C. T. Yerkes, six

from Mrs. Henry
Field, four from
Martin H. Ryer-
son,and several by
A. M. Munger and
S. M. Nickerson

are readily recog- THE SECRET-SCULPTURE, BY THEO. BAUER.

nized on the walls.

382

HISTORY OF THE WORLD'S FAIR.

Probably the most popular picture among those painted by American artists
and given space in the United States section is Hovenden's "Breaking Home
Ties." It is a simple study of the living-room of an old New England farm house,
showing the table set with quaint old china the mantel adorned with pieces of

glazed ware, the high
backed yellow chairs, and
the ingrain carpet that
every New Englander in
the United States can re-
member if he looks back
far enough. Two figures
in the foreground com-
mand most attention —
those of a woman with
a careworn, anxious face
and a boy whose expres-
sion indicates half a long-
ing to try fortune, half a
homesick lingering and
loathing to leave home
scenes. The boy's sisters,
his father, carrying away
an old-fashioned carpet-
bag, and his dog are in the
background. England
makes a splendid show.
The works of its artists
are a revelation to the
American people, as was
the case in 1886 at the
Art Exposition in Berlin,
where the people up to
that time considered Eng-
lishmen only as practical
merchants. The Roman
groups by Alma Tadema
are realistic, and, at the

same time, they present artistic dignity. Hubert Herkimer's excellent portraits, as
well as landscapes and marine scenes by Dicksee, Moore and others, will attract the
admiration of connoisseurs. England's artists are represented by 800 pieces by the
best brushes, and valuable canvases loaned by private owners. Among many are
shown the "Garden of Hesperides" and "Hercules Wrestling with Death" by
Leighton, "Halcyon Weather," by Sir John Miller; "The Maiden's Race," Wegnin;
"The River Road," Forbes, and "Storm at Harvest" by Linnell.

WORKMEN MOULDING STATUARY.

HISTORY OF THE WORLD'S FAIR.

383

The German division shelters magnificent treasures of art exhibited by in-
dividual artists, also such loaned from the National Gallery. Herr Schnars-Alquist.
Germany's Art Commissioner, has divided the exhibit into three prominent
groups as to coloring, shades and subjects. One of the salons contains the his-
toric groups. It represents the dignity and brilliancy of the German Imperial
family. A colossal painting by Ferdinand Keller, an apotheosis emblazoning the
reconstruction of the German Empire, covers the entire wall space in this room.
This grand painting is the property of the National Gallery in Berlin. Emperor

LABOR, BY J. H. FRY.

Wilhelm I., Emperor Frederick and Prince Bismarck are made the life-size and
prominent figures of the group. Bismarck's portrait is there by various masters.
Thus the salon could be termed "The Bismarck," for in a certain measure the days
of glory of Germany's first Imperial Chancellor are vividly recalled thereby.

A. von Werner's historic group, "The Berlin Congress," is a masterwork of
portrait painting; here also the ex-Chancellor figures as the .most prominent per*
sonage of his time; the participants of the "Congress," all European celebrities,
are grouped around the Prince and listen to his -explanations, his words, dictating
peace to Europe. This magnificent painting is valued at $25,000, and will likely
be purchased by the Germania club of this city. In this division there is also a strik-
ing portrait of Emperor William II. by Max Kroner.

384

HISTORY OF THE WORLD'S FAIR.

/

\

. ;

ASSYRIANS SALUTING THE SUN.

Another collection in
an adjoining room places
the spectator in a solemn
frame of mind; there are
the religious and dramatic
scenes, works of art of
great value. The third
division, containing sev-
eral apartments, shelters
Stilleben, German land-
scapes, portraits, groups
and marine scenes by
masters of international
repute, such as A. von
Werner, Molly Cramer,
Gabril Max, Franz Simm,
Fritz Uhde, Eugen Duck-
er, Max Bredt, Edmund
Harburger, Menzel, Len-
bach, Sch nars-Alquist,
Liebermann, Schuch and
others. Among the works
of sculpture Boths' mar-
ble statue, "Eve," causes
as much sensation as the
various pictures of Co-
lumbus are causing doubt
relative to their genuine-

HISTORY OF THE WORLD'S FAIR. 385

ness. On the galleries of the German section one will find drawings, portraits by
Menzel only a few inches in circumference, which vary in price from $1,000 to
$5,000. The majority of visitors — laymen, of course — pass these works of art, and
if they were probably offered at 50 cents each the average visitor would still hesi-
tate buying; nevertheless they are works of art of high standing, for which connois-
seurs abroad are paying the mentioned prices.

