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Chapter IV
The Galleries in the North Wing Containing Contemporary American Work Other than that Shown in the Rooms Devoted to Individual Painters.

Room No. 67

Here are shown many characteristic examples of the "new notes" in the most modern American art. Here are assembled a breezy company of ultra-radicals; revolutionaries, some of them, mingled with several older men who have definitely won their places. It is said that one of the rooms in the Annex was generally known as the "My God Room!" because the ejaculation—usually a heart-felt cry for help—was drawn from so many visitors by the appalling nature of some of the weird freaks which whirlingly burst upon their stupefied vision. This room, No. 67, cannot of course compete with the room in the Annex, but it certainly has its "My God" spots. The precise location of these, however, this little Guide will permit you to discover for yourself. Its compiler is severely neutral.

On Wall A there are several very agreeable flower and still life pieces by Hugh H. Breckenridge, one of the Gold Medal winners of the Exposition. There are also two charming little sea beach pictures by Maurice Prendergast, one of the new men, while Charles R. Sheeler is represented by his "White Tulips," a very pleasant example of still life. Speicher's portrait of Walt Kuhn—a portrait of a revolutionary by a revolutionary-hangs above the Sheeler.

Maurice Prendergast dominates in the interest of Wall B, with four of his large, decorative, richly-colored, tapestry-like paintings of groups of figures rhythmically disposed on the river bank—a motif which he continually repeats with many variations. Carl L. Nordell is represented by two paintings, both showing young girls engaged in needlework, their graceful figures bathed in a cleverly manipulated stream of light. There are brilliant examples of L. Rittmann, and Lawton Parker—more celebrated for his Medal of Honor nude—has a richly painted flower piece.

Arthur B. Carles, who won a Silver Medal in the Exposition show, is the predominating factor of Wall D. There are three of his flower pieces, and one interesting landscape. McFee, one of the bizarre American imitators of the ultra-fantastic foreign schools, shows a picture which is called a landscape—I don't know why—and a less enigmatic still life. Walt Kuhn is represented by two little decorative inventions entitled "Surf" and "Ostriches." There is a landscape by Kroll, and a beach scene by Hayley Lever.

Frieseke's Grand Prize painting hangs in the center of Wall D, supported on either side by Louis Rittmann's brilliant figure and landscape paintings.

Frieseke is the winner of the Grand Prize. There are four new pictures from his facile brush in Room No. 73. Frieseke has been termed "a painter's painter." Born in Michigan in 1874, his early training was received as a pupil of the Art Students' League of New York, and under Constant, Laurens and Whistler in Paris, where he usually works. His career has been brilliantly successful and the honor now given him comes as a culmination of a long series of official awards. The Luxembourg Museum, Paris, and the Metropolitan Museum, New York, contain examples of his work. It is as a painter of light—especially the subtleties and problems of light as it plays on open-air subjects—that Frieseke has won his high place in modern art.

The Arthur Putnam Bronzes

A special interest is given to this room by the case of sculpture by Arthur Putnam, to whom a Gold Medal was awarded.

This artist is the one in whom the great West has found its truest and most native esthetic expression. Putnam is entirely self-taught, completely developed in California. He has lived a life of the most intimate constant communion with nature, through which he came in almost uncanny rapport with the animal kingdom, and his animal sculptures possess the power and truth of Barye plus a surging passion which the more restrained and classical master does not show. Some of the finest examples of his splendid genius are exhibited in this case.

Room No. 50

New works, together with some made familiar by previous exhibition, have been placed in this room. Alexander Harrison's "Model and Spider," on Wall A, is one of the new works, and there are several pictures by Lawton Parker, Sergeant Kendall, John F. Carlson, Ellen Emmet Rand, and Jerome Myers.

Room No. 68

This room contains a large number of the best pictures of the Exposition period, many of their artists having been awarded high honors.

On Wall A the first and last of the line of pictures are by Edward W. Redfield, whose individual gallery is No. 88. In the center of the room hangs William Ritschel's seascape, a powerfully handled view of sea and fog on the coast near that haunt of beauty-seekers, Carmel in Monterey County. Above it hangs Annie Traquair Lang's attractive figure painting, "The Japanese Print." To its left is Howard Gardiner Cushing's decorative painting "Wardrobe." "Peace and Quiet," by E. H. Potthast, "Reflections," by Maurice Molarskey, and Charles Hopkinson's "Salem Bay" complete the wall.

