Gallery 119.
The general character of the next gallery is different from the preceding. Given over to oils, watercolours, pastels, lithographs, and drawings, it presents an interesting appearance. Six pastels by Henry Muhrman and Frank Mura's charcoal drawings are the leaders here, and the drawings generally are the best things among the many oils and watercolours, which were mostly made for purposes of illustration. Drawings by Martinez, pastels by Miss Percy, two sympathetic drawings by Miss Hunter, and a few still-lifes in watercolour, by Miss Boone, all bear testimony to native ability as represented by California.
Gallery 120.
The last gallery contains Bellow's bold canvases, of which "The Polo
Game" is the best known, another fine canvas by Henry Muhrman, and some
older American work by Stewart, typical of what we used to send to
Europe in years gone by.
In the Garden.
While many plastic works have been mentioned in the survey of the galleries, still great numbers of statues, statuettes, and fountain figures call for investigation, out of doors. Sculpture is, on the whole, not so complex as painting, and dealing with the expression of emotions much more directly than painting, it can easily be understood. Of the many pieces displayed outside, Janet Scudder's fountain figures earn all the applause they receive, and most of the other sculptors are old friends, since they have been met with in the decorative embellishments of the architecture of the Exposition. There is Aitken, with a bust of Taft; Chester Beach, with a young girl in marble, of great charm; Solon Borglum's Washington, Mrs. Burroughs' garden figure, Stirling Calder, and Piccirilli - all well remembered. It is gratifying to meet all these men, and many others, in freer and more detached expression of their art, under conditions where no severe architectural restrictions were put upon them.
The Graphic Arts
Conclusion
It will be necessary to retrace our steps to take up a series of galleries all along the outer curve of the building. They are devoted to illustrations, miniatures, stained glass, plaques, and the many expressions of graphic art we know as black and white, charcoal and pencil drawing, monotypes, lithotints, etchings, and so on. With Whistler's etchings on one end of the arch, we find Howard Pyle at the other.
Gallery 42.