this chapter. It should be remembered that no member of a jury, and no
man who received the honor of a separate room, was eligible for award.
In general, it may be said, the Exposition puts forward the work of
artists who have "arrived" since the opening of the century. In
accordance with this helpful policy, older painters who had won many
honors at previous exhibitions were passed over for the encouragement of
younger men. It should also be noted that awards were not made for
particular pictures, but upon each artist's exhibit as a whole.

Rooms 55, 56, 65 and 85 show contemporary Americans,--the last two with
great credit. No. 65 is a large room of canvases by American women
painters. One who has not kept abreast of woman's work in art in this
country has a surprise awaiting him in the the high quality shown here.
Two pictures by Ellen Rand (2919, 2918), Mary Curtis Richardson's
captivating "Young Mother" and her "Professor Paget" (3000, 3002), and
Alice Stoddard's inimitably girlish group, "The Sisters" (3329), will
reward very careful study of their sincerity and strength of treatment.
Especially brilliant are the works of Cecilia Beaux and M. Jean McLane,--
the first winning the Exposition's medal of honor, the latter rather
theatrical in their gayety of color. Here also is a canvas (2743) by
Violet Oakley, another honor medallist.

Room 85 is enriched by the canvases of Charles Walter Stetson, Horatio
Walker, Charles W. Hawthorne, Douglas Volk (gold medal), and George de
Forest Brush. Volk's three charming pictures deserve to be better hung.
The Stetson group illustrates the Impressionist method and result as
well as anything in the Palace. Take his "Smugglers" or his "Summer Joy"
(3311, 3317), and note how a few heavy and apparently meaningless dabs
of color may be laid side by side on canvas in such a way that, when
seen from a distance, they blend, until the picture not only outlines