Larsson's intimate pictures of family life and forest picnics (see p.
126), or Bruno Liljefors' great paintings of the misty northern ocean,
down to John Bauer's captivating little illustrations of Swedish goblin
tales. No one who has viewed the snow scenes of Anshelm Schultzberg can
ever forget the impression of cold and impenetrable depth. Swedish
painters are heroic in method, very lavish with their pigments, and
generous in the size of their canvases. Some of the pictures, in fact,
like "The Swans" (202) by Liljefors, are too large to be seen to the
best advantage in the small rooms where they hang. Liljefors won the
grand prize, and Gustav Fjaestad the medal of honor, for Swedish
painting; Larsson, the grand prize for water color. Anna Boberg, Room
106, whose masculine paintings have always won her honor hitherto, is
without award. This famous painter is the wife of the architect of the
fine Swedish Pavilion. The jury offered her a silver medal, but
Commissioner Schultzberg refused to accept it.

Spain is to have an excellent exhibit in the Annex building behind the
Palace. Thus far Portugal alone represents the Iberian painters. The
collection fills three rooms, 109-111, between Sweden and Holland. The
Portuguese artists infuse the spirit of revelry into much of their work.
Indeed, it sometimes approaches the bacchanalian. The work is of the
extreme modern school as to color, although, technically, there is much
drawing in and respect for definite form. Most striking, perhaps, is the
splendid representation in many of the pictures of the intense sunlight
that beats upon that Southern country. No more vivid examples of this
can be found in the collection than Malhoa's "Returning from the
Festival" (54) and his "Catholic Procession in the Country" (56).
Malhoa, deservedly, captured the grand prize for Portuguese art. The
single medal of honor went to Jose Veloso Salgado for his scenes of
Minho. The portraits, too, have much of the intensity of the South. The