is interesting. The jury thought well enough of Leopoldo Romanach's
canvases (16-29) to give him the medal of honor. M. Rodriguez Morey
(13-15) won the gold medal.
China, occupying four rooms, 94-97, adjoining the northern end of the
United States Section, though desirous of appearing before the world as
a modern republic, has wisely brought here the most beautiful examples
of her ancient art. Many of the pieces go so far beyond the records of
man that their authorship is lost in darkness. The exquisitely beautiful
ink paintings on silk, the finest collection of these works in
existence, represent the master painters of all the dynasties of China.
Their subjects deal with tradition and religious precepts. Precious
cloisonne in heroic pieces has been used for the background of
paintings. There are picture-screens made of five or six attached panels
of fine porcelain inlaid with cloisonne, and many splendid carvings and
porcelains. The medal of honor for water color went to Kiang Ying-seng's
"Snow Scene" (348) in Room 94. The water colors of Su Chen-lien, Kao
Ki-fong, and Miss Shin Ying-chin, and the exquisite carvings in
semi-precious stones of Teh Chang, all gold medal winners, are in the
same room.
The Philippines, Room 98, by the west wall, have an exhibit which shows
that their march toward civilization includes well-grounded ambitions of
art. Mentality, feeling, spirit, all reveal themselves in the canvases.
Crudity is apparent, but it comes more from an untutored hand than from
failure to grasp the significance of the subject. Many pictures are
flamboyant, some are melodramatic, nearly all are big subjects handled
with great boldness; what they lack in finish they make up in sincerity.
Felix R. Hidalgo's contributions (10-20) won him a gold medal.
Sweden.--The achievements of Sweden, Rooms 99-107, next to China, have
surprised everybody. That country has sent the most distinctively
national of all the European exhibits. Swedish artists are
stay-at-homes, and their pictures are filled with the Scandinavian love
of country. The scenes and portraits are all Swedish, from Carl
Larsson's intimate pictures of family life and forest picnics (see p.
126), or Bruno Liljefors' great paintings of the misty northern ocean,
down to John Bauer's captivating little illustrations of Swedish goblin
tales. No one who has viewed the snow scenes of Anshelm Schultzberg can
ever forget the impression of cold and impenetrable depth. Swedish
painters are heroic in method, very lavish with their pigments, and
generous in the size of their canvases. Some of the pictures, in fact,
like "The Swans" (202) by Liljefors, are too large to be seen to the
best advantage in the small rooms where they hang. Liljefors won the
grand prize, and Gustav Fjaestad the medal of honor, for Swedish
painting; Larsson, the grand prize for water color. Anna Boberg, Room
106, whose masculine paintings have always won her honor hitherto, is
without award. This famous painter is the wife of the architect of the
fine Swedish Pavilion. The jury offered her a silver medal, but
Commissioner Schultzberg refused to accept it.
Spain is to have an excellent exhibit in the Annex building behind the
Palace. Thus far Portugal alone represents the Iberian painters. The
collection fills three rooms, 109-111, between Sweden and Holland. The
Portuguese artists infuse the spirit of revelry into much of their work.
Indeed, it sometimes approaches the bacchanalian. The work is of the
extreme modern school as to color, although, technically, there is much
drawing in and respect for definite form. Most striking, perhaps, is the
splendid representation in many of the pictures of the intense sunlight
that beats upon that Southern country. No more vivid examples of this
can be found in the collection than Malhoa's "Returning from the
Festival" (54) and his "Catholic Procession in the Country" (56).
Malhoa, deservedly, captured the grand prize for Portuguese art. The
single medal of honor went to Jose Veloso Salgado for his scenes of
Minho. The portraits, too, have much of the intensity of the South. The
most noteworthy are those by Columbano, Room 110, winner of the grand
prize at St. Louis. The four rooms show Portugal prolific of artists who
seek beauty in scenes of domesticity and the qrandeur of landscapes.
Argentina.--It is interesting to note that the painters of Portugal
show more characteristics in common with those of South America and the
Philippines than with their European neighbors. Their execution is more
tamed than that of the Filipino painters, their style more settled than
that of the Argentine. That is not to the discredit of the Argentinos,
who, though a new people, have accomplished much that deserves praise.
