The Pioneer is the title of the equestrian statue at the south end of the court, on the Avenue of Palms. The man is typically the Western pioneer, as every resident of the Pacific Coast has known him-a patriarchal figure who foreran civilization here in the West of America as he has in all other new lands. Head up, axe and gun in hand, looking straight forward, he is a fine visualization of the "Forty-niner." He is, too, an interesting racial contrast to the Indian of "The End of the Trail." One wonders, however, about the horse, with the elaborate trappings that clearly belong to another era-to the days of Spanish conquest, perhaps. Certainly horse and rider do not seem to be conceived in the same spirit. The group lacks, too, that vital intensity of feeling and that emotional strength which distinguish "The End of the Trail," the companion-statue in the Court of Palms. The "Pioneer" is by Solon Borglum.
The minor sculpture here consists of A. Stirling Calder's attractive"Flower Girl," repeated in the niches along the loggia; dignified Lions,by Albert Laessle, flanking the three portals; and again Carl Gruppe's"The Fairy," atop the Italian Towers.
The Tower of Jewels, and the Fountain of Energy
It was planned that the Tower of Jewels should be the great dominating feature of the architectural scheme of the Exposition; that this unit more than any other should stand as a triumphal monument to celebrate the opening of the Panama Canal. The mural paintings, the sculpture and the inscriptions all carry out this idea, but the tower, in its architectural aspect alone, fails to live up fully to its purpose. It serves well to "center" the whole scheme, and to afford an imposing pile at the main entrance. Nevertheless it falls short of the high architectural standard of the courts and palaces.
Architecture
The architectural forms used in the design of the tower are in general classic; but the architect has shown considerable originality in their arrangement and massing.
The lower portion, embracing the imposing arch and flanking colonnades, is very dignified and quite satisfying. Standing close to the structure, on the south side, so that one is conscious chiefly of this lower portion, there comes the proper sense of nobility-the feeling that one obtains from a successful triumphal arch. The chief fault of the tower above is that it lacks the long lifting lines that would give a sense of aspiration. It seems just a little squat and fat-as if it were too heavy on top and splayed out at the sides and bottom. It is also somewhat "showy," with too much hung-on ornament; and the green columns against red walls are not satisfying-this being one of the very few failures of the color scheme in the entire group of buildings.
At night the tower takes on a new and unexpected beauty. The outline softens under the illumination, and the feeling of over-decoration and broken lines is lost. The whole structure becomes a huge finger of light, reaching up into the dark heavens-with softer indirect lighting below, and glowing brilliantly above. Even the hundred thousand pendent jewels, which at best are but flashy in the day time, add to the exquisite fairy like effect at night. The illumination here is such, indeed, that it must be one of the most impressive and lasting memories to be carried away by the visitor.
The Tower of Jewels was designed by Thomas Hastings, of the firm Carrere and Hastings of New York.
Sculpture
The sculpture, like the mural paintings, deals in general with the winning of the Americas and the achievement of the canal project.
Sculpture on the tower. As one stands in the South Gardens facing the tower, one sees above the first cornice, reading from left to right, four statues of The Adventurer, The Priest, The Philosopher, and The Soldier. These finely realized figures, which are by John Flanagan, represent four types of the early conquerors of America. On the next story is a repeated equestrian statue of the Spanish Conqueror, called The Armored Horseman, by F. M. L. Tonetti. These five statues are repeated on the other three faces of the tower. There is much other sculpture of a purely decorative sort, the motives used being those usually found in triumphal monuments, such as eagles, wreaths, and the beaks of ships with which the Romans ornamented the columns celebrating their naval successes.
Equestrian statues at entrance. In front of the two side colonnades are spirited equestrian statues. As one faces the tower, the figure at the left is of Pizarro, who conquered the richest portion of South America for Spain. This figure is heroically decorative, and is by Charles Carey Rumsey. At the other side of the main arch is Charles Niehaus' vigorous statue of Cortez, who won Mexico for Spain. This figure, carrying a flag and pennon on a lance, and perfectly seated on the strong horse, has a live sense of movement, and the whole group is informed with the spirit of the lordly conqueror.
Fountains under the tower. Within the colonnades to east and west of the main archway are respectively the Fountain of Youth and the Fountain of El Dorado.
The Fountain of Youth consists of a central figure on a pedestal, and two rounded side panels with figures in relief. Youth is symbolized as a girl, an immature figure, beautifully modeled. She stands, perfectly poised, among rising blossoms. On the pedestal are more flowers in relief, and two dimly indicated half-figures of a man and woman may be discovered. The side panels show old people being drawn away in ships manned by cherubs-old people who gaze back wistfully at the Youth they are leaving. Really the fountain is far more charming if one forgets all but the central figure. There is in that a sweet tenderness, a maidenly loveliness, that makes it the perfect embodiment of Youth-an embodiment to be remembered with delight again and again.
The fountain was designed by Edith Woodman Burroughs.
The Fountain of El Dorado is on the other side of the archway, and is by Gertrude Vanderbilt Whitney. It represents, as a whole, mankind's pursuit of the unattainable. The legend of El Dorado is that there once lived in South America a prince, "The Gilded One," who had so much gold that daily he had his body covered with gold dust. Many Spanish explorers spent fruitless years in search of the fabulously rich country of this prince. The idea of the fountain is that the Gilded One, representing the unattainable, the advantages of wealth and power which deluded men and women seek without value given to the world in return, has just disappeared through the gateway, the gates closing after him. On either side processions of seekers who have glimpsed the Gilded One, strain toward the gateway. Some loiter in love or play, some drop from fatigue, some fight their way along; and the first two, finding that the pursuit is fruitless after all, have dropped to their knees in anguish. The two standing figures beside the gates are said by the sculptor to have no significance beyond the fact that they are "just guardians."
The fountain is notable for its symbolism and for the modeling of the many nude figures. The panel on the right is especially decorative, and has some notably fine individual figures and groups. The spirit of the fountain, with its realism and its note of hopelessness, is not in keeping with that pervading most of the Exposition sculpture. After looking at the work for a time, turn and look back through the two archways at the central figure of Youth at the other side. Certainly no figure in the Fountain of El Dorado has the appeal and charm of that.
Mural Paintings
On the walls of the archway under the Tower of Jewels are eight paintings celebrating the building of the Canal. All are by William de Leftwich Dodge.
On the west wall the first panel is called Discovery. It portrays the discovery of the Pacific Ocean by Balboa.
The second panel is called Atlantic and Pacific. A huge figure of Labor, having brought together the oceans, is opening a waterway from West to East. On the left an ox-drawn prairie schooner has arrived at the shore, with types of Western civilization. On the opposite shore types of the nations of the East, in a colorful group, are straining forward to meet the West.
The third panel is entitled The Purchase. A figure representing the United States is taking over the canal project from France. The French laborers are throwing down their tools, and Americans press forward to take them up.
In the group on the opposite wall the first panel is called Labor Crowned. Victorious Labor is being crowned by the angel of Success, while soldier and workers come to pay homage.
The second panel is entitled The Gateway of All Nations. Figures symbolizing Progress call the world to pass through the Canal. Neptune holds garlands by which he draws ships of the various nations toward the waterway. Two laborers rest on their machines and watch the procession which they have made possible.