Germany has 580 paintings and 120 sculptures of bronzes and marble.
Among the oil paintings are Professor Oswald Achenbach's "Near Naples."
T. Alberts' "Alone," Paul Andorff's "Village in the Spessart," Albert Arnz' "Still
Life on the Game Preserve," Hans Bachmann's "The Morning of the Wedding
Day," Professor A. Baur's ''The Martyr's Daughter," Theodore von der Beeck's
"Cigarette Manufactory" and "On the Heights," Carl Becker's "Vidette," Professor
E. Bracht's "Sinai," Professor J. von Brandt's "The Surprise, "Professor Hugo
Crola's "Industrious Sisters," H. Deiter's "On the Brook," Professor Eugen
Duecker's "Summer Eventide," Albert FlammiVItalian Women at the Fountain."

The collection of Holland includes some 400 canvases by about 50 artists, 13
of whom are women, and only two of the 50 are catalogued as portrait painters.
The pictures are none of the large variety and are mostly humble, modest subjects
with nothing of the dramatic style. Mme. Henrietta a Ronnef who has been called
the "only painter of cats" has a large collection of felines, the most natural kittens
and tabbies ever seen. H. W. Mesdag and Josef Israels are the greatest of the
Dutch school and send many marine and domestic pictures. The whole collection
rivals that of France, France being looked upon as the leader in modern art. As
well as her splendid paintings and sculpture from the Louvre and other well known
galleries, France displays in her department six of the marvelous Gobelin tapestries,
figures in ivory adorned with gold, jeweled cases with reliefs of Brateau and en-
ameled cups by Thesmar. One canvas seems as beautiful as another and it is dif-
ficult to specify.

Sweden has over two hundred subjects and has three pictures by His Royal
Highness, Prince Eugene, of Norway and Sweden. Among the artists are names
well known in art circles outside of Sweden and Paris.

Japan, Spain, and Italy exhibit paintings and statuary equal to if not excelling
all these. The Viennese paintings are 200 in number and would have been fewer had
not the Emperor Francis Joseph sent a number of his own and induced others to
contribute. The walls in the Austrian section are painted a Nile green, the same
color as used in the imperial gallery in Vienna. This is a marked departure, as in
nearly all cases the tone used in decoration is dark. There are five allegorical
paintings by the celebrated Hans Makart, loaned from the Emperor's private
collection.

Austria's most famous woman painter is Mme. Weisingn, who sends three,
all of which have been awarded medals at the exhibitions in Vienna. They are
"Morning at the Seashore," "Breakfast in the country" and "The Laundress of the
Mountains." Prominent among the landscapes are Schindler's "Cemetery in
Daimatia" and the "Hunting Master" by Canon, which is loaned by Count Hans

HISTORY OF THE WORLD'S FAIR. 387

Wilczek, of Vienna. The celebrated "Market Scene in Cairo," by Leopold C.
Muller, is one of the best pieces of figure painting in the collection. Then there are
pictures by Brozik, Tilgner, Schanger, Thoren, Pansenger, Mott and others equally
prominent.

The exhibit by France maintains the dignity and credit of the rew Republic
as the heart of fine arts. There are more than a thousand choice contributions from
worthy brushes, many of which represent the great national manufactories of
France collected at the Palais d'Industrie. Sevres sends 200 exhibits, objects in clay
and plaster, as well as more elaborate works. Among them may be mentioned
"La Republique," a bust by d'Enjalberts, the portrait of M. Carnot, by Chapu; "La
Paix," by Michael; "La Leda," by Suchetet; "La Catherine de Russie," by Deloye;
"La Judith," by d'Aizelin; and the charming "Mozart Enfant" of Barrias. Finely
decorated vases, amphoras, chalices, urns, etc., by Doat, Sandoz, Belet, Fournier,
Bienvil, Vignol, and others will be displayed. Beauvais sends tapestries. Especial
mention may be made of the six marvelous Gobelin tapestries, the largest of these
being "The Goddaughter of the Fairies." 'Graceful figures in ivory, adorned with
gold and on pedestals of worked filigree, jewel cases, decorated with reliefs of
Brateau, and enameled cups by Thesmar are exhibited. Many of these works will
remain in America.

