|Home -> Wahlgreen Company -> A Brief Guide to the Department of Fine Arts - Panama-Pacific International Expostion - Chapter X - The Foreign Sections|
The Foreign Sections.
The following foreign nations are official exhibitors in the Palace of Fine Arts: Argentina, China, Cuba, France, Italy, Japan, The Netherlands, Portugal, Sweden and Uruguay. The Philippine Islands also has a separate section.
There is also what is termed the International Section, in which me placed works by artists of nations which did not governmentally participate in this Exposition. Among these nations are the following: Austria, Hungary, Germany, Greece, Great Britain, Spain, Chile and Russia, or, really, Finland, a part of Russia.
This International Section at present occupies one room, No. 108. The pictures in it are almost all by German artists. The large and exceedingly important number of paintings from Austria, Hungary, Spain, Great Britain, and other foreign nations - notably Norway - are to he exhibited in the new wing of the Fine Arts Building soon to be opened.
It will be well to mention here the fact that France did not enter its pictures in competition for prizes, following its usual custom at expositions, and it should be remembered that in the French Pavilion there is a gallery of veritable masterpieces, showing the quintessence of French art from 1870 to 1900.
Room No. 108.
The International Section.
Two of the winners of Medals of Honor in this section, both of them eminent German artists, are represented in this room. Franz von Stuck, one of the best known contemporary names in Europe, has a very remarkable painting hanging on Wail A. It is called "Summer Night." Heinrich veil Zugel has a splendid cattle piece (No. 549) on Wall C. Other Geld Medalists whose works are included in this room are Curt Agathe (No. 3), Heinrich Knirr, a "Self Portrait" (No. 293), and Leo Putz (No. 387).
As stated above, this room is but a very small portion of the International Section, in which have been awarded a large number of high honors. The rest of the section is displayed in the Annex. (See Chapter XI.)
Room No. 112 contains the paintings and sculptures of this country. Antonio Alice won the Medal of Honor in paintings. He is represented by three works, numbered 1, 2 and 3. No. 2, entitled "Confession," a very small work full of intense emotion and beautifully painted, a little masterpiece of its own school, the genre, hangs on Wall C.
Gold Medals were awarded to the following painters: Gorge Bermudez, Alejandro Bustillo, Ernesto de la Carcova, Fernando Fader, Jose Leon Pagano, Octavio Pinto, C. Bernaldo de Quiros, and Eduardo Sivori.
Among the sculptors Pedro Briano Zonza was given the Medal of Honor for his "Increase and Multiply," No. 75. Alberto Lagos, represented by three works, Nos. 32, 33 and 34, was given a Gold Medal.
China's exhibit occupies Rooms 94 to 97, inclusive.
It comprises a very large number of works of a highly diversified character, paintings and drawings forming only a small part of a wealth of curious and exquisite works of art in porcelain, wood and bamboo, lacquer work, precious stones and marbles, strass work, carved fruit stones, ivory and shell, pith paper and straw, embroidery and silk.
In paintings a Medal of Honor was awarded to Kiang Ying-seng for his "Hall Picture: Snow Scene" (No. 348), and Gold Medals were awarded to Su Chen-lien (No. 344), representing the flowers of four seasons; Kao Ki-fong (Nos. 363, 364), and Miss Schin Ying-chin for her "Folding Screen: Flowers of All Seasons" (No. 367).
Cuba's exhibit is in Room No. 20. The Medal of Honor in this section was awarded to Leopoldo Romanach, whose group of paintings is numbered from 16 to 29. A Gold Medal was given to M. Rodriguez Morey, Nos. 13, 14, 15. Maria Mantilla, Nos. 7, 8, and Amando Maenocal, Nos. 9, 10. No. 9 is the huge painting entitled "Death of Meceo," an episode of Cuba's war of independence, rendered with vivid realism.
France's exhibit occupies Rooms 11 to 18, inclusive. There is also an exhibit of a retrospective character, and of exceedingly high value, in the French Pavilion.
Among the artists of the most considerable consequence who are represented are the following: Degas (No. 310), a master who may also be studied in the retrospective exhibit; Gaston La Touche, Jean-Paul Laurens, Henri-Eugene Le Sidaner, Henri-Jean-Guillanme Martin, Emile-Rene Menard, Luc-Olivier Merson, Claude Monet, Rene-Xavier Prinet, Pierre-Auguste Renoir, Alfred-Philippe Roll, Lucien Simon, Jean Veber, and Maurice Denis. But there are many other interesting and important men who are not generally well known.