In the center of the room is a finely molded and well conceived fountain and aquarium by John M. Bateman, a young artist, born in New Jersey in 1877, and a pupil of A. Sterling Calder and Charles Grafly.

John Christen Johansen dominates Wall B with four large figure paintings, "The Rider," "Venetian Arcade," "Village Rider," and "Portrait of Miss F. B." This painter was a Gold Medalist at the Exposition. A Dane by birth, he studied under Frank Duveneck, and the Julien Academy in Paris. Two typical Ritschel seascapes complete the interest of this wall.

Daniel Garber, another Gold Medalist, has three paintings on Wall C, "From Tinicum Hill," "Little Village: Winter," and "Cherry Blossoms."

Armin C. Hansen, a young San Francisco artist, a Silver Medalist, of whom big things are expected, is represented by "At the Breakfast Table," and Robert H. Nisbet by "The Emerald Robe."

On Wall D are several important artists. Elmer Schofield has two of his characteristic winter scenes, "Water Fall," and "The Hilltop." He is a Philadelphia artist who won a Medal of Honor at the Exposition show. Ruger Donoho, an Exposition Gold Medalist, who recently died, is represented by his "Windflowers" and "A Veil of Leaves." Johansen's "Approaching Storm," and Cushing's "Portrait" complete the wall.

Room No. 69

Max Bohm, another of the Gold Medalists, has his "Sea Babies" in the center of Wall A, to the left of which hangs "Nature's Tapestry" by Zulma Steele, and a large new painting of the seashore by that specialist in this subject, E. H. Potthast. To the right hang the new paintings by George Oberteuffer, a scene in Dieppe, France. On Wall B Richard Miller, a Medal of Honor man, and Lawton Parker, John F. Carlson, Wilhelm Funk and Sargeant Kendall are represented by characteristic examples of their various styles.

Upon Wall C hang three very pleasant works by Ernest Bruce Nelson, a Silver Medalist, and one of the youngest and most promising Californians.

In the center of Wall D is placed a very notable work by Alexander Harrison, his "The Joy of Life."

Harrison, born in Philadelphia in 1853, a pupil of Bastien Lepage and Gérôme in Paris (before which time, however, he had studied for two years at the San Francisco Art Institute), was one of the first of the American artists who, inspired by Manet, took up the painting of figures in natural surroundings in the open air—the school of "plain air." The picture hangs to the right as you enter by the eastern portal. It is a group of nude figures on the seashore, and apart from its own inherent charm, deserves notice and study, as does all this painter's work, because of the important part it played as a formative influence in American art. The truthful, yet poetical, rendering of the play of sunlight upon the delicate flesh tones and the ambience of the atmosphere produced a profound effect upon Harrison's contemporaries, and did much to open the door to public appreciation of modern landscape and figure painting.

Room No. 70

This room is devoted to portraiture. Herman G. Herkimer, an American artist who has lived most of his life in London, but who has now definitely made his home in California, is represented by several important canvases. His portrait of Mrs. Hamilton Griffin, the mother of Mary Anderson Navarro, and that of William Harvey, hang on Wall A. Another interesting picture is a portrait of the artist's famous cousin, Sir Hubert von Herkimer, R. A.

Irving R. Wiles, the winner of a Gold Medal, is represented by a portrait of Gerville-Reache, playing the character of Carmen, which hangs on Wall C. Irving Wiles is a New Yorker who studied under William Chase and also under Carolus Duran. A very interesting painting is that of "The Lighthouse Keeper," by Randall Davey, which hangs on Wall D. On Wall D there is a portrait of John Burroughs, the naturalist, by Orlando Rouland.

Room No. 71

This large, well-arranged and popular gallery contains the work of many artists made familiar by the Exposition period. Among the most notable are H. J. Breuer, of San Francisco, winner of a Gold Medal, represented by several of his characteristic mountain landscapes, and Hansen Puthoff, a Southern California painter. The large portraits by Eric Pape also attract attention, and there are works by J. Jac Yung, S. J Woolf, Walter Ufer, L. H. Meaker, F. Luis Mora, F. Usher de Voll, Charles Bittinger, Louise Cox, Ben Foster, and Annie Traquair Lang.

