DOI issue:
Nr. 224 (October, 1915)
DOI article:Brinton, Christian: Foreign painting at the Panama-Pacific exposition, [2]
DOI Page / Citation link:https://doi.org/10.11588/diglit.43459#0384
Foreign Painting at t/ie Panama-Pacific Exposition
an attempt has been made to reconcile all dif-
ferences, to fuse all factions into approved
official concord. The result, as may be antici-
pated, is unconvincing, for in like circumstances
conventionality invariably triumphs. Those
already familiar with contemporary French
painting will experience scant difficulty in ar-
riving at their respective conclusions. They will
know instinctively what to accept and what to
condone. With the general public, matters are
lurks an intellectual integrity that sooner or
later discloses itself to view. And in every
Frenchman may be found a substratum of
classicism, the function of which seems to be the
constant simplification of form and clarification
of feeling. It is some such impression that you
will doubtless gather from a study of the French
Section at San Francisco. While not particularly
stimulating, the ensemble serves its purpose
sufficiently well. To demand more in these
French Section, Panama-Pacific Exposition
THE PAINTERS BY FELIX VALLOTTON
more complicated. The art of France is, never-
theless, sufficiently diverse to satisfy all demands.
It presents a mixture of academic restraint and
seemingly rampant radicalism. So great is the
productivity of this marvellous people that every
conceivable artistic manifestation finds place
upon exhibition wall. The most antithetical
tendencies flourish side by side and appear to
attract an equally numerous and ardent following.
And still, despite its amazing complexity,
French art remains inherently sane, balanced,
and logical. Beneath each apparent eccentricity
tumultuous times would be manifestly ungracious.
Though the Frenchmen have for close upon a
century furnished the most potent impetus known
to the artistic world, it is only recently that the
Italians may be said to have come into their own.
The foremost figures in the development of latter-
day Italian painting are Domenico Morelli and
Giovanni Segantini, the one a fervid naturalist,
the other the founder of the Divisionist School.
It is unnecessary here to discuss the career of the
ardent Neopolitan, who passed from the pose of
romanticism into the pure light of day, or to
xc
an attempt has been made to reconcile all dif-
ferences, to fuse all factions into approved
official concord. The result, as may be antici-
pated, is unconvincing, for in like circumstances
conventionality invariably triumphs. Those
already familiar with contemporary French
painting will experience scant difficulty in ar-
riving at their respective conclusions. They will
know instinctively what to accept and what to
condone. With the general public, matters are
lurks an intellectual integrity that sooner or
later discloses itself to view. And in every
Frenchman may be found a substratum of
classicism, the function of which seems to be the
constant simplification of form and clarification
of feeling. It is some such impression that you
will doubtless gather from a study of the French
Section at San Francisco. While not particularly
stimulating, the ensemble serves its purpose
sufficiently well. To demand more in these
French Section, Panama-Pacific Exposition
THE PAINTERS BY FELIX VALLOTTON
more complicated. The art of France is, never-
theless, sufficiently diverse to satisfy all demands.
It presents a mixture of academic restraint and
seemingly rampant radicalism. So great is the
productivity of this marvellous people that every
conceivable artistic manifestation finds place
upon exhibition wall. The most antithetical
tendencies flourish side by side and appear to
attract an equally numerous and ardent following.
And still, despite its amazing complexity,
French art remains inherently sane, balanced,
and logical. Beneath each apparent eccentricity
tumultuous times would be manifestly ungracious.
Though the Frenchmen have for close upon a
century furnished the most potent impetus known
to the artistic world, it is only recently that the
Italians may be said to have come into their own.
The foremost figures in the development of latter-
day Italian painting are Domenico Morelli and
Giovanni Segantini, the one a fervid naturalist,
the other the founder of the Divisionist School.
It is unnecessary here to discuss the career of the
ardent Neopolitan, who passed from the pose of
romanticism into the pure light of day, or to
xc