The first impression of the Chinese section is disappointing. There is
no real life in any of the work here displayed, and most of it consists
of modern replicas - some of very excellent quality - of their oldest
and best art treasures. The Chinese seem to be absolutely content to
rest upon their old laurels, the fragrance of which can hardly ever be
exhausted; but nevertheless that does not relieve them of the obligation
of working up new problems in a new way. There is so much religious and
other sentiment woven into their art that to the casual observer much of
the pleasure of looking at the varied examples of applied art is spoiled
by the necessity of having to read all of the longwinded stories
attached to many of them. The freshness of youth, the spirit of
progress, which enliven the Japanese section, are entirely missing in
this display, which seems like a voice from the past - a solemn monument
to an old civilization without any connection with the New Republic and
its modern pretensions. I am afraid China is laboring under conditions
of internal strife which are detrimental to the development of any
artistic expression.



Sweden

Of all the foreign nations represented, with the exception of Japan and
China, none possesses so distinct a national character as the art of
Sweden. I cannot help expressing my personal conviction that it is the
best national section in the whole exhibition, showing, as it does, not
merely easel painting, but also many splendid examples of so-called
applied art, which often permits one to get a deeper insight into the
standard of art of a people than easel painting alone. It is true that
certain examples of painting in the French or American sections are more