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THE PALACE OF FINE ARTS AND THE 
 FRENCH AND ITALIAN PAVILIONS 
 
By the Same Author 
 
 THE CITY OF DOMES 
 
 A Walk with an Architect About the Courts and Palaces of the 
 Panama-Pacific International Exposition with a Discussion of 
 its Architecture, its Sculpture, its Mural Decorations, its Color- 
 ing, and its Lighting, Preceded by a History of its Growth. 
 
 Our best all-round volume on the great Exposition. Edwin Markham. 
 
 It is the art side, the architecture, the sculpture, the decorations, the 
 coloring and lighting, that John D. Barry deals with in "The City of 
 Domes" in a manner that is instructive and entertaining. The book, after it 
 has served its present guide purpose, will have to be consulted for any his- 
 torical record of the achievement. The pictures are admirable. New York 
 Sun. 
 
 Prospective visitors to the Panama-Pacific International Exposition will 
 be interested in "The City of Domes," prepared by John D. Barry in be- 
 half of just such readers. The body of the book describes a walk around 
 the courts and palaces with an architect, thus embodying much interesting 
 information. The introduction discusses the Exposition's growth and pur- 
 pose, and there are clever lists of the features best worth studying, day and 
 night. More than fifty illustrations support the text. Chicago Herald. 
 
 Mr. John D. Barry's book on the Exposition may be confidently recom- 
 mended to visitors who wish not only to see, but to understand, not only to 
 admire, but to know why they admire. There are few who would miss an 
 opportunity to walk through the grounds and courts under the guidance of 
 the artists who planned and executed them, and it is the best possible sub- 
 stitute for such an excursion that Mr. Barry provides. . . . Nothing es- 
 capes him that is worthy of attention, and his explanations are invariably 
 what they should be and intelligently addressed to intelligent minds. The 
 introduction is devoted to an account of the early development of the Ex- 
 position project a most satisfactory feature while the numerous illus- 
 trations are well selected and well executed. The Argonaut. 
 
 There is much enlightened appreciation of the artistic features of the 
 Exposition in "The City of Domes," by John D. Barry, whose literary man- 
 ner is so admirably adapted to the task of simple and clear explanation. 
 With the author on his excursion goes an architect, who, whether real or 
 imaginary, is singularly well informed. Together they talk of the various 
 courts and palaces, the architecture, the sculpture, the mural decorations, 
 the coloring and the lighting. It was a happy thought, that of the dialogue 
 form, for one really seems to be listening to two voices instead of only one, 
 and to be given two sets of impressions. Perhaps it is not too late for 
 some Marion Crawford to assemble the shades of the great painters and 
 sculptors and have many opinions on the masterpieces of the Exposition. 
 Meanwhile the Barry book will be found that something ever so much 
 more valuable than the best catalogue, the personality of one who loves 
 
art and longs to convey his emotions as well as his information to others. 
 . . . An introduction furnishes a history of the growth of the Exposition, 
 and the well-printed pages with their high-grade paper are more than 
 liberally punctuated with beautiful pictures. San Francisco Chronicle. 
 
 The beauty of Mr. Barry's vade mecum is that it is not mere "pub- 
 licity," nor a mere guide book, nor aimed primarily at the booming of the 
 Exposition; no drummer or barker would admit, as he does, that there are 
 many things to be criticised. His companions are brilliant talkers and, be- 
 sides being trained artists and architects, these interlocutors, like Mr. 
 Barry, approach their subject always from the social philosopher's view- 
 point. "Most columns of this kind," he writes of the Column of Progress, 
 " had celebrated some great figure or historic feat, usually related to war. 
 But this column stood for those sturdy virtues that were developed, not 
 through the hazards and the excitements and fevers of conquest, but through 
 the persistent and homely tests of peace, through the cultivation of those 
 qualities that laid the foundations of civilized living." The significance of 
 the location, the physical and topographical environment have their philos- 
 ophy and suggestion, according to Mr. Barry and his friends. "When I 
 mentioned that there ought to be more boats out there on the bay, a whole 
 fleet, and some of them with colored sails, to give more brightness, the 
 architect shook his head: "The scene is typically Californian. It suggests 
 stretches of vacant country here in this State, waiting for the people to come 
 from the overcrowded East and Middle West and thrive on the land." 
 
 "All things considered," says one of Mr. Barry's critics, "the archi- 
 tects did an uncommonly fine job in making the courts run from the Es- 
 planade," though there have been critics who said that the entrance courts 
 ought to have been placed on the other side that is, that the Exposition 
 ought to have been turned round. But this would have been to sacrifice 
 the view of the Exposition from the water, which is wonderfully fine "in 
 bringing out the charm of the straight lines." Past an inner court which 
 the workmen thereabouts call "Pink Alley," its proper name the Court of 
 Mines, the critics come to the Court of Ages and here the architect draws 
 a long breath: "In this court we architects feel puzzled. We think we can 
 read new architectural forms like a book, and find that they are saying 
 things repeated down the ages. But we can't read much here. In that 
 lovely round arch there are hints of the Gothic, yet it is not a Gothic arch. 
 Throughout the treatment there are echoes of the Spanish, and yet the 
 treatment is not Spanish. The more one studies the conception and work- 
 manship the more striking it grows in originality and daring. The whole 
 evolution of man is intimated here, from the time when he lived among 
 the seaweed and the fish; even the straight vertical lines used in the design 
 suggest the dripping of water." . . . The design was mercilessly cut down 
 by the fiscal limitations of the management, but the architect-critic registers 
 with Barry the opinion that "the chances are that Mullgardt will go down 
 into history for his daring here. ... It represented a big opportunity and 
 Mullgardt was big enough to get away with it." So Mr. Barry's little book 
 takes the reader from court to court through the Panama-Pacific, with his 
 knowing mentors, appraising, rather than applauding, everything, yet with 
 a generous appreciation and a rare interpretive insight for the subtler sig- 
 nificance. "The Listener" in The Boston Transcript. 
 
Mr. Barry's three books on the Pan- 
 ama-Pacific International Exposition: 
 "The City of Domes" ($1.50), "The 
 Palace of Fine Arts and the French 
 and Italian Pavilions" (50 cents), and 
 "The Meaning of the Exposition (25 
 cents), may be secured without delivery 
 charges by writing to Dept. B., H. S. 
 Crocker Co., 565 Market Street, San 
 Francisco. 
 
 "The Meaning of the Exposition" is 
 a small paper-covered volume, beauti- 
 fully printed, and with an ornamental 
 cover-design, published in an envelope. 
 It is developed from lectures many 
 times delivered by Mr. Barry on the 
 Exposition grounds, in Recital Hall. 
 
THE PALACE OF 
 FINE ARTS 
 
 AND THE 
 
 FRENCH AND ITALIAN PAVILIONS 
 
 A WALK WITH A PAINTER, WITH A 
 
 DISCUSSION OF PAINTING AND SCULPTURE, 
 
 AND SOME OF THE WORKERS THEREIN, 
 
 MAINLY FROM THE PAINTER'S 
 
 POINT OF VIEW 
 
 By 
 JOHN D. BARRY 
 
 AUTHOR OF "THE CITY OF DOMES" AND 
 "THE MEANING OF THE EXPOSITION" 
 
 PRICE FIFTY CENTS 
 
 SAN FRANCISCO 
 
 H. S. CROCKER COMPANY 
 1915 
 
COPYRIGHT, 1915, BY JOHN D. BARRY 
 
 /v 
 
 
 PRINTED BY TAYLOR & TAYLOR, SAN FRANCISCO 
 
TO 
 
 THE ART-WORKERS OF 
 
 THE WORLD, WHO HAVE DONE SO 
 
 MUCH TO KEEP ALIVE THE 
 
 SPIRIT OF BEAUTY 
 
 313057 
 
CONTENTS 
 
 PAGE 
 
 Title Page I 
 
 Table of Contents . V, VI 
 
 Foreword VII 
 
 Preface IX-XII 
 
 Out-Door Gallery, The 1-3 
 
 First Impressions 4-5 
 
 Sargent 5-8 
 
 Old Masters, The 8-10 
 
 Whistler 11-13 
 
 The Impressionists 14-18 
 
 Frieseke, Tanner and Melchers 18-21 
 
 Swedish Section, The 22-29 
 
 French Section, The 29-32 
 
 Italian Section, The 32-34 
 
 Women Painters' Room, The 35-37 
 
 Japanese Section, The 37-42 
 
 Chinese Section, In the 43-45 
 
 French Pavilion, The 45-53 
 
 Italian Futurists, The 53-58 
 
 Italian Pavilion, The 59-61 
 
 Fifteen Distinguished American Artists: 
 
 Chase, William M 62 
 
 Duveneck, Frank 62 
 
 Hamilton, John McClure 63 
 
 Hassam, Childe . 63 
 
 Keith, William 63 
 
 Mathews, Arthur 64 
 
 McComas, Francis 64 
 
 Melchers, Gari 64 
 
 Pennell, Joseph 64 
 
 Pyle, Howard 65 
 
 Redfield, Edward W 65 
 
 Sargent, John Singer . 65 
 
 Tarbell, Edmund C 65 
 
 Twachtman, John H 66 
 
 Whistler, John McNeill 66 
 
 Painters and Sculptors Whose Work Ought to be Noted - 67 
 
FOREWORD 
 
 HESE TALKS I 
 have treated as it 
 they were one talk, 
 for the sake of com- 
 pactness.They rep- 
 resent many visits 
 to the buildings 
 they discuss, and, 
 though they deal 
 with only a part of the great mass of art- 
 works there, they touch on many themes. 
 Wherever I could, I wished to keep for- 
 ward the point of view of the painter, 
 first, because I do not claim to speak with 
 authority on art, and secondly, because the 
 professional point of view, coming from the 
 inside, seems to me decidedly more worth 
 while than the layman's. It is for the pur- 
 pose of helping the layman to take the 
 professional point of view that this little 
 book has been written in this particular 
 way, with emphasis on painting, which is 
 less easily comprehended than sculpture, 
 particularly in its modern phases. 
 
PREFACE 
 
 DON'T know anything about art," says a 
 friend with the courage of his opinions, 
 "but I know what I hate." 
 
 His words may give comfort to those 
 people who go to the Exposition and face 
 the Palace of Fine Arts with the feeling 
 that they ought in some way to show ap- 
 preciation. So many of them feel bewildered before the 
 mass of paintings. Where are they to begin? What is real- 
 ly worth while? What is the meaning behind all this mys- 
 tery which so often seems like mere eccentricity? Since 
 the painters themselves so violently disagree, denouncing 
 as horrors and frights canvases that have been awarded 
 medals by juries composed of painters of distinction, how 
 is anyone to know what is really good ? 
 
 A lady in a very perturbed state of mind wrote me a 
 letter the other day, saying, among other things: "In the 
 Palace of Fine Arts I have noticed the picture of a fat, 
 nude woman eating an apple. Is it supposed to be fine? 
 Ought we to admire it?" The questions were not altogether 
 easy to answer. Perhaps there isn't any "ought" in the 
 matter. When art becomes a matter of duty it ceases to 
 fulfill its function. The proverb about taste applies to paint- 
 ing as well as to other kinds of endeavor. So far as that 
 particular picture is concerned I can conceive of two di- 
 rectly opposite points of view, equally intelligent. Some 
 people find gratuitous nudity in art offensive. Other people 
 find it beautiful, as a rule artists and those who pride them- 
 selves on being emancipated from prejudice. There are 
 still others who take a middle course and find both ex- 
 tremes tiresome. In itself the portrait of a nude fleshy 
 
x PREFACE 
 
 woman eating an apple does not seem to be especially in- 
 spiring. And its right place may not be in an international 
 exhibition. What its right place is might be hard to say 
 possibly one of those luxurious bar-rooms that do so much 
 to cultivate taste. 
 
 On the other hand, I can conceive of a painter taking a 
 great deal of pleasure in making a technical study of a 
 painting where a nude woman is eating an apple, admiring 
 the skill of the flesh tints, the outline of the figure, even 
 the color of the apple, noting how the color of the apple 
 harmonizes with the deep green of the background. One 
 of the most appealing qualities among painters is their 
 faculty forgetting pleasure out of little things. In this re- 
 gard they are like children. It must be this quality in them 
 that gives meaning to that saying, "Art recovers the inno- 
 cence of the eye." 
 
 Only the other day, when I was walking through the 
 Palace of Fine Arts with a painter, I mentioned that a cer- 
 tain picture impressed me as being a childish conception, 
 and he rebuked me by saying : "You are paying the painter 
 a compliment. The instinct of children in matters of art is 
 usually sound. They paint what they see. They haven't 
 learned to blur their vision with preconceived ideas." 
 
 Much, then, it is plain, depends on the attitude of mind 
 that we take on entering a picture gallery. "Abandon preju- 
 dice, all ye who enter here" might be written over the 
 door. Even in this vexatious matter of nudity there should 
 be allowance. At the same time it should be borne in mind 
 that painters, like other specialists, are almost certain to be 
 influenced by professionalism. In their attitude toward 
 nudity they take a very superior air. They think the public 
 must be educated up to their views. Some of them make no 
 concessions at all to what the world at large regards as 
 delicacy or modesty. With approval they cite the frank- 
 
PREFACE xi 
 
 ness of the Greeks in this matter, forgetting that it was the 
 expression of a civilization very different from our own. 
 
 Of one consideration we may be sure, whether we are 
 trained to an understanding of art or untrained : No matter 
 what subject the artist may treat, no matter what style he 
 may paint in, he will express himself. Painting is like any 
 other form of expression. It is a kind of speech. The instant 
 a painter gives a picture to the public he reveals his own 
 qualities. It is to discern the mind and the character be- 
 hind the work that ought to be the prime object of the ob- 
 server. Sometimes it is not easy to find the key, and till it 
 is found the meaning of a picture must remain hidden. 
 Here, perhaps, lies an explanation of much of art's mys- 
 tery. We look at art from our own point of view instead 
 of looking at it from the artist's point of view. Instead of 
 saying, "Why did he do this thing in this particular way?" 
 we say, "Why didn't he do some other thing in some other 
 way," which amounts to saying, "When he was trying to 
 express himself, why didn't he express me?" 
 
 There is another consideration to be kept in mind. 
 Painters often speak as if current art were a fixed thing, as 
 if it were scientific. By art they usually mean the way they 
 like and practice. But art is largely a matter of fashion. 
 Someone starts a new fashion. Its imitators make a school. 
 They have the truth, the only truth. But it is merely the 
 latest truth. Tomorrow it may be derided. The instant art 
 becomes old-fashioned it is likely to be funny. Meanwhile, 
 however, the old masters remain, out of the reach of time. 
 
 A good way to realize the relativity of art is to begin a 
 survey of the pictures in the Fine Arts Palace by looking 
 at Thomas Hovenden's "Breaking Home Ties." At the 
 Chicago Exposition, nearly twenty-five years ago, it made 
 a sensation. In reproductions it went all over the country. 
 Now it is almost unnoticed. The vogue of the sentimental, 
 
xii PREFACE 
 
 story-telling picture has passed. And yet the picture re- 
 mains the same. And the appeal that caused it to reach a 
 multitude of hearts is still there and would operate again 
 if people were told they ought to feel it. Among the un- 
 sophisticated observers, unaware of what the present fash- 
 ion in art happens to be, it still operates. It is a beautiful 
 thing, finely painted, telling a story, as a skillful writer 
 would do, by means of carefully-presented characteriza- 
 tions. 
 
 When we keep the relativity of art in mind we can see 
 why an interest in one style ought not to create a preju- 
 dice, as it so often does, against other styles. A lover of im- 
 pressionism ought to be able to enjoy the dark tones that 
 give richness and depth to the work of the old masters and 
 their followers, qualities, for example, conspicuous in the 
 canvases here by Duveneck, of the Munich school, and 
 Keith, of the Barbizon school, devoted to the romantic 
 treatment of landscape. There is no real antagonism be- 
 tween the academic and the open-air painters. They mere- 
 ly see and express themselves in different ways. Unfortu- 
 nately, enthusiasm for a certain kind of art, like many 
 other kinds of enthusiasm, develops limitation. 
 
THE OUT-DOOR GALLERY 
 
 i 
 
 ERE is a feature of the Exposition that the di- 
 rector of the Fine Arts Department, Trask, 
 deserves a great deal of credit for," said the 
 painter as we strolled in the direction of the 
 southern end of Maybeck's magnificent colon- 
 nade, with a view to examining the out-door 
 gallery. "At first some of the artists were in- 
 clined to take a critical attitude toward it; 
 but they must all have been impressed by the 
 great success it has made with visitors. It includes some very in- 
 teresting pieces by some of the best American sculptors. There 
 are three big men, close together, for example, Frederick G. R. 
 Roth, Cyrus Dallin and G. B. Proctor. Roth's sea-lions have a 
 curious interest; Dallin's 'Scout* is worthy of all the praise it has 
 had for its quiet strength and sincerity, and Proctor's American 
 bisons are finely done." 
 
 In the colonnade the painter expressed enthusiasm for what 
 Maybeck had done here. "How cleverly he has suggested over- 
 growth, with a kind of tropical luxuriance. This colonnade alone 
 would make his work remarkable even if the other features didn't 
 have their own originality. So far as I know, Maybeck has done 
 something never thought of before in the history of art. He has 
 deliberately created a classic ruin and invested it with poetry. In 
 this colonnade he has given sculpture the most picturesque back- 
 ground it could possibly have had. In no other Exposition has 
 anything like it been attempted." 
 
 In the "Muse Finding the Head of Orpheus," we thought we 
 could see why Edward Berge had made so successful an appeal to 
 the public. In the first place the design had a remarkable delicacy 
 and beauty. Then, too, it was original and dramatic. The work 
 sent us to those two other figures by Berge near by, "Boy and 
 Frog" and " Wild Flower," both delightful in sentiment and clever 
 in treatment. In "Wild Flower" the figure of the little girl leaning 
 forward with the hands in a pretty gesture at either side was 
 
2 THE PALACE OF FINE ARTS 
 
 wonderfully appealing. "After this Exposition," the painter said, 
 "there is likely to be a large number of figures of children put on 
 the market. All the children in this out-door gallery have been 
 liked, those by Janet Scudder and Edith Baretto Parsons being 
 special favorites. The Parsons 'Duck Baby' has as many admirers 
 as the Berge 'Wild Flower/ though it isn't so well modeled. Paint- 
 ers and sculptors may talk as much as they like about the minor 
 importance of a subject. But there are some subjects that are 
 bound to stay popular with the people in general and one of them 
 is babies. If I were a sculptor and wanted to make my eternal 
 fortune I should devote myself to babies exclusively." 
 
 We stopped before Robert Aitken's small group representing 
 Michael Angelo at work on his massive figure of "Day" for the 
 Medici chapel in the church of San Lorenzo, Florence. "It's a 
 little too small for its theme and for these splendid surroundings," 
 the painter remarked. "This criticism applies to several of the 
 pieces set out here. They are somewhat out of scale. Nevertheless, 
 the effect, on the whole, is good, and it is to the credit of the visit- 
 ors that they have been appreciative. However, most of them pass 
 over this very typical work of Aitken's, possibly because it is a 
 little off the path. It's decidedly worth noting, both because it is 
 so vigorously handled, with strongly characterized surfaces, and 
 because it so frankly expresses Aitken's admiration for the master 
 whose spirit he has echoed so interestingly in those four figures 
 that adorn the Court of the Universe and in that elaborate and 
 powerful, but over-symbolized, Fountain of the Earth in the Court 
 of the Ages. San Francisco has good reason to be proud of the 
 sculptors she has given to the world, such men as Stackpole, 
 Walter, Putnam, Patigian and Aitken. Each has his own individu- 
 ality and among them Aitken is distinguished for his daring. 
 
 "The Outcast," by Atillio Piccirilli, was another of the popular 
 successes. In studying it the painter thought he could understand 
 why. "It strikes you right in the face by the very strength of the 
 despair expressed in the attitude of the nude figure. It was a good 
 idea, by the way, to make the figure nude and to give it so much 
 vitality, which somehow adds to the poignancy of the feeling. It 
 illustrates the use of light and shade in the modeling, which is 
 just as important in a work of sculpture as in a painting, though 
 not so plain to the unpracticed eye, which is likely to prefer the 
 
FRENCH AND ITALIAN PAVILIONS 3 
 
 smooth surfaces, as characterless as a photograph with all the 
 lines touched out. I don't suppose it would be here," the painter 
 continued as we started to pass on, "if Rodin hadn't done his 
 Thinker.' To my mind it's just as impressive and is far more con- 
 sistent in its psychology." 
 
 In the rotunda we found the most ambitious of all the out- 
 door pieces, Paul Wayland Bartlett's equestrian statute of La- 
 fayette. "Only a man with a fine pictorial sense could have done 
 this work," the painter exclaimed. "It was an inspiration on the 
 part of Trask to have it placed here. It can stand the majesty of 
 the surroundings. Many people consider Bartlett our biggest 
 sculptor. It was certainly a great compliment that he should 
 have been chosen to make this work for Paris. That post under the 
 figure of the horse had to be used to hold up the plaster copy. 
 Otherwise the group would have blown down. In bronze, of 
 course, the effect is much more impressive. But here you can see 
 how finely the horse and the rider have been developed and with 
 what heroic spirit." 
 
 The Daniel Chester French Student Memorial Statue struck us 
 both as being a spirited presentation of a familiar type of college 
 youth, but as somewhat overladen with symbolism. Why should 
 so many incongruous symbols go together, the sweater, the books, 
 the college gown? Symbolism was at its best when it did not hit 
 you in the face, when it stole quietly into the consciousness. 
 
