modernism. The ultra-radical art of Edvard Munch, who is called the
greatest of Norwegian painters, and to whom a special room is assigned,
is sure to be a bone of contention among the critics. The work of Harald
Sohlberg (medal of honor) and Halfdan Strom (gold medal), differing
widely from Munch's, though hardly less modern in style, will also
attract much attention. The omission of Munch from the honor list is
really a tribute to his eminence. An artist who has won the Grand Prix
at Rome and awards in every other European capital was deemed outside of
competition here.

Axel Gallen-Kallela, the celebrated Finnish painter, winner of the
Exposition's medal of honor, fills another room in the Annex. This room,
covering adequately Gallen's progress through twenty-five years, is the
only one in the Exposition to illustrate the development of a great
painter from his student days. The collection runs from his earliest
academic work, photographic in its care for detail, to his present
mastery of Impressionism, wherein by a few strokes he expresses all the
essentials.

The Italian Futurists are well shown in the Annex, and for the first
time in this country. The Futurist pictures hitherto seen in America
have been French imitations of the Italian originators of the mode. A
sample Futurist title, "Architectural Construction of a Woman on the
Beach," may or may not indicate what these pictures reveal. The Annex,
too, has a splendid exhibit of the etchings of Frank Brangwyn, the great
Englishman, who is no less renowned as an etcher than as a painter, and
who has won the Exposition's medal of honor in the International
Section.

The arrangement of the rooms in the Fine Arts Gallery becomes simple