In the art of the Exposition the great underlying theme is that of
achievement. The Exposition is being held to celebrate the building of
the Panama Canal, and to exhibit to the world evidences of the progress
of civilization in the decade since the last great exposition-a period
among the richest in the history of civilization. So the ideas of
victory, achievement, progress and aspiration are expressed again and
again: in the architecture with its triumphal arches and aspiring
towers; in the sculpture that brings East and West face to face, and
that shows youth rising with the morning sun, eager and unafraid; and in
the mural paintings that portray the march of civilization, and that
tell the story of the latest and greatest of mankind's triumphs over
nature. But perhaps the most significant thing of all is the wonderfully
harmonious and unified effect of the whole, that testifies so splendidly
to the perfect co-operation of American architects, sculptors and
painters.
The dominant note artistically is harmony. At no other exposition have
the buildings seemed to "hold together" so well; and at no other has
there been the same perfect unity of artistic impression. The Chicago
Exposition of 1893 focused the artistic expression of the nation at that
time. It brought about the first great awakening of the country in
artistic matters, and it practically revolutionized American
architecture. The St. Louis Exposition of 1904, while less unified in
plan, gave another great stimulus to architecture, and especially to
sculpture. But the Panama-Pacific Exposition should have a more
far-reaching effect than either of these, because its great lesson is
not in the field of any one art, but in showing forth the immense value
of coordination of all the arts in the achievement of a single glorious
ideal. The great thing here is the complete harmony of purpose, of
design, and of color, in the combined work of architects, sculptors,
painters, and landscape gardeners. The sensible plan that results in
perfect convenience in getting about, the clothing of this plan in noble
and fitting architectural forms, the use of sculpture and painting as an
integral part of the architectural scheme, the tying in of buildings to
site with appropriate planting, and the pulling together of the whole
composition with harmonious color-these are the things that will leave
their impress on American art for all time to come. If each student of
the art of the Exposition takes home with him an understanding of the
value of this synthesis, of this co-ordination of effort, he will have
the key to the Exposition's most valuable heritage to the American
people.
Physically there are three distinct parts to the Exposition: the main
group of exhibit palaces, the Zone, and the state and foreign buildings.
The art-lover will be concerned almost entirely with the first of these;
for artistically the Zone expresses anarchy, and the state and foreign
pavilions are given over almost entirely to social and commercial
interests.