 As we passed Grafly's "Pioneer Mother" a group of women 
 were discussing it with animation. "This group has probably done 
 more than anything else on the grounds to stir up artisti? feeling, 
 particularly among Californians. They think that they own it. 
 They have the sense of relationship which is so important in art. 
 After all, if we don't feel related to what we look at, we are all at 
 sea. We can't form intelligent opinions. Grafly ought to get a 
 gold medal, not because he's done a fine piece of work here, for 
 he hasn't, but because he has done something that has made peo- 
 ple think about artistic fitness." 
 
FIRST IMPRESSIONS 
 ii 
 
 S WE entered the rotunda the painter remarked : 
 "Many people pass through here without stop- 
 ping to realize that it is packed with good 
 things. This fountain by Gertrude Vanderbilt 
 Whitney, in the center, is charming. I like it 
 even better than the 'El Dorado,' which has 
 brought her so much praise, the fountain under 
 the Tower of Jewels. Interesting as 'El Dorado' 
 w i"*"""""" ^ ** j S) ft somehow gives me the sense of strain. 
 The sculpture here includes the work of Carl Bitter, James L. 
 Fraser, Attilio Piccirilli, Sterling Calder, Bela L. Pratt, Frederick 
 G. R. Roth, Robert Aitken and Herbert Adams. These four panels 
 by Henry Hering, from Yale University, are very interesting. 
 Then there is the Alice Freeman memorial, from Wellesley Col- 
 lege Chapel, by Daniel Chester French. The original is in white 
 marble. A few years ago Mrs. Palmer was a great figure in Ameri- 
 can education. She is still revered by those who knew her person- 
 ally or by report. The paintings for this spot have been very well 
 chosen. There are those who think the big canvas that strikes 
 your eye as soon as you come in here, 'The Joy of Life,' by Alex- 
 ander Harrison, is not one of the best of Harrison's canvases; 
 but it seems to me very characteristic and very finely done. And 
 the 'Field of Poppies,' by Robert Vonnoh, makes a beautiful spot 
 of color on the wall. Every time I come here it attracts my eye." 
 
 We turned to the right and found ourselves in gallery eighty. 
 "I like to call this the 'Boston and New England Room'," said 
 the painter. "Look at these canvases and see if they aren't New 
 England all over. The seven paintings by Williard L. Metcalf are 
 among the gems of the exhibit. After looking at them, are you sur- 
 prised that Metcalf is given a medal of honor? 'Trembling Leaves' 
 is to me as fine a piece of work as you can find among all the men 
 of today that are represented here. It is an ideal picture to have 
 in the house. It vibrates with light and color. It gives you the 
 sense of being out of doors. It could have been done only by a 
 man who had a deep love of nature in his heart, and who also had 
 very remarkable skill. It doesn't belong permanently in a gallery. 
 It's too intimate. Nothing just like it has ever been done before. 
 
FRENCH AND ITALIAN PAVILIONS 5 
 
 The whole canvas flickers. But for Monet it could not have been 
 done." 
 
 The next room that held us was gallery seventy-six, where we 
 found twelve paintings by Arthur F. Mathews and ten paintings 
 by Francis McComas. "Here we are in California and Arizona. 
 Mathews is the dean of California painters. See how individual 
 and original he is in his design and coloring. Everything he does 
 is decorative and full of refinement. It's reported that he would 
 have been given the great prize if he hadn't been a member of the 
 jury. He always knows just what he wants to do, and he does it 
 skilfully and finely. The work of McComas is always character- 
 istic, too. He is a master of atmospheric and rich color effects. 
 How interesting and poetic he makes those trees of his. In his 
 Arizona studies he has a chance to demonstrate his talent for 
 dealing with light. Of all our painters he is one of the most 
 poetic." 
 
 SARGENT 
 in 
 
 IKE most visitors to the gallery, we were eager 
 to reach the Sargent room. To enter it we 
 passed through the room devoted to the work 
 of Gari Melchers, the painter of Dutch types 
 and Dutch scenes, all full of vitality, close to 
 the earth. With those canvases in our minds it 
 was somewhat disturbing to face the Sargents, 
 sophisticated, refined and subtle, made by the 
 contrast to seem a little attenuated. "There's 
 one of the disadvantages of an exhibition," said the painter. "It 
 brings together canvases that ought to be miles apart, that have 
 no relation to one another." 
 
 At once we were drawn to the famous portrait of Madame 
 Gautreau, the antithesis of those Dutch peasants of Melchers', a 
 distinct type, the slim and graceful and highly cultivated modern 
 Frenchwoman, standing beside a table in evening dress, bare neck 
 and arms, her right hand holding the table's edge, the right arm 
 marvelously well painted. "Sargent often paints those exotic, ner- 
 
6 THE PALACE OF FINE ARTS 
 
 vous women, and here he has a subject that he is particularly suc- 
 cessful with. The simplicity and the finensss of the arrangement 
 is one of the portrait's greatest charms. And how delicately he has 
 brought out that profile. And see how he has suggested the make- 
 up on the face, the sickly pallor that so many women of fashion 
 nowadays like to cultivate. The arms and the hands are master- 
 pieces of painting and the whole characterization is brilliantly 
 achieved. Velasquez would have applauded that portrait. Sargent 
 has been greatly influenced by Velasquez. He's always running 
 down to Spain to refresh himself with new impressions of the 
 master." 
 
 On the opposite wall we found the portrait of Henry James, 
 the novelist, that leaped into world-wide celebrity a couple of 
 years ago when it was slashed in London at the annual Academy 
 exhibition by a militant suffragette. "Observe the difference be- 
 tween the work done on the Madame Gautreau canvas and the 
 work here. In one there's a hard brilliancy. But when Sargent 
 painted James he was painting a life-long friend and he put heart 
 into his work. The pose of the figure and the treatment of the 
 face are admirable. The tired eyes are shrewd and yet sympa- 
 thetic. The mouth is wonderfully indicated, kindly, but yet strong. 
 By the way, they've repaired the damage very skilfully. There's 
 only a faint line over the left side of the mouth that can be seen, 
 and it might be taken for a brush stroke." 
 
 At that moment a gentleman who stood beside us spoke up. 
 "I happened to be in the Academy when the picture was slashed," 
 he said. "A few minutes before I noticed a woman wandering 
 about with a basket in her hand. She didn't look like a person in- 
 terested in art and I wondered what she could be doing there. 
 She made quick work of the picture and the next minute they had 
 it off the walls." 
 
 Then we were told that Sargent had given up portrait paint- 
 ing. "Why should I go on making unimportant people famous?" 
 he said one day. He didn't need the money any more. He had be- 
 come rich from his work. For a sketch that he could finish in a 
 half hour or perhaps ten minutes, he often received as much as 
 two or three thousand dollars. 
 
 When the stranger had taken himself off the painter at my 
 side remarked: "There's a camaraderie about an interest in art 
 that breaks down our usual reserves. I often have interesting en- 
 
FRENCH AND ITALIAN PAVILIONS 7 
 
 counters with people like that gentleman here. And the desire of 
 the uninformed people who are trying to get a line on the pic- 
 tures is almost pathetic. They often gather around anyone that 
 talks about the pictures." 
 
 Just then one of the women guides entered the room with a 
 group of visitors. Perhaps we ought not to have listened, but we 
 were human. "Now here's a man that knows about people," she 
 said. "He tells us all about the race and the social position and 
 the characters of his subjects. But he doesn't know anything about 
 air or sunshine. Lately he's taken to painting landscape. He'd do 
 much better to stick to his portraits." 
 
 With this summing up, the guide gracefully swept from the 
 room. "She didn't do a thing to Sargent, did she?" said the paint- 
 er. "But she's right in saying that Sargent doesn't pay much atten- 
 tion to atmospheric effects. His landscapes, nevertheless, are very 
 interesting and characteristic. And his backgrounds are masterly. 
 See how perfectly that nude study of a girl is done over there, and 
 how distinct it is from the background." 
 
 It was the portrait work that held our attention. Best of all, 
 I liked the Joe Jefferson, the actor to the life, with youth shining 
 through the age in the face, exactly as it had done in life to the 
 latest year. One could almost hear Rip's voice speaking out of the 
 canvas. 
 
 The "Spanish Gypsy" and the "Spanish Courtyard," though 
 they might not have been "atmospheric," were, nevertheless, as 
 the painter said, "Spain all over." The Gypsy had the lazy grace, 
 the dramatic pose and the coloring that suggested Calve in "Car- 
 men." "Sargent catches quick and characteristic expressions," 
 said the painter. "He's intuitive and he's daring. Though he often 
 faintly suggests other painters, he is always himself an extraor- 
 dinary talent." 
 
 "What can be the secret of this painter's gift?" I kept asking 
 myself. I thought I found it in studying the faces of those por- 
 traits, each distinctive, and yet all show the same technical meth- 
 od, marvelously expert. Sargent felt each subject in a curiously 
 subtle way, and he succeeded in bringing out the individual quali- 
 ties. He was like a novelist with a genius for conveying impres- 
 sions of character by a touch here and there. He knew how to 
 seize and to emphasize what was salient. The rapidity of work he 
 was so famous for suggested that he relied mainly on swift intu- 
 itions and on catching them while they were vivid in his mind. 
 
8 
 
 THE PALACE OF FINE ARTS 
 
 When I expressed these opinions, the painter remarked: "But 
 why try to analyze genius? Sargent is unique. We've never had 
 anyone like him, and we may never have another. Why not be 
 satisfied with enjoying what he's done?" 
 
 THE OLD MASTERS 
 
 IV 
 
 S THE painter led the way into gallery 63 he 
 looked around with satisfaction. "Here is a 
 room filled with treasure," he remarked. "Think 
 of the names that are represented. They include 
 Hogarth, Gainsborough, Valesquez, Guido Reni, 
 Ribera, Tiepolo, Sir Joshua Reynolds, Sir Peter 
 Lely, Sir Thomas Lawrence and George Rom- 
 ney. The Lawrence is an admirable example. 
 About that Velasquez I have my doubts, al- 
 though it was lent by Frank Duveneck. But about the Raeburn 
 portrait of John Wauchope there can't be any possible doubt. 
 Only a master could have painted that face in just that particular 
 way." 
 
 We walked forward to get a closer view. "If I were to pick out 
 a single canvas that seemed to me the most valuable in the whole 
 exhibit," the painter went on, "I should choose this one. It isn't 
 merely a portrait. It's a human being. The human quality looks 
 out of the eyes. There, after all, is the great test in a portrait. 
 Raeburn was mainly self-taught. He lived in Edinboro' at a time 
 when there was very little art feeling there. Nevertheless he de- 
 veloped a marvelous dexterity, the kind that seems to be uncon- 
 scious of itself, that works with freedom. Compare this portrait 
 with Sargent's magnificent study of Henry James and you will see 
 that Sargent appears at a disadvantage for the reason that he be- 
 trays effort. There is no effort here, and yet there is supreme art. 
 The edges of the portrait are particularly well done, and, as all 
 painters know, edges are hard to do. They are a good deal like 
 style in writing. If a painter can manage the edges well the rest 
 of his work is likely to take care of itself. A good edge is what we 
 call 'Lost and found.' Now you have it and now you don't. It's 
 
FRENCH AND ITALIAN PAVILIONS 9 
 
 easy to make a knife edge, but it's quite another matter to make 
 an edge that's firm without being sharp and that models over. 
 Raeburn excels in this kind of edge. He does what no photograph, 
 for example, can ever do. The photograph has a terrible impar- 
 tiality. It places equal emphasis on everything. The artist, on the 
 other hand, brings out salient features of character, the qualities 
 that he sees and feels. Some of our modern men have this faculty 
 to a high degree, among them Duveneck, who belonged to the 
 Munich school that was so deeply influenced by the old masters." 
 
 From Raeburn we turned to the Gainsborough landscape. "It's 
 curious," said the painter, "that this innocent looking canvas 
 should stand for a revolution in art. But the fact remains that it 
 does represent a new and important movement. It is one of the 
 first landscapes painted for its own sake. Wise as these old fel- 
 lows were, keen in their understanding of character, and highly de- 
 veloped technically, they had little use for nature. They considered 
 it valuable mainly as it served for a background, with human be- 
 ings in the foreground, the interest being centered in the human 
 beings. It was by concentrating on portrait work that they made 
 themselves masters. What we have lost in portraits, however, we 
 have gained in nature. From the point of view of today, this can- 
 vas is hardly a landscape. For example, it has no atmosphere 
 whatever. Nevertheless, it is beautiful, as fine as a tapestry, low in 
 key and rich in color. Think how we have advanced since Gains- 
 borough's time in the landscape work of such men as Troyon and 
 Corot and Whistler, all of whom, in different ways, gave poetic 
 interpretations of nature." 
 
 The splendid canvas of Tiepolo was looking down on us from 
 the center of one of the walls "Madonna and Child, with Saint 
 Domenico and Another Saint." It moved the painter to enthusi- 
 asm. "There's a great man if there ever was one. He had the Vene- 
 tian love of flamboyant effects, draperies and other luxurious de- 
 tails. Think of his making that elaborately ornamented altar piece 
 a subordinate feature of his scheme. If a painter of today were to 
 use it at all he would make it the chief feature of his picture. The 
 older men were able to paint the most intimate details and to keep 
 them in their place. Tiepolo is remarkable in his treatment of his 
 black tones. As all painters know, it is very hard to paint black 
 indoors, just as it's hard to paint green outdoors. And then the 
 composition, how skilfully handled it is, and how pictorial it is. 
 
10 THE PALACE OF FINE ARTS 
 
 Tiepolo was a marvel and it is good to see him so well displayed 
 here, where people can be reminded of his merit." 
 
 What delighted the painter most of all among the great mas- 
 ters was the painting of the heads. He had much to say on the 
 subject of eyes as the windows of character. We were both im- 
 pressed by the single example of Hogarth's work in the portrait 
 of "Anne, Viscountess Irwin." "In some ways our own Robert 
 Henri resembles Hogarth. One can trace the resemblance in those 
 two fine portraits that he has here, together with several others, 
 'Himself and 'Herself/ with all Ireland looking out of the faces." 
 Sir Joshua Reynolds' "Lady Ballington" disappointed him some- 
 what in the treatment of the face, though he found the painting of 
 the figure extraordinarily skillful. "Faces are hard to paint, so 
 hard that painters often go over them again and again. They know 
 that the work as a whole is going to be judged by the effect of 
 the face on the spectators. And there is an immense difference 
 between the spectator's point of view and the painter's. The paint- 
 er, if he knows his business, is always looking for the deeper and 
 subtler expressions that lie beneath the surface. The spectator is 
 likely to look for the superficial points, the insignificant details." 
 
 In summing up the old masters, the painter reminded me of 
 those fundamental principles of art that were out of the range of 
 mere fashion. No matter what the fashion of a period might be, 
 the work of these men would always be accepted as masterpieces. 
 They knew how to make their figures live. They understood pro- 
 portion. They could make their canvas interesting for the power 
 that was expressed there. It was not the great that made the tran- 
 sient schools; it was the near-great. Wonderful as many of the 
 later men had been, they were not able to touch the old fellows. 
 Raeburn, Reynolds, Tiepolo, Lely and the others were unconscious 
 psychologists. Instinctively they dealt with the essentials. They 
 escaped the blunder of using detail for the sake of detail, as so 
 many of the modern men did, making it lifeless and unimaginative. 
 In their work they developed a serenity that was in itself an ex- 
 pression of mastery." 
 
WHISTLER 
 
 { f |!^ ___,"^"*!*SS EFQ ^^ we tackle the out-and-out impression- 
 ists," said the painter, "let's have a look at the 
 Whistler room. And before we go there, let's 
 see the portrait of Whistler by Chase." 
 
 So we started for the room where the Amer- 
 ican painter, William Merritt Chase, was rep- 
 resented by many canvases, including the 
 "Woman with the White Shawl," one of the 
 most exhibited portraits in the whole world. 
 On the wall we found a fantastic-looking gentleman in middle life 
 standing against a background of pure gold, with a face and bear- 
 ing suggesting both eccentricity and humor, in one hand airily 
 carrying a long walking stick. 
 
 "I'm not quite sure that Chase quite understood Whistler," the 
 painter remarked. "But he has given us Whistler as Whistler 
 liked to show himself before the world, the Whistler that the 
 Pennells put into their 'Life.' I don't know that Joseph Pennell 
 understood Whistler altogether, either. But he and his wife tried 
 very hard to be fair in their work, and they bring us pretty close 
 to the man as he appeared from day to day, certainly a most in- 
 teresting and contradictory character, an American Europeanized 
 by his long career abroad, and yet American to the end. For those 
 who want to get near Whistler it would be a good plan to read 
 that book. It would make them see what a difficult business art 
 was and how much a serious man like Whistler put into his work. 
 Incidentally, it would give them an amusing picture of the artistic 
 temperament expressing itself through a very sensitive and way- 
 ward and self-conscious nature, by no means free from malice." 
 
 "Did Whistler like that portrait?" I asked. 
 
 "Not in the least. At about the time it was painted, he did a 
 portrait of Chase. They say he said to Chase, 'I painted you as a 
 gentleman, and you painted me as a mountebank.' They also say 
 he destroyed the portrait by Chase and never spoke to Chase 
 again. 
 
 We went straight into the Whistler room. "In some ways it's 
 a good thing that the collection here is so small. It enables people 
 
12 THE PALACE OF FINE ARTS 
 
 to take it all in and to get a pretty fair idea of what Whistler was 
 trying to do. See that row of canvases looking like Japanese 
 work? I call them Japanese because most people describe them 
 in that way. They're really not Japanese at all except in the use of 
 what looks like a Japanese parasol. But they are confused with 
 the Japanese for the simple reason that Whistler aims to do what 
 the Japanese have been doing for many generations to give each 
 canvas purity and harmony of tone. What he cares for most of all 
 is delicacy of color, and he knows that delicacy of color and 
 delicacy of design are intimately related. As a matter of fact, be- 
 fore the Japanese, the Chinese worked in that way, and before 
 them the Byzantines." 
 
 "But do we see such effects in nature?" I asked. 
 
 "Of course, we do. Nature, after all, is the only guide. It's the 
 harmony of nature that all the great painters have been trying to 
 reproduce. People speak as if Whistler had made a great discov- 
 ery. But he didn't. His point of view was very like that of the old 
 masters. He emphasized it, however, with his peculiar genius, and 
 he expressed it through a temperament that was original and 
 sensitive. In the portrait of Mrs. Huth over there, he carried out 
 the idea with splendid effect. He wanted to bring out the fineness 
 and the distinction of the face and the figure. So he had the sub- 
 ject dressed simply and yet richly, in dark velvet, with touches of 
 white at the throat and wrists, and he put her against a very dark 
 background, which emphasized the face and head. It has been ex- 
 hibited all over the world and greatly admired. But, personally, 
 I couldn't stand having it around. The genius in it is unquestion- 
 able, but the effect is too conscious and sickly. One gets the im- 
 pression of a woman who has been bred in a hothouse, in an at- 
 mosphere that makes for refinement without making for vigor." 
 
 "The Falling Rocket," the painter reminded me, was the pic- 
 ture that had involved Whistler in his celebrated suit against Rus- 
 kin. "It illustrates the change that can take place in the attitude 
 toward art in the course of a few years only. To us, used as we are 
 to the work of the impressionists, it doesn't seem at all unconven- 
 tional, but it must have made Ruskin furious. Otherwise he would- 
 not have accused Whistler of throwing a pot of paint in the face 
 of the public. The expression illustrates the amenities of art criti- 
 cism, as it is practiced even by the great. That trial was one of 
 the most ridiculous sensations connected with the history of art. 
 The marvel was that Whistler's reputation as a serious worker 
 should have survived the humiliation of the award of damages to 
 
FRENCH AND ITALIAN PAVILIONS 13 
 
 the extent of one farthing. But he regarded the experience as a 
 joke, as he did many things in life." 
 
 What could Ruskin have meant by saying that "The Falling 
 Rocket" was a pot of paint flung in the face of the public? When 
 I asked the painter, as we stood before the canvas, dark green in 
 tone, the sparks from the rocket descending between the trees, 
 with glimpses of fire on the little lake in the background, he re- 
 plied: "His eye was simply unfamiliar with that kind of painting. 
 It seemed to him careless and messy work. He didn't see the 
 truth and the fidelity and the poetic sensibility in the execution. 
 So he boldly condemned, as so many of us do when we don't 
 understand, particularly those of us who are in positions of au- 
 thority." 
 
 The two nudes, "Venus" and "Venus Rising From the Sea," 
 the painter pointed out to illustrate the difference among artists, 
 both painters and sculptors, in their treatment of nudity. "Whis- 
 tler makes the figures part of the general color scheme. The flesh 
 tints blend into the coloring of the background. He gives us here, 
 as he does in all his work, a symphony of color. Till we relate 
 ourselves to the sensitiveness in his work we can't get at its mean- 
 ing or realize why it's so greatly admired by the connoisseurs." 
 
 "The Study in Rose and Brown" reminded the painter of Velas- 
 quez. "In some ways they were a good deal alike, and this subject 
 bears a curious resemblance to some of the types that Velasquez 
 painted. Whistler was wonderfully successful with his portraits. I 
 wish that his portrait of his mother might be here. Besides being 
 his greatest popular success, it expresses all his philosophy of 
 painting. It also shows what a devoted son he must have been. He 
 put a profound tenderness and depth of feeling into that canvas. 
 However, the pictures here are all worth study. The small can- 
 vases are beautifully done, every one atmospheric." 
 
 The butterfly signature on the paintings, skilfully woven into 
 the composition, was another illustration of the character and 
 method of the artist. "He liked to pose as a butterfly, and he 
 loved the color and the grace that the butterfly suggested. But he 
 was about as far removed in his real nature from that symbol as 
 anyone could possibly have been. The bee would have represented 
 him much more accurately, in more ways than one." 
 
