appealing to us, but in the light of the national characteristics of the
people and the country, Swedish art has a very definite quality,
consistently shown. Their work has a robustness which has nothing to do
with the salon aspect of the art of southern Europe, particularly
France. In fact it is almost opposed to the art of the Romanic races,
and distinctly apart from the art of Germany. It is fortunate Sweden
could make such a splendid showing without the support of the art of
such a man as Anders Zorn, who, while decidedly Swedish, is after all
much of a cosmopolitan painter, with all the earmarks of an
international training. The art of the most artistic of all people, that
of the French, is often said to have a decadent note. In comparison,
Swedish art may be said to be absolutely robust, healthy, and vigorous,
without being coarse. To those who pretend to find a certain physical
brutality in Swedish art, I should like to point out that the most
delicate pictures in the entire exhibition - those of John Bauer - are
the chief asset of the Swedish exhibit. The great variety of the work in
this section makes it very interesting, and permits, as said before,
close insight into many phases of modern art.

The most pronounced individualities in the collection, covering all
fields, are Bruno Liljefors, Gustav Fjaestad, Carl Larsson, John Bauer,
Mr. and Mrs. Boberg, David Edström, Mas-Olle, and others too numerous to
mention. Bruno Liljefors for many years has been known internationally
as one of the best of animal painters, and particularly of sea fowl. He
has had the experience common to many great artists, of working himself
up from very academic beginnings to a wonderful personality of marked
freedom. His canvas of the nine wild swans is perhaps the biggest single
picture in the entire Exposition. It is immediately suggestive of a
decoration, and to think of it in that sense, as a part of a wall seen
from a great distance, makes one almost tremble with expectation. This