In both the United States and the Foreign Sections of the Department of Fine Arts most of the works exhibited by artists are for sale at studio prices.
The Department has made especial effort to induce artists to show their best and most representative works, and in this effort it believes it has been in the main successful.
The attention of collectors and art lovers is especially directed to this unusual opportunity for securing works of enduring value which have already received the imprimatur of juries of experts.
To the visitor who is not essentially a collector of works of art, but who may desire a souvenir of the Exposition which will be of more than passing interest, especial consideration is directed to the prints and small bronzes which are included in this exhibition.
For the convenience of purchasers there will be constantly in the galleries the sales manager of the Department or some one of his assistants, from whom information may be had regarding prices, and exhibits of artists.
Contents
Introductory note.
Chapter I - The antecedents of American Art; being a Preparatory Glimpse at the Old Masters, as Suggested by Rooms Nos. 91 and 63.
Chapter II - Pre-Revolutionary and Early American Art from the Portrait Period of West, Copley, Stuart, etc., to the Beginning of the Hudson River School of Landscape Painters. Rooms Nos. 60, 59 and 58.
Chapter III - Certain European Influences: French, Dutch, Spanish, and especially the Barbizon School. Rooms Nos. 92 and 62.
Chapter IV - The Dawn of Modernity. Flowering of the Hudson River School. The Munich Influence. George Inness, Winslow Homer, Alexander Wyant, John LaFarge, Edwin A. Abbey, Theodore Robinson and the Rise of Impressionism. Rooms Nos. 54, 64, and 57.
Chapter V - The French Impressionists. Room No. 61.
Chapter VI - Modern American Art. Room No. 55 (Alexander Harrison), 56, 85 (Horatio Walker, C. W. Stetson, Douglas Volk, DeForest Brush), 65 (Woman's Room: Mary Cassatt, Cecelia Beaux, Violet Oakley), 80 (Philip L. Hale, William Paxton, Willard L. Metcalf), 51 (Anshutz, Henri, Glackens, Breckenridge), 50 (Sergeant Kendall), 66 (Entrance Hall), 67 (Emil Carlsen, Paul Dougherty, Haley Lever, Charles H. Davies, Robert Spencer), 68 (Schofield, Cushing, Ritschel, Johansen, Garber), 69 (Alexander, Miller, Parker, Woodbury), 70, (Portrait Painters), 71, 72, 73 (Alson Skinner Clark, Ernest Lawson, Gifford Beal), 74 (C. J. Taylor), 49 (J. Alden Weir, John McClure Hamilton, D. W. Tryon), 48, 47, 46, 45 (Robert Reid, Robert Vonnoh, E. F. Rook, F. Luis Mora, Charles Morris Young), 44, 43, 117 (Frieseke: (Grand Prize), 118, 120 (George Bellows). Water Colors and Illustrations, Rooms 26, 36, 40, 41, 42, and 119.
Chapter VII - The Individual Rooms: Whistler, Rooms 28, 29; Twachtman, No. 93; Tarbell, No. 89; Keith, No. 90; Redfield, No. 88; Duveneck, No. 87; Chase, No. 79; Hassam, No. 78; Melchers, No. 77; Mathews and McComas, No. 76; Sargent, No. 75; Hamilton, No. 39; Pennell, No. 31; Pyle, Nos. 41 and 42.
Chapter VIII - Sculpture.
Chapter IX - Prints.
Chapter X - The Foreign Sections: Argentina, China, Cuba, France, Italy, Japan, Holland, Portugal, The Philippines, Sweden, and Uruguay.
Chapter XI - The Annex: Norway, Austria-Hungary, England, Spain, Finland, Italian Futurists (Besnard).
Final Note.
