Part 8 (2/2)
Rooallery of well restrained pictures, contains the interesting work in light and color of Williaures by Leslie P Thompson (silver medal), Philip L Hale's warm-toned portraits, the delicate but brilliant landscapes of Willard L Metcalf (medal of honor), and those by Philip Little (silver medal) The portraits are in the older acadeuished by some notable landscapes and marines No
67 shows Ele picture here, but the winner of a medal of honor, and Albert Laessle's sold herty, J F
Carlson, Leonard Ochtman and Ben Foster No 68 holds two fine snowy landscapes by W El studies in brown by Daniel Garber, brilliant figures by J C Johansen, and California coast views by Williaold medallists
Room 69 is made noteworthy by works of three of the nine American winners of the medal of honor,--Lawton Parker's voluptuous ”Paresse”
and two portraits, and single paintings by John W Alexander and Richard E Miller (1035, 2606) Alexander's airy ”Phyllis” is his only picture in the Palace Miller shows one more canvas, a colorful ”Nude” (2607) in Roo the C Wiles (3668), the latter two both winners of the goldthem the ”Group of White Birches” by Will S
Robinson (silver medal), Charles C Allen's ”Mountain and Cloud,” and land and water views by Charles J Taylor, especially No 3404 Rooold(silver old allery in the acades and landscapes, including W R Leigh's spirited ”Stampede,” and the more conventional work of Walter MacEwen No 71 is another varied room In addition to some landscapes, the visitor will be struck by the sold, enamel, and precious stones of Louis C Tiffany
The western tier of this section, Roolomerate Perham Nahl's well drawn ”Despair” (2690) is perhaps best worth mention In No 44 Putthuff's two broestern scenes and Clarkson's portrait of E G Keith are interesting No 45 is better Walter Griffin's opulent landscapes ( Here also are two canvases by Robert Reid, one almost japanese in its effect; the restrained landscapes of Willia ”Red Mill' and ”Gray Mill,” with his characteristic wintry landscapes Reid and Young won the gold medal In No 46 are a half-dozen delicately handled landscapes by Frank V Du Mond, a member of the jury In No 47 E L Blumenschein's warm Indian pictures and A
L Groll's desert scenes won silverhere is Richard E Miller's ”Nude,” already s ”Sleep,” the best of the eight canvases shown by Frederic Carl Frieseke, distinguished above all other Arand prize Seven other pictures by Frieseke, interesting by reason of co in Rooood landscapes,--Robert Vonnoh's ”Bridge at Grez” and Cullen Yates'
”November Snow” In No 49, a better balanced room than most in this tier, three walls are made noteworthy by J Alden Weir's luminous and Impressionist landscapes, and D W Tryon's more academic canvases Weir was the chaireant Kendall, in both painting and sculpture In the first he won the gold medal, in the second the silver medal Room 51 has been called the ”Chamber of Horrors,” because it shows several of the extres by John Sloan, William J
Glackens, Adolphe Borie, and Arthur B Caries are relieved by H H
Breckinridge's highly colored fruits and flowers, Gertrude Lampert's ”Black and Green,” Thomas Anshutz' two studies of woure pieces
In the extren sections, is a tier of four roo from thecanvases by Frieseke, the grand-prize winner, already mentioned These pictures show the artist's scope No 1816 and others are strikingly like Plinio Nomellini's No 86 in the Italian section No 1811 is as different from these as ”Sleep”
is from all the rest In the same room are Mora's ”Vacation Time” (2645) and Tanner's ”Christ at the Hoold old-medal winners, the ”Promenade” (1185) by Max Bohm; the noble ”Lake Louise” (1246) by H
J Breuer, whose pictures of the Canadian Rockies are also to be found in Roo” (1972) by W D Hahted ”A Mood of Spring”
(2116), and his vivid ”Savannah Market” (2115)
Roos and etchings
Rooe Bellows' Post-Iures, W D Ha likeness of Justice McKenna (1971), Charles H Woodbury's ”The Bark” (3692), and Waldo Murray's portrait of ”Robert Fowler” (366), wrongly catalogued with the International section All these painters won gold medals This is perhaps the best room in this tier
In the tier on the western wall devoted to the minor forms of art, Howard Pyle's illustrations occupy two small rooms, 41 and 42 The first contains ink sketches, the second his works in characteristic color