THE IMPRESSIONISTS 
 
 VI 
 
 VIDENTLY, in the mind of my guide, Whistler 
 was a most significant figure in the art of to- 
 day. "It's the emphasis that Whistler has given 
 on certain aspects of life that is so important. 
 He had the good luck to express it through a 
 unique temperament. Of course, he owes a 
 great deal to the chance of his coming into the 
 world just when he did. While he was still at a 
 most impressionable age, young and ardent, 
 feeling his way, a great battle was going on among the painters 
 of France, a kind of rebellion. Monet and Manet and Pissaro and 
 Sisley, the English painter, who was born and brought up in 
 France, and many others, were rebelling against the academic 
 school that upheld the traditions of David and Delaroche, who 
 liked to paint story-telling pictures relating to Greece and Rome. 
 The new men were interested in the beauty of things all around 
 them, all kinds of things, and, most of all, the light." 
 
 The subject of light caused the painter to make a digression. 
 "Come along with me," he said, "and I will show you a forerunner 
 of impressionism, the man that was an impressionist before Claude 
 Monet ever heard the word. As a matter of fact, there were, of 
 course, impressionists long before the school of impressionists 
 came into being, that is, men intensely interested in atmosphere 
 and in painting what they actually saw and felt." 
 
 Presently we stood before "Sunset, Venice," by Joseph Mallard 
 William Turner. "This canvas is the only Turner in the Exposi- 
 tion and a good many people pass it by without giving it a glance. 
 It's very typical and it shows Turner at his best. It's curious that 
 Ruskin should have raved over Turner and should have raged 
 over Whistler, who, in a sense, was directly related to Turner in 
 his attitude toward art. The two men loved beauty for beauty's 
 sake and they had the courage to put down what they actually 
 felt. You know, of course, the story about the man who said to 
 Turner: 'I've never seen anything like that,' and was given the 
 retort, 'Ah, but don't you wish you could?' " 
 
 We spent several minutes studying this canvas, admiring the 
 composition, the wonderful tone of gold, the rich atmosphere, and 
 
FRENCH AND ITALIAN PAVILIONS 15 
 
 the splendor of the effect as a whole. "Only a poet could have 
 done it," said the painter. "The pity is that there are not more 
 Turners in the exhibit. But they are hard to secure. Every one of 
 them is worth a fortune. Some time I wish that we might have an 
 exhibition where the development of impressionism would be 
 studied by means of a display of canvases, starting with a man 
 like Turner and running down to the men of today who are repre- 
 sented here in such large numbers. It stands for the great revo- 
 lution in modern art, all the more interesting because just now 
 there are signs of a reaction against it among the post-impres- 
 sionists and the futurists. But its influence is sure to last. It af- 
 fects all painters today, even those who are not generally con- 
 sidered in any way related to impressionism." 
 
 We returned to a room next to the Whistler room. "Here 
 are the Monets, which will illustrate what I mean." The painter 
 pointed to "Havre, Terrace by the Sea." "When Monet painted 
 the 'Havre' picture he followed the conventional method. He was 
 a young man and he hadn't found himself. Observe the light and 
 the shadow on the ground. The shadow is leaden and the light 
 might be moonlight. As Monet went on working he began to 
 realize that light was one of the most important qualities in a 
 picture, perhaps the most important of all. He saw that there 
 was a decided difference between the aspects of the same scene at 
 different times of the day. He said that if the light was properly 
 handled it ought to be easy for anyone who understood light to 
 know just when outdoor pictures were painted, even to the hour 
 of the day. Now, that hay-stack was obviously painted of a sum- 
 mer's evening. It was a good idea on the part of the Exposition 
 authorities to secure Monets that should represent the painter in 
 the different periods of his career." 
 
 "And the way the paint is put on," I remarked, "is so different 
 in the haystack from the way it's put on in 'Havre.' " 
 
 "Monet completely changed his method. He developed the the- 
 ory that the painter should follow nature's method of throwing 
 light on objects. So he analyzed light. He decomposed it. He got 
 at the prismatic colors. Those colors he put on his canvas, with 
 the idea that the spectator's eye would recompense them. In order 
 to recompose them we ought to stand away from the canvas. 
 When we get too close we see the paint in blotches, put on heavy 
 for the purpose of giving the atmospheric effect. In an exposition 
 it is inevitable that some of the pictures, particularly those worked 
 
16 THE PALACE OF FINE ARTS 
 
 out on a large plan, shall appear at a disadvantage. If one has to 
 stand too close the best that can be done is to look through half- 
 closed eyes. However, these Monets are well placed here. One can 
 get the fine atmospheric quality in the most impressionistic of them. 
 See how beautifully the mist is indicated in the Seine at Portvil- 
 lers. Monet shows us the wonderful bits of color just breaking 
 through. And the picture of the town of Vetheuil, very like his 
 own village of Giverny, near Rouen, is one of his most character- 
 istic studies. At home he likes to go out in the early morning with 
 a wheelbarrow containing a half-dozen canvases. He puts them up 
 in a semicircle and he works on them, one after another, as the 
 light changes." 
 
 Then the painter told me about the struggle Monet and his 
 little group had for recognition. "Year after year they would send 
 canvases to the salon in Paris and they would be turned down. At 
 last, in the late sixties, Napoleon III interfered. He suggested that 
 the new men be given a place by themselves in the exposition, and 
 that their department should be called, 'The Salon of the Re- 
 fused.* One of the first of the pictures that Monet sent in was a 
 sunset called 'Impressions: Sunset.' Then someone called the 
 whole group of painters 'Impressionists.' Manet said, 'I don't care 
 what they call us.' Soon the name became fixed, and now it is 
 generally accepted as a good description. As we go through the 
 Exposition we shall find that nearly all the work done during the 
 past twenty-five years, whether it is impressionistic or not, has 
 been influenced by Monet and Manet and their school. There are 
 several other Monets in the French Building, but there is only 
 one Manet there, the only one in the whole Exposition. It would 
 have been interesting to study his work in connection with Whis- 
 tler. They were both strongly influenced in their technique by 
 Velasquez. The impressionists opened up an entirely new field of 
 art, and, in so doing, they opened up a new field of beauty in the 
 world. They made us see beauty where we had been unaware of 
 it before, or only partly aware. They showed us that, just as music 
 was the poetry of sound, painting was the poetry of sight." 
 
 We stopped in front of a picture that looked curiously like an 
 old master. The painter pointed to two others in exactly the same 
 manner. "Adolphe Monticelli was a contemporary of Monet and 
 Manet, but he died comparatively young. He worked for some 
 time in Paris, without success. Then he went back to Marseilles. 
 He was often glad to sell a picture for a few francs. He put his 
 
FRENCH AND ITALIAN PAVILIONS 17 
 
 paint on very thickly. When you are close to the canvas you see 
 practically nothing but paint in blotches. But when you stand at a 
 distance the picture composes itself and takes on a fine variety 
 of color and tone and a wonderful liveliness. See how fond he is 
 of russet colors. They give his work very great richness and 
 depth. It doesn't make any difference what his subject is, he makes 
 it interesting and individual by his treatment." 
 
 When the painter turned away I followed. "Now I am going to 
 give you a little surprise," he said. He stopped before a wall that 
 contained eight canvases curiously like those we had beeen admir- 
 ing. "Walter Griffin paints after the same method. For that reason 
 he is often compared with Monticelli. But he has his own indi- 
 viduality. See what magnificent effects he gets by those Monti- 
 celli russet tones in his Venetian scenes. He knows the value that 
 goes with broken color. Now let us go to see the work of another 
 man who is a master in this kind of technique, Childe Hassam." 
 
 On the way we stopped to look at the work of a San Francisco 
 painter that my guide particularly admired, Miss E. Charlton For- 
 tune, represented by seven canvases. "Miss Fortune is one of the 
 most promising of all our painters," he said. "See this fine 'Car- 
 mel Mission.' It has been bought by William M. Chase. I'd rather 
 have a picture of mine bought by Chase than get all the medals 
 either here or anywhere else. I think I can understand why Chase 
 likes this picture so much. Though it's indoors, it's full of light, 
 and its done with great strength, with virility. And the tone is 
 beautiful. The shadow is very lightly indicated. Everything keeps 
 its place. Men like Sargent and Whistler would be interested in 
 work of this kind. They both learned from Velasquez the impor- 
 tance of keeping the figures on the canvas behind the frame, with 
 every detail properly subordinated." 
 
 Before we reached the Hassam room we lingered before four 
 pictures by Birge Harrison, delicate pastelle work, very atmos- 
 pheric. And in presence of those thirty Hassam canvases we fairly 
 bathed in atmosphere. One immediately attracted my attention, the 
 most brilliant in the room and, according to my view, the most 
 beautiful "Sunset: New England Coast." "How that picture illus- 
 trates Monet's theory that you ought to be able to tell the time 
 of day and the atmospheric conditions of a painting. Anyone 
 would know that the scene was late in summer and about seven 
 o'clock in the evening. Hassam gets his opalescences and his vi- 
 
18 . THE PALACE OF FINE ARTS 
 
 brating effects by using many colors and by keeping his values 
 well arranged. He has developed a wonderful technical skill by 
 working in every medium. You will find here water colors, water 
 colors on tinted paper, and pastelles, and other varieties. Hassam 
 is very delicate in his use of the colored chalk that gives some of 
 the most poetic effects in the pastelle work. The color comes in 
 powder. Then it is mixed with paste into sticks. These canvases 
 make one see what Hassam can do when he works under favorable 
 conditions. That mural decoration of his in the Court of Palms 
 shows how he was handicapped by working under conditions that 
 he didn't understand. Lack of experience in that kind of painting 
 made him miscalculate. In all of the pictures here he gives evi- 
 dence of possessing a marvelously keen color sense. When he was 
 out here painting his mural he did some paintings on our Califor- 
 nia hills. He shows how they looked to him in snring. He caught 
 them perfectly. They are California all over. But the shadows are 
 a little cooler than most California painters make them. It ex- 
 presses something about the atmosphere in this part of California 
 that a good many Easterners feel when they come out here." 
 
 As we passed from canvas to canvas the painter pointed out to 
 me evidences of Hassam's fine decorative sense. It extended even 
 to the frames. Several of those frames were masterpieces. So often 
 the frame of a picture damaged or weakened or flatly contradicted 
 the picture's meaning. 
 
 FRIESEKE, TANNER AND MELCHERS 
 
 VII 
 
 |ROM Hassam we went to another open-air man, 
 the winner of the grand prize, Frederic Carl 
 Frieseke. When I asked the painter if there 
 had been a great surprise among the artists 
 when the award was announced, he shook his 
 head. In his opinion Frieseke was a marvel. 
 "You can see at a glance what individuality he 
 has. After studying one of his canvases it is 
 easy enough to pick out the other. They all 
 have a mellow quality, and they all show the most careful atten- 
 tion to light. Consider for example, 'Summer.' The treatment of 
 
FRENCH AND ITALIAN PAVILIONS 19 
 
 that nude figure and of the details in the surroundings is particu- 
 larly good. Perhaps only a painter can see what a difficult prob- 
 lem Frieseke set himself there. The whole picture is worked out 
 in a very light atmosphere. Even the shadows are light. The color 
 scheme is admirable, the pearly tones warmed by the use of the 
 pink drapery. The coloring of the picture as a whole reminds me 
 of the tints in the interior of an abalone shell." 
 
 "There is one quality in Frieseke that I particularly admire," 
 continued the painter "his fine sense of the decorative. It is well 
 displayed in his simple picture of the 'Girl Embroidering/ which 
 some people think won for him the grand prize. It's a great pic- 
 ture, but the prize went to Frieseke's work as a whole. Though 
 there's strength in the way Frieseke handles his brush, he has a 
 remarkable delicacy of modeling. His treatment of the neck of the 
 girl is particularly skillful in its suggestion of extreme refinement. 
 It is only one value removed from the background, and yet it is 
 instinct with tenderness and life. And observe how the color in 
 the hair is broken, giving the sense of vitality there. Frieseke re- 
 peats his color notes as Whistler did. If you find a spot of red in 
 one place you'll be sure to see it repeated in another to keep it 
 from standing out in the picture. Everything he does shows a 
 clear understanding of values. What mellowness he gets in 
 'Youth.' The girl in the chair is actually sitting there, resting her 
 whole weight. The whole scene vibrates with life." 
 
 There was a picture by an American painter that next held our 
 attention for a long time, "Christ at the Home of Lazarus," by 
 Henry O. Tanner. "Only a very spiritual man could have painted 
 that picture. The whole arrangement is simple and sincere and 
 reverential. In the treatment of the head of Christ Tanner follows 
 tradition; but he manages at the same time to suggest the ming- 
 ling of the human and the divine in his own way. The figure to 
 the right of the canvas represents Tanner himself. Many modern 
 painters have introduced themselves into groups seated at table 
 with Christ. Perhaps the most notable work of the kind is Von 
 Uhde's. Tanner is a mulatto. He has lived for many years abroad. 
 There's a painting of him in here by Eakins. It shows his face 
 more clearly than this portrait, though this portrait is very life- 
 like. He is one of the most spiritual of men. He likes living abroad 
 and I suppose he will stay there for the rest of his life. He once 
 said to me: 'I have an opportunity over here. I'm treated like 
 
20 THE PALACE OF FINE ARTS 
 
 everyone else.' One of the best known of his paintings, 'The Rais- 
 ing of Lazarus,' was bought by the French government. It has a 
 rich amber quality, like a Rembrandt. Since the time he painted 
 it his work has become much more varied in color, and it has 
 much more light. Here, as you can see, there's plenty of light." 
 
 Another figure of Christ we found in the Gari Melchers' room, 
 "Supper at Emmaus." "It's more conventional than Tanner's and 
 not nearly so fine in feeling," said the painter. "There's something 
 theatrical about the work as a whole, and something detached and 
 aristocratic in the figure of Christ. So many pictures associated 
 with Christ fail in this way. It seems to me that Christ was essen- 
 tially a democrat, one who mingled with people easily and freely, 
 on terms of equality. However, Melchers can paint, and he can 
 paint magnificently, as anyone can see by glancing over this room. 
 Could anything be finer in its wav than his 'Sailor and His Sweet- 
 heart." Both figures are typically Dutch. The man is dumb and 
 heavy and unemotional, looking blankly out on life with those 
 clear blue eyes that suggest natural goodness. The woman is mar- 
 velously well done. See the adoration that is expressed by her 
 resting her hand on the man's hand and by her timid staring into 
 his face. Though Melchers was born in Detroit, of German stock, 
 he has spent a large part of his life abroad. He studied in France 
 and he lived in Holland for many years. Like a good many other 
 American painters, he is very fond of Holland and Holland 
 scenes. He has made a great reputation for his painting of Dutch 
 types. Some time ago he was given a professorship in the Weimar 
 School of Fine Arts. In Holland he made a collection of the old 
 embroidered stuffs worn by the women. You'll often see them in 
 his Dutch pictures. In the 'Sailor and His Sweetheart' the girl 
 wears a very beautiful piece and it is painted with marvelous 
 skill." 
 
 My eye was attracted by the splendid painting of "The Smithy," 
 one of the most conspicuous of the canvases, the central figure 
 seeming to personify the spirit of the honest and healthy Dutch 
 laborer. "How did Melchers get his scene there?" I asked. "It 
 must have been very hard to compose it, with the figures and all 
 the detail, in a studio." 
 
 "The chances are that he did it right on the spot. Over in 
 Europe painters often go about working in that way. The practice 
 is very common in Holland, so common that people aren't intense- 
 
FRENCH AND ITALIAN PAVILIONS 21 
 
 ly curious as they would be in this country. The whole attitude 
 toward art over there is, of course, very different from what it is 
 here. That's why so many American painters like to expatriate 
 themselves. They feel more at home when they're abroad. A paint- 
 er that I know tells a story about an experience he had shortly 
 after he returned from Paris to this country. One day he was sit- 
 ting by a roadside working on a landscape. An old man came 
 along, driving a wagon, and called out to him: 'Hey, you lazy 
 fellow, why don't you get to work?' " 
 
 The story reminded me of a story that 'William. H. Howe, the 
 cattle painter, tells to illustrate the indignities of the artist's call- 
 ing in this country. On one occasion he called on a cattleman to 
 ask permission to paint some of the cattle on the place. The man 
 was friendly and readily gave his consent. "What do you do for 
 a living?" he asked. "I paint," Howe replied, somewhat surprised. 
 The man showed that he was disappointed. He looked Howe all 
 over. Then he said, with reproach in his voice: "Why don't you do 
 something that's manly?" 
 
 "People who take that attitude toward art have no idea of the 
 immense amount of labor that goes into a canvas," said the paint- 
 er. "They think it must be easy because, after the work is done, it 
 looks so easy. However, you can see that a man like Gari Melchers 
 really enjoys his work, and that it brings a great enrichment into 
 his life. He's at his best in indoor scenes, in spite of his brilliant 
 treatment of light. Out of doors he is inclined to be a little chalky. 
 Only a big man could have painted that woman nursing a child, 
 'Maternity,' a man with fineness and tenderness of feeling and with 
 insight and a capacity for taking pains. Of all our painters he is 
 one of the most virile. So many painters in their work suggest 
 that they have lost touch with every-day living, as if somehow 
 their thought and feeling had become attenuated. Melchers gives 
 the impression of being absolutely sound in his point of view, one 
 who stands firmly on his feet and looks life straight in the face 
 and is in sympathy with all earthly things. He presents all his 
 types in a way that gives them a fine human significance." 
 
THE SWEDISH SECTION 
 
 VIII 
 
 [F YOU want to see impressionism worked out 
 in a new way," said the painter, "we ought to 
 give some time to the Swedish section." 
 
 When we arrived the painter went on: "I 
 suppose that no country in the world has failed 
 to be influenced by the impressionistic school. 
 But in every country it has shown itself in 
 ways that are more or less different, some- 
 times strikingly so. From a school or from a 
 master one painter may receive one kind of influence, and another 
 painter may receive another kind, and all painters are bound to be 
 affected by the national temperament. For example, people often 
 wonder how Whistler and Sargent could both have v been influ- 
 enced by Velasquez, when they paint in such different styles. 
 Whistler got tonal suggestions and Sargent got his technique." 
 
 As we looked at those canvases by Gustav Adolf Fjaestad 
 we needed no great understanding to realize that we were in the 
 presence of a master. "Though Fjaestad works along the lines of 
 Whistler, he has a distinct quality of his own. In fact, of all the 
 impressionistic painters of Sweden, he is the most distinctive. He 
 is not photographic or realistic. He paints what appeals to him 
 and everything he does he makes decorative. But before we go 
 into his pictures in detail let's have a look at the portrait he has 
 made of himself. It's always interesting to see the man behind the 
 work." 
 
 We stood before a vigorously outlined sketch of a man in mid- 
 dle life, with a smooth, deeply-lined face, strong features and 
 deep-set, keen eyes. "See how much he gives you in a few strokes. 
 And how decorative he makes the sketch as a whole. Even there 
 he shows his decorative instinct. If he had chosen he might have 
 made himself a great portrait painter, but he preferred landscape, 
 just as Sargent does, in spite of a lifetime of success in portrait 
 painting. Landscape is, in some ways, much more attractive to the 
 big worker who takes an impersonal attitude toward life. It brings 
 him up against something more inspiring than little man, nature in 
 her infinite variety." 
 
FRENCH AND ITALIAN PAVILIONS 23 
 
 We went from canvas to canvas to study Fjaestad's reactions 
 from his observations. That he loved nature was plain enough, 
 but he was not content to follow nature slavishly. He selected and 
 he rearranged according to his own fancy. "He would laugh if he 
 could hear our American self-made critics talk about the impor- 
 tance of making things literal." 
 
 "And yet you always get the impression of nature in his work," 
 I said. 
 
 "Exactly, because he is a true and searching observer. Like 
 all the big men, he teaches us how to observe. His 'Winter Moon- 
 light,' for example, is a masterpiece of observation which he turns 
 into a marvelously fine decoration. The branches of the trees, cov- 
 ered with snow, he places low in the picture, in the foreground, 
 and almost in the center of the canvas, high in the sky, he places 
 the moon, which fills the whole scene with a subdued radiance, 
 and gives us the feeling that the atmosphere is rich and thick. 
 What is most wonderful about the work is that it catches the 
 feeling of the scene." 
 
 Another snow picture, "Hoar Frost in Sunlight," showed how 
 completely Fjaestad had identified himself with the open-air 
 school. On the thick snow lay the delicate purple shadows that 
 might have been painted by Monet, harmonizing with the color of 
 the boughs to the left. Through the snow-encrusted white trees 
 played the warm light. "Even his color here was decorative," said 
 the painter. "It pleases him to make some of those boughs white 
 and others blue. So he does it, without stopping to consider 
 whether nature does the same thing or not." 
 
 "Summer Evening at the River" and "Summer Night's Breeze" 
 made us see that Fjaestad shared the fondness of Monticelli and 
 many another painter for russet brown. In both canvases he con- 
 trasted it with other colors. "Summer Evening at the River" was, 
 indeed, among the loveliest of all his color schemes. But perhaps 
 the most daring and remarkable effect was to be found in "Moon- 
 light on the Mountain Lake," where the moon, not revealed in 
 her place in the sky, glowed from the lake's depths behind a wide 
 rowboat that might have seemed ugly if it had not been so skil- 
 fully used in the decoration. 
 
 "You feel the presence of a splendid artistic intelligence be- 
 hind all these canvases," said the painter, "and a skilled crafts- 
 
24 THE PALACE OF FINE ARTS 
 
 manship. They are very remarkable for their application to purely 
 decorative work, which is often so formal, of principles that give it 
 life and color and variety. They are so strong that they would be 
 likely to kill any other canvases that were placed nearby. Those 
 tapestries up there, you see, express the same kind of imagina- 
 tion. They were designed by Fjaestad and worked out by his sis- 
 ter." 
 