The last panel is called Achievement. A woman with the symbols of knowledge, or wisdom, sits enthroned, while about her are grouped figures representing the forces instrumental in building the Canal. At the left are laborers; at the right figures typifying Engineering, Medical Science (with the Caduceus, the wand of Mercury, god of medicine), and Commerce or Munificence.
These mural paintings are among the most interesting and most imaginative of all those at the Exposition. Some of the groups are particularly fine in coloring. Note the method of obtaining the right effect of "flatness" by employing a conventional diaper pattern for the background throughout. The panels here are much more effective under full illumination at night than by daylight.
The Fountain of Energy
The Fountain of Energy in the South Gardens was designed to be the crowning feature of the sculpture of the Exposition, just as the Tower of Jewels was designed to dominate the architectural scheme; and it fails of its high purpose in much the same way. It is closely allied with the tower in symbolic meaning, celebrating man's victory over the forces of nature in the successful building of the canal.
In the pool at the base of the fountain are a number of graceful groups of water sprites on dolphins, and four larger groups representing the four great seas. The one to the east of the main fountain represents The Atlantic Ocean as a woman with sea-horses in one hand and coral like hair, on the back of a conventionalized dolphin. At the north The North Sea is represented by a sort of sea-man, with occasional fins and with a three-pronged spear in hand, riding on a walrus. At the west The Pacific Ocean is typified by a woman on a remarkable sea monster. And on the south a sea-man with negro-like features, and with an octopus in one hand, rides on a sea-elephant, representing The South Seas.
The main pedestal of the statue is a globe, representing the earth. This is supported by a series of figures of mermaids and mermen. The Eastern and Western Hemispheres are represented by figures reclining on the globe, the one to the east a cat-headed woman, the one to the west a bullheaded man. The band, decorated with aquatic figures, which encircles the globe, suggests the final completion of a waterway about the earth.
Energy, the Victor, the surmounting group, typifies the indomitable spirit that has achieved the building of the Canal. The nude figure of Energy with arms outstretched rides a horse through the waves, while on his shoulders stand smaller figures of Valor (with a wreath) and Fame (with a sword) heralding the triumph. These small figures are unfortunate they hardly belong, and instinctively one is worried for their equilibrium.
The whole fountain is instinct with energy, and expresses joyous achievement, as was meant. Moreover it is remarkable in its breadth of conception, in imaginative interpretation of the theme. But it lacks that sense of repose which would make it intimately satisfying.
The fountain was designed by A. Stirling Calder.
Palaces Facing the Avenue of Palms
The adoption of the "walled-city" plan for the Exposition meant the grouping of the more imposing architectural effects in the interior courts, the outer facades simply forming parts of a practically continuous wall about the whole. Inspired by Spanish architecture of the Renaissance, the intention was to keep the wall spaces in general quite bare, concentrating the decorative effects in rich "spots" at carefully chosen intervals. Thus the outer facades of the central group of palaces combine a simple general form with a series of richly ornamental portals. The architect who as entrusted with the designing of the wall and all the portals was W. B. Faville of Bliss and Faville.
Certain architectural and sculptural units are repeated throughout the central group. Each building has a low central dome, seldom seen when one is close to any of the main buildings, but adding greatly to the decorative effect from a slight distance. These domes are of Byzantine style, and are colored in harmonizing shades of green and pink. The small repeated corner domes add another Eastern touch, and are especially effective at night. The outer wall is edged all the way around with a simple cornice and a few rows of dull red tiles, distinctly Southern in feeling, and therefore harmonizing with both the Spanish and the Italian Renaissance doorways.
The Winged Victory is the fine decorative figure that crowns the gables of all the palaces of the walled-city. It is broadly modelled, massive and yet refined, and from any viewpoint stands out in beautiful silhouette against the sky. It is by Louis Ulrich.
Palace of Varied Industries
Before turning to the more important south facade, it is well to look at the east wall, with its dignified and colorful portal. This is Roman in style of architecture, to harmonize with the Palace of Machinery opposite. It is similar in general form to the memorial arches and gateways of the Romans, but in the use of architectural motives and in decoration it is of Italian Renaissance style. The niches at each end of the gallery contain figures of The Miner, by Albert Weinert. The facade is ornamented with buttresses at regular intervals, carrying figures of the California Bear holding a scutcheon with the state seal.
Returning to the Avenue of Palms and the south facade, one sees the most important artistic feature of the building, the central portal. This is a copy, except for the figures filling the niches, of the famous doorway of the Hospital of Santa Cruz at Toledo, Spain. It is in Spanish Renaissance style, of that especially rich type known as "Plateresque," due to its likeness to the work of the silversmiths of the time. For its grace of composition, its exquisite detail, its total effect of richness and depth, this portal is worthy of long study.
The sculpture of the portal is all by Ralph Stackpole. In the lower niches are replicas of "The Man with a Pick," a figure that has been justly admired as a sincere portrayal of a simple laboring type. The relief panel in the tympanum represents various types of industry. From left to right the figures typify Spinning, Building, and Agriculture (or the clothing, sheltering and feeding of mankind), and Manual Labor, and Commerce. The group in the niche above the arch shows a young laborer taking the load from the shoulders of an old man. The single figure at the top of the arch shows the laborer thinking, and is called "Power." Note how all these sculptures, while having individual interest, fit unobtrusively into the lace-like portal.
Palace of Manufactures
The wall of this building is broken by pilasters and inset decorative panels, and by a series of niches with animal head fountains. The central portal is pure Renaissance architecture, again suggestive of the Roman gateway in form.
The sculptures of the doorway, including the two figures of male and female labor in the niches, and the long high-relief panel, are by Mahonri Young, who is noted for his simple, powerful treatment of modern themes. The panel represents various branches of manufacture, including metal work, blacksmithing, pottery-making, spinning, and architectural sculpture.
Palace of Liberal Arts
The facade here exactly duplicates that just described, even to the niche figures and panel in the portal.
Palace of Education
The Palace of Education has three Renaissance portals on the south facade. These are more Spanish in feeling than those of the two palaces just passed. The tympanum panel of the central doorway may be taken to represent kindergarten teaching, instruction of boys and girls, and self-education in young manhood. It is by Gustave Gerlach. The two panels in the walls over the minor doorways treat very obviously of educational subjects. They are flat in more senses than one, lacking the life of the central tympanum group. They are by students of two American art schools.
The west facade of the Palace of Education is dominated by an immense half-dome, impressive in size and attractively decorated. The style of architecture here is mainly Roman, to harmonize with the Fine Arts Palace which it faces across the lagoon. There are two splendid architectural fountains, under the half-dome here and under, that of the Palace of Food Products.
Sculpture. Flanking the great arch are columns carrying the nude figure of a man, with hands crossed, gazing fixedly in thought. In the official list this is called "Philosophy" or "Thought," and from it the immense portal is called "The Half-dome of Philosophy." But the same figure occupies the corresponding position before the Food Products Palace, and is there called "Physical Vigor." The truth is that the artist designed the statue to suggest that finest of all unions of strength, the physically powerful man thinking. Thus the figure is appropriate to both a food products building and an education building. The figure is strong, but is not so convincing or appealing as the same artist's "Man with a Pick," in the Varied Industries portal. Within the half-dome is a repeated figure with a scroll inscribed "Libris," by Albert Weinert.
