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An Art Lovers guide to the Exposition

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




Viewed entirely from the aesthetic side, without regard to the
symbolism, the Genius of Creation is one of the most satisfying works on
the grounds. It is too bad that it was placed before a background of
broken spaces, and before a colorful facade that makes it seem pale. But
in it is that reposeful strength which characterizes so much of French's
work-a sense of completeness, of fullness, that is perhaps the most
soul-satisfying quality of great sculpture.



The South Gardens, Festival Hall, and the Palace of Horticulture



If there is one portion of the Exposition building scheme that does not
seem to "belong" to the main group of palaces, it is that which lies
south of the Avenue of Palms, including the South Gardens, Festival
Hall, and the Palace of Horticulture. The relation of the two buildings
to the main courts and palaces is clear: Festival Hall terminating the
cross axis through the Court of Abundance and the Court of Flowers; the
Palace of Horticulture terminating the cross axis through the Court of
the Four Seasons and the Court of Palms. But though the organic
relationship is apparent, the least discriminating of critics can see
that these buildings are of an architectural style not in harmony with
the central group of palaces. Both structures lack that fine sense of
proportion and that simple and impressive dignity which characterize the
architecture of the courts; and both are more or less pretentious and
ornate.

The South Gardens

The South Gardens, like the buildings, have a certain magnificence but
at the same time lack any distinctive appeal. The three basins with
their fountains are imposing, and the individual beds of flowers are
gorgeous in their profuse massing of color; but the distances are so
great, and the sense of enclosure that means so much to gardens is so
far lacking, that the lover of formal gardening will be less satisfied
here than at several other places in the grounds.

Sculpture. The sculpture of the South Gardens is all on the three
fountains. The immense central group, the Fountain of Energy, already
has been described. In the other two basins the Mermaid Fountain is
repeated. This is an attractively ornate bit of decorative design,
surmounted by the figure of a mermaid with a dolphin. The figure was
modeled from designs by Arthur Putnam. It is typical of the fine
strength of his work, and at the same time appealing by the grace of its
sinuous lines.

Festival Hall

Festival Hall, designed for the many conventions and musical festivals
of the Exposition period, is of typically French architecture of the
modern school. The building is not unpleasing, but there is little about
it to hold the interest. Robert Farquhar was the architect.

Sculpture. All the sculpture on Festival Hall is the work of Sherry E.
Fry. The figures are well suited to their purpose, from the slender
"Torch-Bearer," surmounting the minor domes, to the heavy reclining
figures on the pylons at the main entrance. Most of the statues are too
roughly finished to have more than a decorative interest, but the two
groups flanking the main stairway are worthy of study. These two "Flower
Girls," one on either side, have a beautiful flowing grace. But quite
the most appealing things here are the two minor figures before the
pedestals on which the Flower Girls stand. Before the one at the north
is a captivating boy Pan with a lizard. Half hidden in the shrubbery at
the other side is the sitting figure of a girl, attractively immature
and charming in line.

Palace of Horticulture

The Palace of Horticulture is characterized by that combination of
Eastern and Western architectural motives which is so noticeable
throughout the buildings. The dome is Byzantine, while the rest of the
building is of Renaissance, or modern, French architecture. The dome
considered alone is an almost perfect bit of design, beautifully
proportioned and finely simple. The rest of the building is in general
over-decorated, the portals especially being heavily loaded down with
meaningless ornament. Apologists for the building say that the profuse
ornateness rightly suggests the richness of California's horticulture.
Perhaps the best view of the dome is from the east end of the Avenue of
the Nations, near the Denmark building, because from there one can see
it unobstructed, escaping the disturbing effect of the portals and their
spires. The Palace of Horticulture was designed by Bakewell and Brown of
San Francisco.

Sculpture. All of the sculpture here is purely decorative. The frieze at
the base of each spire, consisting of heavy female figures modeled in
pairs, is by E. L. Boutier. The ornamental Caryatides of the porches are
by John Bateman.



Palace of Fine Arts



The Fine Arts Palace has been more admired, probably, than any other
architectural unit at the Exposition. The reasons are not far to seek.
The architect has used those classic forms which for ages have been
recognized as best suited to monumental structures, and yet he has used
them with originality. The building is classically noble, but without
classic austerity or coldness. It is at once beautiful in form, rich in
decorative detail, and satisfyingly warm in color. Moreover, it has the
finest setting of all the Exposition buildings. The bigness of
conception, the boldness with which the largest architectural elements
have been handled, the perfect arrangement of architecture, planting,
and reflecting waters-all these combine to create the most compelling
picture on the grounds.