Their exhibit, in Room 112, is important in its showing of the progress
of art in so new a country, and it is said to be representative. The
artists whose works are shown are almost all young men, a fact which, in
connection with their performance, proclaims that Argentina will do
something free and original in the future. Three pictures by Antonio
Alice, Nos. 1, 2, and 3, have been awarded the medal of honor. They bear
witness to Alice's great versatility. Jorge Bermudez' three figure
studies (gold medal) are striking. No. 5, "The Daughter of the
Hacienda," is wrongly entitled in the official catalog "The Young
Landlady." Others in the collection suffer in the same way, as Coppini's
"The Old Station" (20), which is catalogued as "The Old Stall." Some of
the Argentino landscapes are striking expositions of the spirit of the
pampas, particularly Lavecchia's "Near Twilight" (35). As a whole, the
paintings are significant of the country of their painters, a truly
worthy quality. The sculpture in this room, particularly "Increase and
Multiply" (75), by Pedro Zonza Briano (medal of honor), and a splendid
Indian portrait (32), by Alberto Lagos (gold medal), is admirable.
The International Room, No. 108, on the east wall between Sweden,
Holland and Portugal, contains but a small portion of the foreign
pictures. Its chief feature is the exhibit of German art. Franz Stuck's
"Summer Night" (459), Heinrich von Zugel's "In the Rhine Meadows" (549),
both winners of the medal of honor; Curt Agthe's "At the Spring" (3),
and Leo Putz' "The Shore" (387), gold-medal pictures, are worthily
characteristic of Germany's best art. "El Cristo de los Andes," by E. W.
Christmas (bronze medal) is interesting. The bulk of the pictures under
"International Section" are in the Annex.
Holland, in Rooms 113-116, shows an art so different in its
characteristics from that of Sweden that she might be at the other end
of the earth. Where the Swedish artists show boldness, sometimes almost
to the point of crudeness, the Dutch are intent on some degree of
finish. Modernity of color is apparent, and while there are few strokes
that indicate timidity, there are fine touches of the poetic in which
the Hollander's heart shows its love of home and gardens. Those great
tulip beds are real and luscious. Family life in the Netherlands is
shown in several fine interiors, and the portraits by Dutch artists are
more graceful than those of the average modernist. The grand prize in
the Netherlands section went to Breitner's snowy "Amsterdam Timber Port"
(17). Bauer's "Oriental Equestrian" (7) won the medal of honor. Gold
medals were given to seven artists, named in the list following this
chapter.
A thoroughly delightful portion of the art exhibit is the sculpture
shown in the colonnades and on the grounds of the Palace. This is the
first time a great exhibit has been displayed in such a manner. It adds
everything to the effectiveness of the sculpture, wherever the pieces
have been designed to be erected out of doors. It has been possible to
show much of the fountain sculpture in its actual relation to real
fountains, and to give the hunters and Indians, the nymphs and the
satyrs, the advantage of natural backgrounds. In addition to the
contemporaneous sculpture there are some famous pieces here, such as
Saint-Gaudens' Lincoln, brought from Chicago, and the copy of Bartlett's
equestrian Lafayette. Among recent sculpture, one of the most
interesting works shown is a group by C. L. Pietro, of New York, "The
Mother of the Dead,"--a powerful story in bronze of the burden which
the war has brought to woman. (See p. 120.) Pietro's modeling is worthy
of an older artist. Another human tragedy is well told in "The Outcast,"
a graphic figure by Attilio Piccirilli. (p. 136.) Charming bits of
comedy are the whimsical little fountain pieces by Janet Scudder and
Anna Coleman Ladd. The honor-winners in sculpture are named in the
following list.
Awards
Awards have been completed and announced by the Fine Arts juries in all
sections except the French. The following list includes all the grand
prizes, medals of honor and gold medals. The numerous silver and bronze
medals and honorable mentions are omitted. Numbers following the names
indicate the rooms where the work may be found.
United States Section.--
Oil Painting
Grand Prize.--F. C. Frieseke, 48, 117.