The six niches in the west wall have two repeated statues by Charles R. Harley, known as "The Triumph of the Field" and "Abundance." They are simply repeated from the Food Products Palace to the north, where they properly belong, and will be treated in the next chapter in connection with that building.
On the north facade of the Palace of Education are duplicates of the three south portals, with the same sculptured panels.
Palaces Facing the Marina, and the Column of Progress
The walled-city idea, which throws most of the fine architecture into interior courts, is even more severely carried out in the north facades than in the south. The palaces on the Marina, indeed, present a wall unbroken except by the central doorways and the slight corner projections. The small domes at the corners give a Moorish touch, reminiscent of Southern Spain, and the portals are direct adaptations from Spanish masterpieces.
Palace of Mines
The north facade of the Palace of Mines is free from all ornament except the richly decorative central portal. This is worthy of prolonged study, being one of the finest bits of architectural ornament at the Exposition. It is designed very closely after Spanish models, and is of that transitional period of Spanish architecture that came between the Gothic and the Renaissance, when Gothic had been enriched through the influence of Moorish art, and was just beginning to feel the impulse of the Italian Renaissance. Note how rich is every part of the detail; then note how all detail is subordinated to the mass effect of the whole.
The statues in the niches of the portal are by Allen Newman. The central mantled figure is called the "Conquistador," or conqueror. The artist has here portrayed in spirited fashion a fine type of Spanish nobility. The figure in the side niches, with an old-style pistol in his belt and a rope in his hand, is "The Pirate."
The east facade of the Palace of Mines duplicates that of the Varied Industries Palace, and the west facade forms one side of the north Court of Abundance.
Palace of Transportation
Here the one notably artistic feature is the central portal on the north side, which is an exact replica of the Spanish doorway of the Palace of Mines.
The Column of Progress
This monument symbolizes the energy, the unconquerable spirit that is forever pressing forward to overcome new obstacles, which has led to the building of the Canal. The idea of such a monument was conceived by A. Stirling Calder, the architectural design is from the hand of W. Symmes Richardson, the reliefs at the base are by Isidore Konti, and the crowning statue is by Hermon A. MacNeil. The Column of Progress as a whole is among the finest artistic achievements of the Exposition, and more than any other, perhaps, is worthy of perpetuation in permanent materials to commemorate for all time the opening of the Panama Canal and the holding of the Exposition.
Reliefs at base. The high relief frieze on the square base of the column represents mankind heeding the call to achievement. On the south face are allegoric figures calling mankind to the struggle, the two women holding palm branches, the insignia of victory. On the other three faces are shown groups of figures striving forward at the call, pressing on to achievement, some joyously, some laboriously, some stopped altogether in thought. The whole frieze suggests the beginning of progress.
In the spiral that winds about the column certain interpreters have found a symbol of the upward march of human achievement; but as this spiral decoration is found on the Column of Trajan and the Column of Marcus Aurelius, the Roman prototypes of the Column of Progress, there probably is no special significance in its use here.
Supporting the crowning group is a drum with crouching figures of toilers in relief, entitled "The Burden Bearers."
The Adventurous Bowman is the title of the surmounting statue. The heroic Bowman, facing the skies and the seas, and launching his arrow into the unknown, is the symbol of the impulse that leads men to dare all to achieve victory. At the left of the central figure is a man of smaller stature, leaning against the Bowman to give him support. On the other side a woman crouches, looking up as the arrow speeds on its way. The ring-like object in the woman's hand, which is so hard to identify when one views the group from the ground, is a wreath.
There is about the Bowman a remarkable sense of movement, of energy, of pressing forward, no matter what the view point of the spectator. The monument should be seen from as far north as possible, near the corner of the California building, perhaps. From here, from the Esplanade as one approaches from either east or west, and from the Court of the Universe at the rear, the group has the same inspirational quality, the same sense of joyous effort, of courageous striving toward achievement. The placing of the monument where it closes three important vistas is commended for study to those who have in charge the artistic destinies of our cities.
Palace of Agriculture
The north facade of the Palace of Agriculture is bare except for the central portal, which again duplicates that of the Palace of Mines.
Palace of Food Products
The north facade of this palace duplicates that of the Palace of Agriculture. But when one turns the west corner into Administration Avenue, one finds an entirely different atmosphere, where the Spanish architecture has given way to Italian. The dominating feature of the building's west facade is an immense half-dome, officially called "The Half-dome of Physical Vigor." This is an exact replica of the "Half-dome of Philosophy" on the Education Palace.
Sculpture. Before the half-dome here, on columns, are replicas of Ralph Stackpole's statue of the physically vigorous man in thought. Inside the half-dome is a repeated figure of a man with a wreath, by Earl Cummings.
In the niches along the walls are two alternating compositions, "Abundance" and "The Triumph of the Field," by Charles R. Harley. Abundance is typified by a seated woman, with the conventional overflowing cornucopias beside her, as well as a conglomeration of details suggestive of the riches of land and sea. This group certainly belongs to the Food Products building, but it really ought to be inside, with the flowers made of butter and the tower of raisins. The Triumph of the Field shows a man seated, and around him a museum of ancient symbols of agriculture, and of agricultural triumph, such as were once carried in the annual harvest festivals. These two groups are among the most amusing things at the Exposition; but artistically they can hardly be said to count at all.
The Palace of Machinery
The Palace of Machinery, largest of all the structures at the Exposition, terminates the main building axis at the East. It is monumental in proportions, and is well suited to its purpose of housing an immense display of machines.
Architecture
The architecture was evidently inspired by the great baths of ancient Rome, which were similar in style, size, and detail. The scale is so great-this is said to be the largest wooden building in the world- that it is something of an achievement to have made the structure anything but barn like. By the richness of the cornices and the careful spacing of the openings the architect has made it ornamental, and has given it a sort of noble dignity-though one hesitates to compare it with the palaces of the central group.
The most interesting architectural bit in connection with the Palace of Machinery is the entrance vestibule under the three central archways. Standing at either end of the portico one obtains a remarkable impression of spaciousness combined with decorative completeness. The coloring within the high vestibule is particularly pleasing.
Within the building the unconcealed trussing, instead of giving a sense of barrenness and lack of finish, resolves itself into a sort of lace-like decorative scheme, the whole effect being peculiarly ornamental.
The Palace of Machinery was designed by Clarence R. Ward.
Sculpture
The sculpture here consists of the series of four nude male figures on the column drums, and spandrels for the main and minor doorways, and a widely different group, "The Genius of Creation," before the main western portal. All but the latter group represent "Types of Power."
The figures surmounting columns, flanking the three arches of the central doorway, represent "Steam Power," "Invention," "Electricity," and "Imagination."
Steam is symbolized as a man holding a long lever.
Invention is represented as a man holding forth a miniature winged figure at which he gazes steadily.
The figure of Electricity holds jagged lightning, conventional symbol of electricity.
Imagination, primal power back of all machinery design, is represented by a figure with arm thrown back of head, and seemingly with eyes closed.
