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An Art Lovers guide to the Exposition

S >> Shelden Cheney >> An Art Lovers guide to the Exposition




The East face of the minor group first shows the figure of Greed, with
his worldly goods now turned literally to a ball of clay in his hands,
gazing back at earth in puzzlement. The next two figures show Faith
offering the hope of immortality (as symbolized in the scarab) as
consolation to a sorrowing woman. Finally there are two figures sinking
back into Oblivion, drawn by the hand of Destiny. Thus the cycle from
Oblivion through life and back to Oblivion is completed.

In the same basin, at the far south end, is a figure of The Setting Sun.
This was part of the artist's conception of the Fountain of Earth, the
relation to the main group being found in the supposition that the earth
is a mass thrown off by the sun. Thus is emphasized the idea that the
earth and life on earth are but a very small part of the wider unknown
universe and life.

At the four corners of the main composition of the fountain, separating
the four panels, are Hermae, terminal pillars such as the Greeks and
Romans were fond of, decorated with the head of Hermes, god of
boundaries.

Having worked out the story, it is well to go back to appreciate the
purely aesthetic qualities of the fountain. Note especially the feeling
of strength in the figures, the firm modeling, and the fine way in which
the figures are grouped. The composition of the west face of the minor
monument is especially fine, and the very graceful lines here make an
intimate appeal that is not evident in some of the other groups. The
whole monument is austere and strongly compelling rather than intimately
charming. If it is the first duty of art to make people think, this is
the most successful bit of sculpture on the grounds.

Mural Paintings

The mural paintings in, the Court of Abundance consist of eight panels
by Frank Brangwyn, perhaps the greatest living mural decorator, placed
in the four corners of the cloister. Though not entirely in key with the
color scheme and not an integral part of the court as a whole, these are
distinctly the works of a master. Ultra-learned critics will tell you
that they fail as decorations, since they are interesting as individual
pictures rather than as panels heightening the architectural charm. But
their placing shows clearly that there was no intention that they should
appear as part of the architectural scheme. It is better to accept them
as pictures, forgetting the set standards by which one ordinarily judges
mural painting.

The eight paintings represent the elements: two panels each for Fire,
Earth, Air and Water. There are no conventional figures here
personifying the elements, but scenes from the life of intensely human
people, typifying the uses to which man has put the elements.

Fire. Beginning on the tower side of the court, at the northeast corner,
are the two panels representing Fire. The one on the north wall is
called "Primitive Fire." A group of figures surround a fire, some
nursing it and some holding out their hands to the heat, while a man at
the back brings fagots. Note the color accents in the robes of the three
standing figures.

"Industrial Fire," on the east wall, represents the bringing of fire
into the service of man. In some particulars this is among the finest of
the paintings, but the transverse cloud of smoke seems to break it
awkwardly.

Earth is represented in the two panels in the northwest corner. The one
on the north wall is entitled "The Fruit Pickers," typifying the wealth
of products that man obtains from the earth. This is perhaps the richest
of the panels, in the profusion of color and of alluring form.

The panel on the west wall is "The Dancing of the Grapes," a variation
of the theme of "The Fruit Pickers." It tells the story of the grape:
above are the pickers and the harvesters with baskets; at the right two
figures dancing to crush the juices from the grapes; and in the
foreground a group with the finished wine. The confusion of figures at
first is puzzling; but viewed simply as a spotting of bright colors
there is no finer panel among them all. It is better to stand well back
along the colonnade, and forgetting the subject, to delight in the
purely sensuous impression.

Air is represented in the two panels in the southwest corner. The one on
the south wall is called "The Hunters." The theme is suggested in the
idea of the arrows fleeing on the wings of the air, and also by the
flight of birds above.

The panel on the west wall is called "The Windmill." Note how the
feeling of moving air is suggested everywhere: in the skies at the back,
in the clouds and the kites, in the trees and the grain-field, in the
draperies, and even in the figures themselves that are braced against
the wind. The coloring is glorious, and the composition fine. The
disposition of masses of light and dark is notable the dark figures
grouped against the golden grain, and the gold-brown windmill against
the dark sky. No panel in the grounds will better repay intensive study.

Water is represented in the panels of the southwest corner of the court.
The one on the south wall is called "The Net," and typifies the wealth
that man draws from the water. A group of fishermen are hauling in a
net, and carriers bring baskets at the back.

