International studio (56.1915)

Foreign Painting at the Panama-Pacific Exposition

synthetic presentation they re-
affirmed the fundamental prin-
ciples of their forbears. It is the
men of the second generation such
as Blommers, Breitner, Witsen,
Gorter, Isaac Israels, and Van
Vlastenbroek who figure most
prominently at San Francisco,
and it may be asserted without
hesitation that they preserve intact
the national artistic patrimony.
Like their Fontainebleau-Barbi-
zon predecessors the Dutchmen are
by preference tonalists. Their pic-
tures are studies in atmospheric
unity rather than specific trans-
criptions of line or form. Drifting
in from the sea or rising from lush
meadow and lazy canal is an all-
pervading moisture, a diffused,

N elherlands Section, Panama-Pacific Exposition
WINTER IN AMSTERDAM BY WILLEM’ WITSEN


modified radiance that gives to the land and
its art a singularly persuasive appeal. One
and all these men are sincere, unaffected nature
poets. No restless individualism disturbs their
harmonious compositions. Repose, not revolu-

tion, is the sentiment they inspire. Whether
treating broad, panoramic motive or modest cot-
tage interior it is light, or, rather, tone which re-
mains the centre of interest. You will note this
alike in the busy glimpses of Rotterdam harbour

Swedish Section, Panama-Pacific Exposition
WINTER IN THE FOREST BY ANSHELM SCHULTZBERG


XLVIII