Considered simply as portrayals of power, these four virile figures are very successful, and they serve well to carry out the sense of immensity and strength that characterizes the entire building. But they are not at all polished or subtle, lacking the refinement that would make them interesting as something besides vigorous types. All four figures are by Haig Patigian. They are repeated in different order on columns before the north and south portals of the building.
The bas-relief friezes about the bases of the vestibule columns are also by Haig Patigian. The winged figure, typifying "Machinery," lends itself to decorative uses better than the purely human type, and the artist has worked in various mechanical symbols quite cleverly. The cardinal principle in sculptural decoration of this sort is that the frieze, like the whole column, must carry an impression of support. It will be noticed that no room has been left above the head or below the feet; and the disposition of the wings and arms further adds to the feeling that the figures are a true structural unit rather than mere ornament stuck on.
The spandrels over the minor arches in the vestibule, again typifying "Machinery," are equally successful in serving an architectural purpose. Mural sculpture, like mural painting, must never be allowed to "make a hole" in the wall. Notice how fully the figures cover the given space, without any background to draw the eye beyond the surface. These spandrels are also by Haig Patigian. The column reliefs and the spandrels are repeated at the minor doorways of the building.
The Genius of Creation, a magnificently conceived group of sculpture, has been placed, rather unfortunately, in front of the main west portal of the Palace of Machinery. It is by Daniel Chester French, who is generally considered the dean of American sculptors. The Genius of Creation is portrayed as a huge winged figure, enthroned over the formless mass of earth, with head bowed and arms outstretched, calling human life into being. At the two sides a man and a woman, fine strong figures both, stand looking forth, the man courageously, the woman a little more timidly. And at the back, as if to signify the mutual dependence of man and woman, the hands seek to touch. A serpent encircles the base of the group, symbolizing wisdom-or as some prefer to interpret it, everlasting life. This serpent is probably not the one that had so much to do with the life of the first couple on earth.
The statue expresses, of course, the orthodox idea of creation, and it is interesting to contrast it with the sculpture of the Court of Abundance, which in general gives expression to the doctrine of evolution. The strong, almost severe, motherly figure is finely religious in feeling. The sculptor himself has commented on the religious tone that runs through much of the Exposition sculpture, remarking especially the prevalence of winged angel-figures. The reader is left to decide how far this has resulted from the fact that the winged form is essentially decorative, and how far from reverence.
Viewed entirely from the aesthetic side, without regard to the symbolism, the Genius of Creation is one of the most satisfying works on the grounds. It is too bad that it was placed before a background of broken spaces, and before a colorful facade that makes it seem pale. But in it is that reposeful strength which characterizes so much of French's work-a sense of completeness, of fullness, that is perhaps the most soul-satisfying quality of great sculpture.
The South Gardens, Festival Hall, and the Palace of Horticulture
If there is one portion of the Exposition building scheme that does not seem to "belong" to the main group of palaces, it is that which lies south of the Avenue of Palms, including the South Gardens, Festival Hall, and the Palace of Horticulture. The relation of the two buildings to the main courts and palaces is clear: Festival Hall terminating the cross axis through the Court of Abundance and the Court of Flowers; the Palace of Horticulture terminating the cross axis through the Court of the Four Seasons and the Court of Palms. But though the organic relationship is apparent, the least discriminating of critics can see that these buildings are of an architectural style not in harmony with the central group of palaces. Both structures lack that fine sense of proportion and that simple and impressive dignity which characterize the architecture of the courts; and both are more or less pretentious and ornate.
The South Gardens
The South Gardens, like the buildings, have a certain magnificence but at the same time lack any distinctive appeal. The three basins with their fountains are imposing, and the individual beds of flowers are gorgeous in their profuse massing of color; but the distances are so great, and the sense of enclosure that means so much to gardens is so far lacking, that the lover of formal gardening will be less satisfied here than at several other places in the grounds.
Sculpture. The sculpture of the South Gardens is all on the three fountains. The immense central group, the Fountain of Energy, already has been described. In the other two basins the Mermaid Fountain is repeated. This is an attractively ornate bit of decorative design, surmounted by the figure of a mermaid with a dolphin. The figure was modeled from designs by Arthur Putnam. It is typical of the fine strength of his work, and at the same time appealing by the grace of its sinuous lines.
Festival Hall
Festival Hall, designed for the many conventions and musical festivals of the Exposition period, is of typically French architecture of the modern school. The building is not unpleasing, but there is little about it to hold the interest. Robert Farquhar was the architect.
Sculpture. All the sculpture on Festival Hall is the work of Sherry E. Fry. The figures are well suited to their purpose, from the slender "Torch-Bearer," surmounting the minor domes, to the heavy reclining figures on the pylons at the main entrance. Most of the statues are too roughly finished to have more than a decorative interest, but the two groups flanking the main stairway are worthy of study. These two "Flower Girls," one on either side, have a beautiful flowing grace. But quite the most appealing things here are the two minor figures before the pedestals on which the Flower Girls stand. Before the one at the north is a captivating boy Pan with a lizard. Half hidden in the shrubbery at the other side is the sitting figure of a girl, attractively immature and charming in line.
Palace of Horticulture
The Palace of Horticulture is characterized by that combination of Eastern and Western architectural motives which is so noticeable throughout the buildings. The dome is Byzantine, while the rest of the building is of Renaissance, or modern, French architecture. The dome considered alone is an almost perfect bit of design, beautifully proportioned and finely simple. The rest of the building is in general over-decorated, the portals especially being heavily loaded down with meaningless ornament. Apologists for the building say that the profuse ornateness rightly suggests the richness of California's horticulture. Perhaps the best view of the dome is from the east end of the Avenue of the Nations, near the Denmark building, because from there one can see it unobstructed, escaping the disturbing effect of the portals and their spires. The Palace of Horticulture was designed by Bakewell and Brown of San Francisco.
Sculpture. All of the sculpture here is purely decorative. The frieze at the base of each spire, consisting of heavy female figures modeled in pairs, is by E. L. Boutier. The ornamental Caryatides of the porches are by John Bateman.
Palace of Fine Arts
The Fine Arts Palace has been more admired, probably, than any other architectural unit at the Exposition. The reasons are not far to seek. The architect has used those classic forms which for ages have been recognized as best suited to monumental structures, and yet he has used them with originality. The building is classically noble, but without classic austerity or coldness. It is at once beautiful in form, rich in decorative detail, and satisfyingly warm in color. Moreover, it has the finest setting of all the Exposition buildings. The bigness of conception, the boldness with which the largest architectural elements have been handled, the perfect arrangement of architecture, planting, and reflecting waters-all these combine to create the most compelling picture on the grounds.
The arrangement of the building is deceptive. As one looks at it across the lagoon, it seems like a single unit, so well does the planting tie it together, though there are really four unconnected structures: the rotunda, two detached peristyles at the sides, and the art gallery proper at the back.
Architecture
The style of architecture is Classic, freely treated. The rotunda is Roman. The peristyle is more Greek in feeling, in the simplicity of general form, with splendidly modeled capitals, full strong columns, and dignified cornice. The curved facade of the main building, facing the rotunda and peristyle, is very original in its arrangement of classic architectural motives and masses of foliage, with a Pompeian pergola on top.
