detail in portrayal, the art of America, as shown in this exhibition,
embodies these characteristics without emphasizing them. Keeping in mind
the fact that the Palace contains little American art earlier than 1905,
American artists are showing marked individualities, even in their
acceptance of popular precepts. The virile men of the day love
luminosity; it dominates all else, and marks their canvases with light;
they restrain the too bold stroke of the radical Impressionist, but
outline with firmness, so that details are more easily imagined by the
observer, even when an expected delineation is absent. Even the older
men, though still under the influence of earlier tradition, show a
distinctiveness of style that sets them well apart from their English,
French or German contemporaries.

The International Section, in Room 108 and in the Annex, is peculiarly
interesting in that it makes easy a comparison of the characteristic
fingerprints of each country represented. There is ample opportunity
here for a discriminating and profitable study. Unfortunately, because
of the war, the gallery contains no special rooms for the art of England
and Germany. Both countries are represented only by loan collections. Of
German art there are forty well chosen paintings.

France, Italy, Holland, Sweden, Portugal, Japan, China and several of
the South American countries have installed representative collections
in the Palace; while the Annex, made necessary by the unexpected number
of pictures from Europe, contains a large exhibit of Hungarian art, a
Norwegian display, filling seven rooms, a large British exhibit, and a
small group of pictures by Spanish painters, showing that the influence
of Velasquez is still powerful in Spanish art. The Norwegian display is
one of the largest foreign sections, quite as characteristic as the
Swedish, and certain to arouse discussion because of its extreme