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A BRIEF GUIDE 
 
 TO THE 
 
 Department of Fine Arts 
 
 Panama-Pacific Internationa! Exposition 
 San Francisco, California 
 
 19 15 
 
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 PRICE 25 CENTS 
 
 THE WAHLGREEN COMPANY 
 Oficial Publisher* to the Panama-Pacific Inlernalioaal Exposition, San Fr 
 
THE ONLY COMPLETE, OFFICIAL AND 
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 The SCULPTURE 
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 OF THE 
 
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 Published by THE WAHLGREEN COMPANY. Official 
 Publishers to the Panama - Pacific International Exposition 
 
A Brief Guide 
 
 to the 
 
 Department of Fine Arts 
 
 By MICHAEL WILLIAMS 
 
 Copyright 1915 by The Wahl green Co. 
 
 THE WAHLGREEN CO . Publishers 
 San Francisco 
 

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 FIRST FLOOR PLAN 
 
 GALLERIES 
 
 
 ANNEX 
 
 PALACE OF FINE ARTS 
 
 PANAMA-PACIFIC INTERNATIONAL EXPOSITION 
 
 OPCNS.fCB«0*RY 10 5AN FRANCISCO U.S.A.I9I5 CLOSCS-OtCCMSCR ♦ 
 
 310093 
 
In both the United States and the Foreign 
 Sections of the Department of Fine Arts most of 
 the works exhibited by artists are for sale at studio 
 prices. 
 
 The Department has made especial effort to 
 induce artists to show their best and most repre- 
 sentative works, and in this effort it believes it has 
 been in the main successful. 
 
 The attention of collectors and art lovers is 
 especially directed to this unusual opportunity for 
 securing works of enduring value which have al- 
 ready received the imprimatur of juries of experts. 
 
 To the visitor who is not essentially a col- 
 lector of works of art, but who may desire a sou- 
 venir of the Exposition which will be of more than 
 passing interest, especial consideration is directed 
 to the prints and small bronzes which are included 
 in this exhibition. 
 
 For the convenience of purchasers there will 
 be constantly in the galleries the sales manager of 
 the Department or some one of his assistants, from 
 whom information may be had regarding prices, 
 and exhibits of artists. 
 
CONTENTS 
 
 Introductory note. 
 
 Chapter I —The antecedents of American Art; Being a Pre- 
 paratory Glimpse at the Old Masters, as Sug- 
 gested by Rooms Nos. 91 and 63. 
 
 Chapter II — Pre-Revolutionary and Early American Art from 
 the Portrait Period of West, Copley, Stuart, 
 etc., to the Beginning of the Hudson River 
 School of Landscape Painters. Rooms Nos. 60, 
 59 and 58. 
 
 Chapter III —Certain European Influences: French, Dutch, Span- 
 ish, and especially the Barbizon School. Rooms 
 Nos. 92 and 62. 
 
 Chapter IV —The Dawn of Modernity. Flowering of the Hudson 
 River School. The Munich Influence. George 
 Inness, Winslow Homer, Alexander Wyant, 
 John LaFarge, Edwin A. Abbey, Theodore Rob- 
 inson and the Rise of Impressionism. Rooms 
 Nos. 54, 64, and 57. 
 
 Chapter V — The French Impressionists. Room No. 61. 
 
 Chapter VI — Modern American Art. Room No. 55 (Alexander 
 Harrison), 56, 85 (Horatio Walker, C. W. Stet- 
 son, Douglas Volk, DeForest Brush), 65 
 (Woman's Room: Mary Cassatt, Cecelia 
 Beaux, Violet Oakley), 80 (Philip L. Hale, 
 William Paxton, Willard L. Metcalf), 51 (An- 
 shutz, Henri, Glackens, Breckenridge), 50 (Ser- 
 geant Kendall), 66 (Entrance Hall), 67 (Emil 
 Carlsen, Paul Dougherty, Haley Lever, Charles 
 H. Davies, Robert Spencer), 68 (Schofield, 
 Gushing, Ritschel, Johansen, Garber), 69 (Al- 
 exander, Miller, Parker, Woodbury), 70 (Por- 
 trait Painters), 71, 72, 73 (Alson Skinner Clark, 
 Ernest Lawson, Gifford Beal), 74 (C. J. Tay- 
 lor), 49 (J. Alden Weir, John McClure Hamil- 
 ton, D. W. Tryon), 48, 47, 46, 45 (Robert Reid, 
 Robert Vonnoh, E. F. Rook, F. Luis Mora, 
 
Charles Morris Young), 44, 43, 117 (Frieseke: 
 
 (Grand Prize), 118, 120 (George Bellows). 
 
 Water Colors and Illustrations, Rooms 26, 36, 
 
 40, 41, 42, and 119. 
 Chapter VII —The Individual Rooms: Whistler, Rooms 28, 29; 
 
 Twachtman, No. 93; Tarbell, No. 89; Keith, 
 
 No. 90; Redfield, No. 88; Duveneck, No. 87; 
 
 Chase, No. 79; Hassam, No. 78; Melchers, No. 
 
 77; Mathews and MeComas, No. 76; Sargent, 
 
 No. 75; Hamilton, No. 39; Pennell, No. 31; 
 
 Pyle, Nos. 41 and 42. 
 Chapter VIM — Sculpture. 
 Chapter IX — Prints. 
 
 Chapter X — The Foreign Sections: Argentina, China, Cuba. 
 France, Italy, Japan, Holland, Portugal, The 
 Philippines, Sweden, and Uruguay. 
 
 Chapter XI — The Annex: Norway, Austria-Hungary, England, 
 Spain, Finland, Italian Futurists (Besnard). 
 
 Final Note. 
 
NOTE 
 
 All the principal nations of the world have contributed to this 
 exhibition, which comprises many thousands of paintings, sculp- 
 ture, prints and other works of art. Obviously this little book 
 does not attempt the tremendous task of describing all. Indeed, 
 art is long and life deplorably short; moreover, only experts and 
 advanced students require an exhaustive manual. 
 
 On the other hand, it is certain that many people beginning 
 the study of art and desirous of obtaining more knowledge of the 
 great treasures contained in the galleries than they could gain 
 by roaming haphazardly through them would be glad to find an 
 elementary guide, a helpful companion, as it were, to assist them 
 toward an intelligent understanding of the exhibition, pointing 
 out the chief facts, and directing attention in profitable directions. 
 
 The principal purpose of the exhibition, it seems to me, is to 
 illustrate the origins, growth and development of American art. 
 The idea is sturdily, splendidly democratic. It brings the people 
 — the whole nation — into direct, vital contact with its own art at 
 a time when that art has justly won a distinctive, and in many 
 respects, a high place among the art of other nations whose works 
 are also abundantly displayed at San Francisco. 
 
 This idea has been carried out by means of a logical, simple 
 and comprehensive arrangement of typical examples of the 
 schools and the chief individual workers from the earliest days 
 of American painting until the present. 
 
 In fact it is a sort of pageant, a progress, a connected pic- 
 trial history that we may follow as we pass from room to room; 
 and we will make it our main business in these pages to trace 
 an outline of this flowing stream of our native art. 
 
 Yet as we study, or prepare to study, let us also remember 
 that in art it is better to enjoy than to know, and that unless 
 we can appreciate the emotional, sensuous, and spiritual values 
 expressed in form, line, or color, all the facts and the technical 
 jargon with which we may stuff ourselves will be futile and 
 burdensome. So we should not be tied to a stiff and pedantic 
 programme, but seek the primrose paths of artistic pleasure 
 rather than the prosy halls of knowledge. 
 
 Nevertheless, an equipment of information will help and not 
 hinder the enjoyment of art. This exhibition is doing a wonder- 
 ful work in spreading knowledge and appreciation among the 
 people, especially the people of the West, and we may profitably 
 
recall what Reinach said in the last pages of his "Apollo": "Far 
 from believing that the social mission of art is at an end, or 
 drawing near that end, I think it will play a greater part in the 
 twentieth century than ever. And I think — or at least hope — 
 that greater importance than ever will be attached to the study 
 of art as a branch of culture. This study is one which no civilized 
 man, whatever his profession, should ignore in these days." 
 
CHAPTER I. 
 
 The Antecedents of American Art. 
 
 Room No. 91. 
 
 I take it for granted that before you turn to this little guide 
 you have wandered in and about the Palace of Art, absorbing the 
 romantic and elegaic beauty of its exterior setting, becoming 
 familiar with the outdoor installation of the statuary — a uniquely 
 attractive idea — and visiting in a general way many of the gal- 
 leries devoted to famous painters, together with other rooms. But 
 in order to follow an orderly and, I think, a logical plan, let us 
 now enter the main entrance, and go straight to Room No. 91 
 (consult the plan of the building, page — ). 
 
 Room No. 91 is the center of a little group of rooms which 
 contain typical examples of certain factors of prime importance 
 connected with the beginning of American art. 
 
 Of course, back again of these examples lies the tremendous 
 earlier history of art, but it is obvious that the task of exhibiting 
 its entire development would require a dozen great buildings at 
 least — and several dozen books. Not the pre-American period as 
 a whole, therefore, but simply a few chapters from the history 
 of that vast period — this is all that is required in order to begin 
 the exposition of the American branch of universal art, and to 
 link it on to the vaster body from which it springs. 
 
 Room No, 91, then, contains a number of Old Masters — works 
 by Italian painters predominating. 
 
 In the center of Wall A (remember that all the rooms contain 
 a sign giving its number, and that each wall is marked with a 
 letter, A, B, G, or D)) hangs a fresco painting, a winged and 
 kneeling angel, by Bernardo Luini. It is exquisitely beautiful. 
 Let us believe firmly in the progress of art; but do not let us 
 forget that it is a progress in technic, in method, rather than in 
 beauty. All the ages are equal, affirmed William Blake; but 
 genius is above the ages. 
 
 This Luini fresco is perhaps the best starting place for the 
 student. It is executed in a method that had its origin in early 
 Egypt, and was universally employed by painters before the use 
 of oils was popularized by the brothers Van Eyck. This method 
 is "tempera" — done with pigments mixed with white of egg. 
 Before the Van Eycks, oil colors were only used to give super- 
 ficial lustre to carefully executed paintings in tempera. Although 
 
the Van Eyck ' brothers, Jan and Hubert (who lived from about 
 1380 to i440), kire commonly' called the inventors of oil painting, 
 Reinach says that Valesquez was the first artist to employ oils 
 exclusively. Luini was a pupil of the great initiator, Leonardo 
 (whose masterpiece is the famous Monna Lisa), and though not 
 nearly so great as his master, he sometimes did great things. His 
 masterpieces are his frescoes in the church at Saranno. He 
 thrived about the year 1483, at Milan, where Leonardo brought 
 the fecund force of his many-sided genius, and formed many dis- 
 ciples. 
 
 Above the exquisite Luini hangs a Madonna by Timoteo Viti. 
 who about 1490 was the pupil of Francia, a formative influence in 
 Italian art who derived from the Venetian school and set up his 
 own workshop (he was goldsmith as well as painter) at Bologna. 
 Leaving Francia, Viti went to live at Urbino. Not great in him- 
 self, it was his great destiny to teach and develop a transcendent 
 genius, no less a one than the glorious Raphael, who was his 
 pupil for the first five years of his most impressionable period. 
 
 Next to the Viti hangs a noble work by .Jocopo Tintoretto, the 
 head of a Venetian Senator. Tintoretto (born 1518, died 1.594), 
 has been called the Michael Angelo of Venice. Together with 
 Veronese, he dominated the second epoch of the Renaissance in 
 Venice, from which sprang one of the great schools of Italy. 
 Fecund and Impulsive, much of his grandiose and at times fever- 
 ish work has lost its power, but some of it remains sealed with 
 the stamp of genius. Titian was his artistic ancestor. 
 
 There are other notable paintings on this wall, but before 
 speaking of these let us finish with the other Italian paintings. 
 On Wall B are two typical examples of the Italian school, a 
 "Holy Family," and "Noah and His Sons." They are unsigned. 
 They recall the fact that the impress of Christianity was deeply 
 stamped upon Italian painting, and, in fact, upon all other schools 
 of painting until after the Renaissance. Many were the artists 
 who, without native predilection for religious subjects, were yet 
 compelled to paint them because their patrons and the public 
 desired them. This explains the fact why so many of these 
 pictures are feeble expressions of divine ideas but are exquisite 
 representations of the things which really interested their 
 painters — landscape, portraits of real persons, still life, rich 
 brocades, and so forth. The two pictures on this wall, however, 
 are sincere enough. 
 
 In the center of Wall C hangs the "Banquet of Dives," by 
 Jacopo da Ponte or II Bassano, another typical example of the 
 dominant religious subject in early Italian art. This painter was 
 prominent in the Venetian school, 1510-1592, and is given the 
 honor of being one of the creators of modern landscape painting. 
 
 10 
 
Near-by hang two examples of early Italian portrait painting 
 (Nos. 4004 and 4005), by Baroccio, together with two others by 
 G. P. Piazzetta (Nos. 2842 and 2843). The Madonna by Bona- 
 ventura di Segna completes the tale of notable Italian works in 
 this room. 
 
 Returning to Wall A, there is found a name that recalls the 
 glory of the early Flemish school. This is David Teniers, repre- 
 sented by "A Kitchen Scene." Teniers (1610-1690), was one of 
 the great original masters of genre painting. Inspired by the 
 tremendous genius of Rubens, the wine-shop, the country fair, all 
 the vivid spectacles of the peasant life of his own age, were 
 rendered by him with brilliant observation and power. If the 
 Italian painters, in the main, show us the origins of idealism, 
 and of the spiritual in art, Teniers and his fellows exhibit the 
 beginnings of realism and of art's interest in humanity's humble, 
 daily concerns. Jan Steen's "The Drunken Woman" and Van 
 Ostade's "Tavern Scene" are other examples of this sturdy and 
 fertile school, the influence of which is today stronger in Ameri- 
 can art than that of the more idealistic school. 
 
 Two other great influences are indicated by examples shown 
 in this room. There is, first, the Spanish school, illustrated by 
 Ribera's "St. Jerome's Last Prayer." Ribera, a native of Valencia 
 (1588-1652), studied in Italy, and took back into Spain the 
 methods and ideas which affected him and which ever since have 
 remained vital in his country. His dominant note was that of an 
 intensely realistic handling of his subjects, usually religious. 
 
 The last great name which this room calls attention to is 
 that of Antoine Watteau, with his "The Competitors" (No. 4017). 
 Watteau, who thrived in Paris from 1702-1721, calls attention to 
 France and the dawn of the modern period. He was the great 
 master of the eighteenth century school, the school of artificial 
 graces. An exquisitely refined colorist, a true poet in paint, Wat- 
 teau deeply affected the whole course of French art, and, there- 
 fore, our own, which derives so largely, so predominantly, per- 
 haps, from France. 
 
 Room No. 63. 
 
 Stepping from Room 91 into Room 63 is to continue and en- 
 large a profitable acquaintance with the formative influences of 
 our native painting, and to carry it directly to its beginning. It 
 was the great Englishmen, Gainsborough, Reynolds, Romney, Rae- 
 bum and others whom we meet here who immediately inspired 
 our first American artists — Copley, Stuart, West, Sully and the 
 others. 
 
 But this room also contains examples of earlier masters than 
 thp3? Qt England. In the center of Wall A hangs a splendid altar- 
 
 n 
 
piece by Tiepolo, "St. Domenico and the Saints." Tiepolo (1696- 
 1770), a great Venetian master of the Renaissance, the favored 
 painter of a polished aristocracy, and one of the leaders of the 
 Counter-Reformation, is said to have been the last of the old 
 painters and the first of the moderns. Reinach declares that 
 nearly all the great decorators of the nineteenth century were 
 inspired by him. He exerted a profound influence over the great 
 Spaniard, Goya, to whom the fresh vigor that animated French 
 painting in the second half of the nineteenth century is ascribed 
 by some authorities. 
 
 Two excellent examples of Goya's work hang on Wall A, both 
 of them portraits (Nos. 2897 and 2892). They have been declared 
 equal in interest to any of his works in the Prado, at Madrid. 
 Goya (1746-1828) was a sort of second Velasquez, who handed on 
 the light of his greater master to the French colorists of the 
 nineteenth century, who in their turn so strongly influenced 
 modern Americans. 
 
 On the same wall hangs a picture attributed to Velasquez him- 
 self, a portrait (No. 2890). Velasquez (1599-1660) is too vast 
 a subject to enter upon here; suffice it to say that he is commonly 
 regarded as perhaps the greatest painter, technically speaking, 
 the world has ever seen. "Before a work of Velasquez," wrote 
 Henri Regnault, "I feel as if I were looking at reality through an 
 open window." Art herself, averred Whistler, who owed so much 
 to the Spaniard, dipped the brush of Velasquez in light and 
 air. He is one of the pillars of the temple of modern painting. 
 
 Another example of Ribera, the Spaniard of whom we have al- 
 ready spoken in Room 91, hangs near the Tiepolo. It is a paint- 
 ing of St. Jerome — the first translator of the Bible into Latin, 
 and one of the greatest names in the history of the Catholic 
 Church. 
 
 Two pictures by Guido Reni (Nos. 2898 and 2893) demand at- 
 tention. Reni (1575-1642) was a principal representative of the 
 Bolognese school, founded by the three Carracci, who were among 
 the first to preach the doctrine of eclecticism — the theory that 
 from each school and each painter of the past the artist should 
 take what was best. The dominant influences in this school 
 of the Carracci were those of Raphael and Michael Angelo in 
 drawing and composition, and Titian and Corregio in color. 
 
 Especial attention should be attached to the Van Dyke (No. 
 2923). The best and most famous pupil of the great and tre- 
 mendously fecund Rubens, was Van Dyke (1599-1631), who 
 brought the message of Italian and Flemish art into England, 
 Indeed, it may be said that Van Dyke, settling in England and 
 fostered by its court, founded the national school. His influence 
 played a strong part in forming the art of Reynolds, Gainsborough, 
 
 13 
 
Hoppner, Ramsay, Romney, RaeDurn, Opie, and Lawrence — that 
 great group of portrait and landscape artists from whom (espe- 
 cially through Constable) stemmed the French Barbizon school, 
 and, at an earlier date, our first American painters. Van Dyke, 
 then, was the link in the chain which connects us, through Eng- 
 land, with the Continent. 
 
 Many of the works of these great Englishmen hang upon Walls 
 C and D of this gallery, which opens so many vistas into notable 
 epochs of the past. Among them there is an example of Sir Peter 
 Lely (No. 2906). Checked by the fanaticism of the Puritan revo- 
 lution, English art, which had risen to such heights under Van 
 Dyke's influence, was revived by another foreigner, the West- 
 phalian, Peter van der Vaes, known as Sir Peter Lely. His famous 
 series of iDortraits of the beauties of the court of Charles II. hang 
 in Hampton Court. 
 
 .Toshua Reynolds (1723-1792) is represented by two examples 
 of his portrait work (Nos. 2902 and 2922). He is generally ac- 
 cepted as the greatest figure in this early English school, though 
 Gainsborough (1727-1788) surpasses him, declare many critics, in 
 purely artistic qualities, and in the grace and spontaneity of his 
 art. There are three examples of Gainsborough, one (No. 2886) 
 being a portrait, and the others (Nos. 2903 and 2917) charac- 
 teristic landscapes. There are two typical Romneys (Nos. 2919 
 and 2916). Hoppner (No. 2885), Alan Ramsay (No. 2909), and 
 Raeburn (No. 2911) were other noteworthy members of this 
 school. With Sir Thomas Lawrence (1769-1830) its glory began 
 to pale, dying out with Sir William Beechey, after whom there 
 came a flood of the futile stuff of the early Victorian period. 
 Lawrence has two of his brilliant canvases in this gallery (Nos. 
 2910 and 2913). • There are also two typical Beechey's (Nos. 
 2908 and 2899). 
 
 A name that has a place all by itself in English art is that of 
 William Hogarth. A harsh and powerful moralist, Hogarth (1697- 
 1764) is best known by his famous series of painted parables, 
 "The Rake's Progress," and others, but he was also a portrait 
 painter of considerable consequence. It is one of his portraits 
 (No. 2884) which is shown here. 
 
 With one more great name — one which is of greater familiarity 
 to us of today — that of Turner (No. 2889), our study of this 
 room leaves the past and enters by a brilliant portal into 
 modernity. Turner (1775-1851) was a painter who fairly wor- 
 shipped the sun and who reveled in a romantic region of 
 lyrical light. How nearly he concerns us today we may judge 
 by the fact that both Monet and Pissaro, pioneers of Impres- 
 sionism, came under the influence of his latest manner when 
 they visited London in 1870. England's virile, procreative spirit 
 
 13 
 
played very impoitant parts in the formation of not only the 
 early American school, but also of the Barbizon school, through 
 Constable, and of Impressionism, through Turner. 
 
 CHAPTER II. 
 
 The Dawn of American Art. 
 
 Room 60. 
 
 Passing from Room 63 into Room 60 is a logical step. You 
 enter from the source of the first American art — the British school 
 — into the midst of examples of that early period when the 
 foundation of our own particular mansion was laid in the house 
 of art. 
 
 Painters who were, in fact, British subjects, having been born 
 in pre-Revolutionary days, and living and dying in their first al- 
 legiance, aided in the solid placing of that foundation. 
 
 The great names of that period are Benjamin West, John 
 Singleton Copley, Charles Willson Peale, and Gilbert Stuart. They 
 are all represented in this room. 
 
