The American section located in the northeastern part of the building, comprised a collection par excellence of elegant paintings, masterpieces from the best artists of this country. Very interesting was the retrospective art exhibit in this department; illustrating the various stages in the development of American art, from its incipiency to the present perfection.
The remaining space in the eastern pavilion was taken up by the French division, which—we acknowledged unanimously—contained the most laudable contribution made by a foreign nation.
Great Britain's select display, representing some of its great artists, constituted the most extensive foreign section next to France.
German art was represented by 580 fine paintings, including all the German schools that have gained celebrity; as the Bavarian in Munich—the Saxon in Dresden—and many others.—Holland, Belgium, Russia, Spain, Austria, Italy, Norway, Sweden, Denmark, and Canada had their share in the splendid effect, likewise.
The Japanese showing, elucidating the style of art, peculiar to that skillful nation, was very attractive and novel.
If we trace back the records of the previous international expositions, we cannot find any report giving account of a similar collection representing modern works of art. In consequence of political causes, France had seldom made contributions to any but her own expositions. But the United States, not fostering hostility with any nation, was universally assisted in her gigantic enterprise. In fact, it would require volumes to describe in detail this elaborate display, whose prominent part—the home exhibits—verified Irving's words: "In America literature and the elegant arts must grow up side by side with the coarser plants of daily necessity."
The Art Palace environed groups and figures in marble and bronze, and other sculptural master-pieces—paintings in oil and water colors, on ivory, enamel, metal, and porcelain—fresco paintings on walls— engravings—etchings—pastel and many studies in chalk and charcoal; in short, every description of modern progress in this direction, even to excellent effects produced on wood with hot irons.
Art is but the human effort to seize some of Nature's notable transitory features to perpetuate them. The unusual scenes of grandeur and of beauty our divine mother reveals to us in some of her moods, we adore, while they are inspirations to the poet and painter; and in this untiring course of art, many geniuses have become apotheosized.
To take a lovely landscape at sunset: when from the side of some enchanting stream, you look toward the mountains in the west, and see the crimson and light blue curtains of the evening slowly shaken out; their fringes of burnished gold glowing with indescribable magnificence—who can portray it and do it justice? This evening robing of those variegated crests! That mingling of color, until it fades into deep violet dyes! They in their turn passing away to give place to the jewels of the night, whose unchanging song of eternal praise goes on——
Before such scenes, a Corot, or an Aubert dips the pencil in the glowing sky, and transfers its hues to the canvas; so that, in after time, our souls are gladdened by some retrospect, which makes life dearer to us amidst its cares.