DOI Heft:
No. 257 (September 1914)
DOI Artikel:American art at the Anglo-American Exposition
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21210#0313
American Art at the Anglo-American Exposition
AMERICAN ART AT THE evolution of any peculiarly national attributes
ANGLO-AMERICAN ENPOSI- 'n tnat art' traditions are unquestionably being
■pjQj^ slowly formed, but their roots are not yet deep
enough, nor are they at present of sufficiently long
Each year that the large Exhibition at Shepherd's duration to have resulted in the flowering of
Bush has opened its gates to the public one of its anything distinguishable so far as a purely American
most interesting, and to our mind, most valuable style. There is incontestable evidence of a greater
features has been the Fine Art Section. Here preponderance of French as opposed to British
in spacious well-lighted galleries it is possible to see influence in the work of many American painters,
well and enjoy thoroughly the large number of If it be true that all good Americans when they die
works for which the rooms afford ample and go to Paris, it would seem to be equally true that
comfortable wall-space. the majority of those who belong to the artistic
This year at the Anglo-American Exposition, as fraternity migrate thither beforehand and spend
on previous occasions, an interesting and a fairly a good part of their lives in la ville lumiere.
comprehensive display of modern British art So it is that in looking around the exhibition one
occupies a number of the galleries, and taken as a is immediately struck by the strong affinity between
whole the collection is a good one both as regards this art and contemporary French painting, though
the pictures and the sculpture. Ample room is one would not overlabour this point, for many of
provided for the exhibits, and the sculpture, those who are represented have become so acclima-
agreeably disposed with bay-trees and shrubs at tised by their long residence in Paris that their
intervals, is seen perhaps to better advantage than regular contributions to the Salons are sometimes
elsewhere in London exhibitions, where our more Parisian than the Parisians,
sculptors rarely have justice done to them. As, Five rooms are set apart for pictures by artists
however, the majority of
the exhibits in the British
Section are productions of
artists whose works are
frequently illustrated in
these pages—quite a num-
ber of them having, in-
deed, already appeared in
The Studio—it will be ot
greater interest if our at-
tention is devoted to an
examination in detail of
the American Section, as
containing works with
which the British readers
of this magazine are less
familiar.
Perhaps the most pro-
nounced characteristic of
American art as here dis-
played is, speaking
generally and also some-
what paradoxically, its lack
of any pronounced charac-
teristics —characteristics,
that is to say, which betray
and reveal its nationality.
Sufficient time has scarcely
as yet elapsed in the h story
of the art of the United
States to allow of the "dichter liebe—a morning in may" hv j, rolshovbn
293
AMERICAN ART AT THE evolution of any peculiarly national attributes
ANGLO-AMERICAN ENPOSI- 'n tnat art' traditions are unquestionably being
■pjQj^ slowly formed, but their roots are not yet deep
enough, nor are they at present of sufficiently long
Each year that the large Exhibition at Shepherd's duration to have resulted in the flowering of
Bush has opened its gates to the public one of its anything distinguishable so far as a purely American
most interesting, and to our mind, most valuable style. There is incontestable evidence of a greater
features has been the Fine Art Section. Here preponderance of French as opposed to British
in spacious well-lighted galleries it is possible to see influence in the work of many American painters,
well and enjoy thoroughly the large number of If it be true that all good Americans when they die
works for which the rooms afford ample and go to Paris, it would seem to be equally true that
comfortable wall-space. the majority of those who belong to the artistic
This year at the Anglo-American Exposition, as fraternity migrate thither beforehand and spend
on previous occasions, an interesting and a fairly a good part of their lives in la ville lumiere.
comprehensive display of modern British art So it is that in looking around the exhibition one
occupies a number of the galleries, and taken as a is immediately struck by the strong affinity between
whole the collection is a good one both as regards this art and contemporary French painting, though
the pictures and the sculpture. Ample room is one would not overlabour this point, for many of
provided for the exhibits, and the sculpture, those who are represented have become so acclima-
agreeably disposed with bay-trees and shrubs at tised by their long residence in Paris that their
intervals, is seen perhaps to better advantage than regular contributions to the Salons are sometimes
elsewhere in London exhibitions, where our more Parisian than the Parisians,
sculptors rarely have justice done to them. As, Five rooms are set apart for pictures by artists
however, the majority of
the exhibits in the British
Section are productions of
artists whose works are
frequently illustrated in
these pages—quite a num-
ber of them having, in-
deed, already appeared in
The Studio—it will be ot
greater interest if our at-
tention is devoted to an
examination in detail of
the American Section, as
containing works with
which the British readers
of this magazine are less
familiar.
Perhaps the most pro-
nounced characteristic of
American art as here dis-
played is, speaking
generally and also some-
what paradoxically, its lack
of any pronounced charac-
teristics —characteristics,
that is to say, which betray
and reveal its nationality.
Sufficient time has scarcely
as yet elapsed in the h story
of the art of the United
States to allow of the "dichter liebe—a morning in may" hv j, rolshovbn
293