The color scheme of the whole building is worthy of study. And although the structure when seen by day deserves all the praise that has been bestowed upon it, by night its beauty is beyond description. One should sit long at the edge of the lagoon opposite the rotunda, and watch the illuminated building itself and its reflection in the waters below, to feel the full spell of it. No one should miss, either, the walk between the peristyle and the main building on one of those nights when there is soft local illumination, for nowhere else on the grounds has the poetry of lighting been so perfectly realized.
The architect of the Fine Arts Palace was Bernard R. Maybeck, aCalifornian.
Sculpture
The sculpture about the lagoon, including that under the peristyle and rotunda, is to be treated in the next chapter, except that which is definitely a part of the building's integral decorative scheme.
The reliefs outside the rotunda, on the attic above the cornice, represent man's effort to gain the ideal of art. To see these reliefs best, one should stand directly across the lagoon from the rotunda. In the panel facing East one sees the figure of Art personified. On either side is a group showing the champions of art combating centaurs, that stand for the commonplace, materialistic things of life. In the next panel to the left, facing Southeast, is represented the bridling of the winged horse Pegasus, which to the Greeks symbolized the attainment of poetic inspiration. Here also are figures representing the arts of literature, sculpture and music, by the familiar symbols, a lamp, a statuette and a lute. The panel to the right of the center one shows Apollo, sun-god and patron-god of the arts, drawn in his chariot, with a procession of devotees. These panels are repeated on the other five faces about the dome. They are among the finest reliefs on the Exposition buildings, and are by Bruno Louis Zimm.
The figures within the rotunda, surmounting the eight columns are"Priestesses of Culture," by Herbert Adams.
The flower-box sculptures are by Ulric H. Ellerhusen-both those on the ground and those at the corners of the boxes surmounting the peristyle. The ladies on the latter, looking so steadily into the boxes, do not represent "Curiosity." The plan was to have masses of foliage overflowing, and half-covering the figures; and when this was given up, the decorative women gave the unexpected impression of being deeply absorbed in something happening out of sight of the spectator below. An explanation which has gained some currency is that the figures represent "Introspection," which seems quite apropos.
The kneeling figure (unnamed) on the edge of the lagoon before the rotunda is by Ralph Stackpole. It is one of the most appealing bits of all the Exposition sculpture, well expressing devotion and reverence. It cannot be reached from the rotunda side, this portion of the shore being closed to the public.
The figure over the doorway of the gallery is Leo Lentelli's "Aspiration." During the early months of the Exposition this statue was suspended from behind, the base on which it now stands having been placed late in the Spring. As the figure first appeared, hanging in air, it caused more comment than any other sculpture on the grounds. The most appropriate explanation was that since the figure lacked any visible means of support it probably was meant to represent "California Art." Even the recent alterations have failed to save it from seeming graceless and out of place.
Mural Paintings
The eight panels in the dome of the rotunda are by Robert Reid. There are two series of four paintings each, called "The Birth and Influence of Art," and "The Four Gold's of California." They form perhaps the least interesting of the several groups of murals, being vague in meaning, unpleasantly restless in composition, and only occasionally attractive in coloring.
The easiest panel to identify is that called "The Birth of Oriental Art," which is on the west wall, closest to the doorway of the main building. Starting with this and following around the dome to the right, the pictures are in this order:
1. The Birth of Oriental Art. A man in armor on a fanciful, dragon is attacking an eagle, symbolizing man's effort to attain the inspiration of the heavens. Below, China can be recognized in the man with a brilliant colored robe, and Japan in the woman with the bright parasol.
2. Gold is symbolized by a woman with a wand, on a cornucopia overflowing with gold.
3. The Ideals of All Art. The ideals which animate artists are shown: Truth with her glass; Religion typified in the Madonna and child; Beauty, with the peacock; and the Militant Ideal with a flag. Above and below are figures carrying the wreath and the palm, the artist's tokens of success in attaining the ideal.
4. Poppies, the second "gold" of California.
5. The Birth of European Art. Four figures surround an altar on which burns the sacred fire, three being merely attendants preserving the flame, and the fourth the guardian holding high a torch lit at the altar. A man from earth grasps this torch as he leans from his flying chariot. A woman in the lower corner holds a crystal gazing-globe, wherein the future of art has been revealed, and she turns to gaze after the man who is carrying the sacred fire to earth.
6. Citrus Fruits, the third "gold" of California.
7. The Inspiration of All Art. Two Angels of Inspiration are at the top, while below to the left are Sculpture, with a winged statuette, and Architecture, with the scroll and compass; and to the right, Painting, with brush and palette, Music, with a lyre, and Poetry, with a book.
8. Wheat, the fourth "gold" of California.
The Outdoor Gallery of Sculpture
Many of the finest bronzes and marbles of the sculpture section are given an adequate setting which would be impossible within the gallery building, by being placed in the open, along the two ends of the lagoon, through the peristyles, and under the Fine Arts rotunda.
As this group of sculpture embraces all types from the playful to the very serious, it is foolish to try to appreciate the whole series at one time. Perhaps the best way is to start first to familiarize oneself with the smaller bronzes of the purely lyric type, the charming garden figures, sun-dials, and miniature fountains, that make up such an attractive part of the collection. Note how often the names of Edward Berge, Janet Scudder and Anna Coleman Ladd recur in connection with this graceful, intimately appealing sort of sculpture. On another day, when life seems soberer, spend all your time in study of the more serious works, such as Saint Gaudens' "Seated Lincoln," and McKenzie's "The Young Franklin," noting how the dignity, sureness of touch, and sound purpose of these make them more appealing with longer acquaintance. On another day take the intermediate group, that is dignified but less austere in theme-such works as Sherry Fry's "Peace," and Berge's "Muse Finding the Head of Orpheus." Studied systematically, there is in this series of statues a broad education in the appreciation of sculpture.
For convenience in reference the whole series is listed here. In regard to those works which the labels make self-explanatory, no comment is added, unless to call attention to some special quality which the unpracticed eye might miss. Where the symbolism or "story" is obscure, an explanation is given.
South of the lagoon are: 1. Sea Lions by Frederick G. R. Roth. 2. The Scout by Cyrus E. Dallin. Note the remarkable clean-cut quality of this equestrian statue. 3. Wind and Spray fountain, by Anna Coleman Ladd. 4. Diana by Haig Patigian-a graceful statue of the Greek goddess of the hunt, which is in marked contrast to the same artist's strong figures on the Palace of Machinery. 5. Peace by Sherry E. Fry. This beautifully modeled figure has a classic simplicity that is worthy of study. 6. American Bison by A. P. Proctor.
Beyond the second Bison, beside the roadway that runs behind the FineArts Palace, is a model of the Kirkpatrick Monument, at Syracuse, NewYork, by Gail Sherman Corbett. The central figures represent an Indiandiscovering to a Jesuit priest the waters of an historic salt spring atSyracuse.
In the circle at the south end of the peristyle are: 1. Seated Lincoln by Augustus St. Gaudens generally considered one of the noblest works of the greatest American sculptor. Note especially the dignity of the whole, and the sympathetic modeling of the face. 2. Bust of Halsey C. Ives by Victor S. Holm. 3. Bust of William Howard Taft by Robert Aitken. 4. Henry Ward Beecher by John Quincy Adams Ward-a dignified and well-known life-size statue.
