Art-Lovers Guide to the Exposition - Sheldon Cheney

Berkeley
At the Sign of the Berkeley Oak
1915

Copyright 1915 by Sheldon Cheney

Printed and Engraved by Sunset Publishing House San Francisco

Contents

Foreword
The Architecture and Art as a Whole
Court of Abundance
Court of the Universe
Court of the Four Seasons
Court of Palms and Court of Flowers
Tower of Jewels, and Fountain of Energy
Palaces Facing the Avenue of Palms
Palaces Facing the Marina, and the Column of Progress
Palace of Machinery
South Gardens, Festival Hall, and Palace of Horticulture
Palace of Fine Arts
Outdoor Gallery of Sculpture
Fine Arts Galleries
State and Foreign Buildings, and Scattered Art Exhibits
Index

Foreword

This handbook is designed to furnish the information necessary for intelligent appreciation of the purely artistic features of the Exposition. It is planned first to explain the symbolism of the architecture, sculpture and painting; and second, to point out the special qualities that give each artistic unit its individual appeal. It is made for the intelligent observer who, having enjoyed the purely aesthetic impression of the various works of art, feels a legitimate curiosity about their meaning.

Everything possible has been done to make the volume a guide rather than merely a general treatise. The chapter groupings are the most obviously serviceable ones. Running heads will be found at the tops of the pages, and the sub-headings and catch-titles in each chapter are designed to make reference. to individual features as easy as possible. A complete index is added at the end.

Purely destructive criticism and ridicule have been carefully avoided. But if the writer did not pretend to a power of artistic discrimination which is lacking in the average layman who has not specialized in art and architecture, there would be little excuse for preparing the guide. The praise and criticism alike are such, it is hoped, as will aid the less practiced eye to see new beauties or to establish sounder standards of judgment.

Acknowledgment is made to the official Exposition press bureau for courtesies received, and to those artists who have supplied information about their own work. For obvious reasons no material has been accepted direct from articles and books already published. If certain explanations of the symbolism seem familiar, it is only because all wordings of the ideas echo the artists' interpretations as given out by the press bureau.

Acknowledgment is due also to the Cardinell-Vincent Company, official photographers, since most of the illustrations are from their prints.

S. C.

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An Art-Lover's Guide to the Exposition Explanations of the Architecture, Sculpture and Mural Paintings, With a Guide for Study in the Art Gallery By Sheldon Cheney



Berkeley At the Sign of the Berkeley Oak 1915 Copyright 1915 by Sheldon Cheney Printed and Engraved by Sunset Publishing House San Francisco Contents Foreword The Architecture and Art as a Whole Court of Abundance Court of the Universe Court of the Four Seasons Court of Palms and Court of Flowers Tower of Jewels, and Fountain of Energy Palaces Facing the Avenue of Palms Palaces Facing the Marina, and the Column of Progress Palace of Machinery South Gardens, Festival Hall, and Palace of Horticulture Palace of Fine Arts Outdoor Gallery of Sculpture Fine Arts Galleries State and Foreign Buildings, and Scattered Art Exhibits Index Foreword This handbook is designed to furnish the information necessary for intelligent appreciation of the purely artistic features of the Exposition. It is planned first to explain the symbolism of the architecture, sculpture and painting; and second, to point out the special qualities that give each artistic unit its individual appeal. It is made for the intelligent observer who, having enjoyed the purely aesthetic impression of the various works of art, feels a legitimate curiosity about their meaning. Everything possible has been done to make the volume a guide rather than merely a general treatise. The chapter groupings are the most obviously serviceable ones. Running heads will be found at the tops of the pages, and the sub-headings and catch-titles in each chapter are designed to make reference. to individual features as easy as possible. A complete index is added at the end. Purely destructive criticism and ridicule have been carefully avoided. But if the writer did not pretend to a power of artistic discrimination which is lacking in the average layman who has not specialized in art and architecture, there would be little excuse for preparing the guide. The praise and criticism alike are such, it is hoped, as will aid the less practiced eye to see new beauties or to establish sounder standards of judgment. Acknowledgment is made to the official Exposition press bureau for courtesies received, and to those artists who have supplied information about their own work. For obvious reasons no material has been accepted direct from articles and books already published. If certain explanations of the symbolism seem familiar, it is only because all wordings of the ideas echo the artists' interpretations as given out by the press bureau. Acknowledgment is due also to the Cardinell-Vincent Company, official photographers, since most of the illustrations are from their prints. S. C.