Medals of Honor.--John W. Alexander, 69; Cecilia Beaux, 65; Emil
Carlsen. 67; Walter Griffin, 45; Violet Oakley, 65; Willard L. Metcalf,
80; Richard E. Miller, 47, 69; Lawton Parker, 69; W. E. Schofield, 68.
Gold Medals.--Myron Barlow. 120; Gifford Beal, 73; George Bellows, 120;
Max Bohm, 72, 118; H. H. Breckenridge, 51; H. J. Breuer, 56, 58, 118; C.
C. Cooper, 37, 47; H. G. Cushing, 66, 68; Charles H. Davis, 67; Ruger
Donoho, 46; Paul Dougherty, 67; J. J. Enneking, 71; Daniel Gerber, 68;
Lillian W. Hale, 40, 65, 80; W. D. Hamilton, 55, 118, 120; Harry L.
Hoffman, 118; James B. Hopkins, 45, 47; John C. Johansen. 68; Sergeant
Kendall, 50; William L. Lathrop, 37, 50; Ernest Lawson, 73; Hayley
Lever, 66, 67, 71; F. L. Mora, 45, 71, 117; Waldo Murray, 120; Elizabeth
Nourse, 56; Joseph T. Pearson, 69; Marion Powers, 56; Ellen Emmet Rand,
65; Robert Reid, 45; William Ritschel, 68, 71; Edward F. Rook, 45, 48;
Robert Spencer, 67, 68; H. O. Tanner, 117; Louis C. Tiffany, 71;
Giovanni Troccoli, 48; Douglas Volk, 85; Robert Vonnoh, 45, 66, 70;
Horatio Walker, 85; E. K. K. Wetherell, 70, 72; Irving H. Wiles, 70; C.
H. Woodbury, 37, 69, 119, 120; Charles M. Young, 45.
Water Colors, Miniature Painting and Drawing
Medals of Honor.--Lillian Westcott Hale, 40; Laura Coombs Hills, 40,
118; Henry Muhrmann, 54, 72, 119, 120; Frank Mura, 54, 119; P. Walter
Taylor, 26; Charles H. Woodbury, 37.
Gold Medals.--William Jacob Baer, 40; Jules Guerin, 40; George
Hallowell, 40; Charles E. Hell, 36; Arthur I. Keller, 119; Henry
McCarter, 26, 37; F. Luis Mora, 45, 117; Alice Schille, 37; Henry B.
Snell, 69. 117, 119; N. C. Wyeth, 26.
Etching and Engravings
Grand Prize.--Henry Wolf, 30.
Medals of Honor.--D. A. Wehrschmidt, 119; C. Harry White, not hung.
Gold Medals.--Gustav Baumann, 34; Allen Lewis, 34; D. Shaw MacLaughlin,
not hung; 3. Andre Smith, 32; Cadwallader Washburn, 32; Herman A.
Webster, 32.
Sculpture
Medals of Honor.--Herbert Adams, 68, Colonnade; Karl Bitter, 66, 68;
D. C. French, 40, 68, Rotunda.
Gold Medals.--Cyrus E. Dallin, 30, 32, 35, 36, 37, 63, 66, 73, 83,
Colonnade; James E. Fraser, 68, 119; A. Laessle, 51, 66, 67; Paul
Manship, 92, 93; Attilio Plccirilli, 23, 42, 66, 73, 83, Colonnade; Bela
Pratt, 61, 66, 89, Colonnade; A. Phimister Proctor, 72; Arthur Putnam,
67; F. G. R. Roth, 66.
Medals
Medals of Honor.--John Flanagan, 38, 39.
Gold Medals.--James E. Fraser, 38, 39; H. A. MacNeil, 38, 39.
Argentine Section.--
In Room 112.
Oil Painting
Medals of Honor.--Antonio Alice.
Gold Medals.--Jorge Bermudez, Alejandro Bustillo, Ernesto de la
Carcova, Fernando Fader, Jose Leon Pagano, Octavio Pinto, C. Bernaldo de
Quires, Eduardo Sivori.
Sculpture
Medal of Honor.--Pedro Zonza Briano.
Gold Medals.--Alberto Lagos.
Australian Section.--
In Australian Pavilion.