Along the south peristyle are (at the right) 1. Piping Pan by Louis St. Gaudens. 2. Flying Cupid by Janet Scudder. 3. Muse Finding the Head of Orpheus by Edward Berge-a marble well expressive of gentle grief. Orpheus, sweetest musician of Greek mythology, after failing to recover his beloved Eurydice from the underworld, in his sorrow scorned the Thracian nymphs, who in their anger dismembered him. His head was washed up by the sea and found by the sorrowing Muses. 4. (At the left) Michael Angelo by Robert Aitken, showing the master-sculpture at work on one of his famous figures. 5. (At the right) Young Pan by Janet Scudder. 6. (At the left) Wood Nymph by Isidore Konti. 7. Young Mother with Child by Furio Piccirilli. 8. (At the right) Wild Flower by Edward Berge. 9. (At the left) Eurydice by Furio Piccirilli. 10. (At the right) Boy and Frog by Edward Berge. 11. (At the left) Dancing Nymphs by Olin L. Warner. 12. Idyl by Olga Popoff Muller. 13. An Outcast by Attilio Piccirilli. 14. (Beside the doorway) Youth by Charles Carey Rumsey. Before the doorway is to be placed The Pioneer Mother Monument by Charles Grafly.
About the rotunda are: 1. (Outside the southwest archway) Thomas Jefferson by Karl Bitter. 2. (In center of rotunda) Lafayette by Paul Wayland Bartlett-the statue given by America to France. 3. Lincoln by Daniel Chester French, a dignified portrayal that cannot be justly judged from the plaster model here exhibited. 4. Relief by Richard H. Recchia, representing "Architecture." 5. Commodore Barry Memorial by John J. Boyle. 6. Relief by Richard H. Recchia, representing "Architecture." 7. Princeton Student Memorial by Daniel Chester French a noble treatment of a difficult theme. 8. The Young Franklin by Robert Tait McKenzie. This is a fine conception, in which the sculptor has escaped from the conventional path of monumental portraiture. 9. (On walls of west archway) Reliefs by Bela L. Pratt, representing "Sculpture." 10. (Outside west archway) Portrait of a Boy by Albin Polasek. 11. The Awakening by Lindsey Morris Sterling. 12. (Beside northwest archway) William Cullen Bryant by Herbert Adams.
Along the north peristyle are: 1. (Beside main doorway of gallery) Beyond by Chester Beach. 2. The Sower by Albin Polasek. 3. The Centaur by Olga Popoff Muller. 4. Boy with Fish by Bela L. Pratt. 5. (At the right) Returning from the Hunt by John J. Boyle. 6. (At the left) L'Amour by Evelyn Beatrice Longman-a marble wherein the woman's figure is tenderly beautiful. 7. Garden Figure by Edith Woodman Burroughs. 8. (At the right) Fighting Boys Fountain by Janet Scudder. 9. Soldier of Marathon by Paul Noquet. 10. (At the left) Youth by Victor D. Salvatore. 11. (At the right) Primitive Man by Olga Popoff Muller. 12. The Scalp by Edward Berge-an unpleasant bit of realism. 13. (At the left) Apollo by Haig Patigian. 14. (At the right) A Faun's Toilet by Attilio Piccirilli. 15. Duck Baby Fountain by Edith Barretto Parsons. 16. Maiden of the Roman Campagna by Albin Polasek-a figure instinct with the spirit of the antique.
On the circle at the north end of the peristyle are: 1. (At the right) Young Diana by Janet Scudder-a young goddess of the hunt, conceived in modern spirit, with remarkable freedom and grace of movement. 2. Great Danes by Anna Vaughan Hyatt. 3. (In walk) Sundial by Harriet W. Frishmuth. 4. Bondage by Carl Augustus Heber. 5. Boy Pan with Frog by Clement J. Barnhorn. 6. Sundial by Gail Sherman Corbett. 7. Three fountain groups in one basin, all by Anna Coleman Ladd. Of these the Sun God and Python has been especially admired as a spirited and graceful bit of work. 8. (On the lagoon side of the circle) Mother of the Dead by C. S. Pietro-a sincere and powerfully realistic work, and quite unlike anything else in the outdoor gallery. 9. (In walk) Chief Justice Marshall by Herbert Adams. 10. Destiny by C. Percival Dietsch. 11. Sundial by Edward Berge. 12: Daughter of Pan by R. Hinton Perry. 13. Head of Lincoln by Adolph A. Weinman.
Along the roadway to the left, as one leaves the circle, are two sculptures: Bird Fountain by Caroline Risque, and Prima Mater by Victor S. Holm.
North of the lagoon are: 1. Fragment of the Fountain of Time by LoradoTaft. 2. Nymph by Edmond T. Quinn. 3. Dying Lion by Paul WaylandBartlett. 4. Rock and Flower Group by Anna Coleman Ladd. 5. Whale-man byBela L. Pratt.
On the island at the north end of the lagoon is a fountain by RobertPaine.
The Fine Arts Galleries
Do not visit the Fine Arts exhibits blindly, without knowing what they are aimed to show; and do not try to see the whole exhibition in one day. First understand the scope and arrangement of the displays, and then follow some definite system by which you are sure to get the best out of each individual section. It is better to see one part thoroughly than to carry away a confused impression of the whole.
The scope of the exhibit is limited to painting, sculpture and print-making, except in the Oriental sections. In painting the primary aim has been to make a representative display of contemporary work. Most of the galleries contain only canvases painted within the last ten years. But in order to correct the common misconception that American art is entirely a thing of today, without historical background, a few rooms are given up to historic works of the various early American schools, and to works of the foreign schools that have influenced the development of American art.
The arrangement of the galleries should be mastered before one starts to study. In general there are three divisions of exhibits. At each end is a group of foreign sections, and the great middle space is given up to American art. The accompanying diagram is designed primarily to make clear the location of the several divisions. The visitor will find it worth while to remember that a main central corridor runs the whole length of the United States Section. By continually referring to this corridor, one can keep one's bearings fairly well.
The method of seeing the galleries that is suggested in this guide is based on the official classification as far as possible: the foreign sections are taken in order, and the historical section is treated in that chronological sequence which the directors intended to show forth. But there is no system in the arrangement of the twenty-eight general rooms of contemporary American work, In treating these the guide aims to suggest tendencies and influences, rather than to point out this or that canvas as a good or bad one. Nevertheless it is believed that every really important picture or artist is individually mentioned-so that one who has used the manual consistently may be sure of having enjoyed the cream of the collection, at the same time gaining the wider knowledge of the main currents of development.
It is necessary to use to a certain extent the arbitrary subject-divisions, such as portrait, landscape, and figure painting; and to refer also to realistic painting, which tends to depict things as they are, as opposed to the academic, which recognizes the wisdom of conventionalization or idealization. But the most important distinction, for the student of contemporary tendencies, is that which concerns the term "Impressionism." This name in its original and technical sense applied to the works of the men who, instead of mixing shades, placed different colors side by side on their canvases to give the effect of the right shade at a distance. As the experiments of these artists were directed chiefly to the solution of problems of light, the term naturally was widened to include that whole division of painting which is concerned with atmospheric aspects and color harmonies rather than with subject-interest and line composition. Terms which express the same idea in general or in part, are "luminism" and "plein-air painting." Impressionism has had more effect on the current of art than has any other movement in history. Not only in the handling of light and in freshness of coloring has the whole of painting been profoundly changed, but there is a general tendency to paint the impression rather than the actuality, the harmonious effect rather than the literal fact-and these things are notably illustrated in the Exposition galleries.