The arrangement of the building is deceptive. As one looks at it across
the lagoon, it seems like a single unit, so well does the planting tie
it together, though there are really four unconnected structures: the
rotunda, two detached peristyles at the sides, and the art gallery
proper at the back.

Architecture

The style of architecture is Classic, freely treated. The rotunda is
Roman. The peristyle is more Greek in feeling, in the simplicity of
general form, with splendidly modeled capitals, full strong columns, and
dignified cornice. The curved facade of the main building, facing the
rotunda and peristyle, is very original in its arrangement of classic
architectural motives and masses of foliage, with a Pompeian pergola on
top.

The color scheme of the whole building is worthy of study. And although
the structure when seen by day deserves all the praise that has been
bestowed upon it, by night its beauty is beyond description. One should
sit long at the edge of the lagoon opposite the rotunda, and watch the
illuminated building itself and its reflection in the waters below, to
feel the full spell of it. No one should miss, either, the walk between
the peristyle and the main building on one of those nights when there
is soft local illumination, for nowhere else on the grounds has the
poetry of lighting been so perfectly realized.

The architect of the Fine Arts Palace was Bernard R. Maybeck, a
Californian.

Sculpture

The sculpture about the lagoon, including that under the peristyle and
rotunda, is to be treated in the next chapter, except that which is
definitely a part of the building's integral decorative scheme.

The reliefs outside the rotunda, on the attic above the cornice,
represent man's effort to gain the ideal of art. To see these reliefs
best, one should stand directly across the lagoon from the rotunda. In
the panel facing East one sees the figure of Art personified. On either
side is a group showing the champions of art combating centaurs, that
stand for the commonplace, materialistic things of life. In the next
panel to the left, facing Southeast, is represented the bridling of the
winged horse Pegasus, which to the Greeks symbolized the attainment of
poetic inspiration. Here also are figures representing the arts of
literature, sculpture and music, by the familiar symbols, a lamp, a
statuette and a lute. The panel to the right of the center one shows
Apollo, sun-god and patron-god of the arts, drawn in his chariot, with a
procession of devotees. These panels are repeated on the other five
faces about the dome. They are among the finest reliefs on the
Exposition buildings, and are by Bruno Louis Zimm.

The figures within the rotunda, surmounting the eight columns are
"Priestesses of Culture," by Herbert Adams.

The flower-box sculptures are by Ulric H. Ellerhusen-both those on the
ground and those at the corners of the boxes surmounting the peristyle.
The ladies on the latter, looking so steadily into the boxes, do not
represent "Curiosity." The plan was to have masses of foliage
overflowing, and half-covering the figures; and when this was given up,
the decorative women gave the unexpected impression of being deeply
absorbed in something happening out of sight of the spectator below. An
explanation which has gained some currency is that the figures represent
"Introspection," which seems quite apropos.

The kneeling figure (unnamed) on the edge of the lagoon before the
rotunda is by Ralph Stackpole. It is one of the most appealing bits of
all the Exposition sculpture, well expressing devotion and reverence. It
cannot be reached from the rotunda side, this portion of the shore being
closed to the public.

The figure over the doorway of the gallery is Leo Lentelli's
"Aspiration." During the early months of the Exposition this statue was
suspended from behind, the base on which it now stands having been
placed late in the Spring. As the figure first appeared, hanging in air,
it caused more comment than any other sculpture on the grounds. The most
appropriate explanation was that since the figure lacked any visible
means of support it probably was meant to represent "California Art."
Even the recent alterations have failed to save it from seeming
graceless and out of place.

Mural Paintings

The eight panels in the dome of the rotunda are by Robert Reid. There
are two series of four paintings each, called "The Birth and Influence
of Art," and "The Four Gold's of California." They form perhaps the
least interesting of the several groups of murals, being vague in
meaning, unpleasantly restless in composition, and only occasionally
attractive in coloring.

The easiest panel to identify is that called "The Birth of Oriental
Art," which is on the west wall, closest to the doorway of the main
building. Starting with this and following around the dome to the right,
the pictures are in this order:

1. The Birth of Oriental Art. A man in armor on a fanciful, dragon is
attacking an eagle, symbolizing man's effort to attain the inspiration
of the heavens. Below, China can be recognized in the man with a
brilliant colored robe, and Japan in the woman with the bright parasol.