 Other names which bulk largely in the history of the dawn 
 of our native art, and which also are to be found in Room 60, are 
 Joseph Wright, Matthew Pratt, Washington AUston, Thomas Sul- 
 ly, Thomas Doughty, William Mount, Charles Loring Elliott, 
 Asher Brown Durand, and G. P. A. Healy. 
 
 They recall the two great interests of painting which first 
 claimed attention in this country, portraiture and landscape — 
 in both of which American art has won eminent success. They 
 span a stretch of time from 1734, when Pratt was born, to 1894, 
 when G. P. A. Healy, who was born in 1808, laid down a brush 
 which had been trained to work in a style that is now historical. 
 
 Benjamin West is represented by his "Mary Magdalene," 
 which hangs in the center of Wall C, an example of his tendency 
 toward imaginative works uninspired by authentic imagination, 
 moved merely by a somewhat meretricious, melodramatic fancy. 
 His more worthy and enduring work was in portraiture. An ex- 
 ample (No. 2783) hangs near-by. 
 
 Born in a Quaker village near Philadelphia in 1738, and en- 
 tirely without artistic surroundings, Benjamin West is an extraor- 
 dinary instance of the way in which the spirit of art claims its 
 votaries. He felt within himself an irresistible desire to be a 
 painter. He watched the Indians daubing their bodies with their 
 crude pigments, and absorbed his first instructions. A present 
 of a paint-box enabled him to produce results that secured him 
 commissions for portraits, and in his twenty-second year he was 
 in Rome. From there he went to London. He received the 
 Order of Knighthood and died President of the Royal Academy, 
 
 U 
 
in 1820, and was buried with pomp and ceremony in St. Paul's. 
 
 But while seated amid the mighty in London, West, to his 
 lasting honor, remembered back with humility and sympathy 
 to his hard days in crude America, and he was of great service 
 to other American artists, among them Matthew Pratt and Gil- 
 bert Stuart. However, his influence upon American art was not 
 permanent, nor along the lines of its major developments. 
 
 John Singleton Copley (1737-1815), one of whose portraits 
 (No. 2785) hangs on Wall C, has remained a more vital influence 
 than West. Of Irish parentage, born in Boston, and almost en- 
 tirely self-taught, he recorded with his virile portraits the pre- 
 Revolutionary leaders of society and affairs. He went to Rome 
 and to London when his style was well formed. He remained 
 in England, preferring its cultured life to that of his own cruder 
 country — the first of a numerous band of artists who took the 
 same course. West, leaving America before the break with 
 England was even suggested, was not a similar case of delib- 
 erate expatriation. 
 
 Charles Willson Peale (1741-1827) was the most famous resi- 
 dent American painter of his period. His portrait of Colonel 
 Charles Pettit, who was George Washington's quartermaster, 
 hangs on Wall C (No. 2791). A native of Maryland, he studied 
 under Copley in Boston, and West in London. He executed on 
 his return the first life-size picture of Washington. Patriot 
 as well as painter, Peale fought under the command of his sitter 
 at Trenton and Germantown. In all, he did fourteen portraits 
 of his hero. He organized the first exhibition of paintings given 
 in America, and was one of the founders of the Pennsylvania Aca- 
 demy of the Fine Arts, the oldest of all existing art institutions 
 in the United States. 
 
 Gilbert Stuart (1755-1828) may be studied in no less than 
 five examples, portraits, hanging upon Wall A (Nos. 2763, 2764, 
 2765, 2767 and 2768). Among his subjects are President Mon- 
 roe and General Dearborn. 
 
 Stuart's Is the greatest light in the galaxy of that period. 
 Born at Narragansett, he was taken out of the United States 
 by his Tory parents, and entered West's studio in London, 
 where he studied for eight years. But he was singularly un- 
 affected by the more famous man. He remained sturdily him- 
 self. He was one of the first of the painters of character, as 
 differentiated from exterior appearances. A hero-worshiper, 
 despite his calm, cautious Scotch blood, he gave up immense suc- 
 cess in London to return to the United States, impelled by his 
 admiration for George Washington, and by his compelling de- 
 sire to paint this man among men. Settling in Boston, Stuart 
 remained there until his death in 1828. He was perhaps 
 
 16 
 
the first of the American artists to regard his work from a 
 painter's point of view, rather than from that of a pictorial his- 
 torian or story-teller 
 
 Washington Allston (1779-1843), a native of South Carolina, 
 studying in Rome, became thrall to Raphael; which no doubt was 
 a healthful influence, but he also succumbed to the later Italian 
 painters of the affected "grand style," which was fatal for him. 
 Through him and John Vanderlyn the lessons of Rome reached 
 America, to help those who could assimilate them, and to injure 
 those who merely imitated. His "Bacchanal" hangs on Wall A. 
 
 Charles Loring Elliott (1812-1868), of Auburn, N. Y., a self- 
 taught genius, is represented by three portraits, of which that of 
 "Mrs. Goulding" — a work of "extraordinary truth and technical 
 power, ' as one of the most competent of pbservers said to the 
 writer — is the most remarkable. Elliott anticipated by a species 
 of intuitive divination the method of brush-work now 
 employed by the best men, but which in his own day was not 
 employed. The painter's method, as differentiated from a 
 draughtsman's method. How his work, with that of Copley 
 and other early Americans, impresses by virtue of innate power 
 and truth! If the Americans derived from the English painters, 
 they do not for that reason become inferior. Indeed, in many 
 classes they rise above them. 
 
 With Thomas Doughty and Asher Brown Durand we reach 
 two names of the first consequence in American landscape 
 painting. 
 
 They were pioneers in the field since so splendidly produc- 
 tive. They began the "Hudson River School," Despite its de- 
 ficiencies, it was a frank and sturdy expression of a national 
 spirit. The men of this school went to nature, and took pride 
 in the beauty and interest of their own country. 
 
 Thomas Doughty (1793-1856) bears by general consent the 
 title of first American landscape painter, although it was Thomas 
 Cole (1801-1848) who popularized the new movement. We will 
 find Cole's work in Room 59, which continues the current which 
 had its well-spring in this room. Asher Brown Durand (1796- 
 1886) was another leader of this school. In this room he is 
 represented only by a portrait of himself (No. 2795), his land- 
 scapes hanging near Cole's in Room 59. Two of Doughty's can- 
 vases (Nos. 2777 and 2778) hang on Wall B. The school derived 
 its name from the fact that its pioneers began by working in 
 the valley of the Hudson, though their disciples, like Bierstadt, 
 Kensett and Moran, wandered far and wide into the Rocky 
 Mountains, and in the case of Bierstadt and Moran, even to 
 California. Let us follow this western trail into Room 59. 
 
 IR 
 
Room No. 59. 
 
 Thomas Cole, whose enduring claim to remembrance is based 
 upon the fact of his having aroused an artistic appreciation of 
 the Catskills in particular and of American landscape in general, 
 is represented by one of his typical landscapes (No. 2-721), and 
 by the sketches for his famous and popular, but less artistically 
 satisfactory painting, "The Voyage of Life" (No. 2737). 
 
 A. B. Durand is recalled by two large paintings; one in his 
 weaker allegorical manner, "The Morning of Life," hanging 
 upon Wall C, and the other, a much simpler and stronger piece 
 of original observation, "The Thunderstorm: Catskills," upon 
 Wall D. 
 
 Pictures by J. F. Kesnett (Nos. 2716 and 2718) and J. M. 
 Hart (No. 2714), both on Wall A, are further examples of the 
 Hudson River school. 
 
 We will encounter other characteristic products of this school 
 in galleries still to be visited, such as the woik of Albert Bier- 
 stadt in Room 58. Landscape painting has progressed far be- 
 yond the highest point of this school, but, as Charles H. Caffin 
 well says: "These pictures had in them the true stuff that has 
 made landscape painting the sincerest form of modern expres- 
 sion; what they lacked was skill in the craftsmanship of paint- 
 ing and the painter's point of view. * * =^ Meanwhile, it is 
 very cheap criticism to decry these men; * * * rather should 
 they be remembered as the leadeis among us in that return to 
 nature which, unknown to them, had also lead Rousseau and 
 his followers to Barbizon, and was to become in literature and 
 painting the strong, distinctive characteristic of the nineteenth 
 century." 
 
 There are three Henry Inmans, a portrait of Henry Pratt 
 hanging on Wall A (No. 2715), a genre painting (No. 2747) on 
 Wall D, and a landscape (No. 2726) on Wall B. 
 
 There are several items which illustrate the less artistically 
 memorable tendencies of the past, such as the still popular 
 painting of "Old Ironsides" by James Hamilton on Wall A, and 
 W. H. Beard's well-known picture of bears at a picnic. 
 
 Of greater interest to the people of the West are the two 
 examples of the work of Thomas Hill (Nos. 2748 and 2756). 
 
 Both these little pictures are California landscapes. Hill 
 lived in San Francisco from 1861 to 1867, and from 1871 to his 
 death in 1908. One of the pioneers of painting in the West, and 
 influenced by Bierstadt, although at the same time an artist of 
 distinct originality, Thomas Hill was a link of much consequence 
 in the chain of art in its first westward trend. 
 
 17 
 
Room No. 58. 
 
 Several important names and tendencies are illustrated by 
 the canvases shown here. 
 
 We have already talked about Bierstadt, who carried the 
 influence. of the Hudson River school into the West, and was 
 one of its most characteristic exponents. He was a German by 
 birth, trained at Dusseldorf, and his huge pictures display at 
 once his ability in rendering a panoramic view of nature, and his 
 inability to treat nature in the modem way, from the point of 
 view of a single, synthetic impression, or a mood. His two 
 gigantic pictures of Colorado scenery face each other on 
 Walls B and D. 
 
 On Wall C hangs Emanuel Leutze's "Portrait of Nathaniel 
 Hawthorne" (No. 2698). Leutze is another of the gifts of Ger- 
 many to this country. He is better known as a painter of 
 historic pictures than as a portraitist. An example, "Columbus 
 Discovering America," hangs in Room 64, Wall B (No. 2950). 
 His best work is the famous "Washington Crossing the Dela- 
 ware." Through him the influence of the genre school of 
 Dusseldorf reached this country, where it had profound results, 
 some of them deplorable; for America was flooded with anec- 
 dotal, sentimental, trashy pictures which postponed popular 
 appreciation of the true nature of ait. 
 
 Among Leutze's pupils at Dusseldorf was Eastman Johnson 
 (1824-1906), of whose work there are several typical canvases on 
 Wall A (Nos. 2678, 2680, and 2681). One is a portrait of Edwin 
 BoQth, our most famous actor. Johnson was one of the best 
 artists of the Dusseldorf school, and his portraits still hold their 
 own amid more modern work. 
 
 One of H. J. Breuer's mountain paintings hangs on Wall C. 
 This powerful and impressive work by a contemporary artist of 
 San Francisco does not appropriately belong in this room, and 
 we will find it more logical to treat of him with his fellow 
 moderns later on. 
 
 CHAPTER III. 
 
 Certain European Influences. 
 
 Room No. 92, 
 
 Having traced in the three previous rooms what may be 
 termed the historical i)eriod of our native art — although recent 
 and brief indeed is American antiquity! — in Room 92 we are 
 again transported to Europe, and find ourselves among many of 
 the influences which in diverse fashions have deeply affected our 
 contemporary art. 
 
 In this connection it is well to remember that it is not 
 always the artist of yesterday, or of the day before, who most 
 
 18 
 
strongly plays a part in new developments. For example, the 
 most advanced art of today, in several of its most typical forms, 
 betrays a harking back to that of primitive peoples, and to the 
 prehistoric periods of Assyria and Babylon. So we need feel no 
 surprise at finding in this room, among much modern work names 
 which belong to comparatively ancient times. 
 
 And it is in this room that we pronounce for the first time 
 the great name of the Barbizon school. 
 
 In the center of Wall A hangs Le Brun's large historical paint- 
 ing, "The Family of Darius at the Feet of Alexander." Le 
 Brun, who flourished at the court of Louis XIV, is, above all, 
 an example of the academical spirit — that spirit of conservatism 
 which, though it often produces splendid masterpieces of its 
 kind, is in all ages the force against which original genius must 
 wage bitter warfare. Le Brun reached the apogee of his talent 
 for draftsmanship and decoration in his design for his "Battles 
 of Alexander." The Gobelin's tapestries which were the result 
 of these designs are on view in the French Pavilion. 
 
 To the left of the Le Brun hangs a masterpiece^"The Young 
 Man with Violincello," by Gustave Courbet (1819-1877). "The 
 tuibulent, intolerant champion of verity, the man who, more than 
 anyone, demolished convention and established the supremacy 
 of free, unfettered observation," so Christian Brinton emphatical- 
 ly writes of Courbet. A revolutionary in art, his name is linked 
 with that of Manet. With Courbet, color remained that of the 
 accepted convention of the galleries. "He still believed that 
 shadows were black." But to Courbet, together with Manet, 
 must be given the credit of the nineteenth century reaction from 
 frigid classicism and from a romanticism which had ceased to 
 be spontaneous. 
 
 A very notable Meissonier hangs to the right, his "St. John, 
 the Divine." It is an unusually large canvas to come from the 
 hand of this master, who painted majestic anecdotes with ex- 
 traordinary minuteness, and whose tiny picture of Napoleon on 
 his white horse retreating from Russia is acclaimed as one of 
 the glories of the French school of the nineteenth century. 
 There are two other examples of his work in the French Pa- 
 vilion. 
 
 Fortuny (1841-1874), prominent in the history of modern 
 Spanish art, is recalled by "The Model." Spain, at no time, seems 
 to have suffered from the paralysis of academicism, which during 
 long periods has fettered the art of all other countries. For 
 tuny, perhaps, skirted the danger zone, but his experiences on 
 the battle-fields of northern Africa, to which his destiny con- 
 ducted him, kept him in contact with reality. 
 
 Andriaen Brouwer, a painter who stemmed from one of the 
 
 19 
 
greatest masters of realism, and the most superb portrait paint- 
 er of Holland, next to Rembrandt, namely, the incomparable 
 Franz Hals, is represented on Wall B by "Head of an Old Man. ' 
 Rrouwer died in 1658. He was distinguished for his power of 
 invention, and, as a painter of rustic subjects, has left a dee)) 
 mark on Holland art. 
 
 Upon this wall hang two examples of Corot (Nos. 4029 and 
 4025). Classed, though rather roughly, with the Barbizon school, 
 Corot (1796-1875) holds a place apart from Diaz, Emisaeau. 
 Daubigny, Dupre and Troyon, the other members of the famous 
 group, who established themselves at Barbizon, in the Forest of' 
 Fontainebleau, and produced "faithful and impassioned portraits 
 of their native land, such as French art had never yet known." 
 This revelation of nature was bi ought to France by exhibitions 
 of the work of the Englishmen, Bonington and Constable, the 
 latter especially. 
 
 In the course of his long career Corot passed from the con- 
 fines of the arid classicism which he did so much to destroy, 
 and continued his artistic progress to the borders of Impression- 
 ism. It would be difficult to improve upon Reinach's character- 
 ization of this "poet painter, a lyric master of exquisite refine- 
 ment, a worshiper of nature in her more tranquil moods, the in- 
 comparable limner of the freshness of morning and the silvery 
 mists of evening." His influence on the art of America has 
 been very great. A large number of his works are in this 
 country. There are also a large number of works in this coun- 
 try to which his name is attached but which he never painted. 
 He was not only a prolific artist, but one who is somewhat easily 
 imitated; so that it has been said, "Corot left three hundred 
 pictures behind him, of which number three thousand are in the 
 United States." 
 
 A Josef Israels (No. 4026) is another picture of great interest 
 upon this wall. A leader of the modern Dutch school, a sympa- 
 thetic and powerful interpreter of the humble souls of fishermen 
 and workers, Israels has produced many strong and solid works. 
 
 In Holland modern landscape has found distinguished inter- 
 preters in the Maris brothers, one of whom, Matthew, is repre- 
 sented by a watercolor hanging on Wall C. 
 
 The Barbizon school is again represented on Wall C by two 
 examples of the work of Daubigny (No. 4032), and two by 
 Rousseau (Nos. 4036 and 4037). 
 
 A more modern French artist, Cazin, who died in 1891, after 
 having won a distinguished place in French art, occupies the 
 center of this wall with his powerful "Repentance of St. Peter." 
 Two others of his canvases may be seen in the retrospective ex- 
 hibition in the French Pavilion. 
 
 20 
 
Upon Wall D hangs a large figure painting by James 
 Tissot — a name more familiar to Americans, perhaps, as the 
 executor of the famous series of watercolors illustrating the life 
 of Christ. 
 
 Two resplendent Monticellis complete the special interest in 
 this wall. They shine forth like little panels composed of 
 jewels crushed together but holding all their radiance. Monti- 
 celli (1824-1886) preserved in the midst of the realistic, im- 
 pressionistic and humanitarian schools of his period, his own 
 romantic and individual spirit. He harks back to the past, but 
 with such a rich charm that he has won a firm place for him- 
 self amid the moderns. 
 
 One other name, that of Vincent Van Gogh, with his "Moulin 
 de la Galette," which hangs on Wall C, brings us a very long 
 stride forward into modernity. Van Gogh indeed is an ultra 
 modern who, with Cezanne, Gauguin and Matisse, is numbered 
 among the pioneeis of the art of the future. 
 
 Room No. 62. 
 
 This gallery continues the story of the previous one. It is 
 a further illustration of the history of French influences in 
 American art. 
 
 Jules Breton's "The Vintage," hanging upon Wall A, recalls 
 with great force the name of a leader in the modern movement. 
 Born in 1827, he died in 1906, after a distinguished and highly 
 successful career. Following Millet, and like him a painter at 
 once of the realities and the idealisms of peasant life, but more 
 refined, and gentler, than the rugged Millet, Jules Breton is one 
 of those painters whose appeal is stronger with the public than 
 with those primarily concerned with technical interests. 
 
 Near him hangs an example of his great master, the immortal 
 Millet (No. 2842), who belonged to the Barbizon school, and 
 shared its zest for the truthful delineation of nature, but who also 
 occupied a place apart because of his ability to express through 
 outward form a sense of the deeper realities of the spirit. "An 
 idyllic realist," as he has been termed, "the tender and fraternal 
 sentiment that breathes from his canvases reveals that sympathy 
 with the poor and humble which has been the honor and the 
 torment of the nineteenth century." Born 1814, he died in 1875. 
 His powerful interpretations of peasant life inspired the cele- 
 brated verses by Edwin Markham, "The Man with the Hoe." 
 
 Rosa Bonheur (1822-1899), whose name is associated for 
 Americans with the huge and famous picture of "The Horse 
 Fair," is represented on Wall B by an example of her animal 
 painting. So far as fame and success are concerned, it is 
 
 21 
 
probable that Rosa Bonheur's name still stands highest in the 
 list of women artists. 
 
 Alma-Tadema, whose "Among the Ruins" is also on this wall, 
 is not, however, French but British. As a painter of classical 
 Greek and Roman subjects, he achieved distinction at a time 
 when the pre-Raphaelite movement in England, led by Burne- 
 Jones and Rossetti, was dominant. 
 
 Bastien Le Page is the commanding interest of Wall C, 
 though canvases by Diaz and Troyon, both of the Baibizon 
 school, compel attention. Le Page is represented by a charac- 
 teristic figure painting (No. 2851). Born in 1848, he died young, 
 in 1884, but his influence outlived him. He was one of the 
 pioneers of ''pleinairisrne." or the painting of figures in the open 
 air, a tendency akin to Impressionism, and a revolt against the 
 old style of painting done in the studio, with black shadows 
 that are never seen out of doors. 
 
 The huge Grand Prix salon painting by Dagnan-Bouveret oc- 
 cupies Wall D. It stands apart from American painting, which, 
 save for La Farge, shows little relation to the traditional sub- 
 jects of Catholic art. A pupil of Gerome, and at first strongly 
 influenced by Bastien Le Page, Dagnan-Bouveret, bom in 1852, 
 brought a realistic attitude to the delineation of sacred themes. 
 
 A young California poet, Mary Malloy, has sought to give a 
 lyrical interpretation of this picture in an exquisite set of verses 
 published in "The Monitor," of which the first stanzas are: 
 
 ''The l)litfiest green of fairy glades 
 
 Environs Paradise, 
 Clear to the jasper palisades 
 
 The lyric color lies. — 
 
 Glinting with "beryl, filmed ivith dusks 
 Of solemn emerald. 
 Unstained hy rust of avtum,n husks 
 Nor ever winter-palled. 
 
 And in its lucent heart of hearts 
 
 The Saving Mother greets 
 Each hunted soul that to her darts 
 
 From peril or defeats " 
 
 CHAPTER IV. 
 
 The Dawn of Modernity — Munich — Landscape. 
 
 Room No. 64. 
 
 The work of several men who held commanding positions in 
 American art and who have left the impress of their personal- 
 ities and of their artistic power upon our public is abundantly 
 displayed in this interesting room. 
 
 22 
 
The large canvas by F. E. Church, the popularly famous "Ni- 
 agara Falls," hanging on Wall A, is a fine example of the best 
 work of the Hudson River school. Church (1836-1900) was one 
 of the revealers of the beauty of American landscapes, and one 
 of the founders of the national spirit in art. He sought his 
 grandiose and panoramic subjects fiom Labrador to South 
 America. 
 
 Upon the same wall hangs an example of one of the founders 
 of American marine painting, W. T. Richards (1833-1905). An- 
 other example of his work hangs upon Wall B. American ma- 
 rine painters have developed this branch of art in a high de- 
 gree, but certainly the faithfulness of Richard's work gave them 
 a good point of departure. 
 