Room No. 73

There are four new paintings by Frieseke, the Grand Prize winner, hanging on Wall C. Frieseke's work has been referred to in the paragraphs relating to Room No. 67, where his prize-winning picture hangs. The new pictures are characteristic examples of his expert artistry.

But the main attraction of this room is doubtless the panels decorating Wall A, sprightly and fanciful inventions representing the four seasons, by C. Bertram Hartman. His work is akin to the type of fancy which is so largely employed in the modern theatre; indeed, they seem like pictorial transcriptions of ballet scenes such as are devised by Leon Bakst and other leaders who are developing what resembles a new art form out of the dance, and music and costuming and a glorified art of scene painting.

Pictures by Carl Anderson, F. Louis Mora, Edward Cucuel, Myron Barlow, Louis Kronberg, K. A. Buehr and W. L. Carrigan, the latter a San Francisco artist, complete the powerful interest of this bright and cheerful room.

Room No. 74

C. J. Taylor, a veteran member of the International Jury of Artists, has a group of his landscapes on Wall D. A well-known New York painter, he studied under Eastman Johnson, and later in Paris and London He has long been prominent as an illustrator, as well as in painting. There are a number of other young artists represented, among whom are Will S. Robinson, with a charming "Group of White Birches," Cullen Yates, "Old Farm: November," and Carl Oscar Borg, with his "Campagna Romana," and George W. Sorter, who is represented by several interesting winter landscapes.

Room No. 76
Francis McComas

This artist's work occupies Room No. 76, together with paintings by Herman Dudley Murphy of Boston, and Leslie P. Thompson. He was a member of the Exposition jury, and hors concours. Born in Australia, Francis McComas has settled in California, and he is one of the most original, powerful, and promising of Western artists.

A certain sense of quality-that subtle, inner attribute which is so hard to isolate and precisely define, but which is invariably present in all authentic art, no matter what its kind may be—distinguishes this painter's very remarkable work. Christian Brinton termed him "the Whistler of the West," and the impression of giving only the quintessence of his subject which McComas' pictures produce is indeed akin to the selective genius of the great master, although the spiritual atmosphere which is the lovely envelope of Whistler's work is not present in that of McComas, which, on the contrary is definite and firm, at times even to hardness.

The paintings in this room are the result of a recent journey into the desert country of Arizona and of work done at Monterey, where McComas has his studio. Although in large measure self-taught, McComas studied for some years with Arthur Mathews. He has given exhibitions in London and New York and has painted and studied in many lands.

His place among the most original younger men in America is unquestioned. Few painters in oil can use their pigments with more strength than McComas exerts in his water-color medium.

The water colors and oils of Murphy form the pleasantest and most congenial sort of accompaniment to the work of McComas.

Room No. 94

Birge Harrison, brother of Alexander, and one of the most potent influences in American landscapes of today, both as artist and as teacher, is represented in this room by a group of important pictures. (He is the author, by the way, of a book on landscape painting which is considered to be the best work on its subject so far produced in this country.)

Birge Harrison is a poet in sentiment, and his landscapes express a charming sense of beauty and of spiritual character.

There is a group of new paintings by F. C. Warren, of Oriental subjects. Morgan Colt is another newcomer with two interesting landscapes.

There are also two cases of pottery, truly decorative and beautifully designed, by Louis F. Auzerais of San Francisco.

Room No. 107

This room is almost entirely devoted to the work of Ernest Lawson, formerly of California, now of New York, a man who has won a high place in modern American landscape painting, of the impressionistic school. His work covers Walls A, C and D, and others hang on Wall B. Lawson was born in California in 1873. He studied in France for a number of years. He has won many official honors at exhibitions and expositions, and a Gold Medal was awarded to him here in San Francisco. Only three of the pictures now in this room were seen during the Exposition.

Room No. 41

In this small gallery have been placed a varied and interesting collection in different mediums. Among the more notable numbers are pictures by Louis Kronberg, the devotee of the ballet girl subject, and Eugen Neuhaus' tempera pictures. The latter is one of our more prominent California artists, whose influence as teacher, lecturer and writer is very notable. He was a member of the International Jury, and chairman of the Advisory Committee for the West.

