Evening star. [volume] (Washington, D.C.) 1854-1972, 1904-10-01
SWEDEN'S EXHIBIT APPARENTLY
THE FAvoRITE AT ST. LOUIS.
Striking Contrast Furnished by Ger
many's, Whose Collection, It is
Said, Was Made by the Kaiser.
BY WILLIAM E. CURTIS
Special Correspondence of The Evening Star and
Chicago Record Herald.

OF Prof. Ives, who is chief of the art de-
partment here, as he was at the Columbian
exposition, seems this time to have been
quality instead of quantity, and there is
quantity enough to fully and honestly rep
resent the worlds progress Of art during
the last ten years. There are very few old
pictures. The "old masters are almost
entirely omitted and nearly every example
in OIL water color or sculpture is by con-
temporaneous artist.
Carrying out the same purpose that is ap-
parent in all of the buildings Mr.. Ives
has brought together a sufficient number
of pictures to demonstrate what has been
done in art. In that respect it is re-
markable exhibition. and it Is difficult to
see how the object aimed at could have
been more successfully accomplished. 1t
would have been impossible, however. but
for the cooperation of the government off,
Gals of Europe and the aid Of clear-headed,
impartial commissions of experts in each
country. In making their selection they
seem to have abandoned all conventional
ideas of what people want to see, and to
have endeavored only to assemble the best
examples of the greatest living artists of
all nations.
To show how thoroughly this has been
accomplished it is only necessary to read
the catalogue and to compare it with that
of the art department at Chicago, at Paris
and at other great eXpositions.
Sweden's Exhibit the Favorite.
1t is difficult to compare exhibits but
Sweden seems to be the favorite here, and
has presented six galleries full Of pictures
breathing the life, the energy, the senti-
ment and the ambition of her people. more
typical. more vigorous and truer to the
national life and habits of the people than
the collection from any other country. If
any individual has been particularly distin-
gushed above his contemporaries it is
hat mi int nf
who has ten of his latest works hung side
by side in a single room.
The German section furnishes a striking
contrast with that of Sweden and seems
collection was made, we understand, by
Kaiser Wilhelm personally, and his taste
domino ties everything. striking portrait
of himself occupies the most conspicuous
place. He stands before his throne, in his
imperial robes ready to receive the homage
of his people, and around him are numerous
portraits of famous Germans large can
vases upon which battle scenes are por-
trayed and other historic events. like the
signing of treaties and the reception of
triumphant heroes. 1t is more of a historic
collection than an exhibition of art.
1t is but a step into Holland, where we
have another distinct national exhibit, In
which Dutch artists have given UP glimpses
of Dutch landscapes and Dutch life. 1t is
as expressive of national sentiment and
illustrative OF national customs as that of
Sweden. AL the main entrance suspended
from screen where every one who enters
or leaves may pay tribute to a beautiful
woman and a beautiful picture, is a superb
portrait of Mrs. Hubert Vos, by her hus
band, who has been classed with the artists
of his native country, although he is now a
citizen of New York.
The Canadian exhibit is strongly charac-
teristic of the Canadian people, a cross
between English and American, leaning
toward the American. 1t is significant be-
If illustrates the advancement that
Canadians have made in art in recent
years; and there are striking collections
from Mexico, the Argentine republic, Bra
zil, Cuba and other Latin-American coun-
tries
Not Purely Contemporaneous.
France is the only country that has not
presented purely contemporaneous collec-
ton. Her galleries are hung with many of
the best works of her best artists, produced
during the last ten years, and they are sup
ported by well-known works of an earlier
period which have produced a profound in
ffuence upon contemporaneous artists This
is equally important and appropriate, but
critics complain of the French installation
and assert that the effect has been greatly
impaired and almost ruined by defective and
irregular arrangement The pictures have
not been placed according to merit or ar
tistic effect and whoever hung them seems
to have been governed by political or official
influence. One of the best critics the
ground told me that proper installation
would have advanced the value of the
French exhibit a hundred per cent.
The greatest Importance of the French
section is the opportunity it furnishes for
students to judge between what truly repre-
sentS the French school and the works of
foreign artists who have studied in Paris.
The Paris salon is annually made up of the
strongest works of the strongest artists in
all the world, and France receives the
org a nf N in tar mar
exposition like this the work of each artist
is credited to his own country; the honors
distributed among the nations where
they belong, and the comparative progress
may be measured.
Progress of American Art.
1t is a matter of national congratulation
that for the first time in history the United ]
States stands first in all classes of paint
ings. That is the almost unanimous opin-
ion of the critics and students on the
grounds, and we are especially strong in
portraits. There is no such group of por-
trait painters in the world as American
studios have furnished, and there has not
been for centuries, although several of
them are spending their time in Europe
when they should be at home Here in the
gallery at st. Louis we have an opportunity
of approaching the full strength and merit
of such artists as John w. Alexander, ].
Carroll Beckwith, Cecilia Beaux, George H.
Boughton, Edwin Abbey William M. Chase,
Thomas Eakins. John s. Sargent, Frank
Millet, Walter McEwen, Will H. Low and
dozens more that might mention.
No nation has made such progress in art
during the last ten years as the United
States. The collection at st. Louis will
compel our recognition a world power
in art as other recent events have COM
PEELED our recognition in war and diplom-
acy. Foreign critics who have been here
no longer permit themselves to express
their usual contempt for American paint
ing and sculpture, for they are compelled,
reluctantly, perhaps, to admit that America
is now, at last, worthy of place among
the more mature nations While our ma
tional individuality may not be as distinct
and pronounced it can still be recognized
and its development is only matter of
years.
No Striking Individuality.
The American section of the gallery is
strong in the expression of the character
O.: the American people. There Is no dis
tinct type or striking individuality, but the
pictures disclose the influence of the best
art schools of all the nations In the
American section at the Chicago exposition
one could see the promise of national
school of art, and here it is upon the walls
OF the exposition of s.. Louis what would
be worthy representation of any nation
and superior in many RESPECTS to the best