Some concern was felt by the painters on account of their lack of
experience in painting for out-of-doors. There was no telling, even by
the most careful estimate, how their canvases would look when in place.
Color and design impressive in a studio might, when placed beside
vigorous architecture, become weak and pale. Besides, in this instance,
the murals would meet new conditions in having to harmonize with
architecture that was already highly colored. Furthermore, no two of the
canvases would meet exactly the same conditions and, as a result of the
changes in light and atmospheric effects, the conditions would be subject
to continual change. Finally, they were obliged to work without precedent.
It was true that the early Italians had done murals for the open air,
but no examples had been preserved.
That the painters were able to do as well as they did under the
limitations reflected credit on their adaptability and good humor. The
truth was they felt the tremendous opportunity afforded their art by
this Exposition. They believed that in a peculiar sense it testified to
the value of color in design. It represented a new movement in art, with
far-reaching possibilities for the future. That some of them suffered as
a result of the limiting of initiative and individuality, of
subordination to the general scheme, was unquestionable. Some of the
canvases that looked strong and fine when they were assembled for the
last touches in Machinery Hall became anaemic and insignificant on the
walls. Those most successfully met the test where the colors were in
harmony with Guerin's coloring and where they were in themselves strong
and where the subjects were dramatic and vigorously handled. The
allegorical and the primitive subjects failed to carry, first because
they had little or no real significance, and secondly because the spirit
behind them was lacking in appeal and, occasionally, in sincerity.
In one regard Frank Brangwyn was more fortunate than the other painters.
His murals, though intended to be displayed in the open air, were to
hang in sequestered corners of the corridors running around the Court of
the Ages, the court, moreover, that was to have no color. Besides, there
were no colors in the world that could successfully compete against his
powerful blues and reds.