International studio (48.1913)

The Evans Collection of American Paintings

native pictures, for it satisfied the aforesaid de-
mand of the public that the dollar standard must
be satisfactorily applied, or there would be “noth-
ing doing.” Instead of the loss which might have
been expected in a sale of a large miscellaneous
collection of recent work by American painters,
there was a very substantial gain over the original
cost of the pictures. People of limited means who
were hesitating to venture on the purchase of some
favorite canvas, were not a little encouraged by
the outcome of the sale, since the prices then ob-
tained indicated that there are buyers of American
pictures about, and that to buy one is not neces-
sarily to indulge in a luxury that absorbs money
without a reasonable chance of its return, should
conditions compel its surrender.
Meantime Mr. Evans had begun to look outside


the narrower circle of the collector and interest
himself in the welfare of artists. For the Ameri-
can Water Color Society he founded an annual
prize and in the Lotos Club and National Arts
Club of New York he formulated plans whereby
American pictures were added each year to their
several permanent collections. He was also a
leading spirit in an exhibition, where the best
examples of American pictures to be obtained
were hung alongside the best of French and other
foreign paintings of modern make. The purpose
was to allow the public, and especially collectors
and hesitating would-be collectors, to compare
American painting as a living art with that of
Europe. How far this action carried conviction it
would be difficult, of course, to decide, but it may
be said with certainty that were Mr. Evans to ef-
fect another Evans Sale the financial results would
greatly surpass that of the one just mentioned.
It is indeed a splendid gift to the nation which
he has presented to the public, and he is con-
tinually adding to the donation. Surprise has
been expressed that he chose Washington, not
New York, for this present, since the Metropoli-
tan Museum is comparatively weak in American
pictures. Among many there are two good
and sufficient reasons for preferring Washing-
ton; one is the existence in New York of
other collectors who are giving American pic-
tures to the Metropolitan from time to time, the
other that Washington represents better than New
York the heart of the country. As to the latter
reason, it may be said that, so long as New York
remains the chosen center for collectors and for
artists, New York will always contain a far greater
number of persons who will visit such a collection
with pleasure and profit; but on the other hand,
that any influence the collection may bring to
bear on members of Congress and the great mass
of office holders who pass a portion of their lives
in Washington, will be an influence radiating back
in all directions to the remotest parts of the
Union. It will not be a little feather in the cap of
Mr. Evans if the silent testimony of these pictures
is heard by members of the Senate and House, by
the grand army of Government employees, by the
crowd of politicians, sightseers and tourists which
pours in and out of the national capital. Perhaps
Mr. Evans came early to the conclusion that New
York and the well-endowed Metropolitan can
care for themselves, or will some day, while there
is a more pressing need to emphasize the existence
of a great living American art at the political
heart of the country. To this should be added a