"The Fountain," the panel on the east wall, shows a group of people who
have come to fill their jars at a spring. The colors here are softer,
though quite as rich as elsewhere. The lower half of the painting is,
indeed, like a richly colored mosaic.

After examining "The Fountain" at close range it is well to step back to
the middle of this south corridor. Look first at "The Windmill" and then
turn to look again at "The Fountain." Note, how, when the subjects are
once understood, the great distance increases rather than decreases the
charm of the paintings. Note especially how beautiful each one is when
considered merely as a pattern of color. These two panels, if not the
finest of all, at least must take rank among the best three or four.

The North Court of Abundance

Passing under the tower from the Court of Abundance one comes out in the
little north court that is conceived in the same spirit, and which
likewise is dominated by the Mullgardt tower. The architecture here is
like an echo of that of the main court, the decorated spaces alternating
with bare spaces. The tower sculptures are all repeated on this side.
The only sculpture within the north court is Sherry Fry's
personification of Aquatic Life. The statue is of a heavy sort that
should be anywhere but in this place of ethereal mood and exquisite
detailed workmanship. Blot out the background and you can see that the
figure has a certain solid grace. But if designed for this court it
fails of its decorative purpose.



Court of the Universe



The Court of the Universe is the most magnificent of the courts.
Considering the many units-the noble arches, the long colonnades with
their corner pavilions, the sunken garden with its fountains and
decorative sculpture, and the vista to the Column of Progress and the
Marina-it is by far the richest in artistic interest. But is it so
imposing, so vast, that it necessarily lacks the sense of quiet
restfulness and intimacy of appeal of the smaller courts. It is in a
sense the Civic Center of the great Exposition model city, and as such
it offers many suggestions of wise planning-and one or two of poor
planning, as in the case of the obtrusive band-stand.

The meaning of the court is to be found in the symbolism of the groups
surmounting the two triumphal arches-the Nations of the East meeting
the Nations of the West. With the opening of the Panama Canal the
peoples of the universe have met at last; West faces East on this shore
of the Pacific. The idea is finely expressed in the lines by Walt
Whitman, inscribed on the west arch, in which the spirit of the Aryan
race, having traveled this far, is supposed to speak as she gazes
westward to Asia, "the house of maternity," her original home:

Facing west from California's shores,
Inquiring, tireless, seeking what is yet unfound,
I, a child, very old, over waves, towards the house
of maternity, the land of migrations, look afar,
Look off the shores of my Western Sea,
the circle almost circled.

Variations of this theme may be found in the murals under the arches,
and in those under the Tower of Jewels near by. Other universal themes
are treated in the Fountains of the Rising Sun and of the Setting Sun,
and in The Elements at the edge of the sunken garden. The idea of
achievement, of victory in conquering the universe, is also suggested in
the triumphal arches.

Architecture

The style of architecture is in general Roman; though, as is true almost
throughout the Exposition buildings, there is an admixture of
Renaissance motives. Even on the massive Roman arches there is a trace
of Moorish lightness and color in the green lattices; and the domes of
the corner pavilions are clearly Eastern in feeling.

The East and West arches are, of course, reminiscent of the triumphal
arches of the Roman Conquerors. A comparison with pictures of the famous
Arch of Constantine and the Arch of Titus at Rome, will show how
thoroughly the architects have mastered the feeling of the classic
examples, while largely modifying the decorative features. To properly
see either of the arches in this court as a single unit, it is best to
stand at the side of the sunken garden, near one of the figures of "The
Elements," where the fountain columns do not obstruct the view.

The long colonnade, with its fine Corinthian columns and its surmounting
row of "Star-girls," can best be appreciated when one stands facing
north, with back to the Tower of Jewels-since the architecture of that
was clearly conceived by another mind and built in a different spirit.
It is from the two corner pavilions on the tower side, perhaps, that the
best general views of the court can be obtained. Unfortunately the
attractive view down the straight colonnades of the north extension of
the court is marred by a gaudy band pavilion, which is quite out of
keeping with the pervading mood of simple dignity. The little corner
pavilions are worthy of study alone, as a graceful and unusual bit of
architectural design.

The Court of the Universe was designed by McKim, Mead and White.