 In the room leading directly from the Fjaestad pictures we 
 found the work of another brilliant Swedish painter, Anna Bo- 
 berg. "She has the vigor of a man in her work. Like Fjaestad, she 
 is fond of outdoor scenes, but she isn't so decorative. She keeps 
 much closer to realistic effects. 'The First Snow in the Mountains' 
 was probably painted with great speed, which doesn't mean that 
 it was not carefully done. Often painters do their best work at 
 white heat, and the atmospheric painters often have to catch their 
 effects swiftly or lose them altogether. This big, sweeping can- 
 vas represents good bravura work. It seizes the impression and 
 gives it to us by means of sweeping and powerful brush strokes. 
 Note the strength and the splendor of coloring in that smaller 
 canvas of Anna Boberg's 'Drying the Sails.' It could have been 
 done only by an able technician." 
 
 As the painter and I passed from canvas to canvas by Anna 
 Boberg, I spoke of the masculine vigor of her style. "It's charac- 
 teristic of the Swedish women painters; just why I don't know, 
 perhaps on account of the rigor of the climate, perhaps some in- 
 herent national traits. At any rate, they don't waste their time over 
 mere prettiness or weak sentimental painting." 
 
 The titles of Anna Boberg's work interested the painter. He 
 called my attention to their lack of direct description. "Hilly 
 Country," "Cliffs," "Sunny Recess in the Mountains," "The Fish- 
 er's Cemetery" and "Arctic Night." 
 
 "You see, she doesn't care to tell you that this picture or that 
 represents a particular place. She isn't interested in competing 
 with photographs. She's not a servile copyist. But she does care for 
 outdoor painting and she wants us to realize her purpose, which 
 is to catch effects of light and shade. She is particularly success- 
 ful in her use of broken color and in the securing of rich tones." 
 
 The three canvases by Otto Hesselbom reminded us both of 
 Fjaestad, though they were less subjective. "My Native Land" 
 showed great skill on making the landscape both fine in coloring 
 and highly decorative. He painted with a broad stroke and he 
 
FRENCH AND ITALIAN PAVILIONS 25 
 
 was fond of combinations of blue and russet, favored by the Eng- 
 lish painter, Brangwyn. Another Swedish painter with a fondness 
 for russet was Axel Kulle. Then there was one of those great 
 women painters, Elsa Backlund-Celsing, whose work showed she 
 was always looking for decoration. She did not paint with so full 
 a brush as some of the others, but she used a vigorous stroke and 
 her figures were just as well developed. 
 
 The work of Oscar Hullgren stirred the painter to enthusiasm. 
 "This man knows how to paint the sea. And he knows the sea 
 in different moods and each mood that he treats is distinct. In 
 'Sun Glitter on the Sea' we get the happy play of light over the 
 surface. But in 'The Sea' we get the sea that swallowed up the 
 Lusitania. Hullgren gives us the sense of power and cruelty and 
 of the terrible loneliness that goes with the sea's mystery. It's 
 not a story-telling picture and yet it tells its own story. It has 
 imaginative depth. It's the kind of work that will make you rea- 
 lize just why so many painters dislike a canvas like Hovenden's 
 'Breaking Home Ties'." 
 
 "But there's a good homely sentiment in Hovenden's work," I 
 insisted. 
 
 "Exactly. That's just what it is. If you translate it into liter- 
 ary terms you get something like the poetry of James Whitcomb 
 Riley. But you don't get Milton. You don't get profundity. Now 
 that's what you do get in this sea picture of Hullgren's. There's 
 another picture that is very popular, in the class with Hovenden's, 
 Luke Fildes' 'The Doctor.' You know it, of course, the kindly, 
 middle-aged doctor sitting at the bedside of a sick child. It's all 
 right in its way, but it isn't great art. Compare it with the picture 
 of the old merchant, bowed down with care, by George Frederick 
 Watts, 'For He Had Great Possessions,' and you'll see the differ- 
 ence. There's a magnificent story-telling canvas. And the reason 
 is that the story has great depth and has to express itself by a 
 great conception. That figure seems to be weighed down by all 
 the material cares of the world. In itself it's an arraignment of the 
 kind of civilization that encourages the piling up of wealth." 
 
 Still I was not wholly convinced. "But there's a place in paint- 
 ing, isn't there, for those gentle human stories that touch the 
 heart? It seems to me that the world is losing something by their 
 going out of fashion among painters." 
 
 "Unquestionably there's a place and there always will be. And 
 there will always be painters whose natural tendency will be to 
 
26 THE PALACE OF FINE ARTS 
 
 express themselves in that way. In 'Breaking Home Ties' H oven- 
 den expressed the fineness and the sympathy in his own character. 
 Do you know what happened to him at the end? Well, he was 
 walking along the street and he saw a child just about to be run 
 over by a street car. He rushed forward, threw the child out of 
 the way and was killed himself." 
 
 We had for a moment got away from the Swedes, but not from 
 the human spirit behind them, as I realized when we came upon 
 the work of John Bauer and Carl Larsson. They were, to be sure, 
 saturated with the Swedish feeling, but they were first of all hu- 
 man, both lovers of their kind, with a soft spot in their hearts for 
 children. 
 
 In the Larsson room we had a feast. And, incidentally, we 
 both felt as if we had met in an intimate way a very original and 
 delightful character, the man behind the work. "Here's a man," 
 said the painter, "that can stay away from the life of the city and 
 be happy at home, working at his painting, enjoying his family 
 and making his home beautiful. Some painters go far afield for 
 their subjects. Larsson, you see, finds subjects in his own house 
 and garden. He paints the rooms, with the family living there, and 
 he makes every scene life-like and beautiful in feeling. Here are 
 story-telling pictures, if you like, with genius in them and the 
 healthiest kind of sentiment, of universal appeal. Now and then 
 you catch a glimpse of Larsson himself, with his happy Swedish 
 face, very blond, yellow mustache and blue eyes, working at a 
 table, with his boy looking on, or reflected in a mirror. In one 
 canvas we see furniture that we find in another canvas outside, 
 under the trees. And note how skillful he is in his drawing. If 
 you find a spot of red in one place in the canvas you'll be sure 
 to find it carried on in another, after the fashion of Whistler and 
 the Japanese. Somehow he has managed to make you feel that his 
 own happy spirit pervades that family life. And you can catch his 
 kindly, humorous attitude toward the others. You may be sure 
 he's the life of the place and everybody is his friend. The old 
 grandmother, a little infirm and lame, is treated with fine tender- 
 ness and fidelity. This collection of domestic studies is marvelous 
 in its way. And the sketches of nude figures show that Larsson 
 has a wide range of talent and a superb technique." 
 
 Those Larsson pictures caused the painter to express some re- 
 gret that, in this country, we did not have anyone who did similar 
 
FRENCH AND ITALIAN PAVILIONS 27 
 
 work. "Larsson is a public institution in Sweden," he said. "Of 
 all the Swedish painters he is the most beloved. He has endeared 
 himself to the children by his illustrated books, full of good 
 feeling and healthy humor. There's a Swedish saying, 'When 
 Larsson laughs, all Sweden laughs.' In his pictures there's a whole 
 philosophy of living. The domestic series here might be called, 
 'How to be happy with your own family.' Nearly every one of 
 them shows that Larsson takes a humorous attitude toward life. 
 And yet there is depth of feeling suggested here and there. 'The 
 Home's Angel,' with the spirit of the mother standing in the 
 nursery, could only have been done by a painter who was a poet, 
 too. 'The Old Room' is the guest room. Many distinguished trav- 
 elers in Sweden have slept in that bed. Just to amuse himself 
 Larsson has put there the figure of a naughty boy. 'Wash House/ 
 by its coloring, suggests blue Monday. Larsson lets us see the 
 home in all its varieties of activity. And he makes the pictures 
 significant by infusing them with his own spirit." 
 
 The painter went on to emphasize the difference between this 
 kind of work and mere photography. The camera could paint 
 sharp surfaces, and could reproduce what actually existed in out- 
 line, but it couldn't dp summer and winter air, and it couldn't put 
 imagination and feeling into a scene, the qualities derived only 
 through human consciousness. The trouble with most people in 
 looking at pictures was that they expected exactness and they kept 
 in mind the reputation of objects. In art it was not reality that 
 counted, it was reality expressed through imagination and mind 
 and character, through all those influences that developed interest- 
 ing and artistic reactions. The Swedish painters had caught the 
 impressionistic philosophy and had applied it with wonderful 
 success. Then, too, they had the advantage of living in natural 
 conditions that were very inspiring to the artist. Anna Boberg, 
 for example, found her subjects farther north than any other 
 painter had gone. Those rugged arctic scenes must have helped 
 to make her treatment broad, broader, in some ways, than that of 
 any other painter in the exhibit. On the other hand, there were 
 Swedish painters who dealt with milder aspects of nature and 
 showed a similar power. 
 
 In a few moments we were standing before the three masterly 
 canvases by Alfred Bergstrom, representing spring and summer 
 scenes. In the opinion of the painter, "Spring Evening" was 
 
28 THE PALACE OF FINE ARTS 
 
 among the finest of the pictures in the exhibit, true to the land 
 and carefully worked out in feeling and in execution, to be com- 
 pared with Metcalfe's work. Another picture charmed us both, 
 Schultzberg's "Midsummer Night," a study of the midnight sun, 
 painted after midnight, very beautiful, the only picure of the kind 
 in the collection. Among the other canvases by the same hand, 
 nine altogether, we liked the snow scenes the best, brilliant ex- 
 amples of open-air work. "When you look at those pictures, you 
 can realize what a tremendous change impressionism made in 
 painting. In my opinion Monet was as great a pioneer as Rubens, 
 who discovered the importance of placing together warm and cold 
 tones. Other men before him had been working on similar lines. 
 Constable did a great deal to make the impressionist movement 
 possible. Before him no one thought of painting landscapes for 
 their own sake. They were principally decorative backgrounds. 
 Whether Monet ever saw the work of Turner I don't know. But 
 long before Monet came forward Turner had been doing magnifi- 
 cent pioneering. It subjected him to a great deal of ridicule. It used 
 to be said that Turner painted his pictures by sitting on a palette 
 and then sitting on his canvas. People were so used to the old 
 academic way of looking at things that it was hard for them to 
 understand the new way. And, of course, the violent impression- 
 ists helped to keep back the movement. There's nothing in the 
 world easier than to make a bad impressionist picture, but to 
 make a good impressionist picture, to put on the colors so that 
 they shall vibrate and harmonize and at the same time express 
 "harmony of design, is a feat. Every good impressionist picture 
 ought to make you feel that it has atmospheric envelopment, that 
 there is the suggestion of a veil about it. And no picture can be 
 great without making you feel that it has tone. Whistler is quite 
 right in repeatedly suggesting that there is a direct relation be- 
 tween painting and music. You often hear artists say of a good 
 picture, 'You could almost play it on the piano'." 
 
 Among the Swedish paintings that we next saw not one failed 
 to meet this kind of test. Sometimes the suggestions were of very 
 heavy music, sometimes of milder strain. Another of those great 
 women painters astonished me by the vigor of her work Anna 
 Wrangel. Then there were fine studies of peasant types, interest- 
 ing and subtle characterizations by Mas. Olle, which I liked far 
 better than his striking portrait of "His Majesty King Gustave V." 
 Then there was the wonderful painting of Bruno Liljepors, four 
 great canvases "Swans," "Wild Geese," "Sea Eagles"! and "Sea 
 
FRENCH AND ITALIAN PAVILIONS 29 
 
 Gull at the Nest." "There's mastery," said the painter. "What a 
 superb imagination he has. And what vigor and sweep of line, and 
 what harmony of color. He's not one of those men that shut them- 
 selves up in their studios and paint like galley slaves from tran- 
 sient impressions. He's a hunter and sportsman, and he knows his 
 subjects well. Among other things he knows that nature protects 
 birds by making them take on the colors of their surroundings. 
 All his work shows that he is a fine student of natural history. 
 Whistler would take the greatest delight in these canvases. True 
 as they are to life, they are essentially decorative. And yet they 
 give you the feeling of all outdoors." 
 
 THE FRENCH SECTION 
 
 IX 
 
 UR interest in impressionism led us to the 
 French section. Here the painter called my at- 
 tention to two small canvases by Edmond 
 Aman-Jean "Woman With a Carnation" and 
 "Portrait of a Woman." "Some people like to 
 say that the modern Frenchmen are too realis- 
 tic in their painting," he said. "But no such 
 charge can be made against Aman-Jean. Each 
 of these portraits expresses a very sensitive 
 and poetic nature. Of the two, the 'Portrait of a Woman' seems 
 to me to be the lovelier simply because the quality of the pastel 
 adds to the beauty. The other portrait, however, in oil, is superbly 
 done. This man has every quality that goes with the making of a 
 great modern painter. He shows that he has an instinctive appre- 
 ciation of beauty of type. He presents his subjects in a very deco- 
 rative way, with charm and warmth of coloring. He infuses 
 warmth even into the color of his shadows. Whistler could have 
 admired these two studies. They have something of the workman- 
 ship that made his painting so distinguished. Till one catches the 
 beauty that lies in the happy juxtaposition of colors it is impos- 
 sible to understand what the big men of today, the poets of the 
 brush, are trying to do." 
 
 What the big men are not trying to do we saw in Henri For- 
 eau's story-telling painting, "In the Village, Burial of a French 
 
30 THE PALACE OF FINE ARTS 
 
 Soldier." "It's just the kind of picture that Whistler would have 
 hated the sentiment is so obvious and cheap. To heighten the pa- 
 thos Foreau made the day rainy. He wants us to see that even the 
 heavens weep over this sad event. It's like crude acting. Whatever 
 may be said about the new methods of painting, there's no doubt 
 that it makes a much more subtle appeal than the old method, 
 though there are, of course, those who say we are merely return- 
 ing to what some of the earlier men undertook to do, the men 
 who saw in color and design the chief purpose of painting and 
 who refused to make it the servant of anecdote." 
 
 In the single canvas of George Maury the painter found one 
 of the gems of this collection, "Shellfish." It gave him a theme for 
 a discourse on the subject of nudity. "This canvas might be taken 
 as an example of an absolutely clean and healthy treatment of the 
 nude. What could be purer than the presentation of those girlish 
 figures? You can see at once that the attitude of the artist toward 
 those lovely young bodies is very like the attitude that might be 
 taken by their mother. He works in the spirit that inspired Mrs. 
 Burroughs when she made the central figure in her 'Fountain of 
 Youth,' in one of the two niches under the Tower of Jewels. Each 
 of these forms is characteristically drawn, and the light, pearly 
 tones of the flesh seem to carry on the color of the shells that the 
 girls hold in their hands. The shells may be said to give the motif. 
 The modeling is wonderfully fine, with an effect of plasticity that 
 suggests ease of workmanship, as if the painter had completely 
 lost himself in his task. The group is beautifully enveloped and 
 seems to blend into the atmosphere. 
 
 With this masterpiece in our minds it was almost startling to 
 come upon another nude, by Albert Besnard "Woman Sleeping." 
 On the ground lay a very highly developed figure, bathed in light 
 and shadow, one of the breasts looking as if it presented a bleed- 
 ing wound. "This kind of nude the public doesn't care for," I said. 
 "Some people it even makes a little sick. They wonder why a 
 painter could take so gross a type and present it, nude, in sur- 
 roundings that are so incongruous." 
 
 "And yet it's magnificently done," said the painter, eyeing the 
 canvas as if it were a luscious peach. "Only a great master could 
 have painted it in just that way. In every detail it shows virile 
 strength. It's a hard task to keep the tones light and to get the 
 rotundity of the figure as Besnard has done here. Compare it with 
 
FRENCH AND ITALIAN PAVILIONS 31 
 
 the smooth, insipid nude by Mercie, over here "The Awaken- 
 ing" and you will see the difference. That kind of nude, unfortu- 
 nately, is admired by the public. Besnard is generally recognized 
 as one of the best of the modern men. He's the president of the 
 French Academy at Rome. In the annex there are some of the big 
 canvases that he painted on the Ganges. But the two canvases 
 that are here are very interesting from the technical point of 
 view." 
 
 As we stood before the second of the Besnards, "The Gypsy," 
 the painter indicated the skill shown in the characterizing of the 
 type and in the use of color. The combination of green and crim- 
 son might have been harsh if the crimson had been kept solid, 
 instead of being softened by merging into milder tones. For all his 
 daring Besnard knew just how far to go with his color schemes. 
 
 One modest canvas moved the painter to enthusiasm, "A Hill- 
 side in the Jura," by Auguste Emanuel Pointelin. He called it "the 
 great thing here," and he expatiated on the simplicity and the 
 depth of feeling in the treatment. "To think that it should have 
 been done by a man who was a distinguished teacher of mathe- 
 matics and who made painting his pastime. You would expect to 
 find the characteristics of the mathematician. But you find noth- 
 ing of the sort. The vastness and the loneliness of the country, 
 instead of being mathematically indicated are conveyed by sug- 
 gestion. It is as if two kinds of men lived in Pointelin, each con- 
 tradicting the other, the scientist and the artist." 
 
 We lingered before the fine work of Lucien Simon, Menard, Le 
 Sidaner, Rafaelli, and before a characteristic Claude Monet. When 
 we stood in front of the two canvases by Henri Martin it seemed 
 as if we had reached the extreme point of impressionism. "The 
 Lovers" fairly glowed with sunshine. Even the shadows conveyed 
 the sense of heat. And the figures, what vitality they had and 
 what character! Martin's portrait of himself, as anyone could see, 
 was a master work. But to get the full effect one had to view it 
 from a distance, with the eyes taking their place in that vigorous- 
 ly indicated face and the landscape behind fairly shimmering. I 
 could agree with the painter's comment: "Now you see impres- 
 sionism at its best, vibrating with life and color." 
 
 One piece of sculpture fascinated my companion, Rodin's bust 
 of Falguiere, the painter and sculptor. He extolled the vigor of 
 the surfaces. "How characteristic they are. Rodin did his best 
 
32 THE PALACE OF FINE ARTS 
 
 because he felt that he was working for a fellow artist who could 
 appreciate his best. He let himself go, as Sargent did when he 
 painted Joe Jefferson, who was a good painter as well as a great 
 actor. This bust represents the work he did after his statue of 
 Balzac was rejected by Paris, and Falguiere was chosen to do a 
 statue in its place. At the same time Falguiere did a bust of 
 Rodin, a courteous exchange between two great masters." 
 
 THE ITALIAN SECTION 
 
 N ENTERING the Italian section the painter 
 and I found ourselves in an entirely different 
 atmosphere. Now there was no sense of crowd- 
 ing. There was quiet and rest. "If the Italians 
 had done nothing else, they deserve credit," 
 said the painter, "for the way they have ar- 
 ranged and decorated these rooms. The collec- 
 tion is comfortably small. The pictures are 
 hung on soft-colored walls. They are easy to 
 see. In this section one has the feeling of repose that ought to be 
 associated with art. Exhibitions are, of course, unnatural things. 
 The Japanese have the right idea in putting one beautiful thing in 
 a room at a time, and, after an interval, taking it away and put- 
 ting something else in its place." 
 
 As we looked about the painter's eye rested on a lovely bit of 
 Venice. "At last someone has come along and painted Venice in 
 a new way," he exclaimed, walking forward toward the fine canvas 
 by Scattola, in delicate grays, greens, purples, pinks and hints of 
 blue. "In spite of all the colors that he uses there, what harmony 
 he gets! No one that I am familiar with has ever painted Venice 
 with just this kind of feeling. Scattola has dared to see an old sub- 
 ject with his own eyes. He isn't the mere literalist, who is so often 
 the favorite of the public. He puts charm into his work and re- 
 finement and poetry." 
 
 In another room we found five canvases by Ettore Tito, one of 
 Italy's greatest men, curiously varied in theme and in style, all 
 painted with boldness and with a fine sense of color. Nearby three 
 
FRENCH AND ITALIAN PAVILIONS 33 
 
 other brilliant painters were represented in canvases that showed 
 extraordinarily technical skill Innocenti, Carlandi and Bazzaro. 
 "The Italians show that they are still worthy of their inheritance," 
 the painter commented. "But how their painters have been influ- 
 enced by France. As a matter of fact, France is easily pre-eminent 
 all over the world in the art of today. She is the source to which 
 the present generation of painters must go for inspiration and 
 guidance." 
 
 Another Italian painter that we met in the next room we en- 
 tered Mancini the painter shook his head over. "He is generally 
 regarded as a great master, but if this work represents his spirit, 
 he has been overrated. He can paint with great cleverness, but his 
 message here is unimportant except in the portrait ~6i the old 
 man, 'The Antiquary.' In painting, as in literature, style isn't 
 enough. One must have something to say that is worth while." 
 
 The work of Noci appealed to the painter's professional sense 
 for its extraordinary skill. When I objected to the painting of the 
 lips in the portrait of the Italian actress, Lyda Borelli, he pointed 
 out to me the genius shown in the arrangement, the power indi- 
 cated in the treatment of the dark tones of the dress, the charac- 
 ter in the pose and in the expression of the face. "Noci has caught 
 a very definite type there, and made it live for us on the canvas. 
 As for the lips, the chances are that they are truthfully done. That 
 kind of facial decoration is often cultivated by the Continental 
 women of the stage." 
 
 There was a nude by Sambo that was interesting because it 
 showed impressionism run mad. And yet it had been awarded a 
 silver medal. When I asked why so exaggerated and absurd a 
 canvas should be honored, the painter reminded me that the 
 awards had been made by judges of professional skill, who took 
 a special interest in technical ability. There were evidences on this 
 canvas of very adroit craftsmanship. But the artist had carried his 
 experimenting too far. The figure looked as if it had been lit up 
 from within by an electric light The flesh had great spots, like 
 disease, supposed to indicate shadows. To the layman the effect 
 was repulsive. "This picture illustrates the dangers of specializa- 
 tion. In all kinds of work it's hard to be a specialist and to keep 
 your head at the same time. Painters with a hobby are a good deal 
 like doctors with a hobby. Instead of riding it, they let it ride 
 them. The extreme impressionists have always stood in the way 
 
34 THE PALACE OF FINE ARTS 
 
 of true impressionism, which has for its object to make the world 
 alive to the miracle of light." 
 
