The Galleries of the Exposition Part 2

Portugal

The Portuguese section does not present any great painter such as Spain, for instance, has produced in Sorolla or Zuloaga, though both seem to be very much admired by all Latin painters, as well as by some of the Germanic artists, as a certain canvas of a Dutch lady in the Holland section will demonstrate.

Nudes are still in vogue, or rather naked women, and probably will be as long as the sale of strong drink needs to be increased by the kind of creation commonly known as the saloon picture. There is surely nothing n.o.bler than the truly idealized interpretation of the human figure by artistic means, but the purposely sensuous nude is becoming rather a bore. Painting flesh is one of the most difficult of all things, particularly as to the correct texture, but there ought to be a limit in the production of such a type of picture as the one by Veloso Salgado in the Portuguese section.

Here a great variety of subjects is treated, mostly with entirely too much realism. Photographic truthfulness is not the function of painting, because, first of all, the medium will not allow it without losing a certain quality indicating the fact that it is painting; and secondly, art can only be an approximation anyhow, and it should carry its point by forceful and convincing suggestion rather than by a tightly rendered photographic fact. The great pictures are first those of a strong suggestive quality and, secondly, those possessing a certain something the artist calls design - meaning thereby a more or less arbitrary arrangement of form and colour effects which will please the eye. The idea of design has not struck the Portuguese artist as yet; at least it is not apparent in the pictures of that section. The technical excellence of their work is uniform and in some cases very creditable, particularly in the many small canvases by Senhor de Sousa Lopes, the art commissioner of his country.

Continuing in the western gallery of the Portuguese section, directly opposite the nude referred to, an outdoor sewing circle by Jose Malhoa arouses interest. The outdoor quality in this canvas is very p.r.o.nounced, and the gay enlacement of the luxuriant wistaria with the orange trees in the distance, together with the multi-coloured ensemble of children, make for a lovely effect. The middle gallery doubtless holds Portugal's most important claims upon artistic distinction, in the group of three portraits and two still-lifes by Columbano. The three portraits are unusually dignified and psychologically suggestive enough to show that the painter was not interested in exterior facts alone. The portrait of the bearded gentleman in the middle is fine, though somewhat academic in colour. The two little still-lifes wedged in between the larger portraits are exquisite in every way, and make up for a lot of superficialities found in this section. All around in this gallery, in more than a dozen sketches from Spain and Italy, Sousa Lopes shows fine ability in the handling of paint and great power of observation. All of these apparently recent things by Senhor Lopes are far more enjoyable than a huge "Pilgrimage", which, while well painted, is too scattered.

The unity of feeling in the work of Columbano is much more necessary in a canvas of this size than in a small sketch. (Rembrandt's famous "Night.w.a.tch" and Velasquez's "Surrender of Breda" ill.u.s.trate this point very well.) Malhoa's well-painted interior called "The Native Song" has more of this desirable feeling of oneness, which may be due to the fact that it deals with an indoor setting, while de Sousa Lopes' "Pilgrimage"

in the adjoining gallery presents a far more difficult problem in the reflected and glaring light effect of a southern country. Among the sculptures of this country Vaz Jor's "Grandmother" is of unusually high merit and intensely well studied. On the whole there is more academic training in evidence than originality of expression, but we may expect good things hereafter from the art of this country, which practically at no time in the history of art has produced any really great name.

Argentina

Retracing our steps, we invade the Argentine, in a well-appointed gallery. The first general impression is very good, though on closer examination nothing of really great merit holds one's attention for any length of time. While naturalism reigns in Portugal, a more p.r.o.nounced decorative conventional note predominates in this section, particularly in the portraiture. There is a peculiar superabundance of purple and dark reds in the Argentine section, which gives this gallery a morbid quality. On the main wall, in the left corner, Hector Nava has a very distinguished "Lady in Black". Among all of the portraits on this wall it is easily the best, although some charming interiors of a singularly cool tonality are not without interest. They are too reminiscent of Frieseke to convince one of their originality. Another "Black Lady", continuing toward the right on the next wall, has much to recommend her.

A better frame would enhance the merit of this canvas.

There is no landscape of any importance in the Argentine section, no matter how hard the effort to find one. They are all singularly artificial. A small harbor picture by Pedro Delucchi is strong in colour, as well as in technical treatment. It has an unusual wealth of colour, and great richness which contrasts strongly with the general coldness of this section.