Room No. 42

J. Alden Weir and Horatio Walker are the two best known names in this gallery. There are also to be noted interesting works by Rudolph Dirks—a painter of the greatest promise for the future—and Guiseppi Cadenasso, of San Francisco.

Room No. 44

A number of E. H. Potthast's brilliant little pictures of seaside scenes enliven Wall A in this room, together with several pictures by F. Usher De Voll and Denman W. Ross. Clarence Hinkle, a highly promising young California artist, is the painter of the first picture on the left of the line, a portrait of a young woman, a richly painted study, vibrant with light and life.

On Wall B on either side of a large decorative group by Gifford Beal—an always interesting artist—are paintings by Betty de Jong and Edward Cucuel. Both these artists are members of the large and increasing group which is centering around San Francisco, a city beyond doubt of peradventure destined to be more and more important in American art.

Three of Charles Morris Young's winter landscapes hang on Wall C. There are two others by him on Wall D. Young is a Pennsylvania artist, a Gold Medalist of the Exposition. Another one of Gifford Beal's decorative works forms the center of Wall D.

Room No. 46

Robert Spencer, to whom a Gold Medal was awarded, gives distinction to Wall A in this gallery. Spencer is a young man, educated in the schools of New York, but a native of Nebraska. His is a distinctive and welcome note. He has a deep and genuine sympathy with the gray yet not always sombre lives of mill operatives and other toilers. There is no cynicism nor revolt in his presentment of the drab drama of industrial conditions, and there is an emanation of a very attractive personality from these well-executed little pictures.

There are four more of his works on Wall B, which for the rest is occupied by Frank Melville Dumond's Indian scenes.

Wall C holds two new paintings of the nude by Lawton Parker. That is to say, they are new in the sense of not having been shown here before; otherwise they are the same conventional, fatty, not to say beefy, ladies in sprawling attitudes which this painter can manufacture so dexterously.

One regrets their proximity to the beautiful landscapes by Willard L. Metcalf, which hang on this wall and on Wall D. Metcalf most deservedly won a Medal of Honor in the Exposition. A Boston artist, he studied in that city, and in Paris under Boulanger and Lefebvre, and he has been a recipient of many official honors. What is better, he has maintained a steady progress in his work, and has remained steadfast to the idea that beauty is desirable—an idea which is being abandoned by most of the clever iconoclasts of today. Such a picture as the "Trembling Leaves," in the center of Wall D, is worth miles of abortive experiments by simian-like imitators of the Futurists, Cubists, and the rest of the tribe of the Ism-ites.

Room No. 47

Two new paintings by Robert Reid, "Autumn Glory," a bare-armed girl standing 'mid Autumn flowers, and "Goldfish," which hang on opposite ends of the line, are the distinguishing notes of Wall A. Robert Reid is a prominent mural painter (his work is displayed on the ceiling of the dome before the Palace of Fine Art), and his decorative instinct shows itself in his easel pictures. E. F. Hudson also contributes two new pictures, attractive marines. Eugene Speicher shows the head and bust of a girl, pictures by Louis Kronberg, a Boston artist who resembles Degasse in his subject-matter, but hardly in other particulars, and Wallace W. Gilchrist, with his "Girl in Pink," complete the wall. On Wall B is an attractive flower piece by Constance Mackay, and there new pictures by Marsden Hartley, and Ella Turner.

Carl J. Nordell's "Chinese Beads," F. Usher De Voll's "The White City," hang to the left of Anna Traquair Lang's "The Gray Kimono." There are two new figure paintings by W. A. Kirkpatrick, a Woodbury marine, and a picture by James R. Hopkins, "Frivolity," on the rest of the wall.

On Wall D hang two landscapes by Ruger Donoho, one by G. A. Noyes, and an effective and original little painting by J. J. Leavitt, a new contribution, in which a bunch of flowers placed upon a window sill attracts the gaze through the window into the depths of a quiet morning landscape.