For the sake of the visitor who comes to the gallery with practically no knowledge of art, a word may profitably be said about critical standards. First remember that there are many qualities which may make a painting worth while: pleasing design, beautiful color, a compelling expression of emotion or thought, or a poetic suggestion of a fleeting aspect or mood. It is necessary to judge each particular work by the artist's intention, and not by untrained personal tastes. Before passing judgment learn to know the picture well. You may find that you have been attracted by something superficial. On the other hand, you may find that the seemingly less attractive picture, which has been recommended by people of trained judgment, grows more and more pleasing with riper acquaintance. Go slowly, study thoroughly what you study, and keep an open mind-for that way leads to the widest enjoyment.
United States Section: Painting
The United States Section consists chiefly of contemporary work, but includes a small historical section, which is to be found to the left as one enters at the main doorway. It is in this part of the exhibit that one should start.
The Historical Section consists of two well-defined parts. The first contains examples of foreign schools of painting that have influenced American art. The second contains the works of American painters from the beginnings to the early Twentieth Century. The Foreign Historical Section occupies rooms 91-92 and 61-63.
Gallery 91-Early Schools. A gallery of old paintings, chiefly of the Italian, Flemish and Dutch Schools, designed to suggest the earliest roots of American art. Practically all the canvases are mere echoes of the "old masters," and they may well be passed over hastily by all but the most thorough historical student.
Gallery 92-French Influence. This gallery and the next two are designed to show works of those schools, chiefly French, that have had direct influence upon American art. On wall A is a painting by Courbet, interesting in the light of that artist's influence on Whistler's early work. But most important here are the examples of the Barbizon School, romantic landscape painters of the mid-Nineteenth Century, who had much to do with the development of the Inness-Wyant group in America. On wall B are two canvases by Corot, both badly placed, one of which (1486) is typically poetic and beautiful. The examples by Daubigny and Rousseau on wall C are not satisfying. On wall D the two Monticellis suggest the source of some of the rich qualities of the work of Keith and similar American painters.
Gallery 62, adjoining 92, shows the best example of Barbizon work, in Troyon's beautiful "Landscape and Cattle" on wall C. On wall A is a small painting, interesting but not characteristic, by Millet, who influenced the whole world of art toward sincerity. On wall B is Sir Laurens Alma-Tadema's "Among the Ruins," sole representative here of the English School of "polished" painters that strongly influenced a number of American artists. On wall D are two very interesting portrait studies by Franz von Lenbach, intended to suggest the influence of the Munich School on American art, before Americans began to flock to Paris to study.
Gallery 61-Recent French Influence. On wall A is an uneven collection by Monet, the greatest apostle of Impressionism. This group, with the exception perhaps of the sea-shore scene, should be studied thoroughly, in regard to the technique that juxtaposes colors to give the right resultant tone at a distance; in regard to the general tendency to subordinate subject interest to the expression of fleeting aspects; and in regard to the masterly handling of light. No other group will be referred to so often in connection with the American galleries. On wall B is a typically joyous canvas by Gaston La Touche, who carries Impressionism into figure work. On walls C and D are other examples of the Impressionist School, by Pissarro and Renoir and the English Sisley. On wall C is a portrait by Eugene Carriere. On wall D is a panel by Puvis de Chavannes, who has influenced modern mural painting more than any other artist. This picture has the typical union of the classic feeling with very modern technique, but it is representative of de Chavannes' manner rather than of his whole art at its best.
Gallery 63-English Influence. This is the richest of the historical rooms. Although there is a scattered collection including the names of Van Dyke, Guido Reni, Tiepolo, Ribera, Velasquez, Goya, and Turner, on walls A and B, the important thing is the fine collection of the English portraitists. Here are examples, many of them among the finest, by Hogarth, Reynolds, Gainsborough, Romney, Lawrence, and Hoppner. It is hardly necessary to point out the close connection between the work of this English group and early American painting, since a visit to the adjoining gallery 60 will show how the first important development in the States grew out of the art of the mother country.
The American Historical Section covers the entire development of American painting from the beginning to the early years of the present century. To obtain the proper sequence, one should start in room 60, working gradually down to 57, then visiting 64 and 54.
Gallery 60 contains a profusion of fine examples of the early portrait school, which was so closely connected with English art of the time. Gilbert Stuart, the most important figure, is represented by an extensive collection on wall A. In this room, too, are canvases by West, Peale, Copley, and their followers well into the Nineteenth Century.
Gallery 59 contains chiefly the work of that barren mid-century period when portraiture and landscape painting alike became hard and labored. Insofar as any foreign influences can be detected here, they are of the "tight" schools of England and Germany.
Gallery 58 contains some interesting work of the latter half of the Nineteenth Century-notably the paintings by Eastman Johnson, an important figure of the time when American art was finding itself. Albert Bierstadt's two landscapes are typical of the so-called Hudson River School, the mechanical forerunner of the Inness-Wyant group. An interesting contrast is offered here by H. J. Breuer's "Santa Inez Mountains," a contemporary landscape that is full of the freshness and light of present-day American painting.
Gallery 57 shows another great step in advance. A generous portion of the space is given to Edwin A. Abbey, an American-born artist who really was more a part of English art. The exhibit shows clearly that Abbey was greater as illustrator than as painter, the finest things here being the exquisite pen drawings. Wall D has five paintings by John LaFarge, who by his work and by his theories greatly influenced American art at the end of the century. Worthy of study, too, are the more modern landscapes of Theodore Robinson.
From this room one should turn back into the central line of galleries.
Gallery 64 contains historical American paintings that range through the latter half of the last century and into this, with such well-known names as Parrish, Gifford, Hunt, Wylie, Martin, the Morans, Eakins, and even the more recent Frederic Remington. Such pictures as F. E. Church's "Niagara Falls" (wall A), J. G. Brown's "The Detective Story" (wall B), and Thomas Hovenden's "Breaking Home Ties" (wall D), are typical of what was accepted as the best work a generation or two ago.
Passing through room 65, one should next go to 54.
Gallery 54 is the most important in the American Historical Section, for it shows the work of the men who really emancipated American painting from the old hardness and tightness of technique, and from the old sentimentalism. Wall A is given up to the work of the late Winslow Homer, who has been called "the most American of painters." The seashore scenes alone of the things here are representative of this big man at his best. Wall B has a varied assortment by lesser painters, but ones of importance: Blakelock, Currier, William Morris Hunt, and Fuller. On walls C and D the very important canvases are those by Inness and Wyant, men who were deeply influenced by the French Barbizon School, but whose individual achievement marked the first great stride toward the bigness, freedom and lightness of present-day American landscape painting.
Contemporary American Painting. Leaving aside the one-man rooms for the present, it is just as well to turn from the last historical room, 54, into 55, and progress in natural order through 56, 65, 85, 66 (the central hall), and 80. The contemporary rooms north of the central hall can be best visited in three groups, each following the official room numbering: first, 67 to 74; then 43 to 51; and finally the detached section at the far north end of the building, 117 to 120.