Uruguay

Here another South American republic holds forth in a small gallery off the Italian section. The gallery is dominated by a large equestrian portrait of General Galarza, by Blanes Viale. A certain fondness for disagreeable greens and for decorative effects is noticeable in this gallery, and one is not convinced of the necessity for a more comprehensive display.

Cuba

The same remark applies to the Cuban section, where Romanach's Dusseldorf style of picture shows at least good academic training, without rising, however, above ill.u.s.tration in any one of the very well painted figure pictures. Rodriguez Morey's big, intimate foreground studies are commendable for their faithfulness and for a certain poetic quality which takes them out of the realm of mere accurate truthfulness.

Philippine Islands

The small Philippine section makes one curious to know whether there is nothing in the tradition of this people related to the art of Asia that could serve as a basis for their artistic endeavors. To any serious-minded person it must be evident that the Filipino is not going to work out his artistic salvation by way of the Paris studio. It must come out of the soil, so to speak, and must be based on the racial, religious, and other national elements. It would do the Filipino people good to see their collection in close proximity to that of other nations. Aside from that, a natural sequence of artistic development by developing the more decorative arts of making useful things beautiful - such things as pots and pans, rugs, and jewelry - would be much more becoming than this European affectation. The real art of the Filipinos is to be seen in their art industries in the Philippine Building.

The Orient

For historical reasons alone, if not for supremacy along artistic lines, j.a.pan and China should by right be dealt with at the very beginning. But having had, since time immemorial, a very detached, highly original note, they fit in anywhere, if not best in between the art of the Romanic and Germanic races. Practically the entire world owes a great debt to j.a.pan, for a certain outlook in decorative art has been adopted from j.a.pan by the best artists of the world. Oriental art is so truly an art of the people, devoting itself most closely to the artistic development of the utilitarian things of life, that to see them at their best one has to look at their furniture, including folding screens, pottery, jewelry, rugs, and practically everything else that is needed in the daily life of the people. The art of China and j.a.pan is so old that its real origin is almost a matter of guesswork, and has a certain general obscurity to most outsiders, owing to language, religion, and customs. This has led to a commercial exploitation of their art in Europe, and in America particularly, based mostly on humbug and partly on facts. If all the pottery, rugs and furniture said to have come from distinguished artists and from even more distinguished circles of ownership, mostly palaces of the Ming dynasty, were enumerated, there would be nothing left to have come from the atmosphere of the ordinary Oriental. The j.a.panese and Chinese are taking quick advantage of the guilelessness of the western lover of art, and much that is to be seen in either one of the two sections is rather a concession to western demand than to native Oriental talent. Only the special student of oriental art will consent to learn enough of the j.a.panese or Chinese language to familiarize himself with any other than the commonly known artists of these countries, and all that one can do within the frame of an international exhibition is to single out those things which appeal on the basis of certain artistic principles which are the same the world over. To go into the many religious and other sentimental considerations which are sometimes the basic justification for some very extraordinary fantastic things, charmingly exploited by certain art dealers, is impossible within the scope of this book.

j.a.pan

The j.a.panese people, at the extreme southern end of the Palace of Fine Arts, have a representative show of painted screens, of extraordinary beauty. Anyone, without being in the least familiar with the fauna and flora of j.a.pan, must admire the tremendously acute power of observation and surety of drawing which made these designs possible. The two sixfold screens by Taisei Minakami on the east wall of the eastern gallery are probably the most magnificently daring examples of modern j.a.panese art.

To the student of design they offer a most stimulating opportunity for study. Acutely observed, their tropical subjects, very daring in colour, are exhaustively beautiful. The s.p.a.cing of the design, the relative distribution of the few daring colours against a gold background of wonderful texture, combine in a picture of great vitality. The art of no people is so scientific as that of these people, whose every effort, no matter how insignificant, is technically always sound. Our modern art schools could very profitably imitate the j.a.panese principle of teaching their young students how to do a thing well and of leaving the choice of subjects to their own inclination.

Almost opposite, a vertical composition of a lumber camp on a mountainside, by Bunto Hayashi, attracts by an unusual subject very descriptively rendered. The picture belongs to the older school, not so much for the lack of colour, which is often erroneously identified with the older j.a.panese works, as for a certain quality of less decoration and of more detailed treatment of the drawing. The drawing is, of course, the important element in all j.a.panese art, since all of their work has to yield a great deal of pleasure of the intellectual kind at close distance, on account of the smallness of j.a.panese dwellings, which keeps the owner of the picture in close proximity with his artistic possessions. A picture of crows in a rainstorm, on the same wall, on the right side of the southern door, and also a very characteristic study of some kind of cedar, with birds on the left of it, give one an excellent idea of the astonishing variety of material that the j.a.panese artist successfully controls.