 Worthington Whittridge, with his "A Breezy Day" (No. 
 2940), and the three pictures by Joseph R. Woodwell (Nos. 
 2936, 2938 and 2939), among others, continue the history of the 
 early landscape school. 
 
 On Wall B hang two typical examples of Homer Martin 
 (Nos. 2953 and 2954), and with this name we breathe the air 
 and reach the artistic domain of modern American landscape. 
 Martin, born at Albany, N. Y., in 1836, and who died in 1897, 
 stands with George Inness and Alexander H. Wyant — the three 
 fathers of the modern school. Martin, like Inness, absorbed the 
 Barbizon influence at the fountain head. As with Corot, it was 
 not so much the objective facts of nature, but the poetic im- 
 pression which these facts pioduced, that Martin sought to 
 render in terms of paint. In him was a large measure of that 
 nature-mysticism which has played and still plays so large a 
 part in American thought and literature, as well as in the art 
 of painting. 
 
 With Walter Shirlaw's well known "Forging the Shaft," on 
 Wall B, we encounted the work of one of the men through whom 
 the influence of the Munich school, a very powerful influence, 
 indeed, reached this country. The much greater names of 
 Frank Duveneck and William M. Chase, to whose work the high 
 and merited honor of separate rooms has been accorded, are 
 those with which the story of Munich more justly connects. 
 
 It will be well, however, at least more convenient, to speak of 
 Munich in this place. Munich succeeded Dusseldorf, in the 
 middle of the ninetenth century, as a center of artistic light 
 and learning for American painters. We will find in this room 
 typical examples of the Dusseldorf idea. Roughly speaking, it 
 was a school of domestic genre; appealing to sentiment, at its 
 best, but mostly to sentimentality; and at its worst degenerating 
 into the falsest kind of melodrama. Munich, happily, did away 
 with all this and restored art to a much higher plane. Its sub- 
 
 23 
 
ject matter, under its greatest master, Piloty, who was suc- 
 ceeded by Wagner and Diez, was historical. But its most im- 
 portant lesson was in the technique of painting. Especially 
 through Frank Duveneck, who taught for ten years in Munich, 
 among his pupils being John W. Alexander, Frederick P. Vinton, 
 Joseph R. DeCamp and Julian Story, was its fruitful technical 
 advance spread abroad. And Duveneck for many years has car- 
 ried on his teaching at the Cincinnati Art Academy. Throwing off 
 the bondage of historical subject matter, and grasping Munich's 
 more helpful lessons of practical painting, the big men who lit 
 their torches at its fire, and expressed their temperaments in 
 terms combined of its ideas and their own, brought to America 
 an influence only second to that of modern France. 
 
 J. G. Brown's characteristic canvas, "The Detective Story," 
 on Wall B, a group of his one-time famous street Arabs, is a 
 souvenir of this Dusseldorf influence which Munich did away 
 with. 
 
 Another picture which recalls this school, but at its best, 
 and with a peculiar interest of its own, is Thomas Hovenden's 
 "Breaking Home Ties," on Wall D. This was the great popular 
 success of the Exposition at Chicago, and is still deservedly ad- 
 mired. An exquisite flower piece from Hovenden's brush, 
 "Peonies," hangs on Wall C. Hovenden shook off the D isseldorf 
 influence and became one of the followers of the French school, 
 which asserted itself under John La Farge when the Society of 
 American Artists was founded in 1877, by men who broke away 
 from the conservative element in the National Academy of De- 
 sign, and led the modern American movement. 
 
 With the name of William Morris Hunt, whose large picture, 
 "The Flight of Night," hangs on Wall D, we recall the fact that 
 Hunt, born in Vermont in 1824, was the first of the big trio com- 
 posed of himself, George Inness and John La Farge, who were 
 the first of the American painters to go to Barbizon and to ab- 
 sorb the vital influences of modern nature painting of a lofty 
 kind, one might almost say of a religious kind, the kind which 
 seeks the abiding reality which vivifies all outward form. It was 
 Millet who was Hunt's major factor in developing the idealistic 
 side of his art. "The Flight of Time" was the original study for 
 a mural painting for the Capitol at Albany, N. Y., which was 
 destroyed by fire. 
 
 Several important works by Thomas Eakins — a "Crucifixion," 
 and "The Singer" — are placed on Wall C. He was a pupil of 
 Bonnat and Gerome at the time when both these eminent French- 
 men had become disciples of the modern movement toward real- 
 ism which swept thhrough France in the middle of the last cen- 
 tury, a movement championed in literature by Flaubert, the De 
 Goncourts and Zola, and initiated in painting by Gustave Cour- 
 bet and Manet. 
 
 Room No. 54. 
 
 We have reached a gallery full of the most serious interest 
 to students and lovers of American art, and the interest is pleas- 
 urable; which is something which can not always be affirmed in 
 other rooms where not aesthetic delight, but the gathering to- 
 gether of historical links in the chain of our native painting is 
 what rewards the inquirer. 
 
 Twelve pictures by Winslow Homer cover Wall A. There are 
 examples of his work from its early painfully crude style to the 
 
 24 
 
full development of his powerful and masculine talent. Born in 
 Boston in 1836, Winslow Homer began life as a lithographer's 
 assistant, developed into a self-taught magazine illustrator, and, 
 though he studied for a short time in Paris, he owed little to 
 outside teaching or influence. Serving as a war artist for Har- 
 per's Weekly in the sixties, he remained in the south when the 
 fighting was over and painted many pictures which today have 
 little artistic value. It was when he went to live on the Maine 
 Coast that his deep, sincere, truth-seeking nature found its true 
 field for expression and he began to paint the long series of 
 marines which, beginning with studies of fisher folk ended in 
 dealing with the spirit of Old Ocean itself in a manner which 
 for solemn grandeur remains unequalled by the work of any other 
 American marine painter. 
 
 Frank Currier, whose name is associated with Duveneck and 
 Chase, as one of those who brought the teachings of Munich to 
 this country, is another product of Boston, where he was born 
 in 1843. His early studies were made under William Hunt. His 
 association with Munich lasted for thirty years. Four charac- 
 teristic pictures from his skilled, if not strikingly original brush, 
 hang upon Wall B (Nos. 2529, 2531, 2533*, and 2534). There 
 are also on this wall two early works by William Morris Hunt 
 (Nos. 2528 and 2530), a George Fuller, and two Blakelocks, 
 together with an Inness (No. 2539), and one of Winslow Homer's 
 anecdotic earlier things. 
 
 It was George Inness who, as said before, was one of the 
 pioneers of those American painters who went to France, and who 
 exerted upon their return such a profound influence. But Inness 
 found the artistic food his nature craved not in the academical 
 studios of Paris but rather from the example of the innovators 
 who at Barbizon were attempting to render nature in a way not 
 in accordance with academical principles, but which was destined 
 to found an entirely new school of painting. 
 
 In this school the individual mood of the painter was inter- 
 preted in terms of natural beauty, and artists became poets and 
 revealers of spiritual values. Inness, however, did not become a 
 mere imitator of the Barbizon masters. He was "a pathfinder 
 whose originality and fiery zeal for nature blazed a new trail 
 that has led on to the notable expansion of American landscape 
 painting." He was born at Newburg, N. Y., in 1825, and for a 
 time was apprenticed to an engraver. His first instructions in 
 painting were imparted by a French artist residing in New York. 
 But he was really his own teacher; though when Corot came 
 into his life his style became that of his ripest period. His first 
 work was as distinctly linked with the panoramic Hudson River 
 school as his latest was with Corot and synthetic, poetical sug- 
 gestiveness. He died in 1894. 
 
 Inness appears again on Wall C (No. 2547). There is. 
 also a Samuel Isham, and two attractive figure pieces by 
 Louis Loeb, but the artist who gives the dominant character 
 to this wall is Alexander H. Wyant (Nos. 2541, 2543, and 2545). 
 As we have had occasion to say before, Wyant was one 
 of the fathers of modern American landscape. He was one 
 of that great trio of initiators of which George Inness and Homer 
 Martin were the other two. Wyant was born in 1836 in Ohio, 
 being the first of the long line of distinguished artists who have 
 come out of the middle west. It was the sight of a picture by 
 
 25 
 
George Inness which inspired him to become a painter. He was 
 then twenty and had never before seen any pictures — a fact which 
 throws light upon the primitive condition of his State at that 
 time. He had already begun to draw, and now, scraping together 
 a little money, the sensitive, poetical country lad went to New 
 York and tremblingly approached the master who had revealed 
 to him the glories of the kingdom of art. Inness received the 
 aspirant with gracious kindness, looked at his sketches, and said: 
 "Yes, you nave talent," words that were like those of a king to a 
 candidate for knighthood. Going to Europe, Wyant studied under 
 a Dusseldorf artist, but he instinctively rebelled and soon re- 
 turned to America, where the influence of Inness and the Barbizon 
 paintings gave him what he needed. He was a lyrical, mystical 
 nature painter, and William Wordsworth supplied him with his 
 gospel. He died in 1892, after frequently exclaiming: "If I 
 had five years more, even one year more, I might do the thing 
 I long to do," Wyant had the humility so often found in great 
 artists, and so markedly absent in others. 
 
 Upon Wall D still more of the works of George Inness (No. 
 2551) and of George Fuller, two very fine ones (Nos. 2553 and 
 2554), are found; but the most interesting thing is Albert P. 
 Ryder's "Jonah." Ryder is a singularly independent and original 
 figure. There is something in him that recalls the great English 
 mystic, William Blake. He is a Massachusetts product, born in 
 New Bedford in 1847, and perhaps the spirit of the New England 
 Transcendentalists mingled with his own. This picture invokes 
 the impression made by that curious mystical novelist. Herman 
 Melville, in his "Moby Dick." As a painter, Ryder seeks to com- 
 pose strange symphonies of color, and these symphonies are 
 linked with spiritual ideas. As pictures they are exotically beau- 
 tiful, and for those who have a sympathy with symbols they open 
 exciting, though baffling, vistas into the invisible world. Two 
 figure paintings by Dennis Bunker also compel attention. (Nos. 253 
 and 2549.) Bunker was director of the Cowles Art School in Bos- 
 ton, where he died at the age of twenty-nine before his extraor- 
 dinary talent had fully developed. 
 
 Room No. 57. 
 
 Three men of prime importance are grouped together in this 
 room. 
 
 The great name of John La Farge looms largely even in this 
 necessarily limited and sketchy tracing of the rise and progress 
 of a young nation's art. Wall D is occupied by a number of his 
 beautiful creations (Nos, 2672, 2673, 2674, and 2675). This 
 last word is justly employed, for La Farge was an authentic 
 creator in an art in which far too many content themselves 
 with imitating and re-echoing the creative ideas of others, 
 A pupil of William Morris Hunt, and, as already noted, one 
 of the first to imbibe the new wine of Barbizon, La Farge 
 combined all the influences which played upon his sensitive 
 and mystical temperament into a synthesis stamped with the 
 seal of his own splendid personality. Teacher as well as painter, 
 he moulded or affected a host or artists. Many authorities con- 
 sider him the greatest mural creator so far produced in our 
 country. 
 
 Walls A and B are devoted to a large number of paintings 
 and drawings by one of the most popular of all Americans, Edwin 
 
 26 
 
A. Abbey. Pre-eminently an illustrator, Abbey, when he passed 
 from the domain of magazine and book work, became one of the 
 very few modern devotees of historical painting in its academical 
 sense. The emphasis of modern painting is laid more upon treat- 
 ment than subject, so that Abbey stood apart from the main 
 development of these latter days. This fact does not lessen his 
 appeal, nor his success. Indeed it is refreshing at times to 
 pass from the more or less feverish atmosphere of those who are 
 struggling with new ideas into the serene sphere of those who, 
 content with established principles, strive to the top of their 
 powers to do their best work. Born in Philadelphia in 1852, 
 Abbey settled in England, and before his death a few years ago 
 he had won the highest honors. His mural pictures decorate 
 many prominent public buildings. Perhaps his best known murals 
 are the "Holy Grail" series in the Boston Public Library. 
 
 With the name of Theodore Robinson, a group of whose land- 
 scapes occupy Wall C, we touch the more modern note, of which, 
 on its impressionistic side, Robinson was at once a pioneer and 
 a leading American exemplar. He was a pupil of Monet. Born 
 in 1854, in Vermont, he was one of those who broke away from 
 the dominance of academicism in the Society of American 
 Artists in 1877. Before his death in 1896 he had accomplished 
 a large amount of solid and brilliant work in the impressionistic 
 mode. 
 
 CHAPTER V. 
 
 The French Impressionists. 
 
 With a few exceptions all the work in this room is associated 
 with the origins of a movement which revolutionized modern 
 painting, and which has had the major share in the develop- 
 ment of American art. 
 
 The term, "Impressionism,'" seems to have been derived from 
 a picture by Monet exhibited in 1863, which represented a sunset 
 and was entitled "An Impression." But it was Manet (1832-1883) 
 who was the initiator of the movement. Gustave Courbet, about 
 the year 1855, broke the bonds of lifeless classicism and mechan- 
 ical romanticism which paralyzed artistic energies, and lead the 
 way back toward a healthy realism and naturalism. But Courbet 
 did not discover the way into the open air; he did not let in the 
 light. Manet it was who was the pioneer. It is only since his 
 time that paintings have fully reflected the scintillant, quiver- 
 ing energy of sunlight which drenches the visible world. Among 
 old masters there are a few, like Correggio and Valesquez, who 
 admit the vibrancy of light; but, generally speaking, most pre- 
 impressionistic painting was done, as it were, in a sort of 
 vacuum. Which is not, however, to detract anything from its 
 glory and its mastery in its own varied fields. 
 
 Impressionism has been defined as a sort of pictorial stenog- 
 raphy. Ignoring details, which a quick synthetic vision does not 
 seize, it was also, especially at first, a reaction against symbol- 
 ism, intellectualism and literary elements in painting. Accord- 
 ing to Manet, the principal person in a picture was the light; and 
 the chief element of his technique, namely, the laying on of 
 pure colors side by side on the canvas so that they would com- 
 ijine when seen at a certain distance into an effect similar to 
 the impression produced by gazing at an object bathed in light, 
 became tfte corner gtone of the modern method, 
 
 ST 
 
Manet was followed by the great experimenter, Claude Monet, 
 born 1840, and still living. With Monet came Renoir, Pissaro, 
 Sisley, and many other lesser lights who, as Christian Brinton 
 remarks, "quickly flooded studio and gallery with a radiance 
 ever near yet until then so strangely neglected." Pissaro and 
 Monet were influenced in London, where both lived for a time, 
 by the later works of Tiirnei — that genius who worshiped the 
 sun so ardently that in his old age he was rewarded by reve- 
 lations of the new dispensation of light and sun-filled air. 
 
 But it would be a mistake to consider that Impressionism 
 spread its luminous message only from. Paris. That message 
 seemed to be "in the air," like sunshine itself, and found its 
 way into painting at about the same time, in various parts of the 
 world. The lonely peasant-painter, Segantini, in the Italian Alps; 
 Sorolla, on the glaring shores of Spain, and others elsewhere, 
 were discovering its secrets, but Paris was the center of radiation. 
 Readers of George Moore s inimitable "Confessions of a Young 
 Man" will remember the fascinating scenes in the now world- 
 famous Cafe de la Nouvelle Athenee, where the ridiculed little 
 band of revolutionists used to gather to discuss their theories, 
 aided manfully in the press by Catulle Mendes, Baudelaire, and 
 Zola. Only one dealer believed in them — and he eventually made 
 a fortune. And now the French government sends to San Fran- 
 cisco examples of their works which rank high among the treas- 
 ures of the nation. To certain American painters living in Paris 
 at that time, or a little later, the new revelation came with con- 
 vincing force. Among them were Mary Cassatt, Childe Hassara, 
 F. W. Benson, Edmund C. Tarbell and George Hitchcock. Gari 
 Melchers was also allied with them. None save Childe Hassam 
 remained quite faithful to the extreme type of the broken color 
 method. 
 
 Wall A is devoted to Monet. An example of his early, literal 
 manner is to be seen in the seaside scene. The haystack paint- 
 ing and the lovely lily pond recall the fact that Monet would 
 paint the same subject at various hours of the day in order to 
 show how its aspect changed under varying conditions of light. 
 Both these pictures belong to series of the same subjects. 
 
 A number of the works of Pissaro, Sisley, and Renoir hang 
 upon Wall C, surrounding a painting by Eugene Crarriere, a 
 refined and sensitive artist who revolted against the exaggerations 
 of the "plein air'' school and bathed his figures in a sort of fluid 
 glow of twilight which conveys an impression of melancholy. 
 Pissaro and Sisley were landscapists. Renoir is primarily a figure 
 painter, and a master of still-life. His has remained a very 
 potent influence. 
 
 Upon Wall D hangs an interesting group of small landscapes 
 by Eugene Boudin (1824-1898), a painter who, though conserva- 
 tive and of an older school, shows affiliations with Impressionism 
 and encouraged Claude Monet to fight his early battles. Renoir 
 is further represented by two canvases (Nos. 2833, 2828), but 
 the commanding interest of this wall is the Puvis de Chevannes, 
 an exquisite painting to which those who appreciate his genius 
 are drawn again and again. In Puvis de Chavannes (1824-1898) 
 you find the result of the teachings of the plein air school 
 mingled with the symbolism and idealism and poetical spirit 
 which radical realists, and painters only interested in technique 
 and material considerations, would banish from art, but which re- 
 
 28 
 
turn again and again. Puvis is usually accorded the honor of be- 
 ing the greatest decorative mural painter of the nineteenth cen- 
 tury. One of his great works is in the Boston Library. 
 
 In following the story of Impressionism we have left Wall B 
 until the last, but it could not possibly be ignored, holding as it 
 does a picture by Gaston La Touche (No. 2815), an artist who 
 reacted from realism to the elegant manner of the artificial 
 eighteenth century; and another, more important, by Fritz Thau- 
 lau, the Norwegian master, who is said to be the greatest painter 
 of running water who has ever lived, and also one by Nicholas 
 Fechin, a modern Russian of the younger school. This picture, 
 hanging in the center of the wall, has attracted much interest 
 and has been the occasion for a great deal of discussion. 
 
 CHAPTER VI. 
 Modern American Art. 
 
 From this point on the rooms to be dealt with in the American 
 Section contain modern work. It is not within the design of this 
 brief guide to assign each artist represented in this immense 
 collection to his precise place in the school to which ade- 
 quate criticism might link him. What is done instead is of a 
 very practical nature. The jury has pronounced its verdicts- 
 upon this large body of work — save, of course, in the case of the 
 eminent artists placed hors concours — and all the artists whose 
 woik has been honored,, from Grand Prize down through the list 
 of Medal of Honor and Gold Medal artists, including some of those 
 granted lesser awards, will be pointed out as we proceed. 
 
 This plan, obviously, commits us to the guidance of authority, 
 to the direction of the official jury, to be precise; however, we are 
 not engaged in a personal adventure, seeking the things which we 
 individually may like, but, rather, we are making a definite effort 
 to gain a certain connected and logical acquaintance with the 
 general line of American art. Just the same, we should supple- 
 ment this study with the personal exploration. Knowledge with- 
 out emotional enjoyment is of no real avail in art. 
 
 The artists exhibited individually in separate rooms will be 
 dealt with in the chapter following this one. 
 
 Room No. 55. 
 
 While there are several schools and influences mingling in 
 this room, the dominant interest is supplied by two typical ex- 
 amples of Alexander Harrison's marine paintings; one (No. 2566) 
 on Wall A, and the other (No. 2697) on Wall D. 
 
 There are other pictures by Harrison to be seen elsewhere 
 in the galleries, one especially notable work (No. 3080) being 
 placed in the rotunda, which is numbered as Room 66. Harrison, 
 born in Philadelphia in 1853, a pupil of Bastien Lepage and Ger- 
 ome in Paris, was one of the first of the American artists who, in- 
 spired by Manet, took up the painting of figures in natural sur- 
 roundings in the open air — the school of ''plein airy The picture 
 hangs to the right as you enter by the eastern portal. It is a group 
 of nude figures on the seashore, and apart from its own inherent 
 charm, deserves notice and study, as does all this painter's work, 
 because of the important part it played as a formative influence 
 in American art. The truthful, yet poetical, rendering of the 
 play of sunlight upon the delicate flesh tones, and the ambience 
 
 29 
 
of the atmosphere, produced a profound effect upon Harrison's 
 contemporaries, and did much to open the door to public appre- 
 ciation of modern landscape and figure painting. 
 
 A picture by Kenyon Cox, one of the prominent mural paint- 
 ers of the academic school, hangs on Wall C (No. 2586). Charles 
 C. Curran, another well-known name, is represented by No. 2595 
 on Wall D. Several California painters also draw attention. Jean 
 Mannheim (No. 2579), who recently settled in Los Angeles, and 
 Maurice Braun (No. 2564), another Southern California artist, 
 exhibit attractive work, and Evelyn McCormick, a San Francisco 
 painter, uses a subject historically as well as pictorially attrac- 
 tive, in her "Old Custom House, Monterey." An interesting 
 group of small seaside scenes by E. Potthast, on Wall C, is a 
 popular feature of the room. 
 
 Room No. 56. 
 
