tier, three walls are made noteworthy by J. Alden Weir's luminous and
Impressionist landscapes, and D. W. Tryon's more academic canvases. Weir
was the chairman of the jury for oil paintings. No. 50 is dominated by
Sergeant Kendall, in both painting and sculpture. In the first he won
the gold medal, in the second the silver medal. Room 51 has been called
the "Chamber of Horrors," because it shows several of the extremists;
but it has some masterpieces. Staring things by John Sloan, William J.
Glackens, Adolphe Borie, and Arthur B. Caries are relieved by H. H.
Breckinridge's highly colored fruits and flowers, Gertrude Lampert's
"Black and Green," Thomas Anshutz' two studies of women, and several of
Robert Henri's strong figure pieces.

In the extreme northern end of the gallery, beyond the foreign sections,
is a tier of four rooms, 117-120, ranging from the mediocre to the
admirable. In No. 117 are seven interesting canvases by Frieseke, the
grand-prize winner, already mentioned. These pictures show the artist's
scope. No. 1816 and others are strikingly like Plinio Nomellini's No. 86
in the Italian section. No. 1811 is as different from these as "Sleep"
is from all the rest. In the same room are Mora's "Vacation Time" (2645)
and Tanner's "Christ at the Home of Lazarus" (3370), both winners of the
gold medal. Room 118 holds the pictures of several gold-medal winners,
the "Promenade" (1185) by Max Bohm; the noble "Lake Louise" (1246) by H.
J. Breuer, whose pictures of the Canadian Rockies are also to be found
in Rooms 56 and 58; the tender "Spring" (1972) by W. D. Hamilton, worthy
of a better place; and H. L. Hoffman's clearlighted "A Mood of Spring"
(2116), and his vivid "Savannah Market" (2115).

Room 119 is filled with water-colors, drawings, engravings and etchings.
Room 120 holds George Bellows' Post-Impressionistic canvases, Myron
Barlow's well-drawn figures, W. D. Hamilton's speaking likeness of