In two irregularly shaped triangular galleries adjoining, Shodo Hirata maintains the standard of the first gallery, not to forget, either, Toyen Oka with his oleander bush and the cat on the picturesque fence.

Tesshu Okajima's hollyhock screens are marvels of decorative simplicity, while Kangai Takakura uses a washday as a motive for a double twofold screen decoration. The last two artists can both be found in the second irregular triangular gallery, opposite the first one mentioned. The central octagonal gallery also is devoted to screen pictures, done by means of embroidery. Some of them, largely those of native design, are successful in really giving the quality of the subjects depicted, but cannot grow enthusiastic over two unduly protected screen embroideries, a German marine and an English pair of lions, done in silk. They are both as hard as nails and devoid of any real suggestion of the spirit which animates either water or lions in reality. If it is so great an achievement as we are often asked to believe to do certain things in badly chosen material, then why not try to reproduce Rafael's "Sistine Madonna" with thumbtacks? Most such attempts to find an agreeable subst.i.tute for the various painting media are merely silly.

Sharing the hospitality of the cases with the embroidery pictures are the wood sculptures, some of which are intensely interesting, as, for instance, the "Man with the Spade." The underlying idea of cubism is very intelligently embodied in this small figure, without any affectation. The many small woodblock prints to be seen here do credit to the reputation which j.a.panese artists have long enjoyed in this special field.

The remaining smaller galleries are given over to replicas of the originals of older art, modern sculpture, and painting in the modern style. Why the modern j.a.panese artists want to divorce themselves from the traditions of their forefathers seems incomprehensible. There is not a thing in the western style in this gallery of j.a.panese painting that comes anywhere near giving one the artistic thrills won by their typically j.a.panese work. I think the sooner these wayward sons are brought back into the fold of their truly Oriental colleagues, the better it will be for the national art of j.a.pan, the most profound art the world has ever seen.

China

The first impression of the Chinese section is disappointing. There is no real life in any of the work here displayed, and most of it consists of modern replicas - some of very excellent quality - of their oldest and best art treasures. The Chinese seem to be absolutely content to rest upon their old laurels, the fragrance of which can hardly ever be exhausted; but nevertheless that does not relieve them of the obligation of working up new problems in a new way. There is so much religious and other sentiment woven into their art that to the casual observer much of the pleasure of looking at the varied examples of applied art is spoiled by the necessity of having to read all of the longwinded stories attached to many of them. The freshness of youth, the spirit of progress, which enliven the j.a.panese section, are entirely missing in this display, which seems like a voice from the past - a solemn monument to an old civilization without any connection with the New Republic and its modern pretensions. I am afraid China is laboring under conditions of internal strife which are detrimental to the development of any artistic expression.

Sweden

Of all the foreign nations represented, with the exception of j.a.pan and China, none possesses so distinct a national character as the art of Sweden. I cannot help expressing my personal conviction that it is the best national section in the whole exhibition, showing, as it does, not merely easel painting, but also many splendid examples of so-called applied art, which often permits one to get a deeper insight into the standard of art of a people than easel painting alone. It is true that certain examples of painting in the French or American sections are more appealing to us, but in the light of the national characteristics of the people and the country, Swedish art has a very definite quality, consistently shown. Their work has a robustness which has nothing to do with the salon aspect of the art of southern Europe, particularly France. In fact it is almost opposed to the art of the Romanic races, and distinctly apart from the art of Germany. It is fortunate Sweden could make such a splendid showing without the support of the art of such a man as Anders Zorn, who, while decidedly Swedish, is after all much of a cosmopolitan painter, with all the earmarks of an international training. The art of the most artistic of all people, that of the French, is often said to have a decadent note. In comparison, Swedish art may be said to be absolutely robust, healthy, and vigorous, without being coa.r.s.e. To those who pretend to find a certain physical brutality in Swedish art, I should like to point out that the most delicate pictures in the entire exhibition - those of John Bauer - are the chief a.s.set of the Swedish exhibit. The great variety of the work in this section makes it very interesting, and permits, as said before, close insight into many phases of modern art.