 There are several notes of special interest in this room. Upon 
 Wall A, Elizabeth Nourse and Marion Powers, both of whom were 
 awarded Gold Medals, are represented, each by a typical group. 
 EliEabeth Nourse was a pupil of Henner and Carolus-Duran in 
 Paris. Her first official honor was won at the Chicago Exposition 
 in 1893. Another medal winner — silver — represented on this wall 
 is Mary C. Richardson, whose young mother with sleeping child 
 is a charming example of this Californian's figure work. A ro- 
 mentic landscape by Ettore Caser, a Venetian, who now lives in 
 Boston, also hangs on this wall. Caser is the winner of a Silver 
 Medal. 
 
 George Hitchcock, one of the pioneers of Impressionism, has 
 several of his typical Holland canvases on Wall B. Two painters 
 of San Francisco, Anne M. Bremer and Carl Oscar Borg. are also 
 on this wall. Of Miss Bremer something fuither is said in the 
 chapter dealing with the woman's room. Borg, a painter and 
 etcher who has worked much in Mexico, has been awarded a 
 Silver Medal. (No. 2618.) 
 
 F. W. Stokes, a pupil of Thomas Bakins, and of Gerome and 
 Boulanger in Paris, exhibits on Wall D a group of interesting 
 canvases which are the result of his observations in the Arctic 
 as a member of the Peary expedition of 1893-94, and of a similar 
 artistic exporation of the marvels of the Antarctic region. 
 Room No. 85. 
 
 A group of painters of major importance, in some cases, and 
 all of whom occupy settled places, is assembled in this room. 
 
 Its greatest name is Horatio Walker, four of whose big and 
 virile paintings hang on Walls A and B. Walker is Canada's 
 greatest contribution to American art. Born in Ontario in 1858, 
 he received his training in New York. It is the Island of Orleans 
 in the St. Lawrence river, which forms the regular scene of 
 Walker's work. There where the inhabitants, the descendants of 
 French settlers, have preserved the primitive way of life of their 
 forefathers, this artist paints pictures of figure and landscane 
 full of fine and tender human feeling, strongly drawn and subtly 
 and eloquently colored. A Gold Medal has been awarded to him. 
 
 To the work of Charles W. Stetson, an artist who has long 
 resided in Rome, though most of his early work was done in 
 Southern California, Wall C is devoted. A romantic aspect 
 dominates his numerQus figure and landscape paintings. He also 
 
 ^0 
 
shows a portrait of his wife, Grace Ellery Chanuing Stetson, the 
 well-known author. 
 
 Two figure painters of much distinction, Douglas Volk and 
 C. W. Hawthorne, are on Wall B. Both are represented by three 
 pictures each. Douglas Volk belongs to an earlier period than 
 Hawthorne, who links up with the more modern movement. To 
 Volk has been awarded a Gold Medal, and to Hawthorne a Silver 
 Medal. 
 
 Upon Wall D hangs a mother and child by Clara Weaver Par- 
 rish, who has won a Silver Medal. But the prime interest is 
 supplied by George DeForest Brush, three examples of whose 
 path-breaking work hang on Wall D. A pupil of Gerome. Brash 
 opened up the field of imaginative, thoughtful treatment of our 
 vanishing Indian life. Brush is also distinguished for his pictures 
 of mothers and children. 
 
 Room No. 65. 
 
 This, one of the most spacious rooms in the building, is also 
 one of the most interesting, as it is exclusively devoted to the 
 work of women. That their work rests for its interest not 
 merely upon the fact that they are women, but upon solid grounds 
 of merit, is denoted by the large number of awards granted by 
 the jury. 
 
 Two names stand prominently forth from the others. There 
 is Mary Cassatt, the pupil of Manet, and one of the pioneers in 
 Impressionism, who is represented by a characteristic group 
 of works. As all the canvases by her date from befo e the 
 year 1904 — and as all works produced before that time co ild not 
 be entered in competition for prizes — Mary Cassatt was placed 
 "hors concours,'' or "out of the race," for official honors. Her 
 paintings are on Wall B (Nos. 3006, 3008, and 3010). They have 
 attracted a large share of admiration. Mary Cassatt is one of the 
 pioneers of Impressionism, having been in Paris at the time the 
 movement was initiated. 
 
 The other big name is that of Cecilia Beaux. To her has 
 been awarded a Medal of Honor by the Grand Jury of the Pa- 
 nama-Pacific Exposition, the highest honor in its gift next to 
 that of Grand Prix. A native of Philadelphia, Cecilia Beaux 
 studied in Paris. Honors have been showered thickly upon her. 
 She has won medals at practically all the prominent American 
 exhibitions, and also a gold medal at the Paris Exposition in 
 1900. Wall A, with the exception of one picture, is devoted en- 
 tirely to her work, of which seven characteristic examples are 
 shown. Unquestionably, Cecilia Beaux now takes rank as the 
 leading American woman painter. 
 
 Another winner of a Medal of Honor is Violet Oakley, whose 
 "The Tragic Muse" (No. 3015), hangs on Wall B. It is a portrait 
 of Mrs. Florence Earle Coates, the distinguished poet. Another very 
 notable work by this artist, a stained glass window, the subject 
 of which is Dantes Divine Comedy, is exhibited in Room No. 38. 
 Born in New York, at first a student of Howard Pyle and Cecelia 
 Beaux, and later of Lazar and Collin in Paris, Violet Oakley 
 now takes high rank among American mural painters. Her chief 
 work is in the Capitol at Harrisburg, Pa. 
 
 There are also three winners of Gold Medals in this room, to- 
 gether with several winners of Silver Medals. The Gold Medal- 
 ists aie Lillian W. Hale, Ellen Emmet Rand and Johanna K. 
 
 31 
 
Woodwell Hailman. Mrs. Hailman's "To Market in the West 
 Indies," an old woman with a basket of poultry on her upright 
 head, is a very fresh and original decorative work. 
 
 Ellen Emmet Rand shows a portrait of Professor William 
 James (No. 2995), and four other paintings attractive in their 
 subject matter and of a high degree of technical excellence. 
 (Wall B, Nos. 2986, 2990, 2991, and 2993.) 
 
 Mrs. Hale shows two canvases. The quest of beauty, refined or 
 romantic beauty, is her object rather than experiments in paint- 
 ing, or the pursuit of realism. Her work is on Wall A (Nos. 2997 
 and 2998). 
 
 Two Silver Medalists have pictures hanging on Wall C. M. 
 Jean McLane — a well-known pupil of Chase — is represented by 
 three vivid and flowingly painted portiaits. 
 
 Mary Curtis Richardson, the other Silver Medalist, is a Cali- 
 fornian painter. Her "The Young Mother" has won popular favor 
 as well as critical acclaim. 
 
 Gertrude Lambert's "Black and Green" and Maude Drien 
 Bryant's three still life studies, and Anna Traquair Lang's 
 notable group, especially the "Japanese Print," attract and repay 
 attention. 
 
 Upon Wall D, among the pictures of Cecelia Beaux, is shown 
 an attractive example of modern work by Anne M. Bremer, a 
 Californian artist, who has studied in Paris and is one of several 
 young painters who have brought to the West the stimulation of 
 modernity. Several other examples of Miss Bremer's work hang 
 elsewhere. A Bronze Medal has been awarded her. 
 
 Two women sculptors exhibit cases of their small bronzes 
 in this room. Bessie Potter Vonnoh has won a Silver Medal. 
 The other is Abastenia St. Leger Eberle. Anna Vaughan Hyatt 
 exhibits a vigorous "Eight-Horse Group. " 
 
 Room No. 80. 
 
 This has been termed "The Boston Room," as it contains 
 the work of several eminent artists of that city, among whom 
 are two members of the jury, Philip L. Hale and William 
 Paxton. 
 
 To another artist in this room, Willard L. Metcalf, has been 
 awarded a Medal of Honor, which, as stated before, ranks higher 
 than a Gold Medal. 
 
 Philip L. Hale, a son of the famous Rev. Edward Everett 
 Hale, is a well-known writer as well as painter. He is a pupil 
 of J. Alden Weir, a fellow member of the jury. His group of 
 paintings hang together on Wall A, where also are found the 
 works of Paxton. The latter was a pupil of Gerome in Paris. 
 
 Upon Wall A hang five pictures by Metcalf, of which No. 
 3770, a study of shimmering green leaves, is an especially re- 
 markable work. Metcalf is a New Yorker, though born in Massa- 
 chusetts. A pupil of Boulanger and Lefebvre in Paris, his pres- 
 ent Medal of Honor comes as the climax to a long series of 
 official honors. A spirit of blithe, happy lyricism breathes 
 through these vibrant studies of Spring and Winter landscapes. 
 
 Another New Yorker, Bruce Crane, a pupil of that great early 
 American landscapist, Alexander H. Wyant, has a Silver Medal 
 picture, a pleasing landscape (No. 3783) on Wall B. 
 
Room No. 51. 
 
 This room has been characterized as devoted to the works 
 of Thomas Anshutz, the pupils of Anshutz, and of their pupils; 
 but, save to those who may be aware of this inter-relation of 
 the artists, the pictures seem of a wide variety of subject and 
 method. Unquestionably, the ultra-modern pictures of Brecken- 
 ridge, for example, are a far cry fiom the work of Anshutz. 
 
 Thomas Anshutz is represented by two canvases (Nos. 2474 
 and 2499). Born in Kentucky in 1841, his early training was 
 received at the National Academy of Design, New York, and the 
 Pennsylvania Academy of the Fine Arts. Later he studied under 
 Doucet and Bouguereau in Paris. A teacher in the Pennsylvania 
 Academy of the Fine Arts for many years before his death, he 
 influenced many of the younger generation. 
 
 It is the name of Robert Henri which is the most vital and 
 best known in this room. Henri's group hangs on Wall C 
 (Nos. 2487, 2489, 2491, 2493, 2495, 2498, and 2501), among 
 them being several paintings in his latest manner — a manner 
 that has caused much discussion among those who follow the 
 work of a man who is the leader of a revolutionary section 
 of young New Yorkers, and who is a piquant and stimulating 
 figure in the radical set. Henri was born in Ohio in 1865, 
 and studied in the Pennsylvania Academy of the Fine Arts under 
 Anshutz, and in Paris, Spain and Italy. He has been a winner 
 of many honors and has been awarded a Silver Medal at this 
 exhibition. For a man brought up under such academical forces 
 as those of the Julian Academy in Paris, Henri has displayed 
 a remarkable originality and independence, and his work has 
 tended more and more to be realistic statements of a reaction 
 from sentimentality and trite subjects. 
 
 Two other Silver Medalists hang in this room, A. B. Carles 
 and Adolph Borie, both painters of the nude, and both of what 
 may be roughly termed the" school of individualistic realism. 
 Their pictures hang on Wall A, together with a group by W. J. 
 Glackens (2466, 2468, 2469, and 2470), another radical and experi- 
 mental younger man. An interesting picture by the same artist 
 hangs on Wall D, a group seated in the celebrated Moquin Cafe 
 on Sixth Avenue, New York, a more or less Bohemian resort for 
 painters and writers. All the figures are portraits of well-known 
 people; artists, an art patron, and a member of the demi-mondaine. 
 
 Wall B is devoted to Hugh H. Breckenridge, the winner of 
 a Gold Medal, and a highly interesting case of a mature artist 
 turning from a settled style to a newer, technically more radi- 
 cal, style and winning success therein. A pupil of Bouguereau 
 and other academical masters in Paris, and an instructor in the 
 Pennsylvania Academy of the Fine Arts since 1894, Breckenridge 
 has won many honors. The large group of still life and flower 
 pictures which he displays is an interesting chapter of the de- 
 velopment in America of the movement in search of an intense 
 reality in painting which stems from the work of Cezanne and 
 Van Gogh, but which has exfoliated into strange branches and 
 fruits which sometimes show no apparent connection with the 
 trunk from which they spring. 
 
 Room No. 50. 
 
 Sergeant Kendall, a recipient of many honors in both painting 
 and sculpture, has been awarded a Gold Medal for the pictures 
 
 88 
 
shown in this room, and a Silver Medal tor the polychromatic 
 wooden statue also displayed here. A figure painter, primarily, 
 Kendall's work is academical, charming and always popular. Three 
 of his canvases (Nos. 2439, 2442 and 2443) hang on Wall B. 
 
 Other well-known names are those of Louis Kronberg, a Sil- 
 ver Medal winner, of Boston, a painter who has specialized in 
 pictures of ballet girls and dancers, of which a typical example 
 is hung on Wall A; and H. D. Murphy, a group of whose can- 
 vases hang on the same wall. Another Silver Medalist, who 
 like Murphy, lives in Massachusetts, is Ettore Caser, a native 
 of Venice, one of whose romantic landscapes, of which several 
 are displayed in various rooms (No. 2457), is upon Wall D. 
 J. F. Carlson, a New Yorker, is still another winner of a Silver 
 Medal, his landscape (No. 2452) being on Wall B. 
 
 The Californians, of whom there is a strong showing in this 
 room, comprise several of the most inteiesting of the younger 
 group. Of the prize winners among them, Armin Hansen, Bruce 
 Nelson, Charlton Fortune and Anne Bremer, mention is made 
 elsewhere. Betty De Yong, winner of an Honorable Mention, is 
 another young (Z!alifornian artist, by adoption, whose work has 
 attracted much attention. 
 
 Room No. 66. 
 
 This is the number of the hall, or rotunda, into which the 
 eastern and western main entrances of the Fine Arts building 
 open. The eastern entrance is marked on the plan as Room 
 No, 83, and the west entrance as Room No. 35. Room No. 66 
 connects the southern and northern wings of the building. All 
 the ground so far covered in this guide is in the southern wing. 
 Most of the pictures hanging here have been referred to else- 
 where. A good deal of the notable sculpture is placed in this 
 room, the most prominent being referred to in the chapter on 
 Sculpture. 
 
 On Wall A, above the doorway, hangs a powerful piece of 
 mural decoration by Charles J. Dickman, a California painter, 
 a member of the jury. Several decorative panels by H. G. 
 Cushing, a Gold Medal artist already mentioned, hang on Wall 
 B, together with landscapes by Haley Lever, Ettore Caser and 
 F. M. Lamb. On the west wall or Wall C is Robert Vonnoh's 
 "Poppies. ' On the north wall is Alexander Harrison's "The Joy 
 of Life," a picture which, as stated before, was one of those which 
 did much to stimulate the interest of American painters in the 
 plein air branch of Impressionism. 
 
 In the eastern hall, numbered 83, are four decorative panels 
 by Mrs. Sargent Florence, an American artist residing in Italy. 
 
 In the western entrance hall, numbered 35, is a large mural 
 by Henry B. Fuller, "The Triumph of Truth Over Error." This 
 was awarded a Silver Medal. 
 
 Room No. 67. 
 
 A Medal of Honor seascape hangs in this room, among many 
 interesting examples of the work of vital contemporary men. It 
 is by Emil Carlsen; it is numbered 3183, it hangs on Wall D — 
 but it hardly needs any directions to find it, for its blue and 
 windy vision of mid-ocean catches the eye at once. Emil Carl- 
 sen is an artistic gift from Denmark to this country, and his 
 
 34 
 
vigorous painting of marine subjects has brought him to suc- 
 cess. 
 
 Another marine artist whose work is well and favoiably 
 known and which has been awarded a Gold Medal, is Paul 
 Dougherty. Four pictures by him hang on Wall A. Paul Dough- 
 erty is a New York man, of such independence of mind that he 
 studied without any masters in Paris, London, Florence, Venice 
 and Munich. Examples of his work hang in all the principal 
 galleries of the country. 
 
 , Another Gold Medalist is Charles H. Davis, whose vigorous 
 picture, "The Northwest Wind" (No. 3160), hangs on Wall B. 
 Davis is a Connecticut man, a pupil of the Boston Museum 
 School and of Boulanger and Lefebvre in Paris, and the re- 
 cipient of many previous official honors. 
 
 Robert Spencer, whose "The Gray Mills" hangs on Wall C, 
 was also awarded a Gold Medal. A native of Nebraska, he is 
 a young man, a pupil of Chase, DuMond, and Henri. He is an 
 interpreter of modern humble life, the grim, gray world of in- 
 dustrial conditions. 
 
 The work of yet another Gold Medal Winner, a sculptor this 
 time, is exhibited in one of the cases. It is by Arthur Putnam, a 
 San Franciscan artist for whom the word genius is perhaps not too 
 great an epithet. As a moulder of animal figures he creates 
 work that seems fairly to quiver with the force of life. The 
 Metropolitan Museum in New York possesses one of his pieces, 
 which sustain comparison with the work of masters like Barye. 
 
 Hayley Lever, whose "Boats in Harbor" hangs upon Wall C. 
 is yet another winner of a Gold Medal. Several other vivid, 
 interesting pictures by Lever hang in other rooms. On this 
 wall is an interesting work by an academical but powerful 
 painter, Hugo Ballin (No. 3175). 
 
 There are a number of artists placed in this room — some of 
 them also being hung in other rooms — who have won Silver 
 Medals. No less than four of them are Californians. They are 
 Joseph Raphael, Armin C. Hansen, William Wendt and Carl 
 Oscar Borg. 
 
 Raphael has three pictures, No. 3154, on Wall A, and No. 3165, 
 on Wall B, and No. 3189, on Wall D. Born in Amador County, 
 California. Raphael is one of those artists who have won their 
 way through great difficulties and hardships. He is at present 
 continuing his studies in Holland. 
 
 Armin C. Hansen's painting is on Wall B (No. 3161). He is 
 a young man of whom big things are expected. A work that 
 perhaps represents him in a more congenial mood than the 
 one in this room hangs in Room 50, on Wall B (No. 2441). 
 
 William Wendt, now associated with southern California, is 
 a German who came to this country early in life, and is a 
 self-taught artist. Two of his pictures (3169 and 3172) are on 
 Wall C. 
 
 Oscar Borg has already been spoken of. His "Chateau Gail- 
 lard" hangs on Wall B. 
 
 John F. Carlson, a New York painter, is a Silver Medalist, 
 three of whose Spring and Winter landscapes hang on Wall D 
 (Nos. 3179, 3180 and 3188). An interesting canvas by Charles 
 Francis Brown, a. member of the jury, hangs on Wall A (No. 3143). 
 
 35 
 
Room No. 08. 
 
 The work of a Medal of Honor man is, officially, at all events, 
 the chief point of interest in this room, which contains a great 
 deal of important modern American painting. 
 
 W. E. Schofield is the winner of the highest honor. Two 
 large Winter landscapes by him hang on Wall D. Born in 
 Philadelphia, and a pupil of the Pennsylvania Academy of the Fine 
 Arts and then of Bouguereau, Ferrier, and others in Paris, Scho- 
 field has had a long career marked by many ofticial honors, com- 
 ing to a climax at this exhibition. Most of tlie important per- 
 manent public collections of this country contain pictures by 
 ►:im 
 
 H. G. Gushing, whose strikingly decorative work is shown 
 by three examples on Wall A (Nos. 3231, 3233 and 3234) and 
 which also hangs in the rotunda (Room 66), to your left as you 
 enter the eastern door, was awarded a Gold Medal. Gushing is a 
 Boston painter, a pupil of Laurens and Gonstant in Paris. 
 
 Upon Wall A hang two marine pictures by William Ritschel, 
 another Gold Medalist whose woik is also mentioned in other 
 rooms. There are also paintings by Walter McEwen, a member of 
 the jury, and one by another juryman, Matteo Sandona, a San 
 Franciscan, a portrait of Mrs. Leo Lentelli, wife of the sculptor. 
 
 John G. Johansen, winner of a Gold Medal, is a native of 
 Denmark, but a thoroughly American artist, a student of Frank 
 Duveneck, and of the Julian Academy in Paris. His large paint- 
 ing of "The Village Rider" hangs on Wall B, together with a 
 number of other characteristic works by him. On this wall is 
 placed two paintings by a Galifornia artist of high merit, a painter 
 in whom there is a large measure of true poetry, Gottardo Piaz- 
 zoni (Nos. 3245 and 3253). 
 
 Daniel Garber is still another Gold Medal artist. A young 
 and vigorous painter of the modern school, a native of Indiana, 
 and a pupil of the Gincinnati Academy and of Thomas An- 
 schutz in Philadelphia, Garber is a leading member of that inter- 
 esting body of artists springing up in the Middle West. Six 
 of his typical canvases hang on Wall G. 
 
 Room No. 69. 
 
 Visitors to this room at about the time the jury completed its 
 work saw beneath one of the pictures a wreath of flowers 
 which hung there for many days, drooping and withering. It 
 told a tale which brought into the Palace of Art a pensive 
 thought of human mortality. Just as a Medal of Honor had been 
 awarded to the artist the news came of his sudden death. He 
 was John W. Alexander, a man who took rank with William Chase 
 and Sargent among American artists. The picture is the cele- 
 brated "Phyllis," loaned by the Gity Art Museum of St. Louis, a 
 graciously beautiful canvas in which there seems one knows not 
 what of wistful melancholy, which makes itself felt despite the 
 youthfulness of the tall, slim girl who holds the lucent bowl of 
 shimmering water. 
 
 John W. Alexander was born October 7, 1856, in Allegheny. 
 He studied in Munich, Venice and Florence. He was a member 
 of many art societies in this country, England, France, Germany 
 and Austria, and had won many honors and decorations. There 
 are examples of his work in the Luxembourg, Paiis, the Metro- 
 
 26 
 
politan Museum, New York, and galleries elsewhere; while his 
 work as a mural painter is in the Library of Congress, Wash- 
 ington; the Capitol, Harrisburg, Pa., and the Carnegie Institute, 
 Pittsburgh. 
 