Two famous canvases among others are sent from Belgium. They are "The
Avenue of Oaks" and "Winter,'" works of the great landscape painter, Franz
Lamoriniere. These were shown at the International Exhibition in Berlin, where
"The Avenue of Oaks" received the great diploma of honor. In Paris the same
picture and "Winter" brought about the artist's promotion to officer of the Legion
of Honor and obtained besides a gold medal. There are 300 paintings from
Belgium in all.

The space alloted to Denmark comprises Rooms 73, 74, and 75, in the south-
west corner of the west pavilion and a small portion of the gallery of the east side
of the south court. There are twenty works of sculpture in this section, the most
notable being "The Captive Mother" by Stephan Sinding, which shows a woman
with her arms bound behind her kneeling over to suckle her child; numerous por-
traits busts by P. S. Kroyer, who also exhibits as a painter; Johanne Dan's "Snake
Charmer," and an excellent figure of "Susanne Before the Elders," by A. N. Saa-
bye. Among the works of merit in this section are two portraits by Bertha Veg-
man, who is also represented by a small landscape with the figure of a little girl.
In all of her work there is a strength and directness which makes it appear to be the
wcrk of a man.

By P. S. Kroyer there is a small garden scene which is full of light and fresh
brilliant color, with the figures of two women sewing in the shade. This artist is
also represented by an excellent portrait of a young girl in pink. Julius Paulsen is
represented by a large picture showing three half-nude girl models in the corner of a
studio awaiting the hour to pose. The interior of a "Children's Home," with a
crowd of youngsters in a long room lighted at one end, crowding about two nurses
who are feeding them, .s by Kund Erick Larsen. The execution of this work is

388 HISTORY OF THE WORLD'S FAIR.

excellent and the subject is one which must make it popular. Otto Haslund shows
the interior of a stable with three well-drawn heads of cows. A large work by
Oscar Matthiesen shows a team of cart-horses on a quay of the Seine in Paris. A
grewsome subject painted by J. E. Carl Rasmussen depicts a party of shipwrecked
sailors at sea in an open boat surrounded by sharks. Carl Lacher shows a fine
marine with an effect of moonlight on a rough sea, through which a steamer is
ploughing its way, and there are many others that might be mentioned.

Where all is acceptable and beautiful it is difficult to select. Everyone
knows that Italy, France, Germany, England, and America would show off well. The
German section alone includes 580 paintings and 120 sculptures. These works
•were selected by two juries — one making the rounds of the art centers of Germany
collecting the works and a jury of revision passing finally upon them at Bremen.
Among the names of the painters and sculptors are P. Barsch, Menzel, Desseman,
Kallworgh, Kaulbach, Keller, Friese, Knauss, Koner, Lenbach, Normann, Seiter,
Seitz, Karbina, V. Uhde, Dieters, Oberlaender, and Koepping, Bruett, Klein, Kruse,
Wenck, Hurdneser, Unger, Begas, and Valcker. The German government paid
the cost of transportation and the insurance of the exhibit, and such articles as are
not disposed of at private sale will be returned to Germany.

The work which has been given the place of honor is the "Eve" by A. Brutt.
It is an admirable work technically, and the conception of Eve as a mother carry-
ing the infants Cain and Abel is one of marked originality. Two busts by
Rheinhold Begas are fine examples of dignified and evidently successful portrait-
ure. One of them is of Menzel, the artist, and the other is of Von Moltke. Two
examples of polychrome sculpture are included in the exhibit in this room. They are
has reliefs by C. Hilgers and represent "Christ Healing the Sick" and "Christ rais-
ing the daughter of Janus from the Dead." There is an excellent figure of a youth
seated on an antique vkse and pulling a thorn from his foot by Eberlein. The
artist has taken an oft-treated subject and produced something original and pleas-
ing. The figure has a fine "swing" in its movement, and composes well from all
points of view. By Carl- Begas there are two finely executed groups of nude figures
light and pleasing in subject but by no means trivial. One of a young girl holding
a baby boy, who is pulling her hair, is perhaps the stronger work, and one which
might easily have become insipid and characterless in the hands of a sculptor of
less ability.