Room No. 17 contains the work of one of the most important of the above mentioned group, Alfred Philippe Roll, a grand officer of the Legion of Honor. Roll's pictures are numbered 481, 482, 483, 484. One of them is a frightful souvenir of the present war: "In Belgium" (No. 483). That veteran master, Jean-Paul Laurens, under whom so many modern Americans have studied, is represented by a very strong example of his splendid work in No. 398 which shows a peasant youth and maiden upon whom the spell of love is weaving their life's romance. Felix Valloton has an interesting portrait group (No. 512). Le Sidaner is represented by No. 418, his other picture, "Le Table" (No. 419) being in Room 14. The latter is an exceedingly remarkable study of lamp-light out of doors. Another of the big names, that of Menard, is splendidly illustrated in Room No. 16 by two most satisfyingly beautiful pictures (No. 444, 445). Prinet, another big man, has a portrait group (No. 472), a much admired picture of a father and mother and daughter.
Lucien Simon, one of the foremost men of modern France, is represented by three strong and virile canvases (Nos. 493, 494, 495) ; the second of these is entitled "The Communicants," a group of children receiving their first communion. It is one of the most artistic examples of a large group of works in the French section which deal with subjects of a religious nature. No other section is so strongly representative of this interest which for centuries was the sole concern of the art of painting in Europe, but which of late years has fallen into neglect. France, however, is still, in art as in life, "the eldest daughter of the church."
Monet and Degas, those veterans, may be studied in Room 13. Monet's picture is No. 452. This is the artist who, as we had occasion to say when in Room No. 61, where there is a large group of his works, is the father of modern impressionism. Degas (No. 310) is one of those singular men of genius who devote their whole lives to experiments which enlarge the domains of their art, although often their own works fail. He is one of the masters of modern realism, and his successes are more numerous than his failures. In this room there are also a number of interesting decorative works by Maurice Denis.
Italy's notable contribution to the art of the Exposition is placed in Rooms Nos. 21, 22, 23, 24 and 25.
Room No. 21 contains the work of the three principal prize winners. Ettore Tito was awarded the Grand Prize. Medals of Honor were granted to Onorato Carlandi and Camillo Innocenti. These three men, together with Antonio Mancini, whose group hangs in Room 22, stand among the very foremost of contemporary Italian artists. Mancini is pre-eminent, so much so that his work was placed hors concours. for he has already won so many honors that he may well afford to stand to one side and give the younger men a fuller opportunity.
Ettore Tito is represented by four pictures, which occupy one of the walls in Room 21 (Nos. 103. 104, 105, 106 and 107). Romanticism and realism seem to mingle in almost equal proportions in this most vigorous and splendidly skillful painter.
Onorato Carlandi has four pictures (Nos. 15, 16, 17, 18). Innocenti's paintings are numbered 56, 57, 58, 59.
Leonardo Bazzaro, one of the winners of a Gold Medal, is also in Room No. 21, with a single picture, "On the Diving Board" (No. 4).
The other Gold Medal artists are as follows: Italico Brass (No. 101 in Room 25; Emma Ciardi (No. 30) in Room 25; Guisseupe Ciardi (No. 29) in Room 25: Guglielmo Ciardi (Nos. 34, 35) in Room 25; Umberto Coromaldi (Nos. 31 and 32) in Room 25; Visconti Adolfo Ferraguiti (No. 43) in Room 25; Enrico Lionne (Nos. 62 and 63) in Room 24; Guisseppe Mantessi (No. 71) in Room 25: Plinio Nomellini (Nos. 82, 83) in Room 24; Ferruccio Scattola (No. 99) in Room 25.
The sculpture is a notable feature of the Italian Exhibit, and is scattered through the various rooms. Five Gold Medals were awarded as well as lesser honors. These five are the following: Luigi Amigoni (No. 114), "Adolescence"; Renato Brozzi (No. 118), "Medals, Animals": Artero Dazzi (No. 123), "Portrait of a Lady": Guisseppe Graziosi (No. 131). "Susanna"; and Antonietta Pogliani (No. 146), "On the Beach."