 Beside the worldly figures on the walls there were more mod- 
 est studies, some of them with qualities that suggested the sim- 
 plicity and the quiet of the old masters. When I asked the painter 
 if he did not feel a certain shrillness in much of the impressionism 
 of today, both the Italian and the French, he nodded his head, and 
 he added: "It reflects the nervousness and the superficiality of our 
 modern life. Everything, of course, depends on the mind behind 
 it. The old masters had a depth that most of the men today seem 
 to lack, perhaps because they were more spiritual. But in a man 
 like Cambon we find that modern Italy can produce work of deep 
 feeling and fineness. His 'Maternity' is one of the most appealing 
 of all the canvases here on account of the sincere treatment of the 
 mother and child and the beauty of the color scheme. Cadorin, in 
 his 'Portrait of an Artist,' gives us the study of a sculptor at work 
 that makes us feel the self-forgetfulness and the devotion of a 
 man who loses himself in his theme. The absorption of the sculp- 
 tor somehow expresses the absorption of the painter in the ren- 
 dering, the abandonment that always characterizes the best art." 
 
 The sincerity of the Italian sculptors we found indicated in 
 several pieces of work, particularly in those where children were 
 among the figures. But, so far as the public was concerned, there 
 was one piece of statuary of transcendent interest, "Thy Neigh- 
 bor," or "Proximus Tuus," by D'Orsi. "It's curious," the painter 
 remarked, with regret in his tone, "the way the people flock around 
 this work. There's nothing in the whole gallery that has attracted 
 so much attention. It unquestionably has some good qualities. It 
 is executed with strength, but it is cheaply realistic and theatrical. 
 One doesn't catch the feeling and the imagination behind it that 
 makes 'The Man with the Hoe' so fine. It's obviously an echo' of 
 Millet. So it lacks originality. Then, too, the man is not a type. He 
 is an individual, sickly and apparently half-witted. He isn't made 
 to seem like an expression of debasing economic conditions. He's 
 not much more than a freak. And as for the detail that is so gen- 
 erally admired the hob-nailed shoes, the buttons on the coat and 
 the protruding ribs they are not evidences of great skill. They 
 merely show that the sculptor likes the photographic method, 
 which, instead of emphasizing the spirit of his work, introduces 
 distracting elements." 
 
THE WOMEN PAINTERS' ROOM 
 
 XI 
 
 HEN we went into gallery 65 we found ourselves 
 in a room where the canvases consisted wholly 
 of work done by women. "There are some well- 
 known names here," said the painter. "They in- 
 clude Mary Cassatt, Cecilia Beaux, Mary Curtis 
 Richardson, Jean McLane, Ellen Emmet Rand, 
 Anne Bremer, Violet Oakley and Betty de 
 Jong. The room shows that women are doing 
 fine work in this country. It is a strong argu- 
 ment in favor of feminism." 
 
 The painter turned to the canvases by Mary Cassatt. "Here is 
 one of the greatest women painters in the country, in fact, one of 
 the greatest in the world. She is related to the earlier days of the 
 impressionist movement, when her master, Degas, was associated 
 with Monet and Manet and the other leaders of the new school. 
 She and Berthe Morisot are the two most conspicuous women in 
 the movement. Though her work bears a certain resemblance in 
 style to Degas, it has individuality of its own. She isn't merely 
 clever; she has distinction and depth, what we painters like to call 
 quality, something that can't be cultivated, that has to come out 
 of the nature of the artist. Of all her pictures here I like best 'The 
 Woman with the Fan.' It could have been done only by a painter 
 of extraordinary gifts." 
 
 From Mary Cassatt we turned to Cecilia Beaux. "These por- 
 traits," said the painter, "seem to me to be as clever as Sargent's 
 in their freedom and directness and in the way the paint is put on. 
 'A New England Woman' is the adroit handling of a difficult 
 scheme on account of the lightness in tone. There is wonderful 
 character in the face, too. The study of the child with her nurse 
 shows great brilliancy, both in the handling and in the arrange- 
 ment." 
 
 When I objected to the cutting oft 7 of the upper part of the 
 figure of the nurse, the painter smiled. "It strikes me," he said, 
 "that you are introducing economic and social ideas into art criti- 
 cism now. I don't think that the painter intended to be snobbish 
 in treating the nurse so ruthlessly. She merely meant to use a 
 novel scheme, and I think she succeeded, though the presenting 
 
36 THE PALACE OF FINE ARTS 
 
 of only a part of the figure in the canvas is by no means without 
 precedent. This scheme makes the dress of the nurse a pretty 
 background for the figure of the little girl, and carries a very 
 natural and attractive suggestion." 
 
 In Mary Curtis Richardson we found an artist long known as 
 one of the ablest of San Francisco portrait-painters. "The Young 
 Mother" was one of the most appealing of all the canvases in the 
 room the mother, simply and beautifully dressed, reclining on a 
 couch with her young baby. The color scheme charmed the paint- 
 er on account of its delicacy and harmony. "Mrs. Richardson 
 paints women and children mainly," he said, "and she can be re- 
 lied on for good color and drawing. It's hard to draw babies and 
 make them look right. This baby is absolutely true to life. How 
 simple the composition is, and yet how effective. And the rich 
 golden tone of the canvas is in exactly the right key. The bowl of 
 gold fish in the background blends in with fine skill." 
 
 In "The Dancing Girl," by Betty de Jong, the painter found 
 what he regarded as an excellent example of broad and direct 
 painting. "Miss de Jong is a French girl, who recently came to live 
 here in San Francisco. Though she is very petite and feminine, 
 she paints like a vigorous man. In her technique she is very ad- 
 vanced. Observe how in this canvas she gets down to the essen- 
 tials, and how subtley she indicates the graduations of tone. It's 
 curious," the painter went on, "the way people express themselves 
 in art. You will find delicate looking people painting as if they were 
 towers of strength, and other people of great vigor, some of them 
 men of big physical frame, who paint in ways that are absurdly 
 weak and effeminate." 
 
 In Anne Bremer we found another woman who painted like a 
 man. Ellen Emmet Rand, too, had a strength and simplicity in 
 dealing with her portraits. Her study of William James was a 
 masterpiece of sympathetic divination. She had caught him just 
 as those who knew him well saw him in everyday life, and she 
 had expressed his earnestness and his kindliness. The pose could 
 not have been more characteristically or happily chosen. "Women 
 ought to be good portrait painters on account of their insight," 
 the painter remarked. "There are many women who are positively 
 uncanny in their ability, not only to observe others, but to fell 
 others, to get at qualities more subtle than those that can be taken 
 
FRENCH AND ITALIAN PAVILIONS 
 
 37 
 
 in merely by the eye. In my opinion, as women are more and more 
 encouraged to go into portrait work, we shall develop among them 
 some very great technicians." 
 
 Violet Oakley's portrait of a very striking-looking lady in mid- 
 dle life would have attracted us for the boldness of its execution 
 and for the charm of its coloring, even if it had not borne the title 
 of "The Tragic Muse." We agreed that we could not find any- 
 thing particularly tragic in the face. Perhaps, after all, the title 
 was an after-thought, a concession to popular interest. "There's a 
 growing feeling among artists that titles are a nuisance. So often 
 they introduce a distracting element. Ideally a picture ought to 
 explain itself without the aid of literary interpretation. Now, this 
 canvas bears in its execution the impress of ability and force in 
 dealing with a most interesting subject." 
 
 There were many other canvases that held our attention, too 
 numerous to be discussed in detail. Incidentally they reminded us 
 that throughout their galleries the women painters had made a 
 fine showing. It was a happy thought, nevertheless, to place this 
 emphasis on what American women were doing in art, and what 
 they promised to do during the next few years, which were un- 
 doubtedly destined to be full of changes and surprises. "We don't 
 know much about the artistic capabilities of women yet," said the 
 painter, "for the simple reason that they haven't had a fair chance." 
 
 THE JAPANESE SECTION 
 
 XII 
 
 HE Japanese gentleman we met as we entered 
 the Japanese section explained to us that there 
 was a false impression abroad in regard to the 
 modern art work of his country. "Our artists," 
 he said, "do not imitate European work to any 
 great extent. It is true that some of them, who 
 have studied in Paris, and some of them who 
 have studied European methods at home, do 
 follow the European technique. But most of our 
 painters remain Japanese in spirit and in method. At the same 
 time they are always striving for originality. The policy of the 
 
38 THE PALACE OF FINE ARTS 
 
 great Kyoto school of art is to encourage each student to express 
 himself. After all, art is essentially the expression of ideas, and 
 the more original a painter is the more interesting he is sure to 
 
 DC* 
 
 In number nine our friend found an illustration of his point, 
 "Spring Time in the Palace Garden," by Banri Mitsui, of Tokyo. 
 "This painting is unlike the old Japanese style and yet, you see, 
 it is essentially Japanese in feeling and treatment. By the way, 
 these large pictures of ours represent a new movement. But our 
 artists follow the traditional shapes. Their originality they show 
 mainly in subject and in technique. Here, instead of introducing 
 young girls to express the spirit of spring, its lovely buoyancy, 
 the artist uses a group of men, of varying ages, some of them in 
 middle life, some of them old. And, instead of using wild flowers 
 for the background, he uses pine trees. To the left we find only 
 a few petals to suggest the spring flowers. And to the right we 
 have a hint of the branch of a cherry tree." 
 
 What I liked most about .this picture was the richness of the 
 coloring and the characterization of the figures, in their brilliant 
 dress, each type finely delineated. What the painter liked was the 
 vigor of the technique, which caused the Japanese gentleman to 
 discourse on the subject of originality. 
 
 So great was the regard for originality in art, we were told, 
 that the directors of the exhibitions in Japan did not accept work 
 unless it showed something new in technique. Permeating all the 
 Japanese work was the spirit of artistic adventure, revealing a 
 love for the overcoming of difficulties, for the harmonizing of ele- 
 ments seemingly inharmonious. Unless this spirit was appreciated, 
 Japanese art could not be understood. Those two splendidly dec- 
 orative paintings given one number, "Mulberry and Cocoon," 
 by Hpko Murakami, of Tpkio, suggested how strongly the decora- 
 tive influence revealed itself in the modern work. One panel 
 showed young girls among the mulberry leaves, and delicately in- 
 dicated the feeling of spring. The other panel, representing au- 
 tumn, though gay in spirit, nevertheless subtly conveyed a sense 
 of the waning season, the decline of life. 
 
 One of the most interesting of the modern panels, "Summer 
 Midday, by Toyen Oka, of Kyoto, proved to be the work of a 
 young artist evidently imbued with the intense love of natural 
 effects, of truthful rendering, that inspired the impressionist move- 
 
FRENCH AND ITALIAN PAVILIONS 39 
 
 ment. Against a gray, wooden fence stood a lovely bush, cov- 
 ered with flowers. On the fence, in the upper right-hand corner, 
 sat a thin, yellow-eyed cat, the blackness of whose fur harmonized 
 with the blackness of the rock at the base of the composition. 
 
 The composition inspired our friend to explain the way it hap- 
 pened to be painted: 
 
 "One fearfully hot day Oka was looking out of his window, and 
 he saw that beautiful oleander bush, the only fresh looking thing 
 within sight. He was so struck by it that he started in to paint it 
 at once. And how perfectly he has caught the feeling of the scene. 
 He even makes the spectator feel the heat. The appearance of the 
 cat suggests that it is suffering from the heat, both in the pose of 
 the body and the narrowness of the eyes." 
 
 "You see, the painter commented, "the spirit of the impres- 
 sionists isn't confined to Europe and the United States." 
 
 In the work of Shodo Hirata, of Tokio "Voices of Little 
 Birds" it seemed to me that the poetry in the art of the Japanese 
 found a beautiful illustration. The two panels that were included 
 there represented forest scenes. They had been inspired by the 
 decorative sense of the interpreter. "One day the artist happened 
 to walk through the deep forest. He was struck by the beauty in the 
 design of the boughs and of the leaves, and by the richness of the 
 coloring. But, of course, he felt the need of simplifying in order 
 to convey his impression in a decorative way. In one panel he 
 uses massive trees, and he conveys the charm of their soft brown 
 bark and of the rich coloring of the wild grapevine, with its red 
 leaves. In the other panel see how exquisitely he has suggested 
 the lines of the silver birch trees. The little birds that are singing 
 there are directly related to those trees. To the Japanese observer 
 the trees carry out the suggestion of the silvery bird-notes." 
 
 So delicately were those panels painted that I was curious to 
 know the kind of material the Japanese artist used. I was in- 
 formed that, though they sometimes painted on paper, they usual- 
 ly preferred silk. The oldest painting in Japan dated back twelve 
 hundred years. In those days the artists painted on cloth mainly. 
 Sometimes they used fiber. Even today all the Buddhistic paint- 
 ings were found to be on fibers woven into cloth. Japan was proud 
 of possessing the oldest museum in the world, containing the col- 
 lection of the Emperor Shomu, of Japanese, Indian and Chinese 
 works of art, made twelve hundred years ago and kept intact, the 
 
40 THE PALACE OF FINE ARTS 
 
 Shospin in Nara, at some distance from Kyoto. Some of the work 
 was in a wonderful state of preservation. The old painters made 
 their own paint, an art in itself, and they made paints that didn't 
 fade. Today, in the struggle for originality, the painters were con- 
 tinually seeking for new colors. 
 
 As we moved from painting to painting, and as we expressed 
 admiration for the delicacy of the coloring and the technical skill 
 everywhere displayed, we were informed that the old school in 
 Japan emphasized the importance of brush work. The best workers 
 learned to portray texture, movement, even graduation of colors 
 by a single stroke of the brush. But technical skill alone did not 
 explain the full beauty of these scenes. It could have been 
 achieved only by a civilization that developed a fine sensibility 
 and a reverential attitude toward nature. When I spoke of the 
 absence of nudes my words were received with this significant 
 comment: "In our daily life in Japan we are more frank about 
 the human body than the Europeans and the Americans. But in 
 our art we have not encouraged nudity as a theme." 
 
 "After all," the painter remarked, "the nude in art is a very 
 elastic term. Often it means the crude and the rude. It all de- 
 pends on the imagination of the artist." 
 
 "People sometimes carelessly speak of the art of Japan," said 
 the Japanese gentleman, "as if it were quite different from the 
 art in any other part of the world. But there is a decided relation 
 to be traced here, not only to the art of the other parts of the 
 East, but to the art of the West as well. As your own John La 
 Farge pointed out some years ago, modern discoveries by the 
 archaeologists show a plain connection between the East and the 
 West. China, for example, was undoubtedly influenced by Greece. 
 And Japan was strongly influenced by China. Besides reaching 
 Japan through China, Greece reached Japan through India and 
 Korea. The early Japanese art-workers felt very strongly the 
 Korean influence. La Farge was very much disturbed over the 
 possible damage to Japanese art and the feeling for art through 
 the modern European influence. What he feared most of all was 
 that among the Japanese of the coming generations, trained to take 
 the European point of view, their own art might disappear, with 
 its fine sense of harmony and color and tone preserved down the 
 ages. He believed, however, that there was much in the best 
 European art that our people might profit by, mainly because it 
 was so like our own. For example, he pointed out that the best 
 
FRENCH AND ITALIAN PAVILIONS 41 
 
 work of the early Italians bore a striking resemblance to our 
 great Buddhistic paintings. He also showed that those colored 
 prints of ours that treated everyday subjects dealt with the very 
 problems of light and color that the Europeans had been working 
 at for the last two hundred and fifty years. 
 
 Even to one who looked at the display here from the outside 
 point of view it was plain enough that there was a great human 
 history behind it, expressing the activity of an exceedingly alert 
 and sensitive people. The very multiplicity of the schools suggested 
 the constant reaching out to new ideas. And yet there was won- 
 derful simplicity here. One of the paintings, "Masatsura Ku- 
 sunoki Rescuing His Foes," by Tomoto Kobori, of Tokyo, at- 
 tracted us by the large number of figures used, in resplendent 
 costumes, by the vigor of the action, and by the variety and the 
 charm of the design. It was one of the few frankly story-telling 
 pictures in the whole collection. It celebrated the magnanimity of 
 the great Japanese patriot of several years ago, who, after nobly 
 defending his emperor and vanquishing his foes on the river, 
 rushed to their aid as they were drowning and brought many of 
 them safely to shore, converting them to friends and adherents. 
 
 If the Japanese did not care for story-telling pictures, they 
 loved work that carried a poetic suggestiveness, he said, and 
 they loved artistic economy in treatment. If the material that they 
 painted on served their purpose in carrying out a scene they 
 would leave it frankly bare. Throughout their work one could 
 catch betrayals of their philosophical attitude toward nature and 
 life. A certain whimsical quality expressed itself by giving a trivial 
 expression to what was serious and a serious expression to what 
 was trivial. But the poetic and decorative interpretation of nature 
 was what the Japanese artists cared for most deeply. In "The 
 Woodman," Vunto Hayashi, of Kyoto, had evidently been struck 
 by the meaning of the work done in the heart of the mountains, 
 far from the great haunts of men, by a few faithful workers, who 
 cut down the saplings for human use. In another Kashu Kikuchi 
 had presented the figure of a woman in the decline of life, using 
 scarlet maple leaves to suggest her age. When I expressed sur- 
 prise at this kind of artistic frankness, our companion explained 
 to us that, on the subject of age, the Japanese women were not 
 as sensitive as the women of Europe and America. They were very 
 careful to dress according to their age. Besides, was there not 
 
42 THE PALACE OF FINE ARTS 
 
 something very beautiful in the decay of leaves? Surely those 
 maple trees, suggested in this picture, were never so gorgeous as 
 when they were arrayed in the hues of autumn. 
 
 My interest in "Entr'acte," by a woman painter, described in 
 the catalogue as Mrs. Shoyen Ikeda, of Tokyo, representing a Jap- 
 anese lady sitting in her box at the theatre, between the acts, 
 brought out the information that for many generations there had 
 been distinguished women painters and women writers in Japan. 
 In them the Japanese took a special pride. Some of them had won 
 the distinction of becoming Imperial painters, associated with the 
 court. 
 
 Though the collection in these rooms was by no means large, 
 I found that it required a great deal of time for appreciation. The 
 truth was that everything had been carefully selected and every- 
 thing was interesting. The silk-embroidered screen, depicting a 
 lion and a lioness, was marvelously beautiful, both in the treat- 
 ment of the design and in the coloring. The Kyoto embroiderers, 
 Yozo Nagara and Kiyoshi Hashio, had achieved colors here that 
 could not have been reached in water color or in oil. Even the 
 frame was interesting with its decorative use of a sea-weed motive. 
 
 Then there was the metal work and the lacquer wares, the pot- 
 tery, porcelain and cloisonne, the dyed fabrics and the prints and 
 designs, all finely executed. "A Devil," by Chozabura Yamada, of 
 Ishikawa, a grotesque figure in hammered iron, was, by special 
 permission, taken out so that we might make an examination of it. 
 Though it looked as if it might weigh a good many pounds, it 
 proved to be as light as a feather. We were informed that only one 
 man in Japan could do this work. He belonged to an ancient fam- 
 ily of armorers, and had given up armor making to hammer fig- 
 ures of this kind, as thin as paper, made by thousands of delicate 
 strokes, outside and inside. "He has hammered his whole person- 
 ality in that piece," said the painter, his eyes shining with the 
 delight of a connoisseur. 
 
 In the sculpture we found much ingenious and original work 
 in wood, ivory, bronze and plaster. Homei Yoshida, of Tokyo, had 
 done a beautiful ivory group, full of character, "Old Man and His 
 Pet Rabbit." The theme was a very moving study in plaster. "The 
 Strike," by Osao Watonobe, of Tokyo, the workman with his wife 
 and children, helpless, suffering, on the verge of despair a master- 
 piece of realism." 
 
IN THE CHINESE SECTION 
 
 XIII 
 
 HILE we were entering the Chinese section, 
 the painter remarked: "When people come into 
 these rooms, they are likely to be disappointed. 
 The reason is that they judge Chinese art by 
 their own standards of today, instead of judg- 
 ing it by the Chinese standards of the past. 
 They look about for evidences of the modern 
 spirit and they find none. And yet, when they 
 are in the Japanese section, these very people 
 may be among the first to deplore the tendency shown by some 
 Japanese painters to take on the current European methods. 
 There are paintings in this exhibition by Japanese artists that 
 might have come from the French impressionists. The trouble 
 with the Japanese is that they are too ready to be influenced. 
 They have a wonderful imitative faculty. It may be a means by 
 which, in future, they will develop towards the creating of abso- 
 lutely new art forms. On the other hand, it may weaken their in- 
 dividuality and ultimately cause them to lose it altogether. The 
 trouble with the Chinese is that they have been only too content 
 to work in the old grooves." 
 
 "Art in China has a glorious history," said the painter. "It goes 
 back to several centuries before Christ. But the work of the first 
 thousand years has been lost. The earliest Chinese painting that 
 we have in the Western world is in the British Museum. It is sup- 
 posed to date from the fourth or fifth century after Christ. If we 
 could trace the growth of artistic expression among the Chinese 
 we should doubtless find periods of art corresponding with peri- 
 ods in the history of art in Europe. For instance, from the seventh 
 through the tenth centuries there was a spiritual awakening among 
 the Chinese painters very like the renaissance that inspired the 
 painters of Italy and Spain and France. It had a wonderful effect 
 on all the cultivated Chinese. It brought out an astonishing 
 amount of talent. Among men of distinction in public life it be- 
 came fashionable to cultivate skill in the arts. In this way a body 
 of connoisseurs was developed which must have been very in- 
 spiring to the painters. What artists need most of all is a respon- 
 sive public. In China it was conspicuous by its presence; in our 
 country it is conspicuous by its absence." 
 