The most p.r.o.nounced individualities in the collection, covering all fields, are Bruno Liljefors, Gustav Fjaestad, Carl Larsson, John Bauer, Mr. and Mrs. Boberg, David Edstrom, Mas-Olle, and others too numerous to mention. Bruno Liljefors for many years has been known internationally as one of the best of animal painters, and particularly of sea fowl. He has had the experience common to many great artists, of working himself up from very academic beginnings to a wonderful personality of marked freedom. His canvas of the nine wild swans is perhaps the biggest single picture in the entire Exposition. It is immediately suggestive of a decoration, and to think of it in that sense, as a part of a wall seen from a great distance, makes one almost tremble with expectation. This truly great picture is a rhythmic masterpiece. The placing of these graceful swans is marvelously well studied from the point of view of design, yet none the less does an expression of reality animate these divine birds. There is something about swans which puts them even above the king of birds, the eagle. I can conceive of men killing any animal, but the thought of one of these n.o.ble birds falling victim to man's perverse desires is incomprehensible to me. Of the other pictures by the same artist, the flock of wild geese, standing in the shallow water of a stony beach, carries all the conviction of being well studied which applies to any of Liljefors' pictures. The eagles and the seagulls are scarcely as interesting as the swans. Liljefors is never better than when he depicts flying birds - and fly they do. There is never any doubt about it. Those swans are actually in the air, and moving. A certain disagreeable fuzziness in the skies of all of his pictures interferes somewhat with their full enjoyment.

Of the other painters Mrs. Boberg should be mentioned next. She is the wife of Ferdinand Boberg, the architect of the Swedish Building, who himself, as a true artist excelling in a number of things, has a splendid collection of etchings in the long black and white gallery adjoining the Liljefors' room. Mrs. Anna Boberg's pictures, in a very small gallery at the eastern end of this section, are not advantageously hung. Her work is so decorative, and so painted for distant effect, that to see it close at hand is disappointing. The eleven of her pictures are unusual in subject and for that reason win less sympathy than they deserve. All of them were painted on a trip she made with her husband to the Lofoden islands, and when one considers the proverbial coldness of the Arctic seas, her interpretations seem marvelous in their beauty and richness of colour. A study of their t.i.tles in the catalogue seems hardly necessary for understanding of their meaning, and I for one am perfectly satisfied to feast on the gorgeous colouring and the great veracity they possess. Some of them are already sold, a most surprising thing when one considers that to most people a picture actually executed in three dimensions is seldom considered meritorious. I do think that while the physical width and height of Mrs. Boberg's pictures are governed by conventional considerations, a little less depth of paint might accomplish the same solid appearance without making one feel like slipping sideways past them into the next gallery for fear of knocking off a few lumps of paint.

In the adjoining gallery, a somewhat larger one on the east, Gustav Fjaestad's very fine decorations form what we are in the habit of calling a "one-man show." Mr. Fjaestad certainly has the decorative feeling, whether he paints a picture or designs a rug. In fact all of his pictures look like designs for rugs. And why not? If a wall rug is a decoration, a picture should be one in just the same way. It is hard to single out among the many good examples the best one, and it may be left to the taste of the individual, who among nothing but good things cannot make a poor choice. The time will come again when our artists will find it honourable and profitable to apply their talents to utilitarian art, as does Fjaestad, and the interrelated activities of the Swedish in both fine and applied arts afford a lesson which is by no means new. It is the basic condition on which the art of the Renaissance flourished that develops men like the Swedes.

There is a big difference between Liljefors and Mrs. Boberg, or again between her and Fjaestad, but not any greater than between all of these artists and John Bauer. John Bauer's paintings are exquisite, and even such abused adjectives as "sweet" and "delicate" are not out of place when applied to his work. I hope we have some enlightened person among us who can afford to buy the whole batch of them, and do it quickly, before any more of them are sold singly. It takes more time to enjoy these little fairy tales than one can afford to give to them. They possess everything a good ill.u.s.trative painting ought to have. A wealth of ideas imaginatively represented, good drawing, and intimate feeling tell of the keen pleasure the artist must have had in producing these gems.