Room No. 96

In this gallery a large number of pictures, most of them retained from the Exposition period, have been rearranged in an attractive manner. Among the artists whose work calls for special attention are Maynard Dixon, a young Californian artist who has devoted himself to the interpretation of the spirit of the West, Matteo Sandona, another San Franciscan, who shows a very attractive portrait of Mrs. Leo Lentelli, wife of the sculptor, and Maren Froelich, still another of the numerous group of Californian artists, who is represented by her "Chinese Robe." Albert L. Groll, F. M. Lamb, and Harry P. Snell are others whose work arouses interest.

Room No. 97

In this gallery there are attractive seascapes by Frederick J. Waugh, a Silver Medalist; by E. H. Wuerpel, a member of the International Jury of Awards and director of the St. Louis School of Fine Arts; by George Luke, a New York man of great vigor for whom many critics predict a great future, and Gertrude Partington, of San Francisco, an Exposition prize winner, and an artist who has won distinction as etcher as well as painter.

Room No. 99

Rearranged contributions from the Exposition period greet the visitor to this gallery. Here as elsewhere one is gratified by the increased effectiveness which is the result of the better hanging made possible by the lesser number of paintings. Among the notable items in this room is E. Middleton Mamgault's imaginative "Pastoral," and an attractive landscape by Maurice Braun, one of the leading artists of Southern California; and Marion Powers' attractive work called "Bouquet."

Room No. 100

Several of the most promising members of the younger group of California artists are represented in this gallery. There is Anna M. Bremer, whose "Isabelle" Hangs on Wall A, an artist who is attuned to the modern spirit, and who has a specially happy faculty for rendering decorative effects; H. V. Poor, represented by his portrait group, "The Orchardist and His Family," an artist of distinct power and authentic promise; and Lee F. Randolph, another of the most promising of the younger men, whose work is shown by a vigorously painted winter landscape in northern France. Helena Dunlap is yet another of the California group, represented by "The Señor's Garden." F. Luis Mora, an artist who won double honors in the Exposition, a Gold Medal for oil painting and a Gold Medal for water colors, Cullen Yates, and Ossip Lind complete the interest of this gallery.

Room No. 103

This also is devoted to water colors, pastels, and tempera pictures—these last being by Eugen Neuhaus, the California artist who has played such a prominent part in the Exposition art. Others represented are Colin Campbell Cooper, George H. Hollowell (the Gold Medalist), Jane Petersen, F. M. Lamb, W. L. Lathrop, George W. Dawson, James Preston, Henry McCarter, and Isabel Percy.

Room No. 104

This is devoted to water colors by Arthur Byne, George Harding, W. W. Gilchrist, H. Muhrman, the Medal of Honor man in this department; Donna Schuster, Lucy S. Conant, and others.

Room No. 105

In this room the more advanced and so-called modern note in water colors is struck by many of the exhibitors, among whom are Maurice Prendergast, E. Newell Marshall, George Hart. Schieler's futuristic productions and black and white drawings by James Preston are on one wall, while another shows C. Bertram Hartman's decorative fantasias.

Room No. 108

This gallery contains some of the more sensational notes of the post-Exposition pictures—it being the American aspect, largely an imitative one, of the experiments displayed in the other wing of the gallery by the Italian Futurists, and the French radicals, Picasso, Picabia, and the others. Max Weber and Walt Kuhn are the gentlemen who make your eyes blur as you look at Wall A; Wall B contains something by Maurice Prendergast which looks like a self-parody of his better work; A. B. Davies shows something on Wall C which his admirers are enraptured with, and on Wall D Jules Pascin, McFee, Speicher, and Max Weber show characteristic examples of their experiments.

Rooms Nos. 109, 110 and 111

These thrce galleries contain works retained from the Exposition period, thoroughly rearranged, and in the rearranging made much more attractive. Among the artists represented are Joseph Raphael, the California artist whose line work suffered especially during the Exposition period by being poorly placed, and H. M. Shore, A. C. Goodwill, Reuterdahl, Wm. S. Robinson, A. Carles, Cecile de Wentworth, H. R Poor, H. Muhrman, J. R Woodwill, W. T. Richards, S. D. Connell, Seymour Thomas, and Rolshoven.

Room No. 112: Gari Melchers

A large group of the paintings of Gari Melchers is displayed in this room, where also there are notable works by Walter McEwen and others.

Bronze by Arthur Putnam

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