44 THE PALACE OF FINE ARTS 
 
 The painter pointed to the scrolls and the screens about us. 
 "Although they are distinctively Chinese," he said, "how strongly 
 they remind one of Japanese work. As a matter of fact, the Japan- 
 ese went to school in China when Japan was a Chinese province. 
 They absorbed the principles of Chinese art and made them their 
 own. The Chinese influence still persists in Japan. But the Japan- 
 ese have succeeded in forging ahead." 
 
 "How about the awakening of China?" I said. "Hasn't it shown 
 itself as yet among the artists there?" 
 
 "If it has," the painter replied, "the change isn't expressed 
 here. From this display one might fancy that China was still the 
 aristocratic country that had been ruled down the ages by the 
 master-class, with emperors and empresses and all that goes with 
 imperialistic show. But we ought to remember that periods of 
 great political and social agitation are not likely to encourage art. 
 The people are too absorbed. It is in periods of tranquility that art 
 becomes most expressive. Then it draws on those other periods 
 for some of its best material. The chances are that, in time, the 
 new China will produce new and able painters who will reflect the 
 radical ideas. Then there will be the danger of corruption from 
 foreign sources, the danger that Japan is now facing." 
 
 The decorative character of the painting made an appeal to 
 the painter. In his judgment the Chinese were among the earliest 
 and the greatest of the decorators. Many centuries ago they felt 
 and worked out the decorative principles that were used with such 
 skill by the men of today. There was a distinct resemblance, for 
 example, between Chinese decoration and those magnificent dec- 
 orative designs by Fjaestad in the Swedish section, generally ac- 
 cepted as highly advanced and brilliant work. 
 
 The variety of the work here we found particularly interesting. 
 It included the minute carving of fruit stones, designs in many 
 kinds of wood, rich embroideries, beautifully cut precious stones 
 set in royal magnificence, rare porcelains, superb vases of clois- 
 onne, exquisite pieces of lacquer. Some of it seemed trifling, for 
 example, those bottles painted from the inside by means of long 
 brushes, dexterously used. But taken altogether, it illustrated the 
 fine artistic sense of the Chinese, characteristic of their work 
 down the ages. "What I like best about it isn't their great costly 
 pieces that belong in palaces," said the painter, "but those more 
 simple and inexpensive pieces that show the direct relation be- 
 
FRENCH AND ITALIAN PAVILIONS 
 
 45 
 
 tween use and beauty. Whenever a people try to make their daily 
 utensils beautiful it offers a proof of its instinctive feeling of art." 
 
 As we wandered from room to room we found many evidences 
 of this feeling. And we also formed expressions of the poetry in 
 the hearts of the Chinese people, their love of nature, their rever- 
 ence, their treasuring of their legends, their patient devotion in 
 striving toward their artistic ideals. "In some ways," the painter 
 remarked, "those old-fashioned fellows, for all their flatness and 
 quaintness, are curiously like our modern men. For example, they 
 never try to be photographic. They are always suggestive. They 
 appeal, not to the sight merely, but to the imagination and to the 
 feelings. They are poets themselves and they want to develop the 
 love of poetry among the people that look at their work." 
 
 THE FRENCH PAVILION 
 
 XIV 
 
 F ALL the buildings on the grounds," said the 
 painter as we approached the French pavilion, 
 "this building has for me the most interesting 
 associations. It is astonishing that it should 
 have been undertaken at all. France was in the 
 throes of the war. Paris had just escaped an- 
 ther invasion of the Germans. In the midst of 
 all this turmoil to ask the French people to 
 turn their attention to an Exposition thousands 
 of miles away seemed like an absurdity. But they saw a chance of 
 showing their appreciation of the help given the wounded and im- 
 poverished by sympathetic Americans, and they made a great 
 effort. Then, too, they felt the artistic appeal of the Exposition. In 
 a short time they were able to do what, for most nations, would 
 have required many months or years of preparation. They had 
 trained exposition men, experts, who went to work with a will 
 and made one of the most artistic displays ever seen at any inter- 
 national affair of this kind." 
 
 We were in the Court of the Legion of Honor now, close to 
 the great statue of "The Thinker," by Rodin. "It was a fine idea to 
 
46 THE PALACE OF FINE ARTS 
 
 secure this wonderful expression of modern French sculpture for 
 this particular spot. And it's pleasant to think that it has been se- 
 cured through the generosity and the public spirit of a San Fran- 
 cisco woman, Mrs. A. B. Spreckels. It's just as strong as the orig- 
 inal, which has stood for years in front of the Pantheon in Paris. 
 Rodin, you know, when he has finished a piece of work, doesn't 
 turn away from it and let others make reproductions. Every re- 
 production he works on with as much care as he gave to the 
 original." 
 
 The building appealed to the painter, both for the distinctive 
 qualities in the architecture and for. its historic associations. "It's 
 an exact reproduction," he said, "of the Palace of the Legion of 
 Honor which stands near the Quai d'Orsay, in the Rue de Lille, at 
 the corner of the Rue de Solferino. It was built in 1786 by the 
 able but not highly distinguished architect, Rousseau, for the 
 Prince of Salm, who had his head cut off during the French revo- 
 lution, in 1793. Napoleon secured it for the Legion of Honor in 
 1804, when he was First Consul. He liked the idea of being able to 
 see it from the Tuileries. In style it is pure Louis XVI. The re- 
 production here is very exact, even to the molding of the friezes. 
 The architectural plans were sent over from Paris and the actual 
 building was done by the Director of Works, Harris H. D. Con- 
 nick. In some ways it's a pity the materials were not permanent. 
 At an additional cost of a few thousand dollars San Francisco 
 might have had a fine structure and a constant reminder of the 
 ancient friendship between France and the United States." 
 
 French architecture, as I knew, had a special interest for the 
 painter, both on account of its beauty and on account of the spirit 
 behind it and the history. "In Paris," he remarked, "it's fasci- 
 nating to see how the French temperament has expressed itself in 
 changing styles. The history of the French people is written all 
 over their houses and their bridges and their monuments. Napo- 
 leon, however, gets more credit than he deserves for the introduc- 
 tion of the Empire style, which is so closely associated with mod- 
 ern French art. As a matter of fact, it began to come in during the 
 period of Louis XVI. The development of a fashion is often be- 
 yond the control of any one man, however great. But the Empire 
 style suited Napoleon's temperament on account of its close as- 
 sociation with Rome. In the days of the first French empire, Caesar 
 and Napoleon were often compared, and the comparison must 
 
FRENCH AND ITALIAN PAVILIONS 47 
 
 have been very pleasing to Napoleon's vanity. The influence of 
 Rome on French architecture is very strong, but it has been sub- 
 jected to the most subtle modifications and adaptations, often 
 hard to trace. 
 
 As we passed up the stairway of the main entrance to the 
 pavilion, we both felt as if we had been transported into France. 
 "Isn't it marvelous how well the French do things? Their stand- 
 ard is perfection and they are always striving in the direction of 
 better methods. Just to look about here is to realize how much 
 thought and feeling they have put into the arrangement of their 
 treasures. And how clever it was of them to include in the dis- 
 play examples of their skill in women's clothes that has helped 
 to make them leaders in taste all over the world. There are only 
 two things that they have left out, their wine and their pate de 
 foie gras." 
 
 When I asked the painter how he accounted for the artistic 
 eminence of the French people, he replied: "There are many ex- 
 planations. In the first place, there is the emotional French 
 temperament, related to climate, to the subtle influence of ideals 
 and to habits of thought. When once a conception of beauty is 
 implanted in the heart of a people, it expresses itself in a multi- 
 tude of artistic ways. Then, too, the French authorities have been 
 careful to foster a love of art among the people. They don't hide 
 their treasures away in vaults. They have a feeling that what is 
 beautiful in art belongs, in a sense, to all the people. It is related 
 to the old notion that what belonged to the king belonged to the 
 people. When you travel through France you are continually re- 
 minded of this attitude. The custodians of great works are eager 
 to have them appreciated and enjoyed. As a result, the people 
 have learned to appreciate and they have also developed a respon- 
 sive attitude which makes them respect such treasures. You rare- 
 ly hear of a great work of art being stolen in France by anyone 
 of French blood. The Mona Lisa, for example, was stolen by a 
 foreigner." 
 
 The painter pointed to the magnificent Sevres vases near the 
 entrance of the Pavilion. "In France, the people are so used to 
 seeing work of that kind that they know its artistic value. Here 
 people often pass them by without realizing. The connoisseurs, 
 of course, know; but they are are rare exceptions." 
 
 The Gobelin tapestries were another reminder of the differ- 
 ence between the French and American attitude. "In this coun- 
 
48 THE PALACE OF FINE ARTS 
 
 try we like to do things in a hurry. We pride ourselves on our 
 speed and efficiency. But the French know better. They realize 
 that what is best in art results from a slow and careful develop- 
 ment. On each of these tapestries the workers spend several 
 years. They do their painting with wool or with silk, sometimes 
 with a mixture. A square yard a year is considered a reasonable 
 amount of work for one man, but that square yard is perfect in 
 every detail. Each man feels the artistic responsibility of his task. 
 He is helping to reproduce a painting that, in most instances, is 
 done by a master. He works with the painting behind him, re- 
 flected before his eyes in a mirror." 
 
 The painter called my attention to the difference in the color- 
 ing between the tapestries that were new and those that were old. 
 In the new work the coloring was almost glaring, but the work- 
 ers had in mind not the effect of the present but of the future. 
 Like all the Gobelin tapestries, these were designed under the 
 direction of the French government for use in the governmental 
 buildings. Such Gobelins as had come out of France had been 
 presented as gifts or had been smuggled out, in some instances 
 by way of the French Revolution and those other disturbances 
 that tested the valiant spirit of the French people. 
 
 "There's a lot of history behind those Gobelin tapestries," said 
 the painter, as we stood in front of those blue studies of scenes 
 from the life of Joan of Arc, made from drawings by the cele- 
 brated French painter, Jean Paul Laurens. "In fact, for the past 
 five hundred years the name 'Gobelin* has been associated with 
 most of the notable events in France. The Gobelins, as a family, 
 first became well known among the French people about the 
 middle of the fifteenth century. They are supposed to have come 
 from Rheims. One of them discovered a scarlet dye and built a 
 great dye factory in Paris, at first called 'Gobelin's Folly.' The 
 business prospered and went on from generation to generation. 
 In the sixteenth century the descendants started a manufactory 
 of tapestries. Some of them grew so rich that they gave up busi- 
 ness and bought titles of nobility. Several Gobelins became dis- 
 tinguished state officials. In 1662 the factories were bought by 
 Colbert for Louis XIV and converted into governmental works 
 for the making of upholstery, with the painter, Lebrun, at the 
 head of the department devoted to tapestry. So the Lebruns here 
 are among the first of the tapestries that were made under royal 
 authority. In 1694 Louis XIV got into money difficulties, and as 
 
FRENCH AND ITALIAN PAVILIONS 49 
 
 a result the factories were closed for about three years. Then 
 they were opened for the making of tapestries alone, to be used 
 for the royal family and to be distributed as royal gifts. During 
 the revolution and during Napoleon's time they were closed. 
 Louis Philippe started the work going again, and not long after- 
 ward there was added the making of carpets. In 1871 the building 
 was attacked by the Communists and partly destroyed." 
 
 The two paintings by Cazin at either side of the door appealed 
 to my companion for their quiet yet rich coloring, for their at- 
 mosphere of peace and for their fidelity to the character of the 
 French landscape. "It was a happy scheme to place them here, 
 where they were bound to secure attention and where they could 
 give a distinctive note to the building. They express the idealism 
 at the heart of the French people, so often misunderstood by the 
 foreigner, the kind of idealism that caused the French revolution 
 and the commune and those other outbreaks, terrible in them- 
 selves, but revealing the longing of a great people for freedom 
 and equality. It is an interesting circumstance that in France the 
 land is, for the most part, broken up into small holdings. The 
 French really own their own country, which is more than can 
 be said for some other countries supposed to be dedicated to lib- 
 erty and fraternity." 
 
 As we walked up the stairs leading into the great hall form- 
 ing the heart of the pavilion, we found those splendid Rodins, in- 
 cluding "The Age of Brass," "A Siren," the two busts of Henri 
 Rochefort, "War," and "The Head of John the Baptist." If this 
 magnificent pavilion were distinguished for nothing else, these 
 Rodins would make it distinguished. It is good to think that they 
 all belong to this country and are likely to remain here. Several 
 have been lent by Mrs. A. B. Spreckels, of San Francisco, includ- 
 ing "The Thinker" in the Court of Honor, which would look very 
 fine in our Golden Gate Park. By the way, I notice that the great 
 authority on city planning, Frederick C. Howe, during his recent 
 visit here, gave enthusiastic praise both to our park and to our 
 statuary. When you consider how poor much of the statuary in 
 this country is, we have reason to be grateful. These works of 
 Rodin's are sure to have an influence on our sculptors, to make 
 them see that really characteristic work can find widespread ap- 
 preciation. I wonder if San Franciscans realize how well the local 
 sculptors have displayed their ability in this Exposition. Five 
 
50 THE PALACE OF FINE ARTS 
 
 men have distinguished themselves for fine work Ralph Stack- 
 pole, Arthur Putnam, Haig Patigian, Edgar Walter and Robert 
 Aitken, who, if he no longer lives here, is a San Franciscan at 
 heart." 
 
 As we were looking at the curious little marble figure of a 
 woman's face, Egyptian in treatment, with the mouth open, the 
 lips protruding in a way almost repulsive, a lady came forward, 
 followed by a gentleman. "What a shame it is those pencil marks 
 aren't rubbed off," she said. "They spoil the appearance of the 
 marble." 
 
 The painter turned to me with a smile. "As a matter of fact," 
 he remarked, "those pencil marks were placed there by Rodin 
 himself, why, I can't imagine, possibly to carry out the design 
 that he used in the treatment of the head which gives it the 
 Egyptian suggestion. However, he is always experimenting and, 
 in looking at his work, one ought to bear in mind that it ex- 
 presses a very curious and original character, with a strong lean- 
 ing in the direction of eccentricity, and with a particular fondness 
 for making eccentric effects. In some of his work, of course, he 
 is absolutely straightforward. Observe the directness, as well as 
 the strength in his treatment of the interesting and characteristic 
 head of Henri Rochefort, that temperamental rebel. And then 
 there is that delightful bust of Falguiere, the French painter and 
 sculptor, in the French section of the Fine Arts, in my opinion 
 one of the finest portrait studies ever done by a sculptor, ancient 
 or modern." 
 
 In the gallery to the left we found that superb painting by 
 Puvis de Chavannes, "Hope," so greatly admired by artists the 
 world over, an ideal example of the nude, delicately felt and 
 painted with reserve and tenderness. "Puvis de Chavannes did 
 this work when France was just recovering from the desolation 
 of 1870. How simply he has treated the background, and yet how 
 he has made that landscape express the sadness of France. The 
 nude girl carries the promise of the revival of nature, with the 
 return of courage and ambition and energy. Its beauty and charm 
 can be perceived even by those who do not appreciate the work 
 of this master in general. It is, indeed, one of his greatest tri- 
 umphs, an example of genius that was his without apparent effort 
 and with absolute simplicity. 
 
 Another Puvis de Chavannes we found nearby, consisting of 
 an original sketch of the wonderful mural decoration made for 
 
FRENCH AND ITALIAN PAVILIONS 51 
 
 the Pantheon between the years 1897 and 1908, the latest and one 
 of the greatest of his murals. It celebrated Saint Genevieve, 
 patroness of Paris, coming to the aid of the starving people when 
 they were attacked by Attila and the Huns in 451. "It has more 
 life and warmth than some of the master's work, than the ex- 
 ample that is so much admired in the Palace of Fine Arts, pure 
 Greek in feeling and wonderfully delicate in treatment. Puvis is 
 a poet among painters, and, like many great poets, he is often 
 misunderstood by the people at large and appreciated only by the 
 experts. His technical ability is extraordinary. There are those, 
 however, who find in his painting a curiously anemic suggestion. 
 However, of its kind it is the most notable work done in modern 
 art. Perhaps one proof of its quality lies in its being so rarely 
 imitated. For all his eminence, Puvis did not found a school. He 
 stood alone." 
 
 A painter often spoken of as the founder of a school, the maker 
 indeed of a revolution, we met when we reached "The Balcony," 
 by Manet. "It's hard to believe that the simple group up there 
 could have created a sensation a half-century ago. What could 
 be simpler than those three typically French figures on the bal- 
 cony two young ladies and a gentleman? The older of the two 
 ladies, by the way, is Berthe Morisot, Manet's sister-in-law, one 
 of the greatest of woman painters, a leader in the early French 
 impressionist group. At the time this canvas was painted Manet 
 was the most ridiculed figure in Paris. People used to go to see 
 his pictures merely for the sake of laughing. They would begin 
 to laugh as they went up the stairs. A great deal of fun was made 
 of this balcony because it was green. The two ladies were ridi- 
 culed and criticised on account of their appearance, and the dog 
 at their feet was spoken of as if he were a monster. The trouble 
 was that those Parisians were devoted to the old school of paint- 
 ing and could not understand that Manet was introducing a new 
 technique, a more natural treatment of light, bringing out truer 
 effects of perspective. Close observation of the picture will show 
 details of the background, including the outlines of a figure, very 
 dim, all of which suggest how finely Manet observed. For many 
 years he fought against a perfect storm of abuse. He must have 
 had great character to endure it and go on working. But he en- 
 joyed the satisfaction of seeing a little group of admirers gather 
 around him, several of them now of world-v/ide distinction." 
 
52 THE PALACE OF FINE ARTS 
 
 From that Manet the painter led me to the two canvases by 
 Monet, both characteristic, one an interesting example of his 
 magnificent cathedral series, painted from the windows of a mil- 
 liner's shop in Rouen. "When Manet was at the height of his 
 notoriety, before he was accepted as a genuine master, he went 
 into an exhibition in Paris one day and he saw people standing 
 in front of a canvas by an unknown painter named Monet. 'Who 
 is this fellow,' he said, 'that uses a name almost identical with 
 mine in order to advertise himself ' The remark was repeated to 
 Monet, who felt so hurt that afterward he was careful to sign 
 himself by his full name, Claude Monet. Not long after the inci- 
 dent Manet and Monet became friends, and they remained friends 
 till Manet's death in 1883. There are those who, while they 
 acknowledge the revolutionary character of Manet's work in its 
 treatment of light, nevertheless say that Monet is the real leader 
 of the open-air or impressionist school. Monet is still painting in 
 Giverny, his home in the country, half way between Paris and 
 Rouen. But among the younger painters of Paris he does not 
 maintain his prestige. They regard him as old-fashioned, and they 
 think they have left him far behind. Where he was once ridiculed 
 because he was too advanced, he is now ridiculed because he is 
 not advanced enough. However, his place in the world of art is 
 secure. His work not only has great beauty in itself and marvel- 
 ous technical skill, but it has an historic interest, through marking 
 the brilliant beginning of an epoch." 
 
 "By the way," the painter went on, "it's interesting to trace 
 the effect of the open-air school, both on the work and on the 
 lives of the impressionists. As any one can see, it drove them out 
 of the studios into the fields. Most of them left Paris and settled 
 in the country. The portraits that they painted of one another 
 show that they looked like healthy farmers." 
 
 After this comment I was interested in studying the examples 
 of impressionism that we found here, the work of such disting- 
 uished men as Pissaro, Renoir, Sisley, Besnard and of Cezanne, 
 who was destined to extend the boundaries of impressionism and 
 to lead the way to those present-day movements so interesting 
 and so puzzling post-impressionism, cubism and futurism all 
 representing efforts to express the new psychology in terms of 
 painting. 
 
 We suddenly came to those two startling paintings of Christ 
 on the cross, facing each other one by Carriere, first exhibited 
 
FRENCH AND ITALIAN PAVILIONS 53 
 
 in the salon in 1897, and the other by Henner, painted according 
 to the order of the government, for the Palace of Justice in Paris. 
 "These canvases show how differently two modern painters can 
 be affected by the same theme. Henner's work is theatrical, Car- 
 riere's work is dramatic. Henner gives us a realistic study of 
 Christ, ably painted, it is true, but with a use of green on the 
 flesh that is almost repulsive. Carriere envelops Christ and the 
 cross in a haze, with the grief-stricken figure of Mary at the foot 
 of the cross. Without seeming in any way to reach for an effect, 
 he makes us feel the depth of the scene and the poignancy. Of all 
 the paintings of Christ in the Exposition this canvas seems to me 
 by far the finest." 
 
 Another example of Carriere's work we found in the portrait 
 of the French novelist, Alphonse Daudet and his daughter, paint- 
 ed in 1890, when Daudet looked as if he were already stricken 
 with illness. The painter had perfectly reproduced the fineness in 
 the features and the weariness in the pose and in the face. One 
 could see that Daudet had become what the French called "a man 
 fatigued." The work as r a whole was very interesting, suggesting 
 a tender relation between the charming girl and her father, the 
 man who had made those voluminous studies of life that caused 
 him to be known as the French Dickens. "Both the Carrieres 
 are good," said the painter, "but it is the Christ on the cross that 
 deserves to live." 
 
 THE ITALIAN FUTURISTS 
 xv 
 
 |T'S easy to laugh at the Italian futurists," said 
 the painter, as we went up the stairs in the 
 annex to the Palace of Fine Arts, "but it's more 
 profitable to find out what they're trying to 
 do." 
 