Sculpture

The Court of the Universe has more than its share of the best sculpture
of the Exposition. In this court more than anywhere else one can obtain
an idea of the remarkable scope of the sculptured groups. It is a good
place to linger in if one has heretofore had pessimistic doubts about
the ultimate flowering of the art of sculpture in America.

The Fountain of the Rising Sun is at the east end of the sunken garden.
Its tall shaft is surmounted by the figure of a youth typifying the
Rising Sun-a figure of irresistible appeal. The morning of day and the
morning of life, the freshness of the dawn and the aspiration of youth--
these things are remarkably suggested in the figure. With head up and
winged arms outstretched, the youth is poised on tiptoe, the weight
thrown forward, as if just on the point of soaring.

The Fountain of the Setting Sun is just opposite, at the west end of the
sunken garden. The surmounting figure here, though officially called
"The Setting Sun," is more appropriately named "Descending Night"-the
title the artist has given to the bronze replica in the Fine Arts
gallery. The closing in of night-that is what is so perfectly
suggested in the relaxed body, the folding-in wings, and the remarkable
sense of drooping that characterizes the whole statue. There is, too, an
enveloping sense of purity and sweetness about the figure.

These two statues which surmount the Fountains of the Rising Sun and the
Setting Sun are among the most charming sculptures at the Exposition.
They have not the strength of the figures of the Elements, or the
massive nobility and repose of the Genius of Creation, or the purely
modern native appeal of the works of Stackpole and Young and Fraser. But
for those of us who are sculpture lovers without asking why, they come
closer to our hearts and dwell more intimately in our minds than any of
these. "Descending Night" especially has a sensuous charm of graceful
line, a maidenly loveliness, that appeals irresistibly. Both figures are
by Adolph A. Weinman.

Above the higher basin of each fountain the column drum is decorated
with figures in relief. While the two friezes are meant to be decorative
primarily, the artist has employed in each case a symbolism in keeping
with the crowning figure. The frieze in the Fountain of the Rising Sun
represents "Day Triumphant." The symbolic figures typify the awakening
of man's finer instincts and energies at the call of the morning, and
the shrinking of the vices when the darkness of night gives place to the
light of day. The relief-frieze of the "Fountain of the Setting Sun" is
entitled "The Gentle Powers of Night." It represents Descending Night
bringing with her the Stars, the Moon-goddess, Dreams, and similar
beautiful things. The lower basins of both fountains contain figures of
centaurs (a new sea-variety, with fins) holding sea-monsters.

Groups surmounting arches. The monumental groups surmounting the two
triumphal arches are "The Nations of the East," on the Arch of the
Rising Sun, and "The Nations of the West," on the Arch of the Setting
Sun. The symbolic idea behind the two compositions thus placed facing
each other, is that of the nations of the Eastern and Western
Hemispheres at last meeting on this Pacific shore.

The Nations of the East is made up of five mounted and four unmounted
figures, all typical of the Orient. Reading from the spectator's left to
right, the mounted figures are: 1. an Arab tribal chief on a horse; 2. a
Mohammedan standard bearer on a camel; 3. the East Indian on his
richly-caparisoned elephant; 4. another Mohammedan standard-bearer on a
camel; 5. a Mongolian horseman. Between the mounted figures are the
following on foot: 1. a servant with a basket of fruits; 2. an Arab
falconer; 3. a Thibetan lama or priest; 4. another servant with fruit.

The Nations of the West represents typical figures from the European
nations which have helped to develop America, together with two American
Indians and an Alaskan. A central composition shows the Mother of
Tomorrow and a surmounting group typifying the Spirit of Enterprise
which has led the Aryan race to conquer the West. The figures, from left
to right, are: 1. the French-Canadian (sometimes called "The Trapper"),
on horseback; 2. the Alaskan, carrying totem poles, on foot; 3. the
Spanish-American conqueror, mounted; 4. the German-American, on foot; 5.
the Mother of Tomorrow, on the tongue of the ox-drawn prairie schooner;
6. the Italian-American, on foot; 7. the English-American, mounted; 8.
an Indian squaw; 9. the American Indian, mounted. On top of the prairie
schooner the Spirit of Enterprise is represented by a spirited winged
figure, with a boy at either hand.