Another of the works particularly worthy of study in the German section is
the two busts of young boys on a single pedestal by Max Kruse, whose beautiful
figure of the "Soldier of Marathon" is one of the strong works of those shown in
the north court of the Art Palace.

The sides of the room and the pedestals on which the statuary stands have
been painted in imitation of marble of various colors, and rich draperies and rugs
decorated the doors and floor.

There seems to be considerable good portrait painting in Denmark. One ex-
ample "Morten," by G. Achen, is a healthy, pleasant-faced coachman with livery.

390 HISTORY OF THE WORLD'S FAIR.

whip, and cockaded hat. "Morten," it appears, is in Denmark the generic name of
the coachman, as we should say Jehu in America.

The one portrayed, however, is quite individual, being the man who has for
years driven the horses of the painter's friend Petersen.

Two women make a very good showing among their countrymen. Miss
Bertha Weggman sends a landscape and three portraits, all painted with firmness
and originality.

Elise Konstantin-Hansen has a modest painting of an oatfield with a small
lad's flaxen head just showing above the high grain, and a big, white bird swooping
down on the left.

Impressionism has made little headway in Sweden. Viggo Pedersen seems
its one adherent with his "Sun Setting Over the Sea" in a vivid streak of paint, and
his ''Water Mill," in a peculiar, almost Japanese, perspective and a pool of purple
water that flows like oil. Upstairs in the gallery there is a strong, almost theatrical,
painting by Pedersen, "Isaac Seeing the Arrival of Rebecca."

Isaac was long-sighted, for the average visitor cannot distinguish Rebecca in
the distance, but Isaac himself towers up against the sky, a strong, warm light
falling on his head and shoulders, while the lower part of figure is in shadow.

The upper gallery, which has usually been considered a place of refuge for
pictures of the lesser sort, has not been so treated by Mr. Matthiesen, the Danish
commissioner. A small but fine marine of his own hangs here, "Gale on the West
of Jutland," The large Pedesen already mentioned; "A Storm is Brewing," an im-
portant work by Carl Locher; "Glacier, on the Coast of Jutland," very bold and
fine in color, besides many smaller works which keep the standard as high as the
galleries downstairs in the annex.

By the way, there is apparently another Hans Dahl, or else the same man
spells his name differently, and paints in two distinct manners. Coming down from
the gallery, where the large academic "Storm" is one of the principal features, one
stumbles upon a quite different "Evening Picture," signed Hans Dahl. Perhaps
Danish artists have the trick of varying styles. Julius Paulsen shows three paintings
which looks like the work of three separate men. "The Models are waiting" is a
rather ordinary painting of three very ordinary women, partly disrobed and look-
ing bored. "Portraits of Prof. Frolich" is a careful and honest portrayal of one of
Denmark's artists, and "View of a Plain" is one of those small, quiet pictures which
one overlooks at first, but whose value appears on study. It is just a stretch of
flat country, over which the eye apparently travels for miles, varied only by a line
of trees and the shadows of the floating clouds. The breadth, the atmosphere, the
simplicity of the whole constitute its merit. As for the Prof. Frolich, whose por-
trait was just mentioned, his own contributions are not of a high order. There is
Cain, shrinking from the eye of the Lord, and a couple of small pictures of legends
of Satyrs that do not deeply impress one. A. A. Jendorff one imagines to be also a
painter of the old school from his semicircular panel of "The Deluge, ' convention-
ally filled with writhing, nude figures, all of the same brownish complexion, and the
offended Deity appearing in the clouds in a majestic blue mantle.

.HISTORY OF THE WORLD'S FAIR. 391

In the same roof there is a large painting by H. J. Braendekilde which
breathes the spirit of modern thought. "Worn Out" it is called, and it represents a
wide expanse of plowed land, a quiet sky, and a low line of farm houses in the dis-
tance. An old, old man has fallen helpless, unable to go any farther. The few
things he was carrying have slipped from his hold; a young peasant girl, his
daughter, presumably, kneels beside him and shouts for help.