2. Gold is symbolized by a woman with a wand, on a cornucopia
overflowing with gold.

3. The Ideals of All Art. The ideals which animate artists are shown:
Truth with her glass; Religion typified in the Madonna and child;
Beauty, with the peacock; and the Militant Ideal with a flag. Above and
below are figures carrying the wreath and the palm, the artist's tokens
of success in attaining the ideal.

4. Poppies, the second "gold" of California.

5. The Birth of European Art. Four figures surround an altar on which
burns the sacred fire, three being merely attendants preserving the
flame, and the fourth the guardian holding high a torch lit at the
altar. A man from earth grasps this torch as he leans from his flying
chariot. A woman in the lower corner holds a crystal gazing-globe,
wherein the future of art has been revealed, and she turns to gaze after
the man who is carrying the sacred fire to earth.

6. Citrus Fruits, the third "gold" of California.

7. The Inspiration of All Art. Two Angels of Inspiration are at the top,
while below to the left are Sculpture, with a winged statuette, and
Architecture, with the scroll and compass; and to the right, Painting,
with brush and palette, Music, with a lyre, and Poetry, with a book.

8. Wheat, the fourth "gold" of California.



The Outdoor Gallery of Sculpture



Many of the finest bronzes and marbles of the sculpture section are
given an adequate setting which would be impossible within the gallery
building, by being placed in the open, along the two ends of the lagoon,
through the peristyles, and under the Fine Arts rotunda.

As this group of sculpture embraces all types from the playful to the
very serious, it is foolish to try to appreciate the whole series at one
time. Perhaps the best way is to start first to familiarize oneself with
the smaller bronzes of the purely lyric type, the charming garden
figures, sun-dials, and miniature fountains, that make up such an
attractive part of the collection. Note how often the names of Edward
Berge, Janet Scudder and Anna Coleman Ladd recur in connection with this
graceful, intimately appealing sort of sculpture. On another day, when
life seems soberer, spend all your time in study of the more serious
works, such as Saint Gaudens' "Seated Lincoln," and McKenzie's "The
Young Franklin," noting how the dignity, sureness of touch, and sound
purpose of these make them more appealing with longer acquaintance. On
another day take the intermediate group, that is dignified but less
austere in theme-such works as Sherry Fry's "Peace," and Berge's "Muse
Finding the Head of Orpheus." Studied systematically, there is in this
series of statues a broad education in the appreciation of sculpture.

For convenience in reference the whole series is listed here. In regard
to those works which the labels make self-explanatory, no comment is
added, unless to call attention to some special quality which the
unpracticed eye might miss. Where the symbolism or "story" is obscure,
an explanation is given.

South of the lagoon are: 1. Sea Lions by Frederick G. R. Roth. 2. The
Scout by Cyrus E. Dallin. Note the remarkable clean-cut quality of this
equestrian statue. 3. Wind and Spray fountain, by Anna Coleman Ladd. 4.
Diana by Haig Patigian-a graceful statue of the Greek goddess of the
hunt, which is in marked contrast to the same artist's strong figures on
the Palace of Machinery. 5. Peace by Sherry E. Fry. This beautifully
modeled figure has a classic simplicity that is worthy of study. 6.
American Bison by A. P. Proctor.

Beyond the second Bison, beside the roadway that runs behind the Fine
Arts Palace, is a model of the Kirkpatrick Monument, at Syracuse, New
York, by Gail Sherman Corbett. The central figures represent an Indian
discovering to a Jesuit priest the waters of an historic salt spring at
Syracuse.

In the circle at the south end of the peristyle are: 1. Seated Lincoln
by Augustus St. Gaudens generally considered one of the noblest works of
the greatest American sculptor. Note especially the dignity of the
whole, and the sympathetic modeling of the face. 2. Bust of Halsey C.
Ives by Victor S. Holm. 3. Bust of William Howard Taft by Robert Aitken.
4. Henry Ward Beecher by John Quincy Adams Ward-a dignified and
well-known life-size statue.