 With those words in my mind I tried to be 
 serious when I stood among those curious ex- 
 amples of one of the new and revolutionary 
 movements in art. But no such ambition con- 
 troled some of the people about me. They were having a good 
 time, pointing out to one another good examples of absurdity. 
 "There's a big idea behind all this work," said the painter, "and 
 
54 THE PALACE OF FINE ARTS 
 
 one ought to keep it in mind. It will put a check on hasty judg- 
 ment. The futurists say that up to the present time art has been 
 conventional and limited. The artists have been like men shut up 
 in prison. They have worked in a routine as bad as a treadmill. 
 They've exalted the merely physical and they've looked at the 
 physical in a limited way without seeing it as it really is, under 
 the influence of its manifold mental and moral and spiritual rela- 
 tions. The painting of the nude, for example, which has been so 
 exalted down the ages, they regard as stupid. To them a nude 
 woman in a picture has exactly the value of a nude animal. What 
 is important about a human being, they maintain, is not the body. 
 It's the mind and the character; it's the subjective reaction that 
 goes on with experience." 
 
 "Then futurism is mainly psychological," I ventured to re- 
 mark. 
 
 "True. But that statement doesn't fully express what it is. It 
 is all that and much more. In a sense, it is subjective, and yet it 
 deals with the objective, too. It gives a new interpretation to 
 the old saying that 'art recovers the innocence of the eye.' It 
 makes those words really mean that art recovers the innocence 
 of the mind, that it records subtle impressions and forces that 
 have never before been considered to belong in the field of art. 
 Futurism is suggestive in a new sense and it is symbolic in a new 
 sense. It depicts emotions, sounds, even smells. You see, it is 
 striving almost desperately to reach the essence of things. A 
 writer like Henry James, whether he knows it or not, is working 
 in a somewhat similar way in literature." 
 
 We were standing in front of one of the largest paintings in 
 the room, by Boccioni, quaintly described in the catalogue as 
 "Dynamism of a Footballer." It looked like the picture of sheets 
 of beautifully colored tin, massed together. "Of all the Italian 
 futurists," said the painter, "I consider Boccioni the most inter- 
 esting. This painting gives a clue to what the futurists are doing. 
 Those fellows are unquestionably great colorists, whatever else 
 may be said of them. And their use of color is in harmony with 
 the more recent discoveries between the relation of color and vi- 
 bration. The futurists are introducing the violet rays into new 
 forms of art and making them a means of reaching emotional ex- 
 pression. Moreover, they agree with modern science in insisting on 
 the supreme value of energy. You know that matter, as merely 
 a form of energy, is now accepted by science. It is energy that the 
 
FRENCH AND ITALIAN PAVILIONS 55 
 
 futurists are always putting into their pictures in one form or an- 
 other. It need not be physical force, as in this picture of the foot- 
 ball player tearing down the field, covered with sweat and in- 
 spired by the brutal struggle and the excitement and applause of 
 the crowd. It may be the energy that goes with quiesence. This 
 work might have been called 'A Spiritual Picture of a Football 
 Player During a Great Play'." 
 
 By this time my mind was somewhat bewildered. "I don't 
 think I quite get it," I remarked. "But now that you have ex- 
 plained the situation, I can see that the work expresses some 
 mental confusion." 
 
 The painter smiled indulgently. "I didn't get it at first," he 
 said. "It takes some time. But when you do get it you see what 
 the futurists mean by saying that photography has killed the old 
 physical forms of art. In future, according to them, the artists 
 must deal with those finer considerations that lie far beyond the 
 camera's reach." 
 
 The painter led me to another Boccioni nearby, smaller and al- 
 most as cryptic. "Look intently at it," he said, "and tell me if 
 you see anything you recognize." 
 
 I looked and after a long interval I thought I had an idea. 
 
 "Is it a horse?" I ventured. 
 
 The painter was delighted. Yes, it was a horse. 
 
 "But it's a queer sort of horse," I remarked. "I don't think 
 I've ever seen one just like it before." 
 
 I felt proud of my achievement, and yet, somehow, I was un- 
 easy. There might be some trap. 
 
 "If Boccioni were here he'd say you saw this sort of horse 
 every day of your life. It's simply a horse in motion with a woman 
 rider. It's a decomposed picture, so to speak. It's what we see be- 
 fore we put a scene into conventionalized form, before we system- 
 atize it according to our understanding of what it ought to be. 
 It's what the babe sees by means of the innocence of the eye." 
 
 The painter turned away. "Now come and see another inter- 
 esting fellow, Carra," he said, indicating one of the smaller pic- 
 tures. "How does it strike you?" he asked, when we were fairly 
 close. 
 
 After due reflection and still in that nervous state of mind 
 due to that possible trap, I said: "I like the coloring, but there's 
 nothing else there I can grasp. What is it?" 
 
56 THE PALACE OF FINE ARTS 
 
 The painter was already on his way to another masterpiece. 
 "It's the 'Disintegration of Flesh'," he said, and perhaps fearing 
 that I might be squeamish, he went on, pointing to another can- 
 vas: "In 'A Woman's Shape and Scents' we have the expression 
 of a healthy woman as she exists in Carra's consciousness. Now 
 there's a third picture that ought to be looked at in connection 
 with those two, although it happens to be painted by another man 
 Severini, also very interesting." 
 
 It was a mass of brilliant color, more or less remotely related 
 to the form of a woman. "Here we have a woman dancing and we 
 are given not the body alone, but the spirit, alive, glowing, full of 
 light and joy." 
 
 Some people near us were listening and smiling. They looked 
 quizzically at the painter and yet with a certain kindly regard. 
 Then it dawned upon me that they took him for a jollier. 
 
 "The Italian futurists aren't lacking in humor," said the paint- 
 er, pointing to Severini's "Dynamic Decomposition of the Por- 
 trait of the Poet Marinetti." "It shows a certain humor on their 
 part to introduce this caricature of their own work here, as well 
 as courage. It looks as if it had been done in five minutes by a 
 joker with a gift for artistic improvisation. It probably was. But 
 it is interesting, nevertheless, on account of the history behind it. 
 Marinetti stands at the head of the group of thirty painters who 
 represent the new movement in Italy. Though he isn't a painter 
 himself, he is supposed to be a critic of great ability and he has 
 thrown himself heart and soul into the advocacy of the futurist 
 cause. Observe the strip of what looks like black velvet stuck on 
 the cardboard background. It's an emblem of what Marinetti used 
 to stand for before his conversion. He was an art critic of the old 
 school, with an established reputation. He was also an accepted 
 poet. He used to write and lecture on what the futurists now call 
 'physical painting.' When he changed he was naturally much ridi- 
 culed. At some of his lectures on futurism in Florence the audi- 
 ence threw eggs and vegetables at him and the newspapers at- 
 tacked him. The suggestions of newspapers incorporated into the 
 picture and the quotations indicate the character of the treatment 
 he received, you see, not through resentment, but through good- 
 natured irony. The chances are that he enjoyed the excitement. In 
 the process of disintegration you will observe that his mustache 
 has suffered. The treatment of that mustache is significant. Nearly 
 
FRENCH AND ITALIAN PAVILIONS 57 
 
 all the futurists have shaved off their mustaches, but Marinetti 
 refused to make the sacrifice. His refusal has been the subject of 
 many jokes among his colleagues. Those black curved lines are 
 doubtless intended to suggest the passions of hate and anger that 
 were excited by the movement." 
 
 "All those meanings," I remarked, "are necessary for an un- 
 derstanding of the picture. But unless one hears them explained, 
 how is one to find a clew? There doesn't seem to be any common 
 language even among the futurists themselves." 
 
 "That criticism has often been made," said the painter, turning 
 to a canvas by Russolo, supposed to represent "A Woman Walk- 
 ing." "They really are developing a kind of language in their use 
 of color. In a general way, the heavy, dark colors, for example, 
 suggest force. They may be described as masculine. The lighter 
 colors have a feminine quality on account of their delicacy and 
 fineness. Light green is supposed to indicate intellectuality. This 
 woman is painted mainly in blue. The repetition of the figure 
 suggests that the painter wants to convey the impression of the 
 woman repeated in the mind of the artist as she goes along. The 
 blending in of green may be an intimation that she is a literary 
 woman or a feminist." 
 
 "The futurists have plenty of scope for the imagination, don't 
 they?" 
 
 "Exactly. The truth is that they are all individualists. Nearly 
 every canvas in this room is capable of varied interpretations. A 
 few make concessions to the shape of the figure. Others make no 
 concessions at all." 
 
 "Do you really think that the movement means anything 
 vital?" I asked. 
 
 "All striving, all seeking for originality, has in it something 
 that is vital. But whether the force that is represented here is 
 mere eccentricity and wildness, or whether it is going to open 
 new avenues to the artists of the future is a big question. Perhaps 
 the best service of the new men who are upsetting the artistic 
 world, the Post-Impressionists, the Cubists and the Futurists, 
 will be found to be that they make artists question the conven- 
 tions. A movement of this kind, though it may pass away and be 
 remembered only for its absurdity, nevertheless may exert a sub- 
 tle and healthy influence, none the less real because it is hardly 
 traceable. What is to me most significant about the work of the 
 
58 THE PALACE OF FINE ARTS 
 
 Italian futurists is that it emphasizes the mental and spiritual 
 qualities and their relation to color. For a long time the Theoso- 
 phists have been trying to make us see this relation. Nearly all of 
 the great religions have scorned the mere physical body and given 
 it value only through its transient identification with the soul. 
 The Theosophists go so far as to say that what we think and 
 feel takes on expressions in color of the astral body. They even 
 show photographs of the astral body under the influence .of differ- 
 ent emotions. The colors expressing anger, for example, are 
 startling in the violence of their reddish tones. And, of course, 
 we all know that experiments have shown a relation between 
 health and certain colors." 
 
 "But aren't the futurists trying to reach beyond the realms of 
 art?" I asked. 
 
 "Ah, but who can say where the realms of art come to an end. 
 The futurists believe that, on this subject, the world has held false 
 opinions altogether too long. They think they have found new 
 and brilliant worlds to conquer. What they are undertaking to do 
 is fascinating. They are right when they say that our symbols are 
 petty and misleading. For example, when a painter puts the siren 
 type of woman on a canvas, the woman that wrecks homes, he is 
 almost certain to be careful to make us feel the evil qualities 
 through showing them conspicuously in the face. But we know 
 that this type of woman never gives herself away in this open 
 fashion. If she did she would defeat her own purpose. She prob- 
 ably succeeds because she looks so innocent. The futurist, in 
 dealing with this kind of character, looks for the essential quali- 
 ties, not in the face, but in the mind. He gives us a picture that, 
 as the members of his school like to say, suggests the dynamic 
 forces that produce so much woe. In this connection it is well for 
 us to bear in mind the saying of one of the great masters to a 
 pupil that was working along accepted lines: 'Till you have awak- 
 ened the contempt of fools you haven't done a really good piece 
 of work'." 
 
 "On the other hand," I said, "isn't it possible that the futurists 
 are having a little fun at our expense?" 
 
 The painter gave the question serious consideration. Then he 
 said: "I believe these fellows are sincere. If they weren't, they 
 couldn't put so much thought and power into their canvases." 
 
THE ITALIAN PAVILION 
 
 XVI 
 
 OMING towards the Italian Pavilion the paint- 
 er remarked: "The Italians know how to do 
 things. They feel the intimate relation between 
 the beautiful and the useful. They have made 
 beauty express a kind of efficiency. After all, 
 efficiency and beauty are, it seems to me, vir- 
 tually identical. The efficient way is the beau- 
 tiful way. The qualities that make up efficiency 
 include ease and grace and joy in life, and that 
 expression of spontaneous energizing which ought to go with all 
 work. Surely the efficient way of living is making life both useful 
 and beautiful." 
 
 These remarks reminded me of one of W. D. Howell's favorite 
 sayings, "Everything good comes out of Italy." When I quoted 
 it, the painter went on: "They are a great race, the Italians. One 
 explanation lies in their inheritance. What a background they 
 have, not only in the ruins of Rome and their other great cities 
 of the pagan era, but in their traditions. Beauty has been a part 
 of their inheritance. But it doesn't explain their activity in so 
 many kinds of enterprise. How interesting it would be if we could 
 only get at the fundamental causes that differentiate the nations 
 of the world. Perhaps they are too subtle to be demonstrated. 
 Often they must start in the influence of a single, inspiring per- 
 sonality who creates an ideal in the minds of the people and who 
 is perhaps forgotten while the ideal is making a spiritual or an 
 economic or a social revolution which shows that a whole nation 
 has been inspired." 
 
 As we looked at the group of buildings that made the pavilion 
 the painter proceeded to express enthusiasm for the Italian ar- 
 chitect, Piacentini, who had successfully combined so many typi- 
 cally Italian styles and succeeded in giving them unity. "How 
 true it is," he said, "that architecture is history. There was a re- 
 markable development of building associated with the activities 
 of the Italian cities for several hundred years before the seven- 
 teenth century, and Piancenti has echoed it here. From the time 
 of the dawn of Christianity the Church has done some of her fin- 
 est building in Italy. It was inevitable that a characteristically 
 Italian structure like this pavilion should carry suggestions of the 
 
60 THE PALACE OF FINE ARTS 
 
 spiritual and the ecclesiastical. The Carthusian cloister, which Pi- 
 acentini has used, shows the influence pf Brunelleschi, greatest 
 of all Italian architects, revered by architects today the world 
 over. This courtyard that we are standing in takes us back to the 
 fourteenth century. That small building over there which houses 
 the Cannessa collection suggests the mediaeval religious architec- 
 ture of Perugia. In all the detail there is historical suggestion, all 
 the more interesting because it is so perfectly blended. Through- 
 out these are hints of periods and motifs which, if we could look 
 back at the history behind them, would make us realize what a 
 hive of artistic industry Italy has been from generation to gen- 
 eration." 
 
 Before we entered the pavilion we stopped to admire the foun- 
 tains and the bits of sculpture outside, some of them copied from 
 works included among the world's most valued possessions. We 
 decided to enter by the royal salon, where we knew we should find 
 that brilliant mural decoration by the young Italian artist, Pieret- 
 to Bianco, one of the greatest painters in the Italy of today. 
 "When Joseph Pennell was out here," the painter remarked, as we 
 stood in the magnificent hall, "he said that, in his opinion, this 
 work was the finest of all the murals in the Exposition. It hasn't 
 had nearly as much attention as it deserves. See the people pass- 
 ing under it without giving it so much as a look. Perhaps one rea- 
 son is that it blends so harmoniously into the architecture of the 
 room. And yet it is impossible for anyone who has any feeling 
 for art to glance at it without feeling the splendor of the concep- 
 tion and the picturesqueness and power in the treatment, and the 
 rich beauty of the coloring." 
 
 Up the great stairways on either side of the gilded Roman 
 half-dome half-nude figures, women and men, were bearing gifts 
 to be offered to the figure in the center of the canvas, a magnifi- 
 cent woman in the dress of a warrior, Rome. "It's a pagan con- 
 ception, isn't it?" said the painter, with a shrug of his shoulders. 
 It leaves out a great deal in the way of devotion to ideals, of as- 
 piration toward spirituality. "But it's done so well you have to 
 admire it." 
 
 From the salon we passed into the vestibule, where we found 
 many pieces of furniture to admire for their beauty. They repre- 
 sented commercial art at its best. "When the war broke out," said 
 the painter, "it was found that many of the treasures which the 
 Italian government had intended to send here in the way of an- 
 tique furniture could not be shipped without great risk and at 
 
FRENCH AND ITALIAN PAVILIONS 61 
 
 prohibitive insurance rates. So it was decided that work of this 
 kind should be used in their place, a wise decision under the cir- 
 cumstances. But it was a pity that the government was unable to 
 carry out its idea of presenting here an idealized Italian dwelling 
 house, filled with typically Italian treasures, directly related to 
 everyday use." 
 
 In the other rooms we found many reminders of Italy s artis- 
 tic and social and political activity, both in the past and in the 
 present. They included the lovely work of Luca della Robbia in 
 majolica, the murals of Ferrari, the reproductions of masterpieces 
 in sculpture and painting by such workers as Tiepolo, Raphael, 
 Murilla, Luini, Michael Angelo and Donatello, reproductions of 
 Roman scenes and Italy's activity in fighting disease and crime. 
 Most interesting of all the rooms was the Pompeian museum, 
 filled with interesting examples of treasures dug from the ruins 
 of Pompeii, some of them copies, others originals bronze statues, 
 pieces of silver, bas-reliefs, candlesticks, vases, musical and sur- 
 gical instruments. 
 
 Those surgical instruments greatly interested the painter. 
 "Observe their designs," he said. "They are developed out of the 
 very principles that our present surgical instruments are built on. 
 Have you ever read Wendell Phillip's essay on the lost arts? We 
 all ought to read it whenever we begin to feel too proud of our 
 superiority over the other ages of the world. It shows that many 
 of our discoveries are rediscoveries and much that we think is 
 new is really old. The work in this Italian pavilion ought to make 
 us humble and remind us of how much we owe to the past and of 
 how much we owe to a nation like Italy, that has kept the torch 
 of beauty flaming for the benefit of civilization." 
 
 When we reached the group of the woman and the child, by 
 Carl Augustus Heber, at the northern end of the colonnade, for 
 the first time we caught the note of feminism. "That woman, 
 struggling to free herself from her bonds, tells the whole story," 
 said the painter. "Those other women express the attitude of the 
 world toward women since the pagan days, an attitude singularly 
 consistent through the centuries. To say that it is changed now 
 would be an exaggeration. It is changing. So far it has not ex- 
 pressed itself in art to any noticeable degree." 
 
FIFTEEN DISTINGUISHED AMERICAN 
 ARTISTS 
 
 O FIFTEEN artists was assigned special hon- 
 or. In most instances each was given a room 
 for his work, or more than one room. In one 
 instance two Californians were placed together 
 in one room. The work of all these men is 
 worth studying in detail. 
 
 WILLIAM M. CHASE 
 
 Though nearly seventy, William M. Chase 
 maintains his indefatigable activity. He has great love of his work, 
 which imparts itself to his canvases. Though he came out of the 
 Munich school, he has not devoted himself to the darker tones, 
 perhaps because he long ago felt the influence of France. He has a 
 fine mind and an eager spirit, and he has expressed himself in 
 many forms of painting. Among his portraits, "The Lady with the 
 White Shawl" is the best known. Someone has said that it may yet 
 become a classic, remembered for its many fine qualities when the 
 work of the other painters in its time has been forgotten. Chase is 
 a master of still life painting. His room contains several disting- 
 uished examples. He has long been a great force in the teaching 
 of art in this country. 
 
 FRANK DUVENECK 
 
 A realistic study of this master among American painters by 
 Joseph De Camp, which hangs in the Duveneck room, shows that, 
 in spite of sixty odd years, Duveneck is still physically vigorous 
 and mentally alert. He was born in Covington, Kentucky, and he 
 spent many of his earlier years in Munich, where he became con- 
 spicuously identified with the Munich school that worshipped the 
 old masters Rembrandt, Franz Hals, Velasquez. Among his fel- 
 low students were Chase and Currier. He developed very remark- 
 able technical skill, conspicuously shown in "The Whistling Boy" 
 and in all of his portraits. He rebelled against the convention es- 
 tablished among American painters of working from a crayon 
 drawing, and worked instead, from the start of a picture, with the 
 brush. After teaching ten years in Munich, he settled in Cincin- 
 nati, where he has long been an inspiring influence to many stu- 
 dents. When his wife died a few years ago, he abandoned paint- 
 
FRENCH AND ITALIAN PAVILIONS 63 
 
 ing altogether, and devoted himself wholly to teaching. The only 
 creative work that he did afterward was the designing of the 
 sculptured memorial to his wife, which is to be seen in the Duve- 
 neck room a remarkable piece of work. 
 
 Duveneck has been paid the unique honor of having a special 
 medal cast for him by the Panama-Pacific International Exposi- 
 tion for his great services to art. 
 
 JOHN McCLURE HAMILTON 
 
 Among American painters Hamilton holds a high place. For 
 nearly thirty years he has lived in England, and he has won many 
 successes in exhibitions, both in Europe and in this country. His 
 portrait of Gladstone is particularly interesting. His pastels are 
 remarkable for their boldness and their grace. 
 
 CHILDE HASSAM 
 
 As a youth Hassam left his native Boston and went to France, 
 where the impressionist movement was slowly making its way. 
 He became one of its most enthusiastic adherents, and has been 
 faithful ever since. His development has been very interesting. 
 He has now reached a mastery of his technique, which displays it- 
 self in outdoor scenes of extraordinary beauty in the treatment 
 of light. His mural in the Court of Palms is by no means his best 
 work. He is much better represented in the collection of his can- 
 vas, which include some magnificent examples of outdoor painting. 
 
 WILLIAM KEITH 
 
 As a boy Keith left his native Scotland and went to New York. 
 For several years he worked in New York as a wood engraver. 
 Then he settled in California. During the pioneer days he made 
 enough money to study in Munich. He was influenced by the Bar- 
 bizon school, which caused him to fall in love with painting dark 
 pictures. He repeatedly showed, however, that he could work ef- 
 fectively in lighter colors. Though he lived through the period of 
 impressionism, and though he was familiar with its methods, he 
 adhered, in the main, to the dark tone canvases, which were im- 
 mensely popular with the public. In 1906, in the San Francisco 
 fire, he lost a great many of his paintings. At the time of his death 
 he had acquired a distinguished position among American land- 
 scape artists. 
 
64 THE PALACE OF FINE ARTS 
 
 ARTHUR MATHEWS 
 
 In boyhood Arthur Mathews studied art in San Francisco. Then 
 he spent several years studying in Paris. After returning to San 
 Francisco he devoted himself arduously to painting and to teach- 
 ing. He is now recognized as one of the most brilliant among 
 American mural decorators. His work has a fine decorative and 
 poetic quality. He is the only San Francisco mural painter repre- 
 sented in the courts and palaces of the Exposition. His "Victori- 
 ous Spirit," painted for the Court of Palms, is admirable for its 
 design, color, and its harmony with the surroundings. His can- 
 vases in the Fine Arts Palace are typical of his accomplished and 
 highly finished method. 
 