 Another Medal of Honor picture is on Wall D. It is No. 
 3323, by Richard E. Miller, a comparatively young man, born 
 1875, in St. Louis, Mo., and a pupil of the art school in his na- 
 tive city and then of Constant and Laurens in Paris. He has 
 won many high honors at home and abroad, and is represented 
 in the Luxembourg and many other of the great permanent col- 
 lections. 
 
 A third Medal of Honor was granted in this room to Lawton 
 Parker, three of whose figure pieces hang on Wall B (Nos. 3296, 
 3298 and 3300). Parker was born in Michigan, 18G8, and was a 
 pupil of Gerome, Laurens, Besnard and Whistler in Paris, and of 
 Chase in New York. He has won many high awards and has 
 painted portraits of prominent people. 
 
 On Wall A hangs a painting by C. H. Woodbury, a rainbow 
 glittering through ocean spray, which has won a Gold Medal. 
 Woodbury is a well-known marine painter, born in Massachusetts, 
 and a pupil of the Massachusetts Institute of Technology, later 
 studying under Boulanger and Lefebvre in Paris. He has won 
 many previous honors. 
 
 There are two winners of Silver Medals in this room; one 
 is Marion L. Pooke, whose picture (No. 3317) is on Wall D. 
 The other is Maurice Del Mue, a young San Franciscan whose 
 work is full of promise. His impressive mountain landscape 
 (No. 3302) hangs on Wall B. 
 
 There are two members of the jury represented in this 
 room. John W. Beatty, a Pittsburg artist, and a pupil of the 
 Munich school, has a group of landscapes on Wall C. Jules 
 Pages, a San Franciscan, who has been a teacher in Paris for a 
 number of years, is represented by a large picture, "On the 
 Quais," on Wall B. 
 
 Room No. 70. 
 
 This room is devoted to portraiture. 
 
 Irving R. Wiles, a winner of a Gold Medal, is shown on Wall 
 C. No. 3383 is a portrait of the celebrated opera singer, Mme. 
 Gerville-Reache, as Carmen. No. 3385 is of J. Francis Murphy, 
 the eminent landscape painter. Irving Wiles is a New Yorker 
 who studied under his father, L. M. Wiles, and William M. Chase, 
 and also under Carolus-Duran in Paris. 
 
 Herman G. Herkomer, an American artist who has lived most 
 of his life in London, has three portraits on this wall. One (No. 
 3363) is of his cousin, Sir Hubert von Herkomer, R. A. 
 
 Robert D. Gauley, a winner of a Silver Medal, has two can- 
 vases (Nos. 3381 and 3367). Gauley is a native of Ireland and 
 studied under Benson and Tarbell of Boston and Bouguereau and 
 Ferrier in Paris. 
 
 On Wall D hangs Julian Story's portrait of Mrs. Story and one 
 of himself. Another interesting number on Wall D is Noel 
 Flagg's portrait of Paul Bartlett, the sculptor. 
 
 Room No. 71. 
 
 Two paintings by J. J. Enneking, the winner of a Gold Medal, 
 hangs upon Wall A (3401, 3402). Although now associated with 
 
 37 
 
Boston, Enneking was born in Ohio, 1841, and studied under 
 Bonnat and Daubigny in Paris, and Lehr in Munich. 
 
 On the same wall hang two very interesting and vivid can- 
 vases (Nos. 3404, 3412) by George Luks, one of the younger 
 New Yorkers. 
 
 Two large portraits by Eric Pape, an artist born in San 
 Francisco, are on Wall B. He now lives in Boston, where he 
 is director of a school of art. 
 
 Among other aitists with whom we have become acquaint'^d 
 who have canvases hanging on Wall C, is a winner of a Silver 
 Medal, E. Charlton Fortune, one of the youngest and most 
 promising of the San Francisco painters. Only one of her vivid 
 and personal pictures hangs in this room; others being placed 
 elsewhere. This one is a view of the interior of the Carmel 
 Mission, and has been bought by William M. Chase. 
 
 Room No. 72. 
 
 A historical painting of a special interest to westerners 
 hangs on Wall A, Carlton T. Chapman's "The Annexation of Cal- 
 ifornia," showing the raising of the American flag, July 7, 1846, 
 at Monterey. 
 
 Walter McEwen, one of the jurymen, has a group of four 
 paintings (Nos. 3510, 3513, 3514, and 3519) on Wall D. He is one 
 of the most distinguished of American artists living abroad, 
 and has been the recipient of a long list of honors. 
 
 Frank Van Sloun, a San Fiancisco artist, a winner of a Bronze 
 Medal, has a striking "Portrait of an Actor" on Wall C, upon 
 which two other California artists, Gertrude Partington (3506) 
 and Maren Froelich (3507) are also represented. Miss Parting- 
 ton was awarded a Bronze Medal. 
 
 Room No. 73. 
 
 A special, popular interest is given to this room by the large 
 number of paintings of the Panama Canal by Alson Skinner 
 Clark, These occupy the whole of Wall A and nearly all the 
 space on Walls C and D. Clark is a Chicago painter. He was 
 born in that city, 1876, and studied under many masters, among 
 them being Whistler, in Paris, and Chase in New York. 
 
 There are two very interesting painters to whom Gold Medals 
 were awarded for work shown here. One of them is Ernest 
 Lawson, whose landscapes are full of subtle, artistic strength and 
 beauty. His pictures (Nos. 3538, 3539, 3548) hang on Walls B 
 and C. Lawson was born in California in 1873, was trained in 
 France, and for many years has lived in New York. 
 
 The other Gold Medalist is Gifford Beal, also a New York 
 painter of the younger set. A group of his paintings (Nos. 
 3540, 3541, 3542, and 3546) is placed on Wall B. 
 
 Room No. 74. 
 
 C. J. Taylor, a member of the jury, whose work covers Wall 
 D, is the dominating factor of this room. A well-known New 
 York painter and teacher, he studied under Eastman Johnson 
 and in London and Paris. He is prominent as an illustrator 
 as well as in painting. 
 
 The other walls are devoted to a number of younger men, 
 notable among whose work is a canvas by Bruce Nelson (No. 
 3609), who is one of the youngest of western artists and a 
 
 38 
 
winner of a Silver Medal. There are pictures by Nelson in other 
 rooms and all attract decided attention. 
 
 Will J. Hyett, winner of a bronze medal, is another of the 
 younger school to repay attention. His "Cross Roads: Ravenrock," 
 No. 3590, is on Wall A. 
 
 Room No. 49. 
 
 This is one of the most interesting of the American galleries, 
 containing as it does work by seveial of the most distinguished 
 contemporary artists. There are two members of the jury among 
 them, J. Alden Weir and John McLure Hamilton. 
 
 Wall A is devoted to a splendid group of pictures by D. W. 
 Tryon, an artist in whose interpretations of the beauty of nature 
 as it is manifested in New England landscapes there can be felt 
 that exquisite quality which so many other Americans, many 
 of them possessed of great power, entirely lack, namely, an 
 affinity for the spiritual. Dwight William Tryon was born in 
 Hartford, Connecticut, in 1849. He was a pupil of Daubigny 
 and Harpignies in Paris. He has worn many notable honors, 
 and his works are in most of the great public collections of this 
 country, no less than forty-three being in the Freer Collection in 
 the National Gallery, Washington, D. C. 
 
 J. Alden Weir's group of landscape and figure paintingc 
 are on Walls B and D. Born in the state of New York in 18ri>, 
 J. Alden Weir was first the pupil of his father, Robert W. Weir, 
 and later of Gerome in Paris. He was one of the first members 
 of the Society of American Artists which, under the presidency 
 of John La Faige, was founded in 1877 and marked the definite 
 establishment of the modern movement in this country. Practi- 
 cally all the men of the advance guard "in that progress which 
 has put American painting in line with that of other countries," 
 says Charles H. Caffin, were members of that society. Weir be- 
 came one of the most eminent among them. His work is rep- 
 resented in all the leading collections. 
 
 John McLure Hamilton's notable portiaits of his mother, 
 of Gladstone, and of Joseph Pennell, the etcher, are on Walls 
 A and C. His large group of pastel drawings, nearly all of them 
 being of the same \ivacious girl, occupy Room No. 39, among 
 the other rooms devoted to drawings and prints. 
 
 Hamilton is a Philadelphian, born 1853, who has lived in 
 England since 1878. His portraits of distinguished Englishmen, 
 such as Cardinal Manning, Professor Tyndall and Glad'itone, 
 hang in the Luxembourg, Paris, the National Gallery, London, 
 and the Pennsylvania Academy, Philadelphia, 
 
 Room No. 48. 
 
 The distinguishing feature of this room is a picture by F. 
 C. Frieseke (No. 2378), the winner of the Grand Prize in the 
 American section. Inasmuch, however, as all his other pictures 
 hang together in Room 117, we will speak further of this iirtist 
 in the chapter devoted to that room. 
 
 The work of a portrait painter to whom was awarded a Gold 
 Medal, G, P. Troccoli, is shown in this room (2350, 2354, 2-369, and 
 2373), Troccoli is a Massachusetts painter who had not previously 
 won high honors. 
 
 39 
 
Room No. 47. 
 
 Colin Campbell Cooper, a winner of a Gold Medal, has two 
 of his well-known paintings of aspects of New York City hanging 
 on Wall D. Born in Philadelphia 1856, Cooper was trained at 
 the Pennsylvania Academy of the Fine Arts and the Julian Studio 
 in Paris. He has specialized in street scenes. 
 
 Two members of the jury, both of them Californian artists, 
 are represented in this room. C. J. Dickman, who received 
 his training in Paris and is one of the leading artists of the 
 Pacific slope, shows his "Picardy Fisher Folk" on Wall D. 
 
 Eugen Neuhaus exhibits on Wall B a group of his landscapes, 
 done in tempora, this artist being one of a few who are today 
 reviving the use of this primitive medium. 
 
 The art of the northwest is represented by Paul Morgan 
 Gustin, of Seattle, Washington, and Ray S. Boynton of Portland. 
 Oregon. Gustin's work is on Wall C (Nos. 2336, 2337 and 2339). 
 Boynton's work is also on Wall C (Nos. 2330, 2331). 
 
 Room No. 46. 
 
 Six pictures by Frank V. Dumond, a member of the jury 
 and one of the mural painters of the Exposition, his work deco- 
 rating the Arch of the Setting Sun in the Court of the Uni- 
 verse, are in this room, four on Wall B, two on Wall C. He 
 is a New York painter and an instructor in the Art Students 
 League. Born in 1865 at Rochester, N. Y., he studied under 
 Boulanger and Constant in Paris. 
 
 Upon Wall A hangs a group of brilliant flower pieces by 
 Ruger Donoho, winner of a Gold Medal. Donoho is a native of 
 Mississippi, born 1857, educated in New York and Paris. 
 
 On the same wall hangs a picture by Beatrice Whitney, a 
 figure painting (No. 2271), which was awarded a Silver Medal. 
 
 In Eugene Higgins' "The Strange Land" on the same wall 
 is expressed one of the rare efforts which American painters make 
 to render the pathos of our modern industrial conditions. 
 
 Room No. 45. 
 
 Work of first-class importance demands interested notice here. 
 The exceptionally rich quality of color of the group of paintings on 
 Wall C draws attention irresistibly to the work of Walter Griffin, 
 the winner of a Medal of Honor. They are principally viev*s 
 of Venice, and are full of individual force and original quality. 
 Griffin is a native of Maine and studied under Collin and Laurens 
 in Paris. His present work is the culmination of a remarkable 
 and dramatic rise into artistic fame. 
 
 There are several winners of Gold Medals. 
 
 Among them is Robert Reid, whose mural paintings decorate 
 the lofty dome of the Palace of Art. Two of his easel pictures 
 (Nos. 2206, 2211) hang on Wall A. A Massachusetts man, Reid 
 received his early training in Boston and New York, and later 
 in Paris. He has been a recipient of many honors, and is one 
 of the most distinguished mural painters in this country. 
 
 P. Luis Mora is also represented on Wall A (No. 2212). Other 
 canvases by him hang elsewhere. Mora is a native of Uruguay 
 and studied under Benson and Tarbell in Boston. The award of 
 a Gold Medal is the last of a long series of honors. 
 
 Robert Vonnoh, also a Gold Medalist, has upon Wall B a por- 
 trait of Daniel Chester French, the sculptor. He has other pic- 
 
 40 
 
tures elsewhere. Vonnoh was born in Hartford, Connecticut. 
 He received his early training in the art schools of Boston and 
 later in the Julian Academy in Paris. He has done much dis- 
 tinguished work, especially in portraiture. 
 
 Still another Gold Medalist, E. F, Rook, has a still life picture 
 on Wall D (No. 2245). He is a prominent member of the "Old 
 Lyme Group ' of landscape painters, so-called because Old Lyme, 
 in Connecticut, is the center for their work, 
 
 Charles Morris Young, of Pennsylvania, has been awarded a 
 Gold Medal. A group of his landscapes, in which Winter scenes 
 predominate, hangs on Wall B. On this wall is an interesting 
 canvas by Jonas Lie, a winner of a Silver Medal. Lie was born 
 in Norway, in 1880. Trained in the schools of this country, he 
 has made for himself a notable position among the younger 
 men. 
 
 There are four paintings by Birge Harrison on Wall D. Born 
 in Philadelphia, in 1854, he received his training under Cabanel 
 in Paris, and has had a long and distinguished career both as 
 painter and teacher. 
 
 Room No. 44. 
 
 Among the items of interest in this room the group of 
 works by L. H. Meakin, a veteran painter and member of the 
 jury, hanging on Wall C, is prominent. Born in England, but 
 coming early to this country, Meakin studied in Munich, in Paris, 
 and as an instructor in the Cincinnati Art Academy he has had 
 much constructive influence in the development of art in the 
 Middle West. 
 
 Two Californians who won Silver Medals are represented here. 
 One is Edward Cucuel, a San Franciscan, who lives abroad and 
 was trained under Laurens and Gerome in Paris. His paintings 
 (Nos. 2195 and 2199) are on Wall D. Guy Rose, a Los Angeles 
 artist who lives in France, has a picture hanging on Wall D (No. 
 2202). 
 
 Room No. 43. 
 
 Apart from the presence of the work of one of the jurymen, 
 the main interest of this room is in the work of a number of 
 young Californians. 
 
 Edward H. Wuerpel, whose landscapes hang on Wall D. is 
 the juryman in question. Wuerpel is a Missouri artist, a painter 
 and teacher of St. Louis, where he was born in 1866 and where 
 he received his early training. His later studies were in Paris 
 under Bouguereau, Robert-Fleury, and others. 
 
 Among the Californians, Maynard Dixon, whose paintings 
 (Nos. 2112 and 2101) are on Wall A, is prominent. Dixon is a San 
 Franciscan who seeks to interpret not only the visual but the 
 spiritual quality of the Western deserts and mountains. He is 
 the winner of a Bronze Medal. 
 
 Lee F. Randolph, winner of an Honorable Mention, who has 
 two pictures (Nos. 2117 and 2118) on Wall B, is a young man, 
 trained in France, who has settled in California, and of whom 
 much is expected. 
 
 On Wall C hangs a portrait (No. 2131) by Clarence R. Hinkle, 
 another San Franciscan, who shows strong promise. 
 
 On the same wall is a picture by still another San Franciscan, 
 Perham Nahl (No. 2144), to which a Bronze Medal has been 
 awarded. Perham Nahl is the creator of the powerful and poeti- 
 
 41 
 
cal design which the Exposition has employed so extensively as 
 a poster and which has won much artistic admiration — the sym- 
 bolic design of Man cleaving a pathway through the Isthmus of 
 Panama and uniting two oceans. 
 
 Rinaldo Cuneo, a San Franciscan who works abroad, has a 
 notable painting of Notre Dame in Paris, on Wall D. 
 
 Room No. 117. 
 
 THE GRAND PRIZE 
 
 Frederic Carl Frieseke is, of course, the commanding in- 
 terest of this room, which, however, . contains many attractive 
 works. 
 
 Frieseke is the winner of the Grand Prize. There are six of 
 his pictures exhibited here, on Walls A, B and D. This is 
 the work which according to the judgment of a majority of the 
 aitists who constituted the jury deserved the highest honor. 
 Frieseke has been termed "a painter's painter." Born in Michi- 
 gan in 1874, his early training was received as a pupil of the 
 Art Students League of New York, and under Constant, Laurens 
 and Whistler in Paris, where he usually works. His career has 
 been brilliantly successful and the honor now given him comes 
 as a culmination of a long series of official awards. The Lux- 
 embourg Museum, Paris, and the Metropolitan Museum, New 
 York, contain examples of his work. It is as a painter of light 
 — especially the subtleties and problems of light as it plays on 
 open air subjects, that Frieseke has won his high place in 
 modern art. 
 
 The following interesting comment was made by the New 
 York Times: 
 
 "The Grand Prize at the Panama-Pacific Exposition goes to 
 Mr. Frieseke, whose accomplished work is well known to New 
 Yorkers and who says the last word in the style that was mod- 
 ern before the Modernists came along. He is not by any means 
 new to honors. The Luxembourg owns a picture by him of a nude 
 woman standing before a mirror, superbly modeled. He is repre- 
 sented in the Museums of Vienna and Odessa, and has received 
 medals from Munich and St. Louis, and also took the Corcoran 
 Prize at Washington in 1908, the year in which he was elected 
 Societaire of the Societe National des Beaux-Arts, Paris. He 
 has painted mural decorations for an Atlantic City hotel and for 
 the Amphitheatre of Music in New York. Whatever he does has 
 qualities of design, color and style. A sense of gayety, an 
 entertaining and well considered pattern, a remarkable knowl- 
 edge of the effect of outdoor light on color are found in nearly 
 all his recent paintings. This year, like many another American 
 artist, he has been working in the Paris hospitals, putting aside 
 his art for the acute duties of life that press suddenly upon 
 those who live in France." 
 
 A very interesting picture which won a Gold Medal bangs 
 on Wall C. It is by H. O. Tanner, and it represents "Christ 
 at the Home of Lazarus." Tanner, whose chief attraction in art is 
 religious subjects, and who has won a high place for his work in 
 modern American art. Born in Pennsylvania in 1859, a son of 
 Bishop Tanner, of the Afro- American church, he studied under 
 Thomas Eakins, and later under Laurens and Constant in Paris, 
 where he now resides. The Luxembourg Museum, Paris, possesses 
 one of his works. 
 
 42 
 
Room No. 118. 
 
 Max Bohm, a Gold Medal winner, is represented on Wall A 
 by a large canvas showing a group of figures on the seashore. 
 There is also an interesting marine by Alexander Harrison on 
 this wall. On Wall B there is a picture by one of the youngest 
 of California artists, "Baby's Toilet," by Henry Varnum Poor, 
 which is full of genuine strength, simply expressed. 
 
 Still another Gold Winner is on Wall C, W. D. Hamilton, a 
 Spring landscape, subtle and poetical. 
 
 On Wall D hangs a landscape by H. J. Breuer, whose work we 
 have met in other rooms. 
 
 Room No. 120. 
 
 George Bellows is the outstanding name in this room, which 
 contains also the work of several men of the younger and more 
 modern tendencies. Bellows is the winner of a Gold Medal. His 
 work hangs together on Wall C with the exception of one canvas, 
 a scene in a New York excavation, which hangs on Wall D. Bel- 
 lows is one of the most interesting of the younger men. Sturd- 
 ily, almost stubbornly independent, he has always refused to 
 yield to commercial reasons, on to compromise with his own 
 experimental nature. Born in Ohio in 1882, a puj'il of Henri 
 in New York, his training and his interests are thoroughly 
 American. For some years he supported himself dining the 
 summers by playing base ball professionally, doing his painting 
 in the winter — a fact which explains why so many of his can- 
 vases are studies of winter scenes. 
 
 Three other Gold Medal winners not previously mentioned 
 are represented in this room. One is W. D. Hamiton, on Wall 
 A (No. 4407); the other is Myron Barlow, who is represented 
 on Wall C (Nos. 4427, 4431 and 4435); and the third is Waldo 
 Murray, a pupil of Sargent and a portrait painter of increasing 
 prestige (No. 4429). 
 
 One Wall A the pictures by Samuel Halpert and Rockwell Kent 
 are typical examples of two divergent tendencies in the most mod- 
 ern movements. Halpert (No. 4493) represents the new school of 
 synthetic realism. The Kent — the strange picture showing a group 
 of figures in a most singular landscape belongs to the imaginative 
 school. 
 
 Water Colors and Illustrations. 
 
 Rooms Nos. 26, 36, 37, 40, 41, 42 and 119 are devoted to 
 water colors, drawings in various mediums, and illustrations. 
 
 The works of Howard Pyle occupy Rooms 40 and 41, but these 
 are dealt with in the chapter concerned with the rooms of indi- 
 vidual artists. 
 
 Medals of Honor weie awarded in this group to the follow- 
 ing artists: Charles H. Woodbury, Lillian Westcott Hale, F. 
 Walter Taylor. Henry Muhrmann, Frank Mura and Laura Coomos 
 Hills. 
 
 Gold Medals were awarded to Charles E. Heil, Alice Schille, 
 George Hallowell, F. Luis Mora, Henry B. Snell, Jules Guerin, 
 N. C. Wyeth, Henry McCarter and Arthur I. Kellar. 
 
 Room No. 26. 
 
