Do not visit the Fine Arts exhibits blindly, without knowing what they
are aimed to show; and do not try to see the whole exhibition in one
day. First understand the scope and arrangement of the displays, and
then follow some definite system by which you are sure to get the best
out of each individual section. It is better to see one part thoroughly
than to carry away a confused impression of the whole.
The scope of the exhibit is limited to painting, sculpture and
print-making, except in the Oriental sections. In painting the primary
aim has been to make a representative display of contemporary work. Most
of the galleries contain only canvases painted within the last ten
years. But in order to correct the common misconception that American
art is entirely a thing of today, without historical background, a few
rooms are given up to historic works of the various early American
schools, and to works of the foreign schools that have influenced the
development of American art.
The arrangement of the galleries should be mastered before one starts to
study. In general there are three divisions of exhibits. At each end is
a group of foreign sections, and the great middle space is given up to
American art. The accompanying diagram is designed primarily to make
clear the location of the several divisions. The visitor will find it
worth while to remember that a main central corridor runs the whole
length of the United States Section. By continually referring to this
corridor, one can keep one's bearings fairly well.
The method of seeing the galleries that is suggested in this guide is
based on the official classification as far as possible: the foreign
sections are taken in order, and the historical section is treated in
that chronological sequence which the directors intended to show forth.
But there is no system in the arrangement of the twenty-eight general
rooms of contemporary American work, In treating these the guide aims to
suggest tendencies and influences, rather than to point out this or that
canvas as a good or bad one. Nevertheless it is believed that every
really important picture or artist is individually mentioned-so that
one who has used the manual consistently may be sure of having enjoyed
the cream of the collection, at the same time gaining the wider
knowledge of the main currents of development.
It is necessary to use to a certain extent the arbitrary
subject-divisions, such as portrait, landscape, and figure painting; and
to refer also to realistic painting, which tends to depict things as
they are, as opposed to the academic, which recognizes the wisdom of
conventionalization or idealization. But the most important distinction,
for the student of contemporary tendencies, is that which concerns the
term "Impressionism." This name in its original and technical sense
applied to the works of the men who, instead of mixing shades, placed
different colors side by side on their canvases to give the effect of
the right shade at a distance. As the experiments of these artists were
directed chiefly to the solution of problems of light, the term
naturally was widened to include that whole division of painting which
is concerned with atmospheric aspects and color harmonies rather than
with subject-interest and line composition. Terms which express the same
idea in general or in part, are "luminism" and "plein-air painting."
Impressionism has had more effect on the current of art than has any
other movement in history. Not only in the handling of light and in
freshness of coloring has the whole of painting been profoundly changed,
but there is a general tendency to paint the impression rather than the
actuality, the harmonious effect rather than the literal fact-and
these things are notably illustrated in the Exposition galleries.
For the sake of the visitor who comes to the gallery with practically no
knowledge of art, a word may profitably be said about critical
standards. First remember that there are many qualities which may make a
painting worth while: pleasing design, beautiful color, a compelling
expression of emotion or thought, or a poetic suggestion of a fleeting
aspect or mood. It is necessary to judge each particular work by the
artist's intention, and not by untrained personal tastes. Before passing
judgment learn to know the picture well. You may find that you have been
attracted by something superficial. On the other hand, you may find that
the seemingly less attractive picture, which has been recommended by
people of trained judgment, grows more and more pleasing with riper
acquaintance. Go slowly, study thoroughly what you study, and keep an
open mind-for that way leads to the widest enjoyment.