ,american ,artists - ,michigan ,state ,library ,is ,it ,art8 ,post-,impressionism1 ,futurism1 ,cubism - ,j4 ,nilsen ,laurvik ,periodicals ,art and ,progress ,the ,craftsman ,the ,international ,studio ,index to ,galleries ,argentina - ,gallery #aab ,china - ,gallery #id-ig ,cuba - ,gallery #bj ,france - ,gallery #ac-ah - ,gallery #ac - ,gallery #ad - ,gallery #ae - ,gallery #af - ,gallery #ag - ,gallery #ah ,germany - ,gallery #ajh ,italy - ,gallery #ba-be - ,gallery #ba - ,gallery #bb - ,gallery #bc - ,gallery #bd - ,gallery #be ,japan - ,gallery #a-aj ,holland - ,gallery #aac-aaf ,norway - ,gallery #add-aej 7,annex7 ,philippines - ,gallery #ih ,portugal - ,gallery #aji-aaa ,sweden - ,gallery #ii-ajg ,uruguay - ,gallery #ai ,retrospective ,art3 - ,gallery #fa - ,gallery #fb - ,gallery #fc - ,gallery #ia - ,gallery #ib ,united ,states - ,gallery #bf - ,gallery #bg - ,gallery #bh-bi 7,whistler7 - ,gallery #cj1 #ca - ,gallery #cb1 #cc1 #cd1 #cf - ,gallery #ce 7,vestibule7 - ,gallery #cg1 #ch1 #ci - ,gallery #dj1 #da1 #db - ,gallery #dc1 #dd - ,gallery #de - ,gallery #df1 #dg - ,gallery #dh1 #di - ,gallery #ej - ,gallery #ea - ,gallery #eb1 #ec 7,offices7 - ,gallery #ed - ,gallery #ee1 #ef - ,gallery #eg - ,gallery #eh - ,gallery #ei - ,gallery #fj - ,gallery #fa - ,gallery #fb - ,gallery #fc - ,gallery #fd - ,gallery #fe - ,gallery #ff - ,gallery #fg - ,gallery #fh1 #fi1 #gj - ,gallery #ga - ,gallery #gb - ,gallery #gc - ,gallery #gd - ,gallery #ge 7,sargent7 - ,gallery #gf 7,mathews and ,mc,comas7 - ,gallery #gg 7,melchers7 - ,gallery #gh 7,hassam7 - ,gallery #gi 7,chase7 - ,gallery #hj - ,gallery #ha1 #hb1 #hc1 #hd 7,offices7 - ,gallery #he - ,gallery #hf - ,gallery #hg 7,duveneck7 - ,gallery #hh 7,redfield7 - ,gallery #hi 7,tarbell7 - ,gallery #ij 7,keith7 - ,gallery #ia - ,gallery #ib - ,gallery #ic - ,gallery #aag - ,gallery #aah1 #aai - ,gallery #abj ,the ,galleries of the ,exposition1 by ,eugen ,neuhaus1 ,published by ,paul ,elder and ,company1 ,san ,francisco1 was printed at their ,tomoye ,press1 under the direction of ,h4 ,a4 ,funke1 in ,july ,nineteen ,hundred and ,fifteen