Besides studying a splendid collection of modern work in this section, the visitor should take advantage of the classic treasures displayed in the Italian Pavilion. The wonderful extent and unbroken continuity of Italian art is well illustrated by these two exhibitions. No other nation has anything like the greatness in art which attaches to Italy. and the present show jog of this modern work proves that its vitality is far from being exhausted.
The Japanese exhibit is displayed in the southern end of the building, in Rooms 1 to 10, inclusive.
This section contains a really great amount of varied and very beautiful art, and it also furnishes a most unusual study in artistic change, or development. In the midst of the marvelous work of old Japan - a country which, isolated from all the world, produced an art of unique charm that has profoundly affected the Western nations - there is one room which shows how the artists of the new Japan have cut loose from their artistic ancestry and are patterning themselves after Occidental modes.
Artists of the older school have been granted the highest honors. Medals of Honor were awarded to the following: Ranshu Dan (No. 15), "Moving Clouds"; Toho Hirose (No. 21), "Spring Rain"; Shoyen Ikeda (No. 13), "The Intermission"; Keisui Ito (No. 6), "Sailing Boats"; Tomota Kobori (No. 19), Masatsura Kusunoki Rescuing His Drowning Foes." A large number of Gold and Silver Medals were also awarded in this group of exquisite work.
In the group of work in the Western mode, a Silver Medal was awarded to Kinisuke Shirataki (No. 30), "Portrait of Mr. Y. Nomura," and to Eisaku Wada (No. 31), "On the Seashore."
Gold Medals were awarded to the sculptors, Choun Yamazaki (Nos. 41, 42), Homei Yoshida (No. 57). These works are carved from wood, as are many other of the Japanese sculptures.
There is a large and varied showing of works in metal, lacquer, bamboo, porcelain, cloissone and other materials. There is also a splendid exhibit of retrospective art. The handbook issued by the Japanese Commission contains an excellent chapter on the historical art represented in this section.
The Portugal Section are in Rooms 109, 110, 111.
The Grand Prize was awarded to Jose Malhoa, who has eight canvases hanging in Rooms 109 and 110. They are numbered from 53 to 60, inclusive. They are all vigorous, realistic and sympathetic portrayals of the life of his own country, in many aspects, the drunkard at the fiesta (No. 57), the prodigal son twanging the guitar to his light o' love, or the ardent devotion of a Catholic procession (No. 56).
A Medal of Honor was awarded to Jose Veloso Salgado, whose paintings are numbered from 125 to 130, inclusive. An artist of a more tranquil vision than Malhoa, Salgado presents pleasant, tranquil aspects of seaside and rural life.
Gold Medals were awarded to Artur Alves Cardoso, whose group is numbered from 24 to 31, inclusive; to Ernesto Ferreira Condeixa (Nos. 37, 38), and to Joao Vaz (Nos. 153, 154, 155).
One of the most distinguished of modern Portuguese artists, Adrian de Sonsa Lopez, exhibits a large group of notable works, placed hors concours because the painter is Portugal's Fine Arts Commissioner.
This exhibit is placed in Room No. 98.
A Gold Medal was awarded to Felix R. Hildago, who has eleven paintings, some of them of very large size, historical and religious in subject, while the smaller ones are landscapes and marines. Born in Manila, Hidalgo received his training in that city and Madrid, and resides in Paris. He has won honors at other expositions in Madrid, Paris, Chicago and St. Louis.
Silver Medals were awarded to Joaquin M. Herrer (Nos. 8, 9), and to Fabian de la Rosa (Nos. 30, 31, 32, 33, 34).
The exhibit of The Netherlands is placed in Rooms 113 to 118, inclusive. The etchings are in Room 115.
The Grand Prize was awarded to G. H. Breitner, whose picture, "Amsterdam Timber-Port" (No. 17), hangs in Room 113 on Wall A. Breitner occupies a prominent place among the group of modern landscape and figure painters of Holland, in which group Willem Witsen, Commissioner of Fine Arts to this Exposition, the Maris Brothers, Anton Mauve, Israels, are leaders.
The Medal of Honor in this section was awarded to M. A. J. Bauer, whose picture, "Oriental Equestrian" (No. 7), hangs on Wall D of Room 113.