Etchings and Engravings
Gold Medal.--Mrs. J. C. A. Traill.
Chinese Section.--
Water Color Painting
Medal of Honor.--Kiang Ying-seng, 94.
Gold Medals.--Su Chen-lien, 94; Kao Ki-fong, 94; Miss Shin-Ying-Chin, 94.
Sculpture
Gold Medal.--Teh Chang, 94.
Cuban Section.--
In Room 20.
Oil Painting
Medal of Honor.--Leopoldo Romanach.
Gold Medal.--Rodriguez Morey.
International Section.--
Oil Painting
Medals of Honor.--Axel Gallen, Annex; Eliseo Meifren, Annex; Franz von
Stuck, 108; Heinrich von Zugel, 108.
Gold Medals.--John Quincy Adams, Annex; Curt Agthe, 108; Conde de
Aguiar, Annex; Gonzales Bithao, Annex; Istvan Csok, Annex; Harold
Knight, Annex; Laura Knight, Annex; Heinrich Knirr, Annex; Lajos Mark,
Annex; Julius Olssen, Annex; Leo Putz, 108; George Sauter, Annex; C. W.
Simpson, Annex; Harold Speed, Annex; H. Hughes Stanton, Annex; Carlos
Vasquez, Annex; Janos Vaszary, Annex; Valentin de Zubiarre, Annex.
Etchings and Engravings
Medal of Honor.--Frank Brangwyn, Annex.
Gold Medals.--R. G. Goodman, Annex; Willy Pogany, Annex; Bela Uitz,
Annex.
Medals
Gold Medal.--Ede Telcs, Annex.
Italian Section.--
Oil Painting
Grand Prize.--Ettore Tito, 21.
Medals of Honor.--Onorato Carlandi, 21; Camillo Innocenti, 21.
Gold Medals.--Leonardo Bazzaro, 21; Italo Brass, 25; Emma Ciardi, 25;
Beppe Ciardi, 25; Guiseppe Ciardi, 25; Umberto Coromaldi, 21; Visconti
Ferraguti, 22; Domenico Irolli, 24; Enrico Lionne, 24; Guiseppe
Mentessi, 25; Plinio Nomellini, 24; Feruccio Scattola, 25.
Sculpture
Gold Medals.--Luigi Amigoni, 23; Renato Brozzi, 23; Arturo Dazzi, 22;
Guiseppe Graziosi, 23; Antionetta Pagliani, 23.
Japanese Section.--
Water Color Painting
Medals of Honor.--Ranshu Dan, 1; Toho Hirose, 1; Shoyen Ikeda, 2;
Keisui Ho, 1; Tomoto Kobori, 1.
Gold Medals.--Bunto Hayashi, 1; Taisei Minakami, 1; Yoshino Morimura,
2; Hachiro Nakagawa, 10; Hosui Okamoto, 1; Tesshu Okajima, 2; Kangei
Takakura, 2.
Sculpture
Gold Medals.--Choun Yamazaki, 4; Yoshida Homei, 4.
Metal Work
Grand Prize.--Chozaburo Yamada, 4.
Gold Medal.--Kazuo Miyachi, 4.
Lacquer
Medal of Honor.--Jitoku Akazuka, 4.
Gold Medals.--Kozen Kato, 4; Hikobei Nishimura, 4; Mesanori Ogaki, 4.
Pottery, Porcelain and Cloisonne
Grand Prize.--Kozan Miyakawa, 4.
Medals of Honor.--Sosuke Namikawa, 4; Yohei Seifu, 4.
Gold Medals.--Eizaemon Fukagawa, 4; Yoshitaro Hayakawa, 4; Hazan Itaya,
4; Tomotaro Kato, 4; Shibataro Kawado, 4; Sobei Kinkozan, 4; Meizan
Yabu, 4.
Dyed Fabrics and Embroideries
Grand Prize.--Jinbei Kawashima, 4.
Medal of Honor.--Seizaburo Kajimoto, 4.
Gold Medals.--Chokurei Hamamura, 4; Yozo Nagara and Riyoshi Hashio, 4;
Goun Namikawa and Torakichi Narita, 4; Saiji Kobayashi, 4.