As an ill.u.s.trator, though very different, Carl Larsson appeals in a comprehensive group of pictures in another gallery. Carl Larsson's extraordinary resourcefulness in getting everything he needs out of the confines of his home has for years been the cause of his great popularity abroad, and in his thirty-three cheerful drawings he discloses his entire home life, in all the variety of happenings which makes married existence a success. His drawing is faultless, his sense of colour supple and refreshing, and his ability to make such extensive use of the relatively narrow atmosphere of his home without exhausting it proves his caliber. Larsson has a roommate of great distinction and modesty in Oscar Bergman, who has contributed some twenty tender bits of northern landscapes and marines. They are reminiscent of the j.a.panese, although it becomes almost foolish to think of the j.a.panese every time someone develops a capacity for acute observation and drawing. Bergman's little lighthouse is particularly convincing and, like most of these things, should not be allowed to return to the artist.

I shall probably have to retrench in attention to the American section if I keep on giving pages to this section. But in spite of their great merit, the work of Kallstenius, Schultzberg, Carlberg, and Osslund will have to go with only meager reference. Osslund's pictures are somewhat startling at first, owing to a complexity of technical treatment. He does not seem to be working in the right medium, for I believe his j.a.panesque landscapes could be far more sympathetically presented in watercolour. Of the group comprising his work, his "Waterfall", "Summer Evening", and "Evening on Angermann Land" are very fascinating.

Mas-Olle's portraits are interesting not only for good technical painting but also for fine characterization. His portrait of an old peasant of Dalecarlia is almost faultless. Near the Mas-Olle portrait Herman Lindquist has a "Sunny April Day" of unusual poetic claim.

Schultzberg's big sunlit winter scenes hardly need recommendation to justify their increasing popularity. Alfred Bergstrom's poetic landscapes add more interest, in the small adjoining room on the east.

Marine pictures by Hullgren are the only contributions in that field, but quite sufficient to maintain the general standard of excellence. The drunken man seated at a cafe table is psychologically interesting. As an object lesson to discourage the consumption of liquor it is the most effective picture I have ever seen, and certain interests would do well to buy it for that reason alone, not to speak of the relief this would afford. Ernst Kusel's animal pictures, opposite John Bauer's delightful group, seem quite out of place. His ducks and the goats are satisfactory enough, but I wish he had to live with that calf picture and see it every day. Kusel is undoubtedly humourously inclined, without knowing proper limitations.

The sculpture of the Swedes is of the same unusual excellence that commands so much respect in their other work. Edstrom easily outranks his fellow-artists in his group of naturalistic and conventional architectural heads, in the Liljefors gallery, while in the long and narrow adjoining gallery a mult.i.tude of excellent etchings, drawings, and black and white work compel mention. They hardly need any explanation, since in their very character they readily convey their meaning. One could dwell at greater length upon this most representative of all national displays, but I fear that it would have to be done at the expense of the American section, which hospitality has already placed under a disadvantage.

Holland

The Netherlands representation is conspicuous for its conservative note, together with the absence of any single picture which might unduly excite one by its merit. I do not wish to prejudice the art lover who strolls into this well appointed section, but coming from Sweden, as we do, so to speak, since it is Sweden's next door neighbor, it gives one rather a shock. Most of the Dutch pictures are good, almost too good, in their academic conventional repet.i.tion of the timeworn subjects we have been in the habit of seeing for the last twenty years. The Swedish section is full of real thrills, but the complacency of the Netherlands section can hardly be explained by their national temperament alone.

While the Swedish people seem to be blessed just now with an unusual number of men of great gifts in the field of art, the Netherlands have entered into what I hope will be only an interregnum of not overly original painters. The last quarter of the last century saw their glory in the careers of men like the elder Israels, the Mesdags, the Maris, Jacob and Willem, Bosbom, Mauve, Weissenbruch, Poggenbeck, and many others who have departed during the last ten years, or who, if still living, have scarcely maintained their high standards of earlier days.

The most ill.u.s.trious name among the older men is Willem Mesdag, who can hardly be expected at his age to be doing his best. Speaking of Mesdag, one of their best marine painters of the older days, one is forcibly reminded of the fact that though a people of the sea the Dutch do not seem to possess a single strong marine painter. One looks in vain for any pictures of the open sea reflecting the seafaring traditions and activities of the Dutch, and if it were not for Mastenbroek's masterly harbor pictures, one would have to console oneself over this lack of the briny element with a view of the Amsterdam Marine Aquarium.

Mastenbroek's big canvas is full of life and well painted. It shows the harbor of Rotterdam animated by a host of vessels of all kinds and descriptions. While there is a fine feeling of loose accidental arrangement about this big picture, it is nevertheless well composed.