The times. [volume] (Washington [D.C.]) 1897-1901, 1900-03-04
AMERICAN ART IN PARIS
Washington Painters Ignored in
the Committees Selections.
Western Continent Artists. However.
Will Figure in Exhibitions of OIL
Water Color, and Pastel-The Com
ing Tenth Annual Exhibition of
the Society of Water CoIors.

The Art Department Of the Paris EXPO
s!tion of 1900 has made public list of pic
lures by American artists which are to b
exhibited at the exposition next summer
survey of the list shows that none of tn
two sore or more professional artists VIII
reside in Washington is represented in tn
exhibit. The writer knows of but one VIII
submitted pictures to the jury, and tina
one is himself. The American picture prod
uct is probably greater than that of an,
other country. The jury at best had IA
tiguins experience, as the number OF pic
lures offered was quite large. gentle
man Who was present during the judging
told the writer that 1t was distressing t.
see how rapidly they did their work-right
and left hands, for yes" and no." moved
so swiftly that the procession of pictures
passed by at the rate of almost one every
two seconds, and said he: MANY choice
| things were turned down.
Like as not, but as always, the impotent
clamor of the rejected will subside and the
/ dreadful cliques and rings will spread their
| pictures before the world at Paris, and
those who are left out will be forgotten
| until such time as they produce something
! of such distinguished excellence as to land
| them in the front rank.
At an exhibition like the coming one at
Paris, it is not important that every clever
| man who sends good picture to the jury
should have it hung upon the wall.
What is important, however, is that from
the best American pictures produced in
the last ten years enough of them should
be selected to impress the exposition Wis
ftor with the fact that American art is
fast reaching that point in vitality and
power where it must be clear to the Eng
lish and Continental critics that it is only
matter of time-and short time at that
when American pictures will take lead
ing place in the great field of art glance
at the names in the present list. and the
strong pictures which bear these names,
conyinces one that the excellence of the
representation is Indoubted. In the case
of a few of these one may conjecture per-
sonal influence and not alone the merit of
the work won them place in that brilliant
company; but it is safe to believe that
these few will be cared for by the hanging
committee and placed where they will do
the least possible harm.
There never was gathered under one roof
SO many choice modern pictures as were
shown at Chicago In 1893. The writer. who
was ar obscure exhibitor there, will never
forget how bewilderiug were those first few
days in the Art Building at Chicago. The
matter of finding pictures and remember
Ing where important things hung was out
of the question. 1t took weeks to become
familiar with the location of rooms and
sections. The writer at that time, never
having been abroad, recognized in this ex-
position the opportunity of life time, and
quietly settled down to three months
earnest study of that extensive and won
derfully varied collection. There was an
opportunity to compare the art of the ma
tons. The many other buildings with their
interesting exhibits were only entered
when some friend from out of town arrived
with only a week at his disposal. and was
determined to see the whole show.
Modern vs.. Ancient Art.
yalue-useful to the student beyond the
European trip, which followed three sears
later, and which included the Salon in |
Paris and the International Exposition at |
Berlin. Much was learned, of course. of |
the old masters in the great museums at |
London Paris, Berlin Amsterdam, The |
Hague, and in Dresden. but the first con- |
Germ of the student is the advanced tech
nique Of the moderDs, and to that date |
1893, that was seen to greatest advantage |
at Chicago
Inspiration and much knowledge may be
gained by a study of the old masters. but |
L is useless purely matter of sentiment
% imagine them greater than the moderns
It is Illogical. On this earlier art is found
ID the advanced schools of today whose
eclecticism earnestness, and good judg-
nent it is unreasonable to deny There
S note of pessimism and considerable
hat may be regarded as commercial
hrewdness in the extravagant by high re
gard for the old masters which obtains |
oday. The apples that hang over the wall |
ire ever the fairest, but in the last ANALYSIS |
carcity does not necessarily imply superior |
quality.
The writer would urge every artist and |
dyanced student to go to Paris this sum
ner and take a month at least for reveling
n the picture display. month could not
e so profitably spent elsewhere. and it will
e some years before such another oppor-
unity will occur.
Among many acknowledged leaders
vht Sc pictures GO TO Paris are the follow
ng: Winsow Homer, Robert Blum
'harles H. Davis, George de Forest Brush
Ohm Sargent, Cecilia BeauX Abbott |
'hayer, William VI. Chase. Kenyon Cox,
+. f. Murphy. Bolton Jones, Childe Has
am, the Harrisons, John La Forge, W. l..
.athrop. Robert W. Vonnoh, J. Alden Wier.
fS-atio Walker, c.. C. Curren, and that |
reat quartette of recently deceased ar
lists. Innes Wyant, Martin, and Picknell. .
What names are there left which are .
italy important? one would like to ask the
undreds of grumbling artists whose pic :
Ires have been rejected. Have they not .
atriotism and pride enough to be glad .
hat this brilliant and able company rep .
esent their native land in this art congress !
the world? .
The larger part of the 10 pictures are
ell-hrown examples of the men they rep
esent, familiar to the public as prize a
inning pictures during the last ten years, '
nd no longer owned by the artists, but
orrowed for Paris g
Winslow Homer, George James. Abbott C
mayer, and Wyant are about the only L
4ines VINO nave so large number Of pic a
les as four in the collection. Most of I
lie leading men are represented by two; a
ANY of them by one only. There are but a
'ur pictures in pastel and only seventeen s
alter colors, and the water colors are all S
Dtable examples by widely differing +
'hools. There appears TO be no narrow I
ess in this direction. but quality of the
ost advanced and scholarly sort has been
SISTED upon. There are six pastes and
bout $50 oils. d
Some OF the leading men are absent from :,
q list. and one wonders Why. +. HOpkin- =
N Smith, Harry Fem. Smedley, Kellar .
ithast, Ross Turner. ]. Appleton Brown,
atom, Farrer. and Frederick Deiman. the
resident of the academy; Tryon. who won 81
e Carnegie prize last year; Smile, Par 9
n, Mowbry. and C. Y. Turner, we'll q
Town painters in oil. have nothing there.
'rhaps OF all these absentees E. L. Henry 81
ii be missed most of all 1t is admitted II
S technique is far from the last word n
that question. but his drawing is truer e e,
an George Fulleris and better than many Il