The Netherlands Section.--
Oil Painting
Grand Prize.--G. H. Breitner, 113.
Medal of Honor.--M. A. J. Bauer, 113.
Gold Medals.--David Bautz. 114; G. W. Dysselhof, 113; Arnold Marc.
Gorter, 113; Johan Hendrik van Mastenbroek, 114; Albert Roelofs, 113;
Hobbe Smith, 114; W. B. Tholen, 113.
Etchings and Engravings
Gold Medal.--T. H. Van Hoytema, 115.
Norwegian Section.--
In the Annex.
Oil Painting
Medal of Honor.--Harald Sohlberg.
Gold Medal.--Halfdan Strom.
Etchings and Engravings
Medal of Honor.--Olaf Lange.
Gold Medal.--Edvard Munch.
Sculpture
Gold Medal.--Ingebrigt Vik.
Philippine Section.--
Oil Painting
Gold Medal.--Felix R. Hidalgo, 98.
Portuguese Section.--
Oil Painting
Grand Prize.--Jose Malhoa, 109, 110, 111.
Medal of Honor.--Jose Veloso Salgado, 109, 111.
Gold Medals.--Artur Alves Cardoso, 109, 110, 111; Ernesto Ferreira
Condeixa, 109, 111; Joao Vaz, 109, 110, 111.
Swedish Section.--
Oil Painting
Grand Prize.--Bruno Liljefors, 100.
Medal of Honor.--Gustaf Fjaestad, 107.
Gold Medals.--Elsa Backlund-Celsing, 104; Wilhelm Behm, 103; Alfred
Bergstrom, 103; Oscar Hullgren, 103; Gottfrid Kallstenius, 100, 104;
Helmer Mas-Olle, 102; Hehner Osslund, 102; Emil Osterman, 106; Wilhelm
Smith, 100, 103, 106; Axel Torneman, 100, 104.
Water Color, Miniature Paintings and Drawings
Grand Prize.--Carl Larsson, 101.
Medal of Honor.--John Bauer, 104.
Gold Medal.--Oscar Bergman, 101.
Sculpture
Gold Medal.--Gottfried Larsson, 100.
Medals
Gold Medal.--Eric Lindberg, 99.
Uruguay Section.--
Oil Painting
Gold Medal.--Manuel Rose, 19.
[1] For plan of rooms and national sections in the Palace of Fine Arts,
see map on page 8.
XIII.
The Exposition Illuminated
First attempt to light an exposition indirectly, from concealed sources--
Notable success of Ryan's work--Transformation of the Tower of Jewels--
Details of his method--Weirdness of the Court of Ages at night.
Beautiful as the Exposition is by day, it is at night that it becomes
loveliest as a spectacle. Then it is a great glow of soft color, without
shadow, but also without garishness. Never before has the attempt been
made to light an exposition as this one is lighted. The highest standard
before attained was a blaze of electric light secured by outlining the
buildings with incandescent bulbs. That was the work of electricians.
Here the illuminators are artists who have created a great picture of
light and color.
There is no blaze or glare. Light floods the Exposition, but from
concealed sources. All-pervasive, seemingly without source, the
illumination is rather a quality of the Exposition atmosphere than an
effect of lights. Nor is it a white light. It is softened and tinged
with the warmest and mellowest of colors. So mellow, indeed, is the
illumination that it would not even be brilliant but for the radiance of
thousands of prisms hung about the great Tower of Jewels, the intense
light of which swathes the lofty structure in a pure glow, at once
bright and ethereal. (p. 135.)
Above the glow in which the palaces are bathed, a pageant of light and
color marches across the sky, a splendid aurora borealis, its bannered
troops now wheeling in ordered array, now breaking their formation in
wild riot, until out of the fantastic show huge beams of light separate
to pierce the heavens.
This unique system of illumination, devised by W. D'A. Ryan expressly
for the Panama-Pacific Exposition depends upon floods of light from
concealed sources. Around the walls of the palaces stand tall Venetian
masts, topped with shields or banners. Concealed behind the heraldic
emblems are powerful magnesite arc lamps. These spread their intense
glow on the walls, but are hardly recognized as sources of light by the
passer-by on the avenues. Batteries of searchlights and projectors
mounted on the tops of buildings light the towers, the domes, and the
statuary. Even the banners on the walls are held in the spotlights of
small projectors constantly trained on them. That there may be no
shadows, concealed incandescent bulbs light up every corner and angle of
the towers, the arches, and the cloisters.