Gold Medals were awarded to David Bautz, for his "Dead Birds" (No. 8), which hangs on Wall A in Room 114; to G. W. Dysselhof, for his "Lobsters" (No. 27), which hangs in Room 113 on Wall A; to A. M. Gorter, for his "Autumnal Day" (No. 37), which hangs on Wall C of Room 113; to Johan Hendrik van Mastenbroek, whose "As Busy as Bees in the Harbor at Rotterdam" (No. 60), hangs on Wall A of Room 114; his other picture, "In the Lock at Delfshaven" (No. 59), hangs on Wall C of Room 113; to Albert Roelofs, whose "Meditation" (No. 75), hangs on Wail C of Room 113; to Hobbe Smith, whose "Old Woman Reading the Bible" (No. 88), hangs on Wall D of Room 114; and to W. B. Tholen, for his "Church near Leider" (No. 94), which hangs on Wall B, Room 113.
The two attractive canvases by Commissioner Willem Witsen, which were hors concours, hang on Wall C, Room 113. They are numbered 109, 110.
Other pictures which were not in the competition are those by B. J. Blommers, one of the modern masters of Holland (Nos. 13, 14), on Wall B, Room 113.
A very buoyant, original, creative spirit is animating the art of Sweden at the present time. In no other section does the life-force throb with more intensity. No other section, either, seams so impressed with the evidences of its national origin as does the Swedish. Here is a whole group of artists who, no matter where they may have received their training, and no matter by what exterior influences they may he impressed, turn everything to account in their work of artistically expressing their own native environment - a lesson which American painters might profitably study. The Swedish rooms are Nos. 99 to 107, inclusive.
The Grand Prize was awarded to Bruno Liljeefors, whose four large pictures of bird life in the far North are in Room No. 100. Lilijeefors, like Gustaf Fjaestad, resides in Stockholm, and has studied in France and Italy. The most noticed of his pictures is the huge painting of wild geese in flight upon a stretch of desolate shore on which turbulent waves are threshing. A splendid rhythm expressed by the line of birds is a triumph of the pictorial suggestion of motion.
Fjaestad's work is in Room 107, in which are placed a large number of his interpretations of snow, water, frost, light and darkness. A strange sort of psychic poetry, commingled with an almost Japanese devotion to decorative design, emanates from these strangely beautiful canvases. To him was awarded a Medal of Honor.
Gold Medals were awarded to the following: Elsa Backlund-Celsing, whose work is in Room 105; Wilhelm Behm, Room 103; Alfred Bergstrom, Room 103; Oscar Hullgren, Rooms 103, 105; Gottfrid Kallstenius, Rooms 100, 104; Helmer Mas-Olle, Room 102; Helmer Osslund, Room 102; Emil Osterman, Room 106 (Portrait of King Gustave V); Wilhelm Smith, Rooms 100, 103, 106; and Axel Torneman, Rooms 100, 103.
Anshelm Schuetzherg, Sweden's Commissioner of Fine Arts, and, therefore, hors concours, is represented by a group of notable paintings.
To Carl Larsson, whose work is in Room 101, was awarded a Grand Prize for watercolor, and to John Baaer, whose work is in Room 104, a Medal of Honor, while to Oscar Bergman was given a Gold Medal. Bergman's work is in Room 101. Much of the most piquant and attractive work in the exhibition of Swedish art may be found in these watercolors, many of which deal with the racy and fantastic folk lore of that far northern country where a deep spiritual life has always flourished, at times full of mysticism, as in Swedeuborg, and illuminating art and literature with its undying interest and significance.
A Gold Medal was awarded for sculpture to Gottfrid Larsson, and one to Eric Lindberg for medals.
This republic's interesting exhibit is in Room No. 19.
Manuel Rose, an artist who has been trained in France, was awarded a Gold Medal. He is represented by six paintings, modern in technique and varied in subject matter. They are numbered from 52 to 57, inclusive.
Silver Medals were awarded to C. de Arzadun (Nos. 1 to 8); to Milo Beretta (Nos. 9 to 21) ; to Carlos Castellano (Nos. 24 to 30; to Jose Cuneo (Nos. 32 to 41); and to Domingo Puig (Nos. 45 to 48). The bust of General Artigas, by Jose Belloni, is to be presented to the Pan-American Union at the conclusion of the Exposition.