Room 40 is devoted to admirable miniatures and to water colors Here on the east wall are Jules Guerin's vividly colored Oriental scenes, which won the gold iven up to a series of char pastels by John McClure Hamilton No 39 also contains cases of medals, as does No 38 Roos
In the section known as the ”Print Roo the all, are hundreds of fah the examples offered by early masters like Albrecht Durer and Rembrandt, has still to be fully appreciated It has come to the public slowly, the lay aloof fro That there is now a closer acquaintance than before is due in large h the practical, he allied his art years ago with such subjects as bridge and railroad building, and by giving the public an easier avenue of approach, has attracted it to the beauty of this method of art The print roos, with those of Whistler and s are in No 29, Pennell's in No 31 Roorand prize B A Wehrschmidt, an honor medallist, is represented in Room 119 J Andre Smith, Herman A Webster and Cadwallader Washburn are in Rooold medals) are in Room 34 Room 28 holds the loan collection of Whistler's works, already ton Roo and sculpture Roos for illustration
The Foreign Sections--These are placed north and south of the United States collections In the extree block of rooms, numbered from 1 to 10 With this abundant floor and wall space at her disposal, that country left nothing undone to make her art exhibit comprehensive and beautiful The display stands alone for completeness japan's art is as old as her history; and noith her advent a the modern nations, she has added Occidental art to her more ancient forms The essayal, as shown here, is still beyond her, but the strides are noteworthy In the wonderful display of her own art, she shows both the beauties of antiquity and the s upon silk, landscape es, metal work, and scrolls will occupy the art lovera block of rooms from 12 to 18, and Italy follows, in Roo roouay and Cuba
The French and Italian exhibits had to wait for the arrival of the Jason Now they are installed, and beautifully hung and set Though France is the home of the Post-Irancy of neither of these schools is on view here
Both countries show their best balanced art since 1905 In the French exhibit, the mode of the day prevails, color, luminosity, richness of texture All that differentiates the art of France to-day from that of other countries is her own inimitable, delicate, inherent taste and touch The subject matters little; the French perception and execution are there Where other canvases offer--say a beautiful glow--the French picture ”vibrates” If other works are finished, these have finesse There is sialleries, with a variation due to national characteristics rather than to difference of opinion or method The Italian pictures fully occupy themore than skill and color Both countries have placed their older art, and some of its best, in their official pavilions
France--In the French Section, Roo, engraving, and painting, a the latter, Henry Grosjean's ”The Botto work, is distinguished by Maurice Denis' daring decorative panels Here also is Claude Monet's ”Vetheuil” (452), the sah not the same picture, as his No 2634 in Roo for the difference in touch, though both were painted in the sa is represented here by ”Paris” (346), not so co as his ”Madame Letellier” (345), and ”Fete Venetienne” (344), in Rooood 's ”Fete,” two of the extres of Henri Martin, ”The Lovers” (432), and his own dim ”Self Portrait” (433) Two colorful Breton scenes (302) by Darrieux, and (406) by Le Gout-Gerard stand out on the north wall Rooly contrasting work in the spiritual ”Coue's ”The Frog” (324), Besnard's glowing ”Gipsy” (255), and Le color to the room, relieved by Leroux' calirls (440)
Rooue's versatility appears in the portrait of Gina Mabille, the danseuse A delicate bit of Impressionism in Le Sidanier's ”The Harbor: Landernau”
(418) Two canvases by Menard are hung here His ”Opal Sea” (445) is char on the north wall One of the olden ”Venice: Morning”
(393), will be found on the all
Rooustin Hanicotte, one of the few French painters to adopt the strong colors and lights of the Scandinavian artists, is represented by the gay ”Winter in the Low Country” (381) Andre Dauchez' ”Le Pouldu” (304) is a fine broland landscape In spirit, though in richer colors, Jean Veber's captivating ”Little Princess” (515) reth and truthfulness characterize Jeanniot's fine group of Norman fisherfolk (388) (See p 125)