figures and foliage, but also glows with atmosphere, life and movement.

These rooms complete the south half of the American section, with the
exception of the very interesting, though not fully adequate, Whistler
Room, 28; the Print Rooms, 29 to 34, in the tier along the west wall,
and five more one-man rooms along the east wall. These five, in their
order from the main entrance are: No. 87, devoted to the old-masterlike
works of Frank Duveneck, who, more perhaps than any other American,
shows the great manner of Velasquez, Rembrandt and Franz Hals, and to
whom the jury has recommended that a special medal be given for his
influence on American art; No. 88 filled with the admirable
Impressionist landscapes of E. W. Redfield; 89 and 93, given up to the
widely contrasted work of Edmund C. Tarbell and John H. Twachtman, each
in his own fashion a master and enjoying a well-earned popularity,
Twachtman's pictures in particular commanding almost as high prices as
those of the men in Room 54; and No. 90, just off the Tarbell room,
containing a small loan collection which very incompletely represents
William Keith. Five other individual rooms are north of the main
entrance: No. 79, portraits and still life by William M. Chase; 78,
Childe Hassam's radically Impressionist work; 77, Gari Melchers'
pictures of Dutch types and scenes; 76, the charming western pictures of
Arthur F. Mathews and Francis McComas, both Californians; and 75, the
John S. Sargent room, containing among other works his famous early
portrait of Mme. Gautrin, his "John Hay," and the sympathetic portrait
of Henry James which was mutilated by the British suffragettes. All
these one-man rooms exhibit characteristic work of the men thus
distinguished, though the younger men are the more completely
represented. The Whistler, Keith, Chase and Sargent rooms, which may be
classed with the historical block, show few of the best-known
masterpieces of these artists.