The ghostly radiance of the Tower of Jewels comes from huge searchlights
aimed at it from a circle of hidden stations. The many-colored fan of
enormous rays, the Scintillator, which stands against the sky behind the
Exposition, is produced by a searchlight battery of thirty-six great
projectors mounted on the breakwater of the Yacht Harbor. It is manned
nightly by a company of marines, who manipulate the fan in precise
drills.
Concealed lights shine through the waters of the fountains. In the Court
of the Universe they are white, the colorless brilliance of the stars;
in the Court of Seasons they are green, the color of nature; in the
Court of the Ages they are red, with clouds of rosy steam rising around
them. Writhing serpents spout leaping gas flames on the altars set
around the pool of the Ages, and from other altars set by the entrances
of the Court rise clouds of steam given the semblance of flame by
concealed red lights. By the high altar on the Tower of Ages the same
device is used to make the lights flame like huge torches.
The palaces themselves are not lighted at night, though they have the
appearance of being illuminated. Behind each window and doorway are hung
strings of lights backed by reflectors. A soft glow of light comes
forth, giving animation to the palaces and strengthening the picture
outside.
There are two ways to see the Exposition at night, both of which must be
followed if one is to get the fullest appreciation of the magic beauty
of the lighting. One is to wander about the palaces and courts in the
midst of the soft flood of mysterious light, watching the play of the
fountains, the barbaric flames of the Court of Ages, the green shimmer
of the waters in the Court of Seasons, the banners fluttering in strong
white light, the statuary in changing hues according to the color
screens used before the projectors, the Aurora Borealis above the
Scintillator battery.
The other is from a distance. I have seen the illuminated Exposition
from the top of Mount Tamalpais, whence it was a wondrous spectacle. But
best of all I like to watch it from the hill at the corner of Broadway
and Divisadero streets. It is best to go there early, before the lights
are turned on. Then you may see the wonderful rosy glow of the Tower of
Jewels and the two Italian towers before the white light of the
projectors is flashed on them. Red incandescents are hidden behind all
the columns of the Tower of Jewels and concealed in each of the Italian
towers, as well as in the open spaces in and around the dome of Festival
Hall. These are always turned on first. The Tower of Jewels then glows
with a soft mellow red, less brilliant, but warmer and more colorful
than its incandescence later on. The rich light wells up from the
Italian towers and Festival Hall, and spreads from all their openings to
stain the walls around with deep rose.
Then the ray of a searchlight falls on the Bowman atop the Column of
Progress, silhouetting that heroic figure in the night as though he
floated at a great height above the earth. Beams from other searchlights
cause the Nations of East and West to stand out with startling
distinctness on their triumphal arches; the great bulls of the Court of
Seasons glow against the night; the golden fires are lighted in the
Court of Ages. The tall masts around the palaces softly illuminate the
walls. First one side and then another of the Tower of Jewels is bathed
in white light, until the Tower stands out in ghostly radiance. Two
slender shafts of light shoot upward on either side of the globe atop
the Tower and stand there, symbols of pure aspiration reaching to the
heavens. Behind it all the huge and many-colored fan of the Scintillator
opens in gorgeous color in the northern sky.
The illumination is at its best on a misty night. Then its spectacular
effects become more spectacular. The moisture in the air provides a
screen to catch the colored lights and make them visible in their
fullest beauty. The Exposition recognized this need of a background for
the great beams of the Scintillator when it provided for the clouds of
steam that are nightly sent floating upward through the shafts of
colored light. Nothing brings out the wonder of the Court of Ages at
night like mist or fog. On the first night that all the illumination was
given a full rehearsal it was raining slightly. The incandescence of the
great globe of the Earth, the leaping flames on the altars by the pool,
the rosy clouds over the bowls by the entrances and from the torches on
the high Altar of the Ages, became strange, mystic, almost uncanny.