The way in which the two groups balance each other at the two ends of
the court is worthy of study-the elephant of the one offset by the
prairie schooner of the other. Indeed each feature of one is balanced in
the other so that the two will mass against the sky with the same
general decorative effect. "The Nations of the East," considered as a
whole, seems the more satisfying group-richer in feeling, more unified
in design, and more massive; in short, more monumental and therefore
better fitted to crown the noble arch. But if this fits its setting
better, and masses against the sky more satisfyingly, "The Nations of
the West" will be found on close examination to contain the better
individual figures. The Alaskan (unfortunately almost lost to view in
the present placing of the group), the Canadian Trapper, and the mounted
Indian are all worthy of prolonged study; and the figure of the Mother
of Tomorrow is one of the finest bits of sculpture at the Exposition. In
these figures, and only slightly less so in the other figures of this
and the opposite group, there is ample evidence that the American
sculptors have outgrown the traditions of by-gone "schools" and have
developed a genuine native medium of expression. The two groups are the
work of A. Stirling Calder, Leo Lentelli, and Frederick G. R. Roth in
collaboration.

Figures at north and south of sunken garden. Flanking the stairways to
the sunken garden at north and south are four large figures by Robert
Aitken, typifying "The Elements."

Air is at the west end of the south stairway, and is represented as a
huge winged female figure putting a star in her hair. Two birds,
old-time symbols of the air, complete the suggestion. At the back a man
has tied himself to the wings of the figure typifying man's effort to
put to his own use the wings of the air.

Earth is placed at the east end of the south stairway. A huge female
figure rests on conventionalized rocks, and a formalized tree partially
supports her. At the back two small struggling figures are seen,
typifying man's struggle with the forces of earth.

Water is placed at the east end of the north stairway. The sea-god, with
his trident in one hand and sea-weed in the other, rides on a wave, with
a dolphin beside him.

Fire at the west end of the north stairway-is typified by the figure
of a man in agony, with one hand grasping the flame, and with jagged
lightning in the other, symbolizing man's terror of fire as well as his
conquering of it. A salamander completes the main design, while at the
back the phoenix, bird fabled to rise from fire, helps support the
figure.

These four figures are of the sort of art that is likely to turn the
unthinking person away, though a study of them will bring out new
beauties with riper acquaintance. Because people fail to get far enough
away from them to obtain the proper perspective, the statues seem too
huge, too strong, too terrible, ever to be attractive. They are, it is
true, out of scale, and thus mar the effect of the court to a certain
extent. But there is in them something of the noble and compelling
strength of the statues of Michael Angelo-to whom the sculptor clearly
owes his inspiration. Stand between the columns at the corner of the
Transportation Palace, and you will see that the figure of Fire not only
is imaginatively conceived but is a fine line composition as well. Study
of the other three from corresponding viewpoints will well repay in
increased understanding and pleasure.

Figures at east and west of sunken gardens. Flanking the east and west
stairways are two groups by Paul Manship. The one representing two girls
dancing or running is called sometimes "Festivity," sometimes "Motion."
Here the artist has welded the figures into an ornamental design in a
way unparalleled in the work of other American sculptors. Note the
finely varied outline, the sense of rhythmic motion, and the rich
feeling that every part is decorative. The opposite group is called
"Music" or "Music and Poetry." It lacks the flowing grace and something
of the richness of feeling of the other, though it is more dignified.
There is the same conventionalization in treatment, again charming.
These groups are not for people who look for realism in art above all
else; but for those who care for the classic, who see in formalization a
short-cut to the expression of the spirit of a thing, there are few more
appealing groups in the grounds. The figures are repeated at the east
and west entrances to the garden.

Minor Sculptures. The slender "Stars" along the top of the colonnade are
the work of A. Stirling Calder. When one remembers that this is the
Court of the Universe, they seem to fit in with the meaning of the
whole, and architecturally their symmetry of form fits them well for
repetition. The low relief friezes on the corner pavilions represent
"The Signs of the Zodiac," and are by Hermon A. MacNeil. A formalized
Atlas is represented in the center, and at each side are seven of his
daughters, the Pleiades and the Hyades, whom the gods changed into
stars. Twelve of the maidens have plaques bearing the symbols of the
Zodiac. The frieze is well composed and beautifully modeled, but the
rough Travertine does not do it justice. The minor sculptures on the
triumphal arches consist of a repeated winged angel with sword
down-turned, by Leo Lentelli; spirited spandrels over the arches,
representing "Pegasus," by Frederick G. R. Roth; and two well-adapted
medallions by A. Stirling Calder and B. Bufano. All of these decorative
features are repeated on both sides of both arches.

