fisherman. One gallery is entirely devoted to etchings, woodcuts, and
mezzotints, and the standard maintained in this gallery is high.
Martinus Bauer's three etchings are among the finest to be seen anywhere
in the exhibition, and the work of Harting, van Hoytema, and Haverman do
not fall much below his standard. There is young Israels (Isaac) with
some very snappy sketches. Nieuwenkamp is intensely interesting in the
few things he has there, with a certain sense of humor which is
conspicuous for its absence in most Dutch work. The woodcuts of Veldheer
are vital and unusually free from any academic feeling. Considering the
relative size of the Netherlands, they have a remarkably large number of
artists, but scarcely of sufficient bigness of caliber and independence
of character to live up to the traditions of this people.



Germany

Very modestly tucked away and surrounded by art of the few remaining
neutral nations, in a small gallery adjoining Holland and Sweden,
Germany unofficially and probably even without her knowledge is
represented by a small group of pictures which after many adventures
reached the hospitable shores of California. Originally exhibited at the
last Carnegie Institute Exhibition at Pittsburgh, they found themselves
on the high seas on their return voyage at the beginning of the war,
only to be captured by an English cruiser whose captain was so painfully
struck by the undeniable evidences of German Kultur that instead of
taking them to England he returned them to the United States, to be
included eventually in our exhibition. It would be very wrong to
generalize upon the standard of German art from this small display, but
a number of these pictures can well afford to go entirely upon their own