Along the south peristyle are (at the right) 1. Piping Pan by Louis St.
Gaudens. 2. Flying Cupid by Janet Scudder. 3. Muse Finding the Head of
Orpheus by Edward Berge-a marble well expressive of gentle grief.
Orpheus, sweetest musician of Greek mythology, after failing to recover
his beloved Eurydice from the underworld, in his sorrow scorned the
Thracian nymphs, who in their anger dismembered him. His head was washed
up by the sea and found by the sorrowing Muses. 4. (At the left) Michael
Angelo by Robert Aitken, showing the master-sculpture at work on one of
his famous figures. 5. (At the right) Young Pan by Janet Scudder. 6. (At
the left) Wood Nymph by Isidore Konti. 7. Young Mother with Child by
Furio Piccirilli. 8. (At the right) Wild Flower by Edward Berge. 9. (At
the left) Eurydice by Furio Piccirilli. 10. (At the right) Boy and Frog
by Edward Berge. 11. (At the left) Dancing Nymphs by Olin L. Warner. 12.
Idyl by Olga Popoff Muller. 13. An Outcast by Attilio Piccirilli. 14.
(Beside the doorway) Youth by Charles Carey Rumsey. Before the doorway
is to be placed The Pioneer Mother Monument by Charles Grafly.

About the rotunda are: 1. (Outside the southwest archway) Thomas
Jefferson by Karl Bitter. 2. (In center of rotunda) Lafayette by Paul
Wayland Bartlett-the statue given by America to France. 3. Lincoln by
Daniel Chester French, a dignified portrayal that cannot be justly
judged from the plaster model here exhibited. 4. Relief by Richard H.
Recchia, representing "Architecture." 5. Commodore Barry Memorial by
John J. Boyle. 6. Relief by Richard H. Recchia, representing
"Architecture." 7. Princeton Student Memorial by Daniel Chester French a
noble treatment of a difficult theme. 8. The Young Franklin by Robert
Tait McKenzie. This is a fine conception, in which the sculptor has
escaped from the conventional path of monumental portraiture. 9. (On
walls of west archway) Reliefs by Bela L. Pratt, representing
"Sculpture." 10. (Outside west archway) Portrait of a Boy by Albin
Polasek. 11. The Awakening by Lindsey Morris Sterling. 12. (Beside
northwest archway) William Cullen Bryant by Herbert Adams.

Along the north peristyle are: 1. (Beside main doorway of gallery)
Beyond by Chester Beach. 2. The Sower by Albin Polasek. 3. The Centaur
by Olga Popoff Muller. 4. Boy with Fish by Bela L. Pratt. 5. (At the
right) Returning from the Hunt by John J. Boyle. 6. (At the left)
L'Amour by Evelyn Beatrice Longman-a marble wherein the woman's figure
is tenderly beautiful. 7. Garden Figure by Edith Woodman Burroughs. 8.
(At the right) Fighting Boys Fountain by Janet Scudder. 9. Soldier of
Marathon by Paul Noquet. 10. (At the left) Youth by Victor D. Salvatore.
11. (At the right) Primitive Man by Olga Popoff Muller. 12. The Scalp by
Edward Berge-an unpleasant bit of realism. 13. (At the left) Apollo by
Haig Patigian. 14. (At the right) A Faun's Toilet by Attilio Piccirilli.
15. Duck Baby Fountain by Edith Barretto Parsons. 16. Maiden of the
Roman Campagna by Albin Polasek-a figure instinct with the spirit of
the antique.

On the circle at the north end of the peristyle are: 1. (At the right)
Young Diana by Janet Scudder-a young goddess of the hunt, conceived in
modern spirit, with remarkable freedom and grace of movement. 2. Great
Danes by Anna Vaughan Hyatt. 3. (In walk) Sundial by Harriet W.
Frishmuth. 4. Bondage by Carl Augustus Heber. 5. Boy Pan with Frog by
Clement J. Barnhorn. 6. Sundial by Gail Sherman Corbett. 7. Three
fountain groups in one basin, all by Anna Coleman Ladd. Of these the Sun
God and Python has been especially admired as a spirited and graceful
bit of work. 8. (On the lagoon side of the circle) Mother of the Dead by
C. S. Pietro-a sincere and powerfully realistic work, and quite unlike
anything else in the outdoor gallery. 9. (In walk) Chief Justice
Marshall by Herbert Adams. 10. Destiny by C. Percival Dietsch. 11.
Sundial by Edward Berge. 12: Daughter of Pan by R. Hinton Perry. 13.
Head of Lincoln by Adolph A. Weinman.

Along the roadway to the left, as one leaves the circle, are two
sculptures: Bird Fountain by Caroline Risque, and Prima Mater by Victor
S. Holm.

North of the lagoon are: 1. Fragment of the Fountain of Time by Lorado
Taft. 2. Nymph by Edmond T. Quinn. 3. Dying Lion by Paul Wayland
Bartlett. 4. Rock and Flower Group by Anna Coleman Ladd. 5. Whale-man by
Bela L. Pratt.