Mural Paintings

The four mural paintings of the Court of the Universe, two under each of
the triumphal arches, represent the progress of civilization from the
old world to the American far West. The two under the Arch of the Rising
Sun, at the east of the court, represent the nations that crossed the
Atlantic and their ideals, while those under the western arch show the
march of the pioneers from New England to California. To obtain the
proper sequence of thought the ones under the eastern arch should be
examined first.

Murals in Arch of the Rising Sun. On the south wall of the arch is a
panel representing the nations that have dared to cross the Atlantic to
bring their civilization to America. The figure farthest to the
spectator's right represents the spirit of adventure or "The Call to
Fortune." Then follow representatives of the nations, in this order: 1.
the half-savage of the lost Continent of Atlantis; 2. the Roman
conqueror; 3. the Spanish explorer, typified by a figure resembling
Columbus; 4. the English explorer, resembling Raleigh; 5. a priest,
typifying the bringing of European religion to America; 6. the artist,
bringing the arts; and 7. the workman-immigrant of today. Then follows
an allegorical veiled figure, with hand to ear, listening to the hopes
and ideals of the men who are following the call to fortune.

The opposite panel shows what the veiled figure has heard-depicts the
hopes and ideals that have led men to cross the Atlantic. At the far
left are figures symbolizing True Hope and False Hope. Soap bubbles are
being scattered by False Hope, and the third figure, typifying
Adventure, tries to pick them up. Then follow the true ideals and hopes
in this order: 1. Commerce 2. Imaginative Inspiration; 3. Truth and
Beauty (one figure); 4. Religion; 5. Wealth; and 6. Family joys (a woman
with babes). In this panel the background contains suggestions of
Asiatic and American cities. In the other panel the background shows a
group of ships, ranging from those of the earliest times to the modern
liner.

These two paintings are worthy of study for the historical and symbolic
interest. Artistically they are notable chiefly for the remarkable
freshness of coloring and rich mosaic effect. Both are by Edward
Simmons.

Murals in Arch of the Setting Sun, at the west side of the court. The
painting on the north wall should be viewed first. This represents
pioneers from a New England village starting for California. There are
four groups of figures, as follows: 1. two workmen, and a woman holding
a child; 2. a symbolic figure of the Call to Fortune; 3. a group showing
the types of those who crossed the continent-the driver first, and
then the Preacher, the Pioneer, the Judge, and the Schoolmistress (there
are four children also in this group, and at the back is a wagon filled
with household goods); and 4. a youth bidding farewell to his parents as
he starts to join the band of emigrants. At the back of the last group
is seen a typical New England home, and in the distance a New England
meeting-house.

"The Arrival on the Pacific Coast" is the title of the painting on the
opposite wall, which represents the immigrants being welcomed as they
reach California. Here again there are four groups of figures. The first
shows two Spanish-American soldiers and their captain, following a
priest, typical of the days of Spanish rule in California and of the
Mission period. Second, there is a symbolic figure, "The Spirit of
Enlightenment." The third and main group shows types of immigrants. The
men here are: 1. the scientist; 2. the architect; 3. the writer; 4. the
sculptor; 5. the painter; 6. the agriculturist; and 7. the miner (or
other manual worker). A woman and several children complete the group,
and at the back is a prairie schooner, from which a girl waves a flag.
The fourth group represents California welcoming the immigrants, the
state being symbolized by tokens of the wealth it has to offer settlers:
the orange tree, sheaves of grain, and fruits-the figures including
the miner, the farmer, fruit pickers, and the California bear. This last
group is the most colorful, and in many ways the most appealing, of all
those in the two panels under the west arch. It is interesting to
compare the golden warmth here and indeed throughout the California
panel-with the cold atmosphere of the New England one.

Those who are familiar with the historical characters of the West will
be able to recognize in the California panel idealized portraits of
William Keith as the painter, Bret Harte as the writer, and Junipero
Serra as the priest. In the New England panel may be found William
Taylor, famous street preacher of the early days in California, as the
preacher, and "Grizzly" Adams as the pioneer.

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