Commentary on the Panama-Pacific Exposition held San Francisco, 1915.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

The years around the turn of the century were a dynamic time in American art. Different and seemingly contradictory movements were evolving, and the dominant style that emerged during this period was Impressionism. Based in part on the broken brushwork and high-keyed palette of Claude Monet, it was a form especially suited to the dramatic landscape and shimmering light of California . . . This book celebrates forty Impressionist painters who worked in California from 1900 through the beginning of the Great Depression . . . it includes widely recognized California artists such as Maurice Braun and Guy Rose, less well known artists such as Mary DeNeale Morgan and Donna Schuster, and eastern painters who worked briefly in the region, such as Childe Hassam and William Merritt Chase . . . The contributors' essays examine the socioeconomic forces that shaped this art movement, as well as the ways in which the art reflected California's self-cultivated image as a healthful, sun-splashed arcadia.

Eugen Neuhaus was born on August 18, 1879, in Germany. He moved to the United States in 1904, ultimately becoming a US citizen in 1911. He began teaching various art and design classes at colleges in northern California, including the University of California. He lectured at numerous colleges, including internationally over the years, before ultimately retiring from the University of California in 1949, at the age of 70. He died at the age of 84 in 1963, in Berkeley. One of the highlights of Neuhaus' career was his assistance in developing the Panama-Pacific International Exposition, held in San Francisco during 1915. This work, The Art of the Exposition, is derived from lectures he gave to the public about its design and development, which were very well received. The Panama-Pacific International Exposition, San Francisco, 1915 was an event celebrating the development of the Panama Canal. Many beautiful pieces of architecture were developed for the Exposition, perhaps the most notable being the Palace of Fine Arts. A number of members of the National Sculpture Society exhibited, and this new edition is dedicated to their memory.

Excerpt from The Art of the Exposition: Personal Impressions of the Architecture, Sculpture, Mural Decorations, Color Scheme Other Aesthetic Aspects of the Panama-Pacific International Exposition The following pages have grown out of many talks given during the year by Mr. Neuhaus to his students at the University of California. Presented to the public in the form of a series of evening lectures at the University, and repeated before many other organizations throughout California, his interpretation of the Art of the Exposition roused a demand for its repetition so widespread as only to be met by the aid of the printing press. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Describes an exhibit at the National Gallery, the Gilcrease Museum, Tulsa, and the Seattle Art Museum