On the island at the north end of the lagoon is a fountain by Robert
Paine.



The Fine Arts Galleries



Do not visit the Fine Arts exhibits blindly, without knowing what they
are aimed to show; and do not try to see the whole exhibition in one
day. First understand the scope and arrangement of the displays, and
then follow some definite system by which you are sure to get the best
out of each individual section. It is better to see one part thoroughly
than to carry away a confused impression of the whole.

The scope of the exhibit is limited to painting, sculpture and
print-making, except in the Oriental sections. In painting the primary
aim has been to make a representative display of contemporary work. Most
of the galleries contain only canvases painted within the last ten
years. But in order to correct the common misconception that American
art is entirely a thing of today, without historical background, a few
rooms are given up to historic works of the various early American
schools, and to works of the foreign schools that have influenced the
development of American art.

The arrangement of the galleries should be mastered before one starts to
study. In general there are three divisions of exhibits. At each end is
a group of foreign sections, and the great middle space is given up to
American art. The accompanying diagram is designed primarily to make
clear the location of the several divisions. The visitor will find it
worth while to remember that a main central corridor runs the whole
length of the United States Section. By continually referring to this
corridor, one can keep one's bearings fairly well.

The method of seeing the galleries that is suggested in this guide is
based on the official classification as far as possible: the foreign
sections are taken in order, and the historical section is treated in
that chronological sequence which the directors intended to show forth.
But there is no system in the arrangement of the twenty-eight general
rooms of contemporary American work, In treating these the guide aims to
suggest tendencies and influences, rather than to point out this or that
canvas as a good or bad one. Nevertheless it is believed that every
really important picture or artist is individually mentioned-so that
one who has used the manual consistently may be sure of having enjoyed
the cream of the collection, at the same time gaining the wider
knowledge of the main currents of development.

It is necessary to use to a certain extent the arbitrary
subject-divisions, such as portrait, landscape, and figure painting; and
to refer also to realistic painting, which tends to depict things as
they are, as opposed to the academic, which recognizes the wisdom of
conventionalization or idealization. But the most important distinction,
for the student of contemporary tendencies, is that which concerns the
term "Impressionism." This name in its original and technical sense
applied to the works of the men who, instead of mixing shades, placed
different colors side by side on their canvases to give the effect of
the right shade at a distance. As the experiments of these artists were
directed chiefly to the solution of problems of light, the term
naturally was widened to include that whole division of painting which
is concerned with atmospheric aspects and color harmonies rather than
with subject-interest and line composition. Terms which express the same
idea in general or in part, are "luminism" and "plein-air painting."
Impressionism has had more effect on the current of art than has any
other movement in history. Not only in the handling of light and in
freshness of coloring has the whole of painting been profoundly changed,
but there is a general tendency to paint the impression rather than the
actuality, the harmonious effect rather than the literal fact-and
these things are notably illustrated in the Exposition galleries.

For the sake of the visitor who comes to the gallery with practically no
knowledge of art, a word may profitably be said about critical
standards. First remember that there are many qualities which may make a
painting worth while: pleasing design, beautiful color, a compelling
expression of emotion or thought, or a poetic suggestion of a fleeting
aspect or mood. It is necessary to judge each particular work by the
artist's intention, and not by untrained personal tastes. Before passing
judgment learn to know the picture well. You may find that you have been
attracted by something superficial. On the other hand, you may find that
the seemingly less attractive picture, which has been recommended by
people of trained judgment, grows more and more pleasing with riper
acquaintance. Go slowly, study thoroughly what you study, and keep an
open mind-for that way leads to the widest enjoyment.

United States Section: Painting

The United States Section consists chiefly of contemporary work, but
includes a small historical section, which is to be found to the left as
one enters at the main doorway. It is in this part of the exhibit that
one should start.

The Historical Section consists of two well-defined parts. The first
contains examples of foreign schools of painting that have influenced
American art. The second contains the works of American painters from
the beginnings to the early Twentieth Century. The Foreign Historical
Section occupies rooms 91-92 and 61-63.

Gallery 91-Early Schools. A gallery of old paintings, chiefly of the
Italian, Flemish and Dutch Schools, designed to suggest the earliest
roots of American art. Practically all the canvases are mere echoes of
the "old masters," and they may well be passed over hastily by all but
the most thorough historical student.

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