 In this room there is a group of F. Walter Taylor's Medal of 
 Honor work on Wall A. Taylor is a Philadelphia artist, who has 
 
 43 
 
illustrated many books, among them works by Henry Van Dyck, 
 Mrs. Humphrey Ward, and Margaret Deland. 
 
 Two popular magazine illustiators, both of whom have won 
 Silver Medals, Jessie Willcox Smith and Elizabeth Shippen Green, 
 are also on this wall. 
 
 Two winners of Gold Medals, N. C. Wyeth and Henry Mc- 
 Carter, are on Walls C and D respectively. 
 Room No. 36. 
 
 Charles E. Heil is the central interest of Wall A, his Gold 
 Medal work being placed there. Everett Shinn, a vigorous and 
 brilliant artist, has a very interesting and varied group near by. 
 
 Lucia K. Mathews, a California artist, winner of a Silver 
 Medal, is on Wall B, together with C. J. Taylor and Mateo San- 
 dona, members of the jury. 
 
 On Wall C a very original note is struck by the paintings on 
 silk, in the ultra modern mode, by Marguerite Zorach. E. Spencer 
 Mackey and Charles F. Heil complete the interest. 
 
 Room No. 37. 
 
 Charles H. Woodbuiy, another Medal of Honor artist (whose 
 work in oil also won a Gold Medal), is represented on Wall A. 
 
 Anna B. W. Kindlund, a winner of a Silver Medal, is on the 
 same wall. 
 
 On Wall B are two other Silver Medalists, H. D. Murphy and 
 George Alfred Williams. George Walter Dawson, of the jury, oc- 
 cupies Wall C. There are also a large number of miniatiires 
 in cases in this room and in Room 40. 
 
 Room No. 40. 
 
 In this room, on Wall B, is a group by Lillian Westcott Ha^.e, 
 winner of Medal of Honor. George H. Hallowell, Gold Medalist, 
 is also represented here, together with Alexander Robinson, 
 the latter showing a brilliant group of oriental subjects. 
 
 The work of Jules Guerin, Chief of Color in the Division of 
 Works of the Exposition, is on Wall D. 
 
 Room No. 119. 
 Henry Muhrmann's Medal of Honor work is found in this 
 room, a remarkable group in black and white drawings on Wall 
 A. Many of Charles W. Woodbury's Panama Canal drawings 
 are also here, on Wall D. Woodbury shares the distinction of 
 the Medal of Honor class. On Wall B hang two impressive 
 charcoal studies by Xavier Martinez. 
 
 CHAPTER VII. 
 The Individual Rooms. 
 
 To a large number of Ameiican artists of the first rank, whose 
 work belongs to modernity, the honor of separate galleries was 
 given. The list is as follows: 
 
 James McNeill Whistler, Room 28, paintings; Room 29, 
 etchings. 
 
 John H. Twachtman, Room 93. 
 
 Edmund C. Tarbell. Room 89. 
 
 William Keith, Room 90. 
 
 Edward W. Redfield, Room 88. 
 
 Frank Duveneck, Room 87. 
 
 William M. Chase, Room 79. 
 
 44 
 
Childe Hassam, Room 78. 
 
 Gari Melchers, Room 77. 
 
 John S. Sargent, Room 75. 
 
 Arthur F. Mathews and Francis McComas, Room 76. 
 
 John McClure Hamilton, Room 39. 
 
 Joseph Pennell, Room 31. 
 
 Howard Pyle, Rooms 41 and 42. 
 
 James McNeill Whistler. 
 
 Two separate looms are devoted to Whistler's works; one. 
 No. 28, to his paintings, and the other, No. 29, immediately ad- 
 joining, to his etchings and lithographs. 
 
 His is the greatest name contributed by the United States 
 to the art of the world, and his influence has been of the most 
 profound and positive kind. The pictures shown in this room 
 cover practically his whole career, from an example of his 
 earlier period when he was strongly influenced by the realism 
 of Gustave Cou^ bet, on through the exquisite nocturnes, and 
 the marvelous portraits, to the almost transcendental loveliness 
 of the series of color studies which belong to the Whistler who, 
 passing from perfection achieved, experimented in regions where 
 pictorial art seems to enter upon a mystical marriage with the 
 secrets of music. 
 
 There are seveial very famous pictures here. One of them 
 is incidentally notorious as the picture which Ruskin said was 
 the result of Whistler throwing a paint pot in the face of the 
 public — for saying which the irate critic was sued by his even 
 more irate subject, who won the verdict, and a penny for dama- 
 ges. This is the nocturne. "The Falling Rocket." 
 
 In the adjoining room the etchings and lithogranhs open other 
 vistas into the magical region where quintessential good taste 
 and a psychic perceptiveness to the finer forces of beauty, are 
 mingled in the alembic of Whistler's art. Far indeed did he 
 travel from the preoccupation with material reality which was 
 the formula of Courbet. He found himself more and more 
 intent upon suggesting the essential inner spirit which vivifies 
 all outward manifestation. Almost as clairvoyantly as in the 
 case of the pictures do the etchings relate the story of this ma- 
 gician of line and color, wbo^e wo^k is the greatest evocation 
 of sniritual beauty which modern painting has known. 
 
 Whistler was born at Lowell, Massachusetts, in 1834. His father 
 was an eminent engineer at one time in the service of Emperor 
 Nicholas of Russia, and as a child the artist lived much abroad. He 
 was educated in the United States and as a young man was en- 
 tered at West Point as a cadet. His stay was short and his 
 next move was to Paris where he became the pupil of Gleyre, 
 in whose studio he associated with the painters Fantin-Latour 
 and Degas, and the etchers Bracquemond and Legros. But aca- 
 demical training did not last long. Whistler was an original 
 genius and roamed the world absorbing the influences that were 
 congenial and rejecting all else. Around his work there raged 
 the bitter controversies that always accompany the disturbing 
 passage of a creator of new values through the art of his day; 
 but even before h's death, which occurred in 1903, he had won 
 the only victory that he cared much about, namely, the admira- 
 tion of those capable of understanding his aristocratic and dis- 
 tinguished work. 
 
 46 
 
John H. Twachtman. 
 
 Room No. 93 is devoted to the works of this great artist. 
 It may yet be recognized that in Twachtman modern, native 
 American art has leached the highest point it has yet developed. 
 Whistler and Sargent are cosmopolites. Twachtman lived year 
 in and year out upon a farm in the hills of Connecticut, and 
 with a soul in vibrant accord with the spirit of nature as it 
 manifests itself amid New England fields and woods and hills, 
 he created masterpieces of artistic beauty which stem from 
 American soil. 
 
 It was not the facts, nor even the glorified garments, of na- 
 ture which attracted this artist. He sought to interpret the 
 finer forces of nature, the subtle soul of it, that inner life which 
 the painters of olden times, the days of faith, felt as sacramental 
 and which most modern artists either ignore or fail to realize. It 
 was particularly the austere yet splendid and crystalline syn- 
 thesis of winter which Twachtman reacted to. 
 
 It is not the cold, the duskiness, the dread, the torpor of the 
 brumal season which his pictures render; nor the brilliant 
 sparkle and crisp, metallic surfaces which more materialistic 
 painters delight to show us. The light which bathes with such 
 tender, veiled radiance these winter harmonies (which some 
 American Debussy should set to music) seems to emanate from 
 within. Technically, Twachtman was a modern of the moderns, 
 and he was a leader in that development of painting which seeks 
 its motive in the abstract. 
 
 John H. Twachtman was born in Cincinnati in 1853. He began 
 his art studies in the School of Design in that city, where for 
 two years he studied under Frank Duveneck. Then followed some 
 years of study in Munich. Returning to America, he lived a re- 
 tired life devoted to an art which necessaiily could never be 
 widely popular. He died in 1902. 
 
 Edmund C. Tarbell. 
 
 Room No. 89 contains the pictures of this popular and cele- 
 brated Boston artist, who is one of the jury at this Exposition. 
 
 In Ihe paintings for which Tarbell is most admired modern 
 genre is exhibited on its highest aitistic level. As Charles 
 H. Caffin admirably characterized Tarbell's work, "It is the 
 character of the scene as a whole that he represents, the sum 
 total of the impression recorded by the eye. Further, the parts 
 are seen in their variety of relations to one another and the 
 ensemble, everything also in its proper 'milieu' of lighted atmos- 
 pheres and with reference to the latter's diverse effects on form, 
 color, and texture." 
 
 Born in Massachusetts in 1862, Tarbell received his early 
 training at the Boston Museum of Fine Aits, and later in Paris 
 under Boulanger and Lefebvre. The list of his awards and 
 honors is a very long one, and a number of the permanent col- 
 lections of the country contain examples of his work. One of 
 the pictures in this room, the "Girl Crocheting," has been de- 
 clared by some critics to be one of the best painted canvases 
 in American art, and destined to become famous as the culminat- 
 ing point of its particular school of realism, which stems from 
 Jan Vermeer and the "Little Dutchmen"; but with the lesson of 
 modern light added to the message of the bygone masters of 
 Holland. 
 
 46 
 
William Keith. 
 
 Room No. 90 is devoted to the landscapes of William Keith, by 
 far the most important painter of the Pacific Coast. 
 
 Born in Aberdeenshire, Scotland, in 1839, Keith came to New 
 York in 1850. As a youth he learned the art of wood engraving 
 — as did so many other early American artists — and practiced it 
 until 1859 in the service of Harper Brothers. In that year he 
 came to California. For some years he continued to work at 
 his trade. But the gradual introduction of process work nar- 
 rowed his field, and in his more abundant leisure he began to 
 sketch from nature. Artists were few in California in those days, 
 and when a rail oad looked about for an artist to paint some 
 of the characteristic scenery along its lines, Keith secured the 
 work although he had never before painted any pictures in oils, 
 in which medium the work was to be done. However, Keith con- 
 fidently set to work; he satisfied his employers and was enabled 
 to open a studio in San Francisco. Those were boom days in 
 the Golden State; hundreds of prosperous home-makers requi.ed 
 pictures and were not critical as to their artistic merits. For 
 a year or more Keith turned out many paintings, crude work, 
 indeed, compared with his later manner, but it sufficed. 
 
 The proceeds of the auction sale he held at the end of the 
 year in San Francisco — in which city art has depended in large 
 measure on the auctioneer — enabled him to go to Munich. He 
 spent two years abroad with great benefit to his technical equip- 
 ment. At a later period he made another visit to Europe, es- 
 pecially studying the works of Velasquez and Hals. But it is 
 probable that critical judgment will give to the Barbizon School 
 and especially to George Inness, its American disciple, the great- 
 est share in the formation of William Keith's best-known and 
 highest style. Inness visited Keith in 1890 and spent several 
 months working with him in studio and field. There are striking 
 similarities, not only in their pictures, but in other respects, be- 
 tween these two artists. 
 
 Both were Scotchmen, both were wood engravers before be- 
 coming painters, and both tried to express the living spirit of 
 nature as felt by their temperaments, which were alike in many 
 ways, especially in the strain of Swedenborgian mysticism which 
 influenced them. 
 
 In the long and fertile period of his best manner, Keith 
 roamed north and south along the Pacific Coast, painting his 
 impressions of its wonderful beauty. In the great fire of 1906 a 
 very large number of canvases in his studio were burned. With 
 splendid courage, despite his advanced years, and much helped 
 by his daughter, he at once set to work again and painted many 
 pictures before his death in 1911. Of late years his fame has 
 rapidly increased. 
 
 Edward W. Redfleld. 
 
 The Redfield pictures hang in Room 88, 
 
 Edward W. Redfield is a member of the jury, and the honor 
 of an individual room has come as the culminating point of a 
 highly successful career that is now in its prime. Redfield 
 has lived for many years, since his return from Paris, near 
 the Delaware River in Pennsylvania, and most of his work deals 
 with varied aspects of this country in summer and in winter. 
 
 47 
 
though of late he has turned to New York City scenes, es- 
 pecially nocturnes. 
 
 Essentially an Impressionist whose works, while always con- 
 veying a strong, sometimes insistent note of reality, are never- 
 theless personal interpretations rather than pictorial reporting, 
 Redfield is a proof also of how well American painting has mas- 
 tered the lessons taught by France. 
 
 Born in 1868 in Delaware, Redfield's eaily training was at 
 the Pennsylvania Academy of the Fine Arts and then under Bou- 
 guereau and Fleury in Paris. It would take a page or two of 
 this guide to catalogue all the honors he has won and the perma- 
 nent collections where his pictures hang. 
 
 Frank Duveneck. 
 
 Room No. 87. Here are assembled the pictures of a man in 
 honor of whose work and great influence as a teacher a special 
 Commerative Medal will be cast by the Exposition. No one man, 
 perhaps, has exerted a more profound and salutary effect upon the 
 development of modern American painting. The present exhibi- 
 tion crowns a long and honorable career with a touch of glory. 
 
 In a previous chapter, the one dealing with Room 64, we have 
 related briefly that episode in the story of American painting 
 which treats of the decadence of the Dusseldoif school and the 
 rise and ascendancy, for a time, of the Munich school. It was 
 Duveneck and Chase who brought the fertile Munich ideas to 
 America. Duveneck taught for ten years at Munich itself, and 
 for many years has continued his instructions at Cincinnati. 
 
 Although Munich did not reveal to the modern world its 
 most vital idea, that of the treatment of light, which ideas we 
 owe to France, it exerted a great technical influence and brought 
 modem painters into contact with the spirit of great masters 
 of the past, such as Velasquez and Hals. Duveneck was the 
 first of American instructors, writes Caffin, to make brush work 
 instead of crayon-drawing the foundation of the picture, and to 
 impart a painter's rather than a draughtsman's point of view. 
 He taught his students to work directly with the brush, boldly 
 blocking in large masses of his subject, and bioke them of the 
 old habit of painting over elaborate drawings, a method which 
 crippled creative impulse. 
 
 Duveneck was born in Covington, Kentucky, in 1848. The 
 portrait of him which hangs on Wall D was painted by Joseph 
 DeCamp, one of his pupils and himself a distinguished artist. 
 
 William M. Chase 
 
 The works of this American master are gathered in Room 
 No. 79. Associated with Duveneck as one of the great influences 
 of modern American art, Chase is even better known as a 
 painter than as a teacher, although his activity in the latter 
 field has been great and far-reaching. He, like Duveneck, studied 
 at Munich in the great days of Piloty, Wagner and Diez, but 
 Chase appears to have been less rigidly formed by the Munich 
 manner than Duveneck, and learned miich from such French 
 sources as Caiolus-Duran. He has taken a leading part in most 
 of the artistic movements of the last thirty years, with a verve 
 and a continual response to all new aspirations which have kept 
 him a vital force. Portraits, landscapes, genre subjects and still 
 life have occupied his versatile powers. Primarily a painter, in 
 
 48 
 
the sense that technical proficiency is his dominant character- 
 istic, Chase can paint a dish of fish with as much distinction 
 as Huysmans, that master of prose style, could write of them. 
 Some of his portraits are notable achievements of insight and 
 feeling, especially the well-known "Lady with the White Shawl." 
 William M. Chase was born in Franklin, Indiana, in 1849, and 
 his early studies were conducted under J. O. Eaton in New York. 
 All the great permanent collections in this country contain ex- 
 amples of his work. 
 
 Childe Hassam 
 
 Room No. 78 is given over to the work of this foremost of 
 Ameiican Impressionists. 
 
 One of the first of the painters of this country to fall under 
 the influence of the revolutionary methods of Claude Monet, 
 Hassam is also one of the very few who maintained not only 
 the spirit but the letter, the technical methods, of the path- 
 breaking Frenchman. Charles H. Caffin, in speaking of Hassam's 
 method of painting in separate points or dabs of color which 
 simulate the vibrancy of sunlight, says that "his earlier efforts 
 are maiked by the crudity that is inseparable from experimen- 
 tation; but of late years he has mastered the difficulties of the 
 process, and his pictures now present a unity of effect, a vi- 
 brancy of color and a delicate 'esprit' both of style and of feel- 
 ing that render them almost unique in American art." 
 
 Born in Boston in 1859, Childe Hassam was a pupil of Bou- 
 langer and Lefebvre in Paris, where after absorbing what aca- 
 demicism had to give him he affiliated himself with the newer 
 movements. His career has been brilliantly successful, marked 
 with many official rewards, and most of the important permanent 
 galleries of this country contain examples of his work. His 
 work as a mural painter may be studied in the specimen which 
 decorates one of the arches in the Court of Palms. 
 
 Gari Melchers 
 
 It has been related of Gari Melchers that when he built 
 the studio among the dunes of north Holland, where so much 
 of his work has been done, he wrote over the doorway the 
 motto "Wahr und Klar," or "Clearness and Truth." This motto 
 has been termed by Christian Brinton "The battle-cry of the 
 most vigorous and salutary manifestation in the history of 
 nineteenth century ait," a manifestation in which this American- 
 born painter of German descent, with Dutch and French affilia- 
 tions, has taken a distinguished part. "The sane, straightfor- 
 ward naturalism of Melchers' manner brightened as it is by the 
 aurate brilliancy of the latter day palette," has thoroughly justi- 
 fied the motto which he placed over his door long ago, an(f is 
 splendidly illustrated by the representative collection of his 
 works brought together here, in Room 77. To quote again from 
 Brinton's illuminating study of this artist, "Melchers is not a 
 subjective or an imaginative artist, he belongs to the sturdy, 
 positive race of observers. The spirit of his art, as well as its 
 expression, is frankly objective. He continues that tradition 
 which is represented with such impregnable strength and se- 
 curity by some of the foremost painters the world has ever 
 known— by Hals in Holland and Holbein in Germany. * * * 
 Now that he has returned (to the land of his birth) it is doubly 
 
 49 
 
apparent that Gari Melchers' sojourn abroad has splendidly 
 served its purpose. * * * He has come back a mature artist 
 bringing to a new country the lessons taught so well in the old. 
 It was not otheiwise that the great pioneers of the past were 
 wont to do when Durer wandered homeward from Italy or Van 
 Dyke crossed the channel to England. ' 
 
 Gari Melchers was born in Detroit, Michigan, in 1860. His 
 pictures are in most of the great collections at home and abroad 
 and his career has been a uniform series of honors and suc- 
 cesses. 
 
 John S. Sargent. 
 
 The work of a man beyond all question the most celebrated 
 and conspicuous portrait painter of today, but whose art extends 
 far beyond the domains of its most popular phase, is shown in 
 Room No. 75, 
 
 Of American parentage and lineage, John S. Sargent is, 
 however, in most respects a typical cosmopolitan. No artist 
 has been more discussed or more widely known, and apart from 
 strictly aitistic considerations and despite his own natural reti- 
 cence and seclusiveness, his work has a habit of being much in 
 the limelight. In this room, for instance, among the small yet 
 very representative group of paintings, are two which have 
 special notes of public interest. One is the famous Madam Gau- 
 treau and the other is the portrait of Henry James. The first 
 canvas proved a veritable storm center when produced not long 
 after Sargent left the studio of Carolus-Duran in Paris, where he 
 served his apprenticeship. Violently denounced and quite as en- 
 thusiastically praised, but refused by the Salon, this picture 
 might be termed the turning point of Sargent's career. 
 
 He never parted with the picture and it comes, together with 
 most of the others in this room, from his own studio. The 
 Henry James portrait is the one which the militant suffragists 
 slashed in London a year or so ago. 
 
 Preeminently a painter, superbly proficient, in the rendering 
 of what his impersonal and detached and very keen observation 
 selects, Sargent rarely seems to reveal a spiritual insight. What 
 Huysmans said of his writing might apply to Sargent in paint- 
 ing: "I record what I see, what I feel, what I have experienced, 
 writing it as well as I can, et voila tout!" Except that Sar- 
 gent leaves out what he feels. Of late he has refused to continue 
 portraiture and has turned to landscape painting and to execut- 
 ing groups in the open air which, while they are of actual per- 
 sons, are not primarily portraits. 
 
 John Singer Sargent was born in Florence, Italy, in 1856, 
 His parents were Bostonians. As a young man he studied under 
 Carolus-Duran and later traveled in Spain and Holland, where 
 he particularly studied painters like Velasquez and Hals. After 
 many years in Paris he moved to London, where he has since 
 resided, frequently visiting the United States, painting and ex- 
 hibiting. The Boston Library contains remarkable murals by 
 him. The list of his honors and awards and of the collections 
 where he is represented is far too long to be given here. 
 
 Arthur Mathews. 
 
 The work of Arthur Mathews, the leading artist and most 
 potent influence of contemporary western art, occupies Room 76, 
 in which are also shown paintings by Francis McComas. 
 
 50 
 
Although he was born in Wisconsin, in 1860. Arthur Mathews 
 came early in life to San Francisco, was educated in its schools 
 and, save for the period of study in the Julian Academy under 
 Boulanger in Paris, from 1884 to 1889, his aitistic career has 
 been centered in this city. He was an architect before he 
 turned to painting, a circumstance of immense value to him in 
 his mural decoration, in which he has accomplished some of the 
 most distinguished work of today in the United States. While 
 studying under Boulanger he was a fellow pupil of many of the 
 Americans who are now leading figures in our art, and he had 
 the rare success of standing number one in drawing, composi- 
 tion and painting, and of winning a medal granted by the Studio 
 only once in ten years. He was for many years director of 
 the California School of Design and developed some of the most 
 promising younger artists in the West. 
 
 There is in his work the force of an imagination which is 
 at once symbolistic, romantic, and intellectual — a creative en- 
 ergy controlled and directed by fiim thought and clothed in rich 
 and well-ordered beauty of color. The present exhibition has 
 proven how high a place Arthur Mathews occupies in American 
 art, a place among the very foremost. 
 