Gallery 55 has a well assorted collection of contemporary canvases, but includes no outstanding features.
Gallery 56 is a typical modern American room, with good landscapes in the work of Breuer, Borg, Davol, and Stokes.
Gallery 65 contains some of the best American figure paintings in the building. The finest group is that by Cecilia Beaux on wall D, which well displays that remarkable artist's brilliant technique and "flair." It is notable how many of the really virile paintings here are by women -many of them of the younger groups. From Marion Pooke's polished but free "Silhouettes," and Alice Kent Stoddard's appealing "Sisters," to M. Jean McLane's joyously brilliant canvases on wall C, there is a wide range of achievement and promise.
Gallery 85. On walls A and B are five canvases by Horatio Walker that are worthy of attention. But finer are Charles W. Hawthorne's four paintings on walls B and D. Their bigness of conception, sincerity and soundness of technique mark a coming master. Wall C is given up to a display by Charles Walter Stetson, which shows, more strongly than any other in the American section, that tendency to the decorative and the idyllic which is to be noted as so strong in recent painting. On wall D are three works of George deForest Brush, a man who has been but little influenced by the more radical tendencies. "The Potter" is interesting for the painstaking and minute finish of varying surface textures.
Gallery 66-Central Hall. Although the important places here are given to sculpture, there are a few very interesting paintings: some representative landscapes, and at the ends decorative panels by Alexander Harrison and by Howard Cushing.
Gallery 80 is notable for the work of painters who have followed rather closely the old academic traditions: for the smooth and polished canvases of W. M. Paxton and Philip Leslie Hale. There are also seven landscapes by Willard L. Metcalf, fresh attractive work of the "plein-air" school.
Gallery 67 is rich in fine landscapes, and contains the best of the exhibition's marines. Here are the only works of Charles H. Davis, a notable follower of the poetic Inness School, and of Leonard Ochtman and Ben Foster, who stand well to the fore among the more vigorous landscapists. Also worthy of attention are the landscapes of Braun, Borg, White, Wendt, J. F. Carlson, Rosen and Browne. The marines represent well a department of painting in which Americans have long excelled; on wall A are four by Paul Dougherty, on B and C three by Frederick J. Waugh, and on D one by Emil Carlsen. Of the other paintings the most interesting is the idyllic bit by Hugo Ballin on wall C, representative of the decorative tendency.
Gallery 68 contains as its most important exhibit three portraits by J. C. Johansen, on wall B, all typical of the brilliant fluency of this remarkable painter. Among the landscapes here the most important are the two Schofields on wall D, typical of the best and sanest phase of Impressionism in America. Very important too are the canvases by Daniel Garber on wall C.
Gallery 69 contains a mixed collection, with such different good things as Lawton Parker's polished figure studies (wall B) and J. Francis Murphy's poetic landscape (wall C). On wall C is a painting by John W. Alexander, one of the leaders in American art, which is typical of his method of subordinating subject interest to line arrangement and color composition.
Gallery 70-Portrait Room. On wall C are three portraits by Irving R.Wiles, and on D two by Julian Story-both names long well-known inAmerican art. But the surprising thing is that several of the canvasesby less known men stand up with, or even surpass, these.
Gallery 71 is notable chiefly for some good landscapes.
Gallery 72 contains little to hold the attention, unless it is the group of canvases by Walter McEwen, who shows adherence to the older traditions, not only in smoothness of technique, but in sentimentalism and general prettiness.
Gallery 73 is given up chiefly to Alson Clark's over-sketchy and intemperately colored Panama pictures. The most interesting thing here is Ernest Lawson's "Beginning of Winter," on wall B, a representative work by one of the most successful American followers of Impressionism.
Gallery 74 is a room of good landscapes, with a few outstanding canvases like Will S. Robinson's "Group of White Birches" on wall C.
A new start should be made here by passing through rooms 70 and 71 to 43, from which the numerical order can be followed back to room 51, adjoining the central hall.
Galleries 43 and 44 have a range from many mediocre to a few really good things, lacking anything that demands special attention.
Gallery 45 is a room rich in comparative values. Note the delicacy of treatment and of color in William Sartain's three landscapes, on wall A, and in Birge Harrison's atmospheric paintings on wall D. Compare these with the heavily painted and richly colored canvases by Walter Griffin on wall C, and then with the more straightforward, vigorous work of Charles Morris Young on wall B. Harrison, Griffin and Young, at least, are of the distinctly modern school; but note how individually each has utilized his inheritance of vibrating color and light. On wall A are two fine figure studies by Robert Reid, an innovator and a really great painter, though he did not show it when he painted the panels for the Fine Arts rotunda.
Gallery 46. There is much poor material here; but on walls B and C are some paintings by Frank Vincent Dumond that are interesting for their fresh coloring and their solving of light problems.
Gallery 47 contains evidences of progress in varied lines, from E. L. Blumenschein's big Indian pictures, and Cohn Campbell Cooper's studies of American cities, to the experiment in painting flesh against a richly varied background, by Richard Miller, a gifted American who has long lived in Paris.
Gallery 48 contains much promising work of various tendencies, but no outstanding features.
Gallery 49 contains, on wall A, a splendid collection of the work of Dwight W. Tryon, one of the older school of landscapists, who helped to break the way for the moderns and has kept up with them to a great extent. With the exception of one canvas, the pictures on walls B and D are by J. Alden Weir, another roadbreaker, and an experimenter with new effects of light and atmosphere. In such canvases as "June" and "White Oak" one finds some of the best that American art has built on the theories of Monet.
Gallery 50 contains some good landscapes, but nothing that demands special attention aside from Sergeant Kendall's refined figure studies.
Gallery 51 is given over in general to the independents and extremists of American art. Here are canvases by Glackens, Sloan, and Breckenridge, rather disappointing to one who has watched hopefully the movement they represent. Certainly their exhibits are suggestive of a rather undisciplined vigor and freedom. On wall C the five canvases in the lower row are by Robert Henri. They are the experiments of a master, rather than his best works. The truly representative Henri picture is the "Lady in Black Velvet," on wall D. This has a wonderful synthetic quality, a suppression of detail and a spotting of interest at the important point. There is, too, a spiritual quality that is lacking in the other canvases. On the other side of the doorway is Gertrude Lambert's "Black and Green," a notably fine canvas.
The only other general rooms of the contemporary American section are those at the far north end of the building, beyond the foreign sections, numbered from 117 to 120.
Gallery 117 is a sort of catch-all room, in which are many things that never should have been admitted to the galleries. The really interesting feature is the series of canvases by Frieseke, full of light and freedom. Gallery 118 is less mediocre on the whole, but lacks any features of special appeal. Gallery 119 includes a surprising conglomeration of paintings and drawings in all mediums, wherein the extremists have their say. There is a wealth of interest here, but one must have time to separate the bad from the good. Gallery 120 is also marked generously by the newer tendencies. The important feature is the group of virile paintings by George Bellows, on wall C. These mark the most successful American attempt to grasp sanely the bigness and freedom of the post-Impressionist movements.