It is bitterly tragic, the^venerable figure whose life time of work has brought
him only this, but it does not strike the disagreeable, inartistic note touched by two
other painters. Rassmussen, in his "Shipwrecked Sailors" in a raft on a skilfully
painted sea which is alive with sharks; and still more Zartman, with a "Job" most
liberally bespotted with boils. Aucher, noted for his fishermen pictures, has a big
"Fisherman Returning Home" and a group of heads called "Three Old Fellows.''
A great deal of space is taken up in one room unworthily by a portrait group of
the Danish royal family. The king and queen occupy the sofa in the center;
on their right hand stand the prince and princess of Wales (their daughter) , with
the late duke of Clarence; on their left side is the czar and the czarina of Russia,
who was also a Danish princess. Those interested in royalty will further find the
king and queen of Greece, the crown prince of Denmark and his wife, and a
variety of little grand dukes and duchesses. Those merely interested in art will
have had enough by this time.

Swedish painters and sculptors have a noteworthy exhibit at the Exposition.
It includes a large number of groups and works in paintings, sculpture, architect-
ure, and decorative art, numbering 200 subjects. Among those who contribute to
the collection of sculpture are the following: Christian Erikson, Ida Matton, Paris;
Alfred Mystrom, A. Soderman, Stockholm; W. Kennan, Paris; T. Lundberg, Stock-
holm; John Borjesson, Professor of Royal Academy, Stockholm. In the section of
oil paintings are found subjects from: G. Albert, Paris; J. G. Andersen, O. Ox-
borelius, A. Beer, Stockholm; Wilhelm Behm, Gnesta; R. Berg, O. Bjorck, Eva
Bondier, Mina Bredburg, Baron Cederstrom, P. Ekstron, Stockholm; his Royal
Highness, Prince Eugene, of Sweden and Norway, who contributes three subjects:
"The Forest," "Autumn Day," and "The Temple"; H. Feychting, Stockholm; A.
Genberg, Stockholm; Baron Hermlin, Stockholm; Augustus Hagborg, Paris; Eu-
gene Janssen, Stockholm; Prof. J. Kronberg, Stockholm; Carl Larsson, Gothen-
berg; A. Lindman, Stockholm; Carl Nordstom, Stockholm; G. Pauli, Stockholm;
Count von Rosen, Professor Royal Academy, Stockholm; Ida von Schutzenheim,
Baroness Emma Sparre, Stockholm; Carl Tradgardh, Antoinette Vallgren, Paris;
Alfred Wahlberg, Professor Royal Academy, Paris; Charlotte Wahlstrom, Alfred
Wallender, Stockholm; A. L. Zorn, Allan Osterlind, Paris. In the water color
groups there are found subjects from: Anna Boberg, Stockholm; Anna Ericsson,
Gothenberg; A. T. Gellerstedt, Professor Fine Arts Academy; Baron T. Hermelin,
Stockholm; Carl Larsson, Gothenberg; Z. Tiren, Stockholm. In the division al-
loted to engravings, etchings, and prints are found contributions from: F. Boberg,
architect, Stockholm; R. Hagrlu"H. Stockholm; A. H. Haig; Count G. von Rosen,
and Andrew L. Zorn.

HISTORY OF THE WORLD'S FAIR. 393

In conclusion the author would say: A better representation from a greater
number of different nations is seen than has ever been brought together at any pre-
vious exposition. The responses from foreign governments and the enthusiasm of
foreign artists when the art exhibit was thrown open to them has far exceeded the
most sanguine predictions of two years ago. Visitors, therefore, see not only an
epochal exhibit of American art, but the choicest productions of the world's great
masters from across the sea. Space is assigned to France, Germany, Austria,
Holland, Great Britain, Belgium, Sweden, Norway, Denmark, Russia, Italy, Spain,
Japan, Canada and Mexico- There is also a gallery devoted to modern European
master-pieces owned in private collections in America. Lovers of the finesse in the
French school may see masterpieces by acknowledged leaders. The famous Dutch
school, the Russian, the less known but powerful Scandinavian, the impressionist,
and many others are represented by a selection of the choicest productions from the
leaders of each school. When it comes to a critical study of American art, the
patriotic American discovers therein not only certain characteristics of each of
the foreign schools, but a distinct individuality, just as the American character is
composite and a reflex of its varied sources.