 One of his mural paintings is in the Court of Palms. As a 
 member of the jury his work was placed hors concours. 
 
 Francis McComas. 
 
 This artist's work shares Room No. 76 with that of Arthur 
 Mathews. He, too, is a member of the jury, and hors concours. 
 Born in Australia, Francis McComas has settled in California, 
 and next to Mathews, he is the most original, powerful, and prom- 
 ising of Western artists. 
 
 A certain sense of quality — that subtle, inner attribute which 
 is so hard to isolate and precisely define, but which is invariably 
 present in all authentic art, no matter what its kind may be, 
 distinguishes this painter's very remarkable work. Christian 
 Brinton termed him "the Whistler of the West," and the im- 
 pression of giving only the quintessence of his subject which 
 McComas' pictures produce is, indeed, akin to the selective 
 genius of the great master, although the spiritual atmosphere 
 which is the lovely envelope of Whistler's work is not present 
 in that of McComas. which, on the contrary, is definite and firm, 
 at times even to hardness. 
 
 The paintings in this room are the result of a recent journey 
 into the desert country of Arizona and of work done at Monterey, 
 where McComas has his studio. Although in large measure self- 
 taught, McComas studied for some years with Arthur Mathews. 
 He has given exhibitions in London and New York and has 
 painted and studied in many lands. 
 
 His place among the most original younger men in America 
 is unquestioned. Few painters in oil can use their pigments 
 with more strength than McComas exerts in his water-color 
 medium. 
 
 John McClure Hamilton. 
 
 Room 39 is devoted to the pastel drawings of John McClure 
 Hamilton, a number of his oil paintings being placed in Room 49. 
 
 A member of the International Jury of Awards, and, therefore, 
 hors concurs, John McClure Hamilton is one of the most dis- 
 tinguished of contemporary American artists. Born in Philadel^ 
 
 51 
 
phia in 1853, he studied at the Pennsylvania Academy of the Fine 
 Arts, in Antwerp, and Paris. A recipient of many honors, and 
 represented at all the great exhibitions of Europe and the United 
 States, since 1878 he has lived in London. He has painted the 
 portraits of many eminent people, among them being Gladstone. 
 The pastels in Room 39 have been a special attraction of the ex- 
 hibition, their verve and charm and swift, truthful drawing being 
 most remarkable. 
 
 Joseph Pennell. 
 
 Room No. 31 is given over to the work of one of the very 
 foremost of living artists in black and white — Joseph Pennell. 
 The wide range of his subject matter is indicated by the titles 
 of the various groups into which his lithogranhs and etchings 
 are divided, namely, the Panama series, the New York series. 
 Pittsb'irg and Cbicap'o series. San Francisco, Washington, Yosem- 
 ite. Grand Canyon, Philadelphia, Belgium, English, German, Greek, 
 Italian London in War Time, and others. He is a member of 
 the jury, and hors concours. 
 
 Born in Philadelphia, in 1860, and a pupil of the Pennsylvania 
 Academy of the Fine Arts, Pennell has for many years held a place 
 among the most distinguished draughtsmen and etchers of the 
 day. Most of the principal galleries of Europe, the Luxembourg. 
 Paris; the Uffizi, Florence, and others, have examples of his 
 work. As president of the Senefelder Club, London, and as an 
 enthusiastic practitioner, Pennell has of late been spreading the 
 gospel of lithography. A world-wanderer in search of beauty, 
 he has found it of late in the varied aspects of modern indus- 
 try, phases of life too often neglected by artists insensitive to 
 the appeal of their own environment. Skyscrapers and huge 
 derricks and cranes assume under Pennell's manipulation a 
 romantic though truthful vestment of artistic charm. The Pana- 
 ma series in this room is a powerful illustration of his method 
 and his success. 
 
 Howard Pyle 
 
 Howard Pyle has been termed "the Father of Modern Ameri- 
 can Illustration," and his work has been given the honor of sep- 
 arate display in Rooms Nos. 41 and 42, black and white designs 
 in the first and his color work in the second. Both lOoms are 
 high in popular favor. The spirit of a rich romance breathes 
 from these nictures. As a teacher Pyle has been probably the 
 most formative influence in America, in his narticular field. He 
 was born in Wilmington, Delaware, in 1853, and received his 
 artistic training at the Art Students League, New York. The 
 present exhibition of his work was loaned by the Wilmington 
 Society of the Fine Arts. He died in Florence, Italy, in 1911. 
 
 CHAPTER VIII. 
 Sculpture. 
 
 Medals of Honor were awarded to three sculptors. Gold 
 Medals to eight, and to a large number Silver Medals and Hon- 
 orable Mention were allotted. 
 
 In reporting their recommendations, the jury took occasion 
 to highly compliment the Fine Arts Department on the unique 
 excellence of its installation of sculpture, which is mostly dis- 
 
played in the open air amid living greenery, and disposed in 
 situations of great beauty. The jury voiced the sentiments of 
 all Exposition visitors. 
 
 The three sculptors to whom highest honors were given 
 were Karl Bitter, Daniel Chester French, and Herbert Adams. 
 
 As in the case of the painter, John W. Alexander, a tragic 
 ending marked the official granting of high honor to Karl 
 Bitter, who was killed in an automobile accident in New York 
 after the jury had allotted its award. He was not only an ex- 
 hibitor, but was Chief of Sculpture in the Division of Works 
 of the Exposition. His statue of Thomas Jefferson is placed 
 beneath the dome in front of the entrance to the Fine Arts 
 Palace. Others of his works, including the Memorial to Dr. 
 Henry P. Tappan, the "Signing of Louisiana Purchase Treaty," 
 and a "Fountain Group," lent by John D. Rockefeller, are in Room 
 No. 66 — which is the large hall into which both east and west main 
 entrances open. 
 
 Karl Bitter was born in Vienna, Austria, in 1867. His early 
 education was received in the Academy of Fine Arts of that 
 city. He came to this country in 1889 and his home has since 
 been in New York. For many years he has been recognized as 
 one of the leading sculptors in America. 
 
 Daniel Chester French's statue of Lincoln is under one of the 
 arches of the dome before the entrance. His Earl Dodge Me- 
 morial is also under the dome. The Alice Freeman Palmer 
 Memorial is placed in Room 66, the main entrance hall. Daniel 
 Chester French is one of the most notable of modern American 
 sculptors. Born in Exeter, New Hampshire, in 1850, he is a 
 pupil of John Quincy Adams Ward, in New York, and of Thomas 
 Ball, in Florence, Italy, Many of his works are patriotic in 
 theme, such as "The Minute Man," at Concord, Massachusetts. 
 
 Herbert Adams is represented by four statues. His large 
 figure of Chief Justice Marshall stands at the north end of the 
 colonnade, and his statue of William Cullen Bryant, the poet, 
 is placed beneath the dome before the entrance. 
 
 Herbert Adams was born in West Concord, Vermont, in 1858, 
 and received his technical training at the Massachusetts Normal 
 Art School and under Mercie in Paris, He has received many 
 official honors. Among his work are several statues and bronze 
 doors for the Library of Congress, Washington, D. C. 
 
 The winners of Gold Medals are the following: Cyrus E. 
 Dallin, James E. Eraser, A. Laessle, Paul Manship. Bela L. Pratt, 
 A. Phimister Proctor, Arthur Putnam, and Attillo Piccirilli. 
 
 Cyrus E, Dallin, a native of Utah, born 1861, and educated 
 in France, is represented by a large number of works, princi- 
 pally Indian subjects, which are disposed in many places out- 
 side and inside the building, 
 
 James E, Eraser, born in Minnesota, 1876, a pupil of Fal- 
 guiere in Paris, shows six portrait busts and studies. His 
 "Flora and Sonny Whitney," in Room 66, is a charming example 
 of his style, 
 
 Albert Laessle, a Philadelphia artist of the younger genera- 
 tion, a pupil of Charles Grafly, shows a large number of ani- 
 mal pieces in bronze, a striking example of his work, in which 
 a Japanese influence is perceptible, is in Room 66, near the 
 main entrance. It is the "Bronze Turkey," 
 
 Paul Manship, one of the most original and promising of 
 
 K3 
 
the younger school, an artist who is one of the many who are re- 
 turning to remote antiquity for suggestions, is represented by 
 ten characteristic examples, placed in various positions within 
 and without the building. Manship received a large part of his 
 training in Rome as a student at the American Academy, hav- 
 ing won a scholarship which gave him three years' study at that 
 institution. 
 
 Bela Pratt, born and trained in his art in Connecticut, as a 
 pupil of The Yale School of Fine Arts, and later a student in 
 New York and in Paris, has several of his many works placed 
 out of doors. His two reliefs are beneath the dome before the 
 entrance. His "Whaleman" is on the north shore of the lagoon. 
 
 A, Phimister Proctor is the sculptor of the gigantic buffaloes 
 which so notably guard the approach at the south end of the 
 colonnade. Proctor is a Canadian, born 1862, and trained in 
 New York and in Paris. Many other of his works stand in 
 various places. 
 
 Arthur Putnam, the Californian sculptor, an artist of authen- 
 tic originality, shows a case of his small bronze animal pieces 
 in Room No. 67. 
 
 Attilio Piccirilli. born in Italy. 1866, but who has lived in 
 New York since 1888, has a number of works exhibited in the 
 colonnade and elsewhere. 
 
 Among sculptors who were placed hors concours because 
 they were members of the jury, or for other reasons, are Paul 
 W. Bartlett. whose "Lafayette" stands in the central position 
 under the dome, and Charles Grafly, whose "Pioneer Mother" 
 stands between the dome and the entrance. This statue will 
 be the sculptural souvenir of the Exposition, as it is to stand 
 in San Francisco's civic center, the gift of the women of the 
 West. 
 
 One of the very notable sculptures exhibited is the Augustus 
 Saint Gaudens "Seated Lincoln" which is placed near the south 
 end of the colonnade. Adolph Alexander Weinman, a member of 
 the jury, shows two studies of Lincoln, and other characteristic 
 works. Other jurymen whose works are exhibited are Haig 
 Patigian and Joseph J. Mora, both of whom are Californians. 
 A. Stirling Calder, Assistant and Acting Chief of Sculpture shows 
 five examples of his vigorous modelling. "The Fountain of Energy," 
 near the Scott-street entrance, is his creation. Robert Aitken. 
 a San Franciscan whose fountain in the Court of Abundance has 
 attracted especial attention, is one of the winners of a Silver 
 Medal. Aitken is a man of high and serious ambitions, in whose 
 work there can be felt vigor and force allied to a native 
 originality. 
 
 Space is lacking for the adequate enumeration of the other 
 Silver Medalists and notable works; but the small figures of 
 Paul Troubetzkoy. Room No. 108, should by no means be over- 
 looked. 
 
 CHAPTER IX. 
 
 Prints. 
 
 It is the common opinion of all competent judges that the 
 prints department of the Fine Arts has assembled by far the 
 most notable exhibition ever held in this country. Coincident 
 with a revival of public interest in etchings, lithographs, and 
 
 54 
 
other forms of modern graphics, there is a remarkable recru- 
 descence of artistic ability along these lines in the United 
 States, and the present exhibition is a striking proof both of 
 the interest of the public and the ability of the artists. 
 
 A great many of the visitors are buying copies of the 
 various prints, showing that the appeal of a form of art which 
 is at once within the means of most people and at the same 
 time of high merit is not being made in vain. 
 
 The Grand Prize was awarded to the famous engiaver, Henry 
 Wolf. His work is grouped in Room No. 30, where considerably 
 over a hundred of his splendid prints are brought together. 
 Born in Alsace in 1852, and a pupil of Jacques Levy in Stras- 
 burg, Henry Wolf came to this country in 1871. His present 
 high honor comes as a climax of a long series of official awards 
 for wood engraving. 
 
 The Medals of Honor were awarded to C. Harry White and 
 D. A. Wehrschmidt. The Gold Medals were awarded to Allen 
 Lewis, D. Shaw MacLaughlin, J. Andre Smith, Cadwallader 
 Washburn, Herman A. Webster, and Gustave Baumann. 
 
 Among the winners of Silver Medals were three Californians 
 —Clark Hobart, Peiham Nahl and Worth Ryder. 
 
 Room No. 30 contains the first etching ever made in America, 
 Joseph Wright's portrait of Washington; the first mezzotint, 
 Peter Pelham's portrait of Cotton Mather; the second known 
 American lithograph, by Bass Otis, No. 1200; the first color 
 aquatint. No. 697, by John Hill, and a large number of ex- 
 ceedingly interesting historical prints, many of them by Paul 
 Revere (more widely known for his exploits as a midnight 
 horseman). These works are displayed in cases that line Wall 
 D. In this room also are shown the best works of the etchers 
 of some twenty years ago, Thomas Mbran, Mary Nimmo Moran, 
 Peter Moran, James Smiley, Charles Piatt, Stephen Parrish; 
 the work of Robert Blum and Alden Weir bridging that period 
 and today. 
 
 The contemporary artists are exhibited in Rooms Nos. 32, 
 33, 34, with the exception of that of Joseph Pennell, which occu- 
 pies a separate room. No. 31, and is spoken of in connection 
 with the other individual galleries. 
 
 This department owes its distinctive success to Robert B. 
 Harshe, Assistant Chief of the Department of Fine Arts, who is 
 himself an etcher of distinction. 
 
 CHAPTER X. 
 The Foreign Sections. 
 
 The following foreign nations are official exhibitors in the 
 Palace of Fine Arts: Argentina, China, Cuba, France, Italy, 
 Japan, The Netherlands, Portugal, Sweden and Uruguay. The 
 Philippine Islands also has a separate section. 
 
 There is also what is termed the International Section, in 
 which aie placed works by artists of nations which did not gov- 
 ernmentally participate in this Exposition. Among these na- 
 tions are the following: Austria, Hungary, Germany, Greece, 
 Great Britain, Spain, Chile and Russia, or, really, Finland, a 
 part of Russia. 
 
 This International Section at present occupies one room, No. 
 108. The pictures in it are almost all by German artists. The 
 
 55 
 
large and exceedingly important number of paintings from Aus- 
 tria, Hungary, Spain, Great Britain, and other foreign nations 
 — notably Norway — are to be exhibited in the new wing of the 
 Fine Arts Building soon to be opened. 
 
 It will be well to mention here the fact that France did not 
 enter its pictures in competition for prizes, following its usual cus- 
 tom at expositions, and it should be remembered that in the French 
 Pavilion there is a gallery of veritable masterpieces, showing the 
 quintessence of French art from 1870 to 1900. 
 
 ROOM No. 108. 
 
 The International Section. 
 
 Two of the winners of Medals of Honor in this section, 
 both of them eminent German artists, are represented in this 
 room. Franz von Stuck, one of the best known contemporary 
 names in Europe, has a very remarkable painting hanging on 
 Wall A. It is called "Summer Night." Heinrich von Zugel 
 has a splendid cattle piece (No. 549) on Wall C. Other 
 Gold Medalists whose works are included in this room are Curt 
 Agathe (No. 3), Heinrich Kniir, a "Self Portrait" (No. 293), 
 and Leo Putz (No. 387). 
 
 As stated above, this room is but a very small portion of 
 the International Section, in which have been awarded a large 
 number of high honors. The rest of the section is displayed in the 
 Annex. (See Chapter XI.) 
 
 Argentina. 
 
 Room No. 112 contains the paintings and sculptures of this 
 country. Antonio Alice won the Medal of Honor in paintings. 
 He is represented by three works, numbered 1, 2 and 3. No. 
 2, entitled "Confession," a very small work full of intense emo- 
 tion and beautifully painted, a little masterpiece of its own 
 school, the genre, hangs on Wall C. 
 
 Gold Medals were awarded to the following painters: Gorge 
 Bermudez, Alejandro Bustillo, Ernesto de la Carcova, Fernando 
 Fader, Jose Leon Pagano, Octavio Pinto, C. Bernaldo de Quiros, 
 and Eduardo Sivori. 
 
 Among the sculptors Pedro Briano Zonza was given the Medal 
 of Honor for his "Increase and Multiply," No. 75. Alberto 
 Lagos, represented by three works, Nos. 32, 33 and 3"4, was given 
 a Gold Medal. 
 
 China. 
 
 China's exhibit occupies Rooms 94 to 97, inclusive. 
 
 It comprises a very large number of works of a highly diver- 
 sified character, paintings and drawings forming only a small 
 part of a wealth of curious and exquisite works of art in porce- 
 lain, wood and bamboo, lacquer work, precious stones and mar- 
 bles, strass work, carved fruit stones, ivory and shell, pith paper 
 and straw, embroidery and silk. 
 
 In paintings a Medal of Honor was awarded to Kiang Ying- 
 seng for his "Hall Picture: Snow Scene" (No. 348), and Gold 
 Medals were awarded to Su Chen-lien (No. 344), representing 
 the flowers of four seasons; Kao Ki-fong (Nos. 363, 364), and 
 Miss Schin Ying-chin for her "Folding Screen: Flowers of All 
 Seasons" (No. 367). 
 
 Bfi 
 
Cuba. 
 
 Cuba's exhibit is in Room No. 20. The Medal of Honor in this 
 section was awarded to Leopoldo Romanach, whose group of 
 paintings is numbered from 16 to 29. A Gold Medal was given 
 to M. Rodriguez Morey, Nos. 13, 14, 15. Maria Mantilla, Nos. 
 7, 8, and Amando Maenocal, Nos. 9, 10. No. 9 is the huge 
 painting entitled "Death of Meceo," an episode of Cuba's war 
 of independence, rendered with vivid realism. 
 
 France. 
 
 France's exhibit occupies Rooms 11 to 18, inclusive. X^ere 
 is also an exhibit of a retrospective character, and of exceed- 
 ingly high value, in the French Pavilion. 
 
 Among the artists of the most considerable consequence who 
 are represented are the following: Degas (No. 310), a master 
 who may also be studied in the retrospective exhibit; Gaston La 
 Touche, Jean-Paul Laurens, Henri-Eugene Le Sidaner, Henri- 
 Jean-Guillaume Martin, Emile-Rene Menard, Luc-Olivier Merson, 
 Claude Monet, Rene-Xavier Prinet, Pierre-Auguste Renoir, Al- 
 fred-Philippe Roll, Lucien Simon, Jean Veber, and Maurice Denis. 
 But there are many other interesting and important men who 
 are not generally well known. 
 
 Room No. 17 contains the work of one of the most important 
 of the above mentioned group, Alfred Philippe Roll, a grand offi- 
 cer of the Legion of Honor. Roll's pictures are numbered 481, 
 482, 483, 484. One of them is a frightful souvenir of the present 
 war: "In Belgium" (No. 483). That veteran master, Jean-Paul 
 Laurens, under whom so many modern Americans have studied, 
 is represented by a very strong example of his splendid work 
 in No. 398 which shows a peasant youth and maiden upon 
 whom the spell of love is weaving their life's romance. Felix 
 Valloton has an interesting portrait group (No. 512). Le Sidaner 
 is represented by No. 418, his other picture, "Le Table" (No. 
 419) being in Room 14. The latter is an exceedingly re- 
 markable study of lamp-light out of doors. Another of the big 
 names, that of Menard, is splendidly illustrated in Room No. 16 
 by two most satisfyingly beautiful pictures (No. 444, 445). Prinet, 
 another big man, has a portrait group (No. 472), a much ad- 
 mired picture of a father and mother and daughter. 
 
 Lucien Simon, one of the foremost men of modern France, is 
 represented by three strong and virile canvases (Nos. 493, 494, 
 495) ; the second of these is entitled "The Communicants," a 
 group of children receiving their first communion. It is one of 
 the most artistic examples of a large group of works in the 
 French section which deal with subjects of a religious nature. 
 No other section is so strongly representative of this interest 
 which for centuries was the sole concern of the art of painting 
 in Europe, but which of late years has fallen into neglect. 
 France, however, is still, in art as in life, "the eldest daughter 
 of the church." 
 
 Monet and Degas, those veterans, may be studied in Room 
 13. Monet's picture is No. 452. This is the artist who, as we 
 had occasion to say when in Room No. 61, where there 
 is a large group of his works, is the father of modern impres- 
 sionism. Degas (No. 310) is one of those singular men of 
 geuius who devote their whole lives to experiments which en- 
 
 57 
 
large the domains of tlieir art, although often their own works 
 fail. He is one of the masters of modern realism, and his suc- 
 cesses are more numerous than his failures. In this room there 
 are also a number of interesting decorative works by Maurice 
 Denis. 
 
 Italy. 
 
 Italy's notable contribution to the art of the Exposition is 
 placed in Rooms Nos. 21, 22, 23, 24 and 25. 
 
 Room No. 21 contains the work of the three principal prize 
 winners. Ettore Tito was awarded the Grand Prize. Medals 
 of Honor were granted to Onorato Carlandi and Camillo Inno- 
 centi. These three men, together with Antonio Mancini, whose 
 grouD hangs in Room 22, stand among the very foremost of 
 contemporary Italian artists. Mancini is pre-eminent, so much 
 so that his work was placed hors concours. for he has already 
 won so many honors that he may well afford to stand to one 
 side and give the younger men a fuller opportunity. 
 
 Ettore Tito is represented by four pictures, which occupy 
 one of the walls in Room 21 (Nos. 103, 104. 105, 106 and 107). 
 Romanticism and realism seem to mingle in almost equal pro- 
 portions in this most vigorous and splendidly skillful painter. 
 
