France

A discussion of the impressionistic school makes it almost imperative to
continue our investigation by way of the French Section. France is
easily to modern art what Italy was to the art of the Renaissance or
Greece to antiquity. Almost all countries, with the exception of those
of northern Europe, have gone to school at Paris. It becomes quite
evident at first glance that a certain very desirable spaciousness in
the hanging of the pictures contributes much toward the generally
favorable impression of this section of the exhibition, though it is
hard to understand why this fine effect should have been spoiled by the
pattern used on the wall-covering. It seems unbelievable that a people
like the French should so violate a fundamental principle, which a
first-semester art student would scarcely do. The otherwise delightful
impression of the French section, so excellently arranged, is
considerably impaired by this faux pas. There is no chronological
succession in evidence in the hanging of pictures in the six galleries
of this section, and old and new, conservative and radical, are hung
together with no other consideration than harmonious ensemble.

Gallery 18.

In the western end of the section presided over by a decorative painting
of some aras among orange trees (over the west door), a beautiful,
almost classic canvas by Henri Georget commands immediate attention. The
poetic idealism of this decorative landscape, together with a fine
joyousness, give it unusual character. Alongside of it a very