The international fine arts expositions of the past may be said to have begun
with Paris in 1867. Then followed Vienna in 1873, Philadelphia in 1876, Paris in
1878, and special exhibitions of fine arts in Berlin and Munich some years later.
Then came the Melbourne Exposition, preceding the last great international ex-
position in Paris in 1889. An idea of the scope of the present fine arts exposition
may be gathered from the fact that the fine arts exhibit contains between 1,50x3 and
2,000 pieces in the American section alone. In round figures France contributes
800 pieces, Germany 900, Dutch artists 300, England 600, Austria 300, Denmark
250, Sweden 200, Italy 600, Norway 180 and Belgium 400. The largest space is
given to the United States artists. Next comes France with 19,201 square feet,
next Germany, Great Britain, Italy, Belgium and Austria in order, and so on rang-
ing down to Mexico, which has 1,500 square feet. In securing a good representa-
tion of American art, advisory committees were appointed in the leading art cen-
ters of the United States and in European centers where American art colonies
flourished. By an interchange of service these advisory committees became juries
of selection. The work of these juries and of the national jury have been entirely
satisfactory.

The east and west pavilions connect with the central pavilion by means of
corridors, which are also used as galleries. The east pavilion contains the French
government exhibit and also the French masterpieces owned by Americans. The
west pavilion contains the Italian exhibit and the exhibits of several other foreign
countries whose space is limited. The central pavilion has two floors for the
exhibit of paintings. The northeast section, or one-fourth of the space for paint-
ings, is devoted to the works of United States artists. The southeast section is
given up to Great Britain and Canada. The southwest section contains the works
of art sent by Holland, Spain, Russia and Japan. The northwest section contains
all the German paintings. In general terms the oil paintings are all hung on the

V

/•

"

STATUE OF THORWALDSEN, PAVILION OF DENMARK, MANUFACTURES BUILDING.

HISTORY OF THE WORLD'S FAIR.

395

ground floor in the central pavilion, while water colors are on the second floor.
There is an overflow exhibit of oil paintings upstairs in the American section.

Between these four quadrangles are four courts and the central rotunda. The
north and south courts contain the groupings of statuary. The east and west
courts contain the architectural exhibit. Here are seen structures and casts illus-
trating ancient, mediaeval and modern architecture. Cases of antique and modern
carvings, and architectural drawings are hung on the walls. In the north and south
courts is the installation of statuary. There are figures and groups in marble, casts
from original works by modern artists, models, monumental decorations, figures
and groups in bronze and bas-reliefs in marble and bronze.

The central rotunda contains a heroic figure of Washington by Thomas Ball,
On the sides of the rotunda are twelve spaces for figure groupings furnished by
different foreign countries. There are also rotundas in each of the smaller pavil-
ions, where statuary and architectural specimens are grouped. There are eighty
galleries in all including the east and west pavilions. These range from 30 feet
square to 36 by 120 feet for the exhibition of paintings. There are also 108 alcoves,
fronting on the court of the central pavilion. Twenty-eight of these are on the
first floor and eighty on the second floor, and much additional wall space is gained
by their use. Engravings, etchings and black-and-whites are mainly upstairs with
the water colors, and pastels are down stairs with the oils.

The lighting arrangements are as faultless as can be devised. All the pavil-
ions, including rotundas, courts and galleries, are lighted from above. The modu-
lation of natural light in the daytime is
simple and effective. The system of artifi-
cial lighting at night is in itself a work of
art. Myriads of incandescent lamps shed
a mellow radiance over courts and galler-
ies. The electric lamps are arranged in
clusters above each court, and also in con-
tinuous rows around the galleries. The at-
tractiveness of the art galleries at night is
admitted as one of the features of the Expo-
sition. Halsey E. Ives was born in Havana,
N. Y., 45 years ago. In 1862 he began work
as a draughtsman and in 1864 he was found
serving the Union in the army in Tennessee.
In 1866 he began the study of art, and in
1874 he entered the Polytechnic school in St.
Louis. Subsequently he studied fine arts in
France and England, and upon his return to
the United States he was made a member of
the faculty of Washington University as an

instructor in the fine arts. He is an artist himself and his appointment is consid-
ered as one of the best, as he is thoroughly a leader and a teacher. He is also
one of the most affable gentlemen connected with the Exposition.

CHIEF IVES.

HISTORY OF THE WORLD'S FAIR.

397