 FRANCIS McCOMAS 
 
 Though McComas was born in Australia, he is now accepted 
 as a Californian on account of his long residence in or near San 
 Francisco, and on account of his talent for painting California 
 scenes. He excels in the sensitive interpretation of landscape. In 
 the painting of trees he is remarkably successful. 
 
 GARI MELCHERS 
 
 When hardly more than a boy, Gari Melchers, born in Michi- 
 gan, of Dutch stock, became known for the vigor and the truth 
 and the homely sincerity of his work. For many years he has been 
 winning honors in the exhibits in this country and in Europe. Of 
 all living American painters he is said to be the most popular 
 abroad. For a long period he taught in Europe, keeping up a 
 steady activity with the brush at the same time. The pictures in 
 the room devoted to him are characteristic of his style, which has 
 not essentially changed from the beginning. It expresses a 
 thoughtful, kindly temperament, and a conscientious and untiring 
 workmanship. 
 
 JOSEPH PENNELL 
 
 For many years Pennell has been accepted as one of the most 
 brilliant of living workers in black and white. He has traveled 
 widely and has given to the world an immense number of draw- 
 ings, all characterized by fineness of perception and extraordinary 
 technical skill. He has done more than any living man to make the 
 world perceive the beauty of design in machinery and in aspects 
 of everyday life. His sketches of Panama are included among his 
 best studies. 
 
FRENCH AND ITALIAN PAVILIONS 65 
 
 HOWARD PYLE 
 
 This popular illustrator, who died in Florence four years ago, 
 did a vast amount of splendid work and gave pleasure to many 
 thousands of people. He had a bold technique and a superb im- 
 agination. Into his drawing he put an immense amount of action 
 and sentiment. The two rooms devoted to him show the wide 
 range of his talent. During his active life he made a profound im- 
 pression upon the minds of the people of this country and on his 
 students. 
 
 EDWARD W. REDFIELD 
 
 Among all the American painters who, through a residence in 
 Paris, have acquired the methods of French impressionism, Red- 
 field occupies a conspicuous position. He lives a few miles out of 
 Philadelphia, in the country, where he devotes himself to land- 
 scape work. He has a special fondness for winter scenes, which 
 he paints with great brilliancy, making wonderful reproductions 
 of atmospheric effects. His canvases have long been popular 
 among collectors, and he has been a great winner of honors in 
 the exhibitions. 
 
 JOHN SINGER SARGENT 
 
 One of the greatest portrait-painters of his time. At twenty- 
 one he painted a portrait of his teacher, Carolus Duran, that made 
 a sensation. From Velasquez he learned much in the way of tech- 
 nique. He excels in the vigorous presentation of character. Some- 
 times he shows that he is a rather stern observer. His portraits 
 here are all remarkable. The Madame Gautreau is generally ac- 
 cepted as a masterpiece of painting. The left arm and the neck 
 are notably well done. The make-up on the face is adroitly sug- 
 gested. The portrait of Henry James, the American novelist, 
 achieved notoriety through being slashed by a militant suffragette 
 when it was first exhibited in London a few years ago. The por- 
 trait-sketch of Joseph Jefferson the actor, was evidently executed 
 with great sympathy. As Jefferson was a painter of ability, Sar- 
 gent must have known that he had a sitter with a full appreciation 
 of his work. Of late he has given up portrait painting and devoted 
 himself to landscape. 
 
 EDMUND C. TARBELL 
 
 Though still in middle life, for more than a quarter of a century 
 Edmund C. Tarbell has been famous as an American painter. His 
 
66 THE PALACE OF FINE ARTS 
 
 pictures have been eagerly bought and at high prices, and he has 
 been a remarkably successful prize winner. He is best known for 
 his interior scenes, beautifully lighted and finely balanced. His style 
 has sureness, refinement, and a subtle blend of realism and poetic 
 beauty. He is equally successful with his painting of textures and 
 of the human figure. 
 
 JOHN H. TWACHTMAN 
 
 Among the many pupils of Frank Duveneck a high place is held 
 by this painter of poetic landscapes. He was born in Cincinnati, 
 in 1853, and, as a young man, spent several years of study in 
 Europe, most of them in Munich. His work shows a singular re- 
 finement, and expresses a temperament sensitive to the most deli- 
 cate effects of beauty. He died in his fiftieth year. 
 
 JAMES McNEILL WHISTLER 
 
 In some ways Whistler is the most interesting figure in modern 
 art. He was born in Lowell, Massachusetts, in 1834, and he spent 
 most of his life in Europe. As a youth he studied in Paris, under 
 Gleyre. His earlier work shows the influence of Courbet. Through 
 continual investigating and experimenting he developed a remark- 
 ably fine technique and a genius for spiritual expression. Few men 
 in the history of art can compare with him for his delicate ar- 
 rangement of color. In naming his pictures he liked to use musi- 
 cal terms. It has been said of his work that it would be easy to 
 give it musical expression. Just as musicians are sometimes called 
 tone poets, Whistler may be called a poet in color and in line. His 
 etchings show the delicacy that characterizes his painting. 
 
 In everyday life Whistler was an eccentric, but in his work he 
 had a remarkable power of concentration and a fine devotion. He 
 was continually getting into complications, both financially and 
 personally. His life by the Pennells ought to be read by anyone 
 who wishes to study his character. 
 
FRENCH AND ITALIAN PAVILIONS 67 
 
 PAINTERS AND SCULPTORS WHOSE WORK 
 OUGHT TO BE NOTED 
 
 PALACE OF FINE ARTS 
 Gallery 
 66 Edgar Walter, Gertrude Vanderbilt Whitney, Haley Lever, Bitter, Calder, 
 
 French, Laessle, Hering, Seyffert, Haggin. 
 85 To the left: Walker, Stetson, Hawthorne, Calder, Grafly. 
 
 87 Duveneck room, paintings and sculptured memorial. Aitken. 
 
 65 Devoted to the work of women. Cecilia Beaux, Mary Curtis Richardson, 
 Jean McLane, Mary Cassatt, Scudder, Vonnoh, Eberle. 
 
 54 Winslow Homer (interesting development), Currier, Inness, Harrison, Wy- 
 
 ant, Ryder, Grafly. 
 
 55 Potthast, Mannheim, Wagner (portrait of Stewart Edward White). 
 
 56 Breuer, Hitchcock, Mary Curtis Richardson. 
 
 57 Abbey, John La Farge, Theodore Robinson. 
 
 58 Bierstadt, Eastman, Johnson, Rothermel, Ward. 
 
 64 Remington, William Morris Hunt, Hovenden, Henry Boughton, Henry (in- 
 teresting example of old-fashioned American painting), Hyatt, Scudder. 
 
 88 Redfield room. Ellerhusen. 
 
 90 Keith room. 
 
 89 Tarbell's interiors. Bela Pratt. 
 
 93 Twachtman room. Manship (fine sculpture inspired by the old Greek work). 
 
 91 Watteau (not a good example), Steen, Tintoretto (questionable). 
 
 92 Van Gogh, Daubigny, Tissot, Courbet, Ziem, Charles Le Brun, Monticelli, 
 
 Fortuny, Corot, Cazin, Israels, Ladd, Polasek, Manship, Warner, Wein- 
 man, Van Marcke. 
 
 62 Dagnan-Bouveret (by some critics disliked for its conventionality and its 
 
 lack of real spirituality, and for the monotony of its treatment and for 
 its poor quality of color; by others admired for its academic finish), 
 Lenbach, Fortuny, Millet (early work, not characteristic of this painter 
 of peasants, but in Millet's spirit), Monticelli, Stackpole, Muller, Mora, 
 Weinman, Rumsey. 
 
 63 Romney, Reynolds, Gainsborough, Raeburn, Tiepolo, Goya, Hogarth, Turner, 
 
 Dallin, Kemeys, Scudder, Beachey. 
 
 59 Woodville. 
 
 60 Old American school: Gilbert Stuart, Peale. 
 
 61 Brilliant gallery, devoted mainly to the French impressionists: Monet, La 
 
 Touche, Fechin, Pissaro, Sisley, Renoir, Carriere, Puvis de Chavannes 
 (one of the four works from which were painted the decorations for the 
 city of Lyons, very characteristic of the greatest of modern mural 
 painters), Bail. 
 
 29 Whistler's etchings. 
 
 28 Whistler's paintings. Polasek. 
 
 26 Fortune, Wyeth, Smith, Taylor, Oakley. 
 
 27 Reproductions. 
 
 25 Pietro and Antoinetta Fragiacomo, Ciardi, Carlandi, Scattola, Nicolini. 
 
 24 Gioli, Chiesa, Sambo, Callandra, Ferro. 
 
 23 D'Orsi ("Your Neighbor", often compared with "The Man with the Hoe", 
 
 effective but theatrical), Nono. 
 22 Mancini, Prini, Noci. 
 
68 THE PALACE OF FINE ARTS 
 
 Gallery 
 
 21 Innocenti, Tito (Grand Prize; easily the strongest in technique of all mod- 
 ern Italian painter*) , Ricci, Coromaldi. 
 
 19 Ferrari. 
 
 20 Menocal. 
 
 17 Roll, Laurent, Jeanniot, Hanicotte, Gumery, Rodin (bust of Falguiere re- 
 markable). 
 
 16 Menard, Pointelin, Le Sidaner, Blanche, Cottet. 
 
 From 16 through 17 to 18: Guillaume, Flameng, Lucien Simon, Charmoy, 
 Pernot, Dechenaud. 
 
 13 Maurice Denis, Signac, Degas, Lepape, Monet. 
 12 Raffaelli, Lepape. 
 
 14 Sureda, Flameng, Le Sidaner, Henri, Martin, Besnard, Darrieux, Gillot, 
 
 Blanche, St. Marceaux, Sicard, B. Boutet de Monvel, Delachaux. 
 
 15 Gardier, Lepape, Besnard, Lucien Simon, Maury, Pierre, Blanche, Marie 
 
 Cazin, Aman Jean. 
 Japanese Section: 
 
 1 Taisei Minakami, Hoko Morimura, Ranshu Dan. 
 
 2 Kangai Takakura. 
 ,3 Tozen Oka. 
 
 4 Goun Namikawa and Torakichi Narita (screen), Yetsutsaro Yoshida, Jinbei 
 
 Kawashima (brocade), Bonkotsu Igami, Choun Yamazaki, Kozan Miya- 
 gawa (Grand Prize porcelain vase), Hodo Tomioka (ivory figure). 
 
 5 Kwampo (Kakemono). 
 
 6 Koho Goto (screen design). 
 
 7 Tanyu Kano. 
 
 8 Ikka Tashima, Homei Yoshida, Osao Watanabe. 
 10 Kijiro Ohta, Eisaku Wada, Hachiro Nakagawa. 
 From the Japanese section to the black and white : 
 
 30 Henry Wolf, Otto Bacher, Thomas Moran, Gertrude Partington, Mullgardt, 
 
 Nahl, Timothy Cole, Plowman. 
 
 31 Joseph Pennell (very interesting room, filled with the work of a master in 
 
 black and white). 
 
 32 Piazzoni, Caroline Armington, Frank Armington, Herman A. Webster, Lee 
 
 Randolph, Pearson, Smith, Jolp Sloan. 
 
 33 Bertha Jaques, Covey, Young, White, Lester Hornby, Stevens, Horter, Don- 
 
 ald Shaw MacLaughlan, Lemos, Levy, Robert Harshe, Partridge, John 
 Marin, Armin Hansen, Warner, Ralph Pearson, Cadwalader, Washburn, 
 Aitken, Konti. 
 
 34 King, Nordfeldt, Clark Hobart, Bertha Lum, Helen Hyde, Senseney, 
 
 Squires, Hyatt. 
 
 35 Dallin, Ward, Proctor. 
 
 Through gallery 66 to gallery 80; Metcalf, Paxton, Hale, Bruce Crane, Calder, 
 
 Kemeys. 
 79 Chase room, two remarkable portraits ("Whistler" and "The Woman with 
 
 the White Shawl"), and fine still-life. 
 
 67 The Carlsons, Nielsen, Rosen, Paul Daugherty, Raphael, Waugh, Foster, 
 
 Ochtman, Arthur Putnam (fine animal sculpture), Laessle, Scudder, 
 Partridge. 
 
 68 Ritschel, Johansen, Cushing, Garber, Schofield, Kroll, Piazzoni, Spencer Bit- 
 
 ter, Aitken, MacNeil, Fry, Bateman. 
 78 Childe Hassam room. Polasek. 
 77 Gari Melchers room. Stackpole, Ladd. 
 76 Mathews and McComas room. 
 
 69 Funk, Woodbury, Lawton Parker, Jules Pages, Alexander, Miller, Young, 
 
 Kemeys, Deming, Bishop. 
 
FRENCH AND ITALIAN PAVILIONS 69 
 
 Gallery 
 75 Sargent room. Mora, Wright. 
 
 73 Clark, Paul King, Fortune, Gifford Beal, Lawson, Boyle, Jaegers, Warner, 
 
 Muller, Ladd. 
 
 74 Yates, Bruce Nelson, Cadenasso, Konti. 
 
 70 Wiles, Flagg, Story, Yarrow, Speicher, Young, Konti. 
 
 71 Ritschel, Rosen, Fortune, Luks, Meakin, Luis Mora, Reuterdahl, Haley 
 
 Lever, Tiffany. 
 
 72 Paddock, Gertrude Partington, Van Sloun, Bohm, Proctor. 
 
 94 Lin Hso, Fu Sushan, Chen Husi-Hsun. 
 
 95 Teh Hsin Chen (cloisonne), Teh Chang, Lao Tien Li. 
 
 96 Chang Jui-tu. 
 
 97 Shen Huan, Pien Shou-mien. 
 
 99 Ferdinand Boberg, Lundberg, Knut Jam (interesting bust of Strindberg), 
 
 Edstrom, Ahlberg. 
 
 100 Liljefors (Grand Prize), Smith, Edstrom, Gottfried Larsson. 
 
 102 Osslund, Fjaestad, Wrangle, Schultzberg, Carlberg. 
 
 103 Strandberg, Behm, Schultzberg, Hullgren. 
 
 104 Kusel, Strandberg, John Bauer. 
 
 105 Hesselbom, Elsa Backlund Celsing, Kulle. 
 
 106 Anna Boberg. 
 
 107 Fjaestad (tapestry made by two sisters of Fjaestad from his design), Gott- 
 
 fried Larsson. 
 
 108 Schanze Lavery (the only example of one of the greatest of modern Brit- 
 
 ish portrait painters; very characteristic), Kips, Zugel, Putz, Stuck, 
 Paul Troubetsky (interesting sculpture in spite of exaggerated length; 
 Lady Constance Richardson very fine). 
 
 109 Malhoa (Grand Prize), Vaz Jor. 
 
 110 Sousa, Malhoa. 
 
 111 Simoes, Trigoso. 
 
 112 Lagos, Cullen, Guide, Bermudez, Rossi, Fader. 
 
 113 Duyl-Schwartze, Breitner, Mesdag, Witsen, Bloemmers, Bauer. 
 
 114 Willy Sluiter, Mastenbroek, Charles Van Wyk, Van der Waay, Maarel. 
 
 115 Bauer, Nieuwenkamp, Isaac Israels, Charles Van Wyk. 
 
 116 Walter. 
 
 117 Frieseke (Grand Prize), Nelson, Cucuel, Luis Mora, Fortune. 
 
 118 Bohm, Woolf, Dewey, Breuer, Weinman. 
 
 119 Keller, Mura, Wyeth, Blumenschein, Scudder, Vonnoh. 
 
 120 Bellows, Luks, Dabo, Woodbury, Ladd. 
 
 Through Holland, Argentine, Sweden, China, to gallery 98. 
 98 Hidalgo. 
 
 43 Randolph, F. Melville Du Mond, Dixon, Mora, James, Martinez. 
 
 44 Dunlap, Seyffert, Weinman. 
 42 Pyle's illustrated paintings. 
 
 41 Pyle's pen and inks. Borglum. 
 
 45 Griffin, Mora, Robert Reid, Harrison, Vonnoh, Young, King, Roth. 
 
 46 Reuterdahl, Frank Vincent Du Mond, Eberle, Young, Constance Macky, 
 
 Whitney. 
 40 Philip Hale, Milne, Jules Guerin, Moser, Preston, French, Robinson, 
 
 Stackpole. 
 39 McClure Hamilton's pastels. 
 
 47 Raphael, Couse, Cooper, Blumenschein, Neuhaus, Hering, Salvatore. 
 
 48 Frieseke (good example of early work), Rumsey. 
 38 Kemeys. 
 
 49 Weir, Tryon, Ladd, Aitken, Ellerhusen, Kemeys, McClure Hamilton. 
 
 50 Neilson, Kendall, Hansen, Cornoyer, Betty de Jong, John F. Carlsen. 
 
70 THE PALACE OF FINE ARTS 
 
 Gallery 
 
 37 Woodbury, Prendergast, Murphy, Alice Schille, Stetson, Cooper, Conant. 
 
 36 Young, Shinn, Fortune, Sandona, Macky, Dallin, Deming. 
 
 51 Robert Henri, Sloan, Lambert, Carles, Glackens, Breckenridge, Laessle, 
 
 Grafly. 
 
 Fine Arts Annex. 
 International Section : 
 On entering : Lipoth. 
 Gallery 127 to right: Boreny, Marffy. 
 
 128 Bela Uitz, Vedres, Teles. 
 
 129 Pogany, Rippl-Ronay, Szekaly, Vedres, Vadasy. 
 
 130 Brangwyn's etchings, John Quincy Adams. 
 
 131 Brangwyn. 
 
 149 Munch, lithographs and etchings. 
 
 150 Pola, Gaugain, Thaulow, Lange. 
 135 Simay, Batthyanyi, Pick Lajos. 
 
 132 Spanish, Canto, Bilbao, Monegal Prat. 
 
 124 Hungarian, Csok, Mark. 
 
 125 Hungarian, Vaszary, Ziffer, Mark. 
 
 121 Hungarian, Lajos, Lotz, Munkacsy. 
 
 122 Hungarian, Nagv, Kaziany, Magyar Mannheimer. 
 
 123 Raab, Rudnay, Tibor. 
 
 133 Spanish, Vazquez, Mallol, Bilbao. 
 
 134 De Zubiaurre, Meifren, Cardona. 
 
 Upstairs to gallery 136: Gallen Kallela has a large decoration on the land- 
 ing. Very interesting screen and rugs at the head of the stairs : Kor- 
 mendi Frimm. 
 
 Turn right to gallery 137: Room devoted to Besnard. Poupelet. 
 
 138 Gallen Kallela. 
 
 140 Speed, Sauter, Draper. 
 
 139 Haweis, Goodman, Simpson, Laura Knight, Olsson. 
 
 141 Italian Futurists: Balla, Boccioni, Carra, Severini, Russolo. 
 
 142 Kokoschka, Jungnickel. 
 
 Through the hallway, gallery 143, Resales, to gallery 144: Norway, Brun. 
 Svarstad, Tunold, Holmboe, St. Lerche. 
 
 145 Salvesen, Lund, Munch, Hans St. Lerche, Vik, Tola Gaugain. 
 
 146 Thaulow, Diercks. 
 
 147 Lund, Krogh, Strom, Sorensen, Vik. 
 
 148 Muller. 
 
 The French Pavilion: 
 
 On entering right and left of the door are paintings by Cazin; center, 
 Bouchier, tapestries designed by Tapissier, Rochegrosse, Jean Paul Laurens. 
 Enter room to left: Cachoud, Ribot, Dehodencq. 
 
 Upstairs: Vallon, Carli, and continue on. Paintings by Raffaelli, Bastien 
 Lepage, Roll, Renoir, Cezanne, Baudry, Monet, Cabanel, Carriere, Mettling, 
 Bonnat, Detaille, Toulouse Lautrec, Gaugain, Henner, Pissaro, de Neuville, 
 Chavannes. 
 
 Into room to right: Latouche, Barbier, Brissaud, Lepape, B. Boutet de 
 Monvel, Henri Martin, Denis, Bartholome, Bouchard. 
 
 To left into room adjoining: Manet, Carriere, Harpignes, Monticelli, Meis- 
 sonier, Besnard, Morot, Fantin Latour Renoir, J. P. Laurens, Degas Lepere, 
 Bpudin, Tissot, Dechenaud, Moreau, Carolos Duran, Benj. Constant, Chavannes, 
 Ziem, Breton, Bonnat, Falguiere, Rodin, Dalou. 
 
 Back to main central hall: Rodin, tapestries after drawings of Charles Le 
 Brun. In a room off the main gallery: Monet. 
 
FRENCH AND ITALIAN PAVILIONS 71 
 
 Gallery 
 
 Belgian section of French Pavilion : 
 
 Upper room: Julien Celos. 
 
 Into lower room: Gilsoul, Donnay, Charlet, Felicien Rops, Baertson, Cas- 
 siers, Van Rysselberghe, Alfred Stevens, Meunier. 
 
 The Italian Pavilion: 
 
 Royal Salon: Winans. 
 
 Vestibule: De Martino. 
 
 Dining Hall: Barucci, Cantagalli, Frilli. 
 
 Passage, reception room to right (reproductions of Guido Reni). 
 
 Reception room to left: Bazzani. 
 
 Reception room: Copies of old masters. 
 
 Pompeian Museum: Bazzani, reproductions of classic statuary Dancing 
 Faun, Bust of Menelaus, Bacchanal Silenus, Narcissus. 
 
 Sacristy: Reproductions of old masters. 
 
 To the right to the Pantheon: Ferrari, Tofano. 
 
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 UNIVERSITY OF CALIFORNIA LIBRARY