Palace of Fine Arts

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Sculpture court of permanent Art building

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Four buildings , costing over $1.000.000, and containing 135 galleries.

The Palaces of Art

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MAIN ENTRANCE TO THE ART PALACES.

The Art Palaces are so distinct in character from the other buildings at the Exposition that it seemed necessary to remove them from the general picture, and their position just behind the Terrace of States is fitting. There they are accessible from all directions. All of these noble buildings are necessarily fireproof, and the central pavilion, 348 by 166 feet, is to be permanently preserved. The central hall of this main pavilion, with a high-arched roof, is given up to a sculptural display. The galleries of this building are filled with the largest and best collection of the work of American artists that has ever been brought together. The work in the west galleries is that of men trained at Paris and Rome, and in the east side is the work of the artists who have been influenced by German, English and Dutch training. The other buildings of the group, at the east and west, are filled with the work of every art-producing country on the globe. Germany, France, Great Britain and Holland have made notable displays, filling many of the well lighted rooms. The visitor who seeks the aesthetic and liberalizing effect of the World's Fair will devote many of his hours to this wonderful collection.

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PALACE OF ARTS.

Four pretentious buildings make up the Art Group, representing an outlay of more than 81,000,000. The group stands on the plateau southwest of the Festival Hall. The central building is of Bedford limestone, a permanent gallery of art. Besides a great central hall, it contains 22 spacious galleries and the necessary complement of offices and jury rooms. It is 318 by 166 feet. The side pavilions are each 422 feet long and each contains over fifty galleries. The Sculpture building stands in the court formed by the other structures. The total number of rooms is 135. All the European countries contribute their best works. So eager were the artists of Italy to display their works that 4,000 pictures were offered when only 400 could be chosen. Italy also sends 100 works of sculpture. Very interesting are the silk and cut velvet wail hangings in the Japanese section, the Beauvais and Gobelin tapestries in the French section, the Sevres and other porcelain wares from France. The exhibit of British art is the finest ever brought together in any country and is exceeded in interest to art critics only by the American section.

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“SCULPTURE.”

The entrance to the Palace of Fine Arts is fittingly adorned with two symbolic statues by two of America’s greatest sculptors. The themes ate “Sculpture” and “Painting,” the two highest expressions of the art feeling in mankind. The one to the right is emblematic of sculpture, and it is the work of that master sculptor, Daniel Chester French. It is a strong, impressive, even serious figure, with no suggestive accessory save the mallet held in the right hand. Like all of Mr. French’s work, it is exalted, noble and passionless.

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“PAINTING.”

The companion-piece, “ Painting,” at the other side of the main entrance, is from the hand of Louis St. Gaudens, one of the few sculptors whose work is worthy a place beside that of Mr. French. In this figure the symbolism is more openly expressed. In her hand the impersonation of Painting holds the painter’s brush and on her arm rests the painter’s palette. Whereas the head of Sculpture is bowed, as if in self-contemplation, the eyes of Painting are alert and open, looking to nature for inspiration. The two works will by permanent decorations.

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INTERNATIONAL SCULPTURE HALL—ART PALACE.

There is at least one exhibit at the World’s Fair that should thrill the heart of every American with pride. This is the display of American sculpture in the International Sculpture Hall of the Palace of Fine Arts. By comparison with this display of American work, the exhibit in the Foreign Sculpture Pavilion is poor indeed. A visit to these two exhibits will convince any fair-minded critic that in the Plastic art America leads the world. At the right of the illustration, the strongly modeled figure of The Driller, by Charles Niehaus, may be seen. Because of its proximity to the camera, it appears out of proportion with the other, larger works. In the center of the group is the heroic equestrian statue of Washington, by Daniel Chester French, the greatest of all American sculptors. At the other end of the hall is Mr. French’s General Hooker, also an equestrian. Behind the Washington statue one catches a glimpse of the glorious pediment for the New York Stock Exchange, modeled by J. Q- A. Ward, another of the men whose work has made America famous. Beneath this is the Willard Memorial by Karl Bitter. In the foreground is the charming Pastoral by Heber, a small model of the one at the end of the Plaza of St. Anthony. In the distance is Mr. Grafly’s wonderful and terrible Vulture of War.

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Palace of Fine Arts

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CENTER OF SCULPTURE HALL, ART PALACE

The central group of the International Sculpture Hall shows some very remarkable works. The three most imposing pieces in the hall, those that occupy the two ends and the middle, are all by AV. French. The central figure is his Alma AV ter, a stately matron, laurel crowned, holding the scepter of knowledge in her right hand and the book of wisdom on her lap. Behind this beautifully conceived and marvelously executed symbolic figure is Gutson Borglum’s remarkable group, ‘‘The Horses of Diomedes.” AV. Borglum, like his brother, Solon Borglum, has a wonderful feeling for the animal figure. The mad stampede expressed in the lines of these horses is unparalleled in horse groups. At the extreme left of the illustration is the “Rampant Jaguar,” by Eli Harvey. There are eight other figures by AV. Harvey, all of wild animals, and all powerfully modeled^ In the background, just in front of Mr. Donohue’s idealization of Sophocles, is a small reproduction of the statue of Bienville, by Charles Lopez. The larger figure stands on tire west approach to Festival Hall. Paul Bartlett’s portrait statue of Dr. Joseph Warren is one of the exceptionally good things in the collection. The beautiful “Sun Dial,"by A. S. Calder, and the daring group, “Destiny of the Red Alan,” by A. A. Weinmann, have attracted wide attention.