 Onorato Carlandi has four pictures (Nos. 15. 16, 17, 18). In- 
 nocenti's paintings are numbered 56, 57, 58, 59. 
 
 Leonardo Bazzaro, one of the winners of a Gold Medal, is 
 also in Room No. 21, with a single picture, "On the Diving 
 Board" (No. 4). 
 
 The othe^' Gold Medal artists are as follows: Italico Brass 
 (No. 10) in Room 25; Emma Ciardi (No. 30) in Room 25; Guis- 
 seppe Ciardi (No. 29) in Room 25: Guglielmo Ciardi (Nos. 34, 
 35) in Room 25; Umberto Coromaldi (Nos. 31 and 32) in Room 
 25; Visconti Adolfo Ferraguiti (No. 43) in Room 25; Enrico 
 Lionne (Nos. 62 and 63) in Room 24; Guisseppe Mantessi (No. 
 71) in Room 25; Plinio Nomellini (Nos. 82, 83) in Room 24; 
 Ferruccio S'cattola (No. 99) in Room 25. 
 
 The sculpture is a notable feature of the Italian Exhibit, and 
 is scattered through the various rooms, Five Gold Medals were 
 awarded as well as lesser honors. These five are the following: 
 Luigi Amigoni (No. 114), "Adolescence"; Renato Brozzi (No. 
 118), "Medals, Animals"; Artero Dazzi (No. 123), "Portrait of 
 a Lady"; Guisseppe Graziosi (No. 131), "Susanna"; and Antoni- 
 etta Pogliani (No. 146), "On the Beach." 
 
 Besides studying a splendid collection of modem work in 
 this section, the visitor should take advantage of the classic 
 treasures displayed in the Italian Pavilion. The wonderful ex- 
 tent and unbroken continuity of Italian art is well illustrated by 
 these two exhibitions. No other nation has anything like the 
 ereatness in art which attaches to Italy, and the present show- 
 ing of this modern work proves that its vitality is far from being 
 exhausted. 
 
 Japan. 
 
 The Japanese exhibit is disnlayed in the southern end of the 
 building, in Rooms 1 to 10, inclusive. 
 
 This section contains a really great amount of varied and very 
 beautiful art, and it also furnishes a most unusual study in ar- 
 tistic change, or development. In the midst of the marvelous 
 work of old .Japan — a country which, isolated from all the world. 
 
 58 
 
produced an ait of unique charm that has profoundly affected 
 the Western nations— there is one room which shows how the 
 artists of the new Japan have cut loose from their artistic an- 
 cestry and are patterning themselves after Occidental modes. 
 
 Artists of the older school have been granted the highest 
 honors. Medals of Honor were awarded to the following: Ran- 
 shu Dan (No. 15), "Moving Clouds"; Toho Hirose (No. 21), 
 "Spring Rain"; Shoyen Ikeda (No. 13), "The Intermission"; 
 Keisui Ito (No. 6), "Sailing Boats"; Tomota Kobori (No. 19), 
 "Masatsura Kusunoki Rescuing His Drowning Foes." A large 
 number of Gold and Silver Medals were also awarded in this 
 group of exquisite work. 
 
 In the group of work in the Western mode, a Silver Medal 
 was awarded to Kinisuke Shirataki (No. 30), "Portrait of Mr. 
 Y. Nomura," and to Eisaku Wada (No. 31), "On the Seashore." 
 
 Gold Medals were awarded to the sculptors, Choun Yamazaki 
 (Nos. 41, 42), Homei Yoshida (No. 57). These works are 
 carved from wood, as are many other of the Japanese sculp- 
 tures. 
 
 There is a large and varied showing of works in metal, lac- 
 quer, bamboo, porcelain, cloissone and other materials. There 
 is also a splendid exhibit of retrospective art. The handbook 
 issued by the Japanese Commission contains an excellent chap- 
 ter on the historical art represented in this section. . 
 
 Portugal. 
 
 The Portugal Section are in Rooms 109, 110, 111. 
 
 The Grand Prize was awarded to Jose Malhoa, who has eight 
 canvases hanging in Rooms 109 and 110. They are numbered 
 from 53 to 60, inclusive. They are all vigorous, realistic and 
 sympathetic portrayals of the life of his own country, in many 
 aspects, the drunkard at the fiesta (No. 57), the prodigal son 
 twanging the guitar to his light o' love, or the ardent devotion 
 of a Catholic procession (No. 56). 
 
 A Medal of Honor was awarded to Jose Veloso Salgado, whose 
 paintings are numbered from 125 to 130, inclusive. An artist 
 of a more tranquil vision than Malhoa, Salgado presents pleas- 
 ant, tranquil aspects of seaside and rural life. 
 
 Gold Medals were awarded to Artur Alves Cardoso, whose 
 group is numbered from 24 to 31, inclusive; to Ernesto Ferreira 
 Condeixa (Nos. 37, 38), and to Joao Vaz (Nos. 153, 154, 155). 
 
 One of the most distinguished of modern Portuguese artists, 
 Adrian de Sousa Lopez, exhibits a large group of notable works, 
 placed hors concours because the painter is Portugal's Pine Arts 
 Commissioner. 
 
 Philippine Section. 
 
 This exhibit is placed in Room No. 98. 
 
 A GQld Medal was awarded to Felix R. Hildago, who has 
 eleven paintings, some of them of very large size, historical 
 and religious in subject, while the smaller ones are landscapes 
 and marines. Born in Manila, Hidalgo received his training in 
 that city and Madrid, and resides in Paris. He has won honors 
 at other expositions in Madrid, Paris, Chicago and St. Louis. 
 
 Silver Medals were awarded to Joaquin M. Herrer (Nos. 8, 9), 
 and to Fabian de la Rosa (Nos. 30, 31, 32, 33, 34). . 
 
 59 
 
Holland. 
 
 The exhibit of The Netherlands is placed in Rooms 113 to 
 116, inclusive. The etchings are in Room 115. 
 
 The Grand Prize was awarded to G. H, Breitner, whose pic- 
 ture, "Amsterdam Timber-Port" (No. 17), hangs in Room 113 on 
 Wall A. Breitner occupies a prominent place among the group 
 of modern landscape and figure painters of Holland, in which 
 group Willem Witsen, Commissioner of Fine Arts to this Expo- 
 sition, the Maris Brothers, Anton Mauve, Israels, are leaders. 
 
 The Medal of Honor in this section was awarded to M. A. J. 
 Bauer, whose picture, "Oriental Equestrian" (No. 7), hangs on 
 Wall D of Room 113. 
 
 Gold Medals were awarded to David Bautz, for his "Dead 
 Birds" (No. 8), which hangs on Wall A in Room 114; to G. W. 
 Dysselhof, for his "Lobsters" (No. 27), which hangs in Room 113 
 on Wall A; to A. M. Gorter, for his "Autumnal Day" (No. 37), 
 which hangs on Wall C of Room 113; to Johan Hendrik van 
 Mastenbroek, whose "As Busy as Bees in the Harbor at Rot- 
 terdam" (No. 60), hangs on Wall A of Room 114; his other 
 picture, "In the Lock at Delfshaven" (No. 59), hangs on Wall C 
 of Room 113; to Albert Roelofs, whose "Meditation" (No. 75), 
 hangs on Wall C of Room 113; to Hobbe Smith, whose "Old 
 Woman Reading the Bible" (No. 88), hangs on Wall D of Room 
 114; and to W. B. Tholen, for his "Church near Leider" (No. 94), 
 which hangs on Wall B, Room 113. 
 
 The two attractive canvases by Commissioner Willem Wit- 
 sen, which were hors concours, hang on Wall C, Room 113. They 
 are numbered 109, 110. 
 
 Other pictures which were not in the competition are those 
 by B. J. Blommers, one of the modern masters of Holland (Nos. 
 13, 14), on Wall D, Room 113. 
 
 Sweden. 
 
 A very buoyant, original, creative spirit is animating the art of 
 Sweden at the present time. In no other section does the life-force 
 throb with more intensity. No other section, either, seems so 
 impressed with the evidences of its national origin as does the 
 Swedish. Here is a whole group of artists who, no matter 
 where they may have received their training, and no mat- 
 ter by what exterior influences they may be impressed, 
 turn everything to account in their work of artistically ex- 
 pressing their own native environment — a lesson which Ameri- 
 can painters might profitably study. The Swedish rooms are 
 Nos. 99 to 107, inclusive. 
 
 The Grand Prize was awarded to Bruno Liljeefors, whose four 
 large pictures of bird life in the far North are in Room No. 100. 
 Lilijeefors, like Gustaf Fjaestad, resides in Stockholm, and has 
 studied in France and Italy. The most noticed of his pictures 
 is the huge painting of wild geese in flight upon a stretch of 
 desolate shore on which turbulent waves are threshing. A splen- 
 did rhythm expressed by the line of birds is a triumph of the 
 pictorial suggestion of motion. 
 
 Fjaestad's work is in Room 107, in which are placed a large 
 number of his interpretations of snow, water, frost, light and 
 darkness. A strange sort of psychic poetry, commingled with an 
 almost Japanese devotion to decorative design, emanates from 
 
 60 
 
these strangely beautiful canvases. To him was awarded a 
 Medal of Honor. 
 
 Gold Medals were awarded to the following: Elsa Backlund- 
 Celsing, whose work is in Room 105; Wilhelm Behm, Room 103; 
 Alfied Bergstrom, Room 103; Oscar Hullgren, Rooms 103, 105; 
 Gottfrid Kallstenius, Rooms 100, 104; Helmer Mas-Olle, Room 
 102; Helmer Osslund, Room 102; Emil Osterman, Room 106 (Por- 
 trait of King Gustave V); Wilhelm Smith, Rooms 100, 103, 106; 
 and Axel Torneman, Rooms 100, 103. 
 
 Anshelm Schuetzberg, Sweden's Commissioner of Fine Arts, 
 and, therefore, hors concours, is represented by a group of notable 
 paintings. 
 
 To Carl Larsson, whose work is in Room 101, was awarded a 
 Grand Prize for watercolor, and to John Bauer, whose work is in 
 Room 104, a Medal of Honor, while to Oscar Bergman was given 
 a Gold Medal. Bergman's work is in Room 101. Much of the 
 most piquant and attractive work in the exhibition of Swedish 
 art may be found in these watercolors, many of which deal 
 with the racy and fantastic folk lore of that far northern coun- 
 try where a deep spiritual life has always flourished, at times 
 full of mysticism, as in Swedenborg, and illuminating art and 
 literature with its undying interest and significance. 
 
 A Gold Medal was awarded for sculpture to Gottfrid Larsson, 
 and one to Eric Lindberg for medals. 
 
 Uruguay. 
 
 This republic's interesting exhibit is in Room No. 19. 
 
 Manuel Rose, an artist who has been trained in France, was 
 awarded a Gold Medal. He is represented by six paintings, mod- 
 ern in technique and varied in subject matter. They are num- 
 bered from 52 to 57, inclusive. 
 
 Silver Medals were awarded to C. de Arzadun (Nos. 1 to 8) ; 
 to Milo Beretta (Nos. 9 to 21) ; to Carlos Castellano (Nos. 24 to 
 30; to Jose Cuneo (Nos. 32 to 41); and to Domingo Puig (Nos. 
 45 to 48). The bust of General Artigas, by Jose Belloni, is to be 
 presented to the Pan-American Union at the conclusion of the Ex- 
 position. 
 
 CHAPTER XI. 
 The Annex to the Fine Arts Palace: Norwegian, Austrian, Hun- 
 garian, Spanish, English, Finnish, Italian, Futurist, Besnard. 
 
 From the point of view of modernity, the new building erected 
 to house the works collected abroad and brought here after the out- 
 break of the European war — a most remarkable enterprise which 
 reflects special credit upon Commissioner J. N. Laurvik, who, as a 
 special representative of the Department of Fine Arts, carried it 
 through — is the most interesting portion of the Fine Arts depart- 
 ment. Here are brought together works which show the ferment and 
 the most extreme examples of all the tendencies in contemporary art 
 abroad which witness to the strength and directions of the pe- 
 riod of storm and stress through which art, in common with all 
 other branches of human culture, is today passing, to what 
 unknown ends who shall say? 
 
 The principal things to be seen in this new building are the 
 following: 
 
 The Hungarian exhibit, on the ground floor. 
 
 61 
 
The Spanish department, on the ground floor. 
 
 The Brangwyn etchings, on the ground floor. 
 
 The Norwegian exhibit, on the top floor, including the Fritz 
 Thaulow room. 
 
 The English exhibit, on the upper floor. 
 
 The Besnard room, on the upper floor. 
 
 The room devoted to the Finnish painter. Axel Gallen- 
 Kalella. 
 
 The exhibit of paintings and sculpture by the Italian 
 Futurists. 
 
 The Hungarian Exhibit. 
 
 Entering by the door opposite the main fine aits building, 
 if you will turn to your left you will find in the first room the 
 retrospective section of the very notable Hungarian exhibition. 
 The two next rooms on the same side of the building as the 
 retrospective gallery contain works by the painters of the Acad- 
 emic schools of Hungary. Leaving the third of these you turn 
 to your right and enter one of two central rooms which contain 
 modern works. In the room directly opposite the retrospective 
 room are the ultra-modern pictures, and communicating with 
 •this room are two others which contain Hungarian sculpture 
 and drawings and other "graphics," etchings, and piints. 
 
 In a smaller room opening from the last of those devoted 
 to Hungarian graphics are paintings by two Austrian artists. 
 One is John Quincy Adams, a lineal descendant of the famous 
 American statesman, and a naturalized citizen of Austria. He 
 is the winner of a Gold Medal granted for the work shown here, 
 two poi traits, one being of his wife. Another Austrian artist, 
 Horatio Gaigher, ex:hibits in this room two interesting portraits, 
 one of Pope Benedict XV, and the other of the late pope Pius 
 X, both made from life. Mr. Gaigher has been granted a 
 Silver Medal. 
 
 Other winners of high honors in the Austrian and Hungarian 
 sections are the following: 
 
 Istvan Csok, Hungarian, Gold Medal, who exhibits eight 
 pictures among the modern works, and who occupies a place 
 of the utmost importance in European art today. 
 
 Lajos Mark, Hungarian, Gold Medal, who has five works in 
 the modern gallery. Ede Teles, Hungarian, Gold Medal, for 
 sculpture. 
 
 Janos Vaszary, Hungarian, Gold Medal, who exhibits six 
 canvases, among the representative moderns. 
 
 The winners of Silver Medals among the Hungarians were 
 as follows: Count C. Y. Batthyanyi, Gyula Glatter, Baron F. 
 Hatvany, Oszkar Glatz, Pal Javor, B. Karlovsky, Ferencz Lipoth, 
 Baron Mednyansky, Geza Vastagh, and Horatio Gaigher, an Aus- 
 trian. Silver Medals for Sculpture were awarded to O. Fulop 
 Beck and Guyla Muranyi, Hungarians. 
 
 SPANISH SECTION 
 
 There are three rooms devoted to paintings from Spain. 
 
 The Medal of Honor award was granted to Elisee Meifren. 
 whose large land-and-seascape occupies nearly all of one of the 
 walls. 
 
 Gold Medals were won by three Spaniards, Carlos Vasquez, 
 Valentin de Zubiarre, and Conde de Aguiar. 
 
 62 
 
Frank Brangwyn , -' T: '.',»' »* 
 
 A Medal of Honor was granted ,tci ,B^i:&;ij^; BVaagwyii/tlii3 ' 
 English artist, for etchings. Brangwyn is given a special place 
 in a room on the ground floor. Eminent as mural painter 
 (his work may be seen in the Court of Abundance), Brangwyn 
 is also one of the leading etchers of today. 
 
 Norwegian Section 
 
 The rooms on the northern side of the upper floor are de- 
 voted to the remarkable exhibition sent to this country by the 
 artists of Norway. 
 
 The first room to be visited should be the one in the north- 
 east corner, which contains works of the academic school, 
 plus more modern tendencies. The next room contains modern 
 work, notably that of Henrik Lund and Edvard Munch. The 
 next is given over to Fritz Thaulow, the famous Norwegian 
 master, who was, of course, hors concovrs. Next comes another 
 modern room, Halfdan Strom and Christian Krogh pre-eminent 
 (a very interesting note in this room is supplied by the work 
 of a Norwegian son of the French innovator, Gauguin, Pola 
 Gauguin), The next is the Harald S'ohlberg gallery. 
 
 To the last, Harald Sohlberg, was granted a Medal of Honor. 
 The large nocturnal landscape, where a huge ice mountain 
 looms beneath the mystical moonlight, is perhaps the most 
 striking of Sohlberg's tremendously vital work, but it is all 
 highly notable. 
 
 To Halfdan Strom was awarded a Gold Medal. 
 
 Silver Medals were granted to Edvard Diriks. Otto Hennig, 
 Christian Krohg, Henrik Lund, Sigmund Sinding, and Marie 
 Tannoe. 
 
 For work in Water Color a Medal of Honor was granted to 
 Olaf Lange, a Gold Medal to Edvard Munch, and Silver Medals 
 to Kristofer Ericksen and H. Hammerback. 
 
 English Section 
 
 Three rooms are given to the British painters. 
 
 Six of them were granted Gold Medals, these being: George 
 S'auter, C. W. Simpson. Harold Knight, Laura Knight, Harold 
 Speed, and H. Hughes Stanton. 
 
 Axel Galien-Kalella 
 
 To Axel Gallen-Kalella was granted a Medal of Honor. He 
 is a native of Finland, and one of the most interesting and 
 vital of modern artists. A very large number of his paintings, 
 ranging from his earliest work to that of his latest phase, are 
 shown in a special gallery on the top floor. 
 
 Italian Futurists 
 
 The works of the Italian Futurists are shown in a separate 
 gallery on the top floor. This work is the output of that grouii 
 of artists of whom Marenetti, the poet and pamphleteer, is the 
 acknowledged leader, and which most uncompromisingly pur- 
 sues the strange paths of this newest form of art. To those 
 who consider the subject worth studying is recommended 
 a very comprehensive study by J. N. Laurvik, entitled "Is 
 It Art: Post-Impressionism, Futurism, Cubism?" It may be 
 said that the men of these schools, at least of Cubism and Fu- 
 
 63 
 
,tiu"i^m, 4esire to break clear away from all formal and tradi- 
 ! tiGrtal: iovms 0? fart ao.d*'to create entirely new expressions of 
 subjedtire eino'tib<as. , That' they do not succeed appears obvious, 
 but that possibly some worth-while form of the use of color 
 and line may develop from this desperate experimenting, who 
 may deny? 
 
 Besnard 
 
 In a separate room near the English galleries are hung a 
 number of works by Albert Besnard, the eminent French artist, 
 head of the French school in Rome, the result of his observa- 
 tions in India. 
 
 Kokoschka 
 
 The pictures of Oskar Kokoschka, an Austrian artist of the 
 ultra-modern school, are in the room at the southeastern corner 
 of the top floor. He is a portrait painter who is the subject 
 of much controversy. 
 
 FINAL NOTE. 
 
 In order to obtain more than a superficial acquaintance with 
 the art of the Exposition, the reader of this sketch of some of its 
 outstanding features is earnestly recommended to follow up this 
 introduction to the subject with a systematic and thorough course 
 of study. 
 
 There are experienced and efficient official docents, or guides, 
 attached to the department, who are pjepared to conduct individ- 
 uals or parties through the galleries. These docents have their 
 offices near the main entrance to the Fine Arts Palace. 
 
 Concerning the literature of the subject, it should be noted 
 that Robert B. Harshe, the Assistant Chief of the department, 
 has compiled an ample bibliography of the books and magazine 
 articles dealing with practically all phases and personalities of 
 modern art. This "Reader's Guide to Modern Art" is for sale 
 at the entrance to the Fine Arts Palace. 
 
 The jury of distinguished artists and experts representing all 
 the nations exhibiting took occasion, when submitting their re- 
 port, to declare that as a whole this exhibition is the best ever 
 held in America, and, despite the fact that the war has kept away a 
 certain number of foreign works, that the European sections are 
 commendably comprehensive; also, that the print department is 
 far superior to any similar exhibition ever held in the United 
 States, and, furthermore, they specially praised the unique out- 
 door installation of the sculpture. 
 
 This official verdict simply confirms the public judgment. 
 Above all other aspects of the Exposition, its success in the do- 
 mains of art is the great and most vitally significant fact, and it 
 is my hope that this little book will be of service in disseminating 
 its fecund influence. 
 
 64 
 
A READER'S GUIDE 
 TO MODERN ART 
 
 ROBERT B. HARSHE, Assistant Chief of the De- 
 partment of Fine Arts of the Panama-Pacific- Interna- 
 tional Exposition, has compiled in a systematized index the 
 accessible bibliographical material dealing with modern art 
 and artists. ^ While this guide was put together primarily 
 as an index to the artists represented in the Palace of Fine 
 Arts at the Exposition it is also a compact review of mod- 
 em art. A skeleton outline is sketched of the art epochs in 
 each country, becoming broader and more detailed as the 
 art of the last ten years is reached. ^ This guide is indis- 
 pensable to all libraries, and all clubs which study art. It is 
 also of the utmost interest and value to lovers of art, who 
 wish to supplement their appreciation with a fund of knowl- 
 edge. It will be particularly useful to ail those who are now 
 studying the great exhibition in San Francisco. 
 
 PRICE 50 CENTS 
 
 Published byj THE WAHLGREEN COMPANY, Official 
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 Panama- Pacific International Exposition 
 
 
 
 San Francisco, California 
 
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