DOI Heft:
Nr. 221 (July, 1915)
DOI Artikel:Brinton, Christian: The San Diego and San Francisco expositions, II
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.43459#0014
The San Diego and San Francisco Expositions
mary phrases, it nevertheless appears that its sig-
nificance is social and psychological as well as
aesthetic. The love of form and colour which you
see displayed in prodigal fashion suggests some-
thing pagan and Dionysian. Demonstrations of
this character do not date from to-day. They are
as old as humanity itself. They hark back to
Rome and to Greece, to the basin of the Nile and
the banks of the Euphrates. In spirit this expo-
sition is akin to the pageants and processionals of
bygone times. Phoenix-like, a city has risen from
darkness and disaster, and her children are offering
their tribute of appreciation and propitiation.
There is downright inspiration in this magnificent
display of energy, this marvellous demonstration
of recuperative power. The opening of the Canal
to the traffic of the universe is an excuse, a mere
pretext; the essential point is that here is a com-
munity flushed with energy and taking legitimate
pride in a truly phenomenal achievement. And
such emotions find fitting semblance in visible
form, in architecture, sculpture and the added
eloquence of tint and tone.
While San Diego keeps modestly within the
confines of a concise and characterful local tradi-
tion, San Francisco boldly proclaims herself a
world creation. That element of cosmopolitan-
ism which is by no means her least claim to atten-
tion is constantly to the fore in the Panama-
Pacific Exposition. Colour, all things considered,
is the dominant contribution of the undertaking
as a whole, and this is consistent, for colour is the
keynote alike of the Pacific slope and of the vast
and vibrant Southwest. In the East our taste for
chromatic expression has been modified by gen-
erations of Puritan and Quaker constraint. West
of the Rockies it is more free and spontaneous.
You find it in nature and in man. You find it in
the vanishing Indian, in the mellifluous place
names bestowed by the early padres and pobla-
dores, in the racy phraseology of the pros-
pector who first opened the region to his timorous
transcontinental kinsfolk.
August number of the International Studio
will contain, as leading article, a paper by Dr.
Christian Brinton entitled “American Paintings
at the Panama-Pacific Exposition.”
Panama-Pacific Exposition, San Francisco
AQUATIC NYMPHS, IN THE COURT OF THE UNIVERSE BY LEO LENTELLI
X
mary phrases, it nevertheless appears that its sig-
nificance is social and psychological as well as
aesthetic. The love of form and colour which you
see displayed in prodigal fashion suggests some-
thing pagan and Dionysian. Demonstrations of
this character do not date from to-day. They are
as old as humanity itself. They hark back to
Rome and to Greece, to the basin of the Nile and
the banks of the Euphrates. In spirit this expo-
sition is akin to the pageants and processionals of
bygone times. Phoenix-like, a city has risen from
darkness and disaster, and her children are offering
their tribute of appreciation and propitiation.
There is downright inspiration in this magnificent
display of energy, this marvellous demonstration
of recuperative power. The opening of the Canal
to the traffic of the universe is an excuse, a mere
pretext; the essential point is that here is a com-
munity flushed with energy and taking legitimate
pride in a truly phenomenal achievement. And
such emotions find fitting semblance in visible
form, in architecture, sculpture and the added
eloquence of tint and tone.
While San Diego keeps modestly within the
confines of a concise and characterful local tradi-
tion, San Francisco boldly proclaims herself a
world creation. That element of cosmopolitan-
ism which is by no means her least claim to atten-
tion is constantly to the fore in the Panama-
Pacific Exposition. Colour, all things considered,
is the dominant contribution of the undertaking
as a whole, and this is consistent, for colour is the
keynote alike of the Pacific slope and of the vast
and vibrant Southwest. In the East our taste for
chromatic expression has been modified by gen-
erations of Puritan and Quaker constraint. West
of the Rockies it is more free and spontaneous.
You find it in nature and in man. You find it in
the vanishing Indian, in the mellifluous place
names bestowed by the early padres and pobla-
dores, in the racy phraseology of the pros-
pector who first opened the region to his timorous
transcontinental kinsfolk.
August number of the International Studio
will contain, as leading article, a paper by Dr.
Christian Brinton entitled “American Paintings
at the Panama-Pacific Exposition.”
Panama-Pacific Exposition, San Francisco
AQUATIC NYMPHS, IN THE COURT OF THE UNIVERSE BY LEO LENTELLI
X