The City of Domes [11]
Americans of influence, Trask drew on the resources of all Europe. He also entered into negotiations with China and Japan, both of which countries, with their devotion to art, as might have been expected, co-operated with enthusiasm. The display at the Fine Arts Palace promised to make one of the greatest international exhibits in history, if not the greatest.
At the outbreak of the war it looked as if the whole of Europe might become involved and it might be impossible to secure anything that could properly be called a European art exhibit. Meanwhile, the space reserved for the European exhibitors must he filled. It happened that, at the time, Trask was in the East. He quickly put himself into personal communication with the New York artists, who had been invited to send three or four works, and he asked them to increase the number. He also arranged with his committee for the securing of a much larger number of American pictures. Under the circumstances he was bound to rely on the discretion of his juries. The result was that he had to take what came. It included a large number of excellent works and others of doubtful merit.
An Emissary to France and Italy
Meanwhile, during the few months after the outbreak of war, the art situation in Europe began to look more hopeful. It seemed possible that some of the nations concerned in the war would be persuaded to participate. Captain Asher C. Baker, Director of the Division of Exhibits, was sent on a special mission to France, sailing from New York early in November. The United States collier "Jason" was then preparing to sail from New York with Christmas presents for the children in the war zone, and the secretary of the navy had arranged with the Exposition authorities that, on the return trip, the ship should be used to carry exhibits from Europe. The first plan was that the exhibits should come only from the warring nations; it was later extended to include other nations.
In Paris Captain Baker found the situation discouraging. The first official he saw told him that, under the circumstances, any participation of France whatsoever was out of the question: France was in mourning, and did not wish to celebrate anything; if any Frenchman were to suggest participation he would be criticised; furthermore, Albert Tirman, at the head of the French committee that had visited San Francisco the year before to select the site of the French Pavilion, had come back from the front in the Vosges and was hard at work in the barracks of the Invalides, acting as an intermediary between the civil and military authorities.
Then Captain Baker appealed to Ambassador Myron T. Herrick. Although the ambassador was enthusiastic for the Exposition, he said that, in such a crisis, he could not ask France to spend the four hundred thousand dollars set apart for use in San Francisco. Captain Baker said: "Don't you think if France came in at this time a wonderfully sympathetic effect would be created all over the United States?" The ambassador replied, "I do." "Wouldn't you like to see France participate?" The ambassador declared that he would. "Will you say so to Mr. Tirman?" The ambassador said, "Willingly."
A week later Baker and Tirman were on their way to Bordeaux to see Gaston Thomson, Minister of Commerce. They made these proposals: The exhibits should be carried by the Jason through the canal to San Francisco; the building of the French Pavilion should be undertaken by the Division of Works of the Exposition, on specification to be cabled to San Francisco of the frame work, the moulds for the columns and architectural ornaments to be prepared in France and shipped by express; the French committee of organization was to work in France among possible exhibitors; a statement was to be made to the ministry of what each department of the government could do in sending exhibits and what exhibits were ready; a statement should come from the Minister of Fine Arts as to how much space he could occupy and how many paintings could be secured for the Palace of Fine Arts; a complete
At the outbreak of the war it looked as if the whole of Europe might become involved and it might be impossible to secure anything that could properly be called a European art exhibit. Meanwhile, the space reserved for the European exhibitors must he filled. It happened that, at the time, Trask was in the East. He quickly put himself into personal communication with the New York artists, who had been invited to send three or four works, and he asked them to increase the number. He also arranged with his committee for the securing of a much larger number of American pictures. Under the circumstances he was bound to rely on the discretion of his juries. The result was that he had to take what came. It included a large number of excellent works and others of doubtful merit.
An Emissary to France and Italy
Meanwhile, during the few months after the outbreak of war, the art situation in Europe began to look more hopeful. It seemed possible that some of the nations concerned in the war would be persuaded to participate. Captain Asher C. Baker, Director of the Division of Exhibits, was sent on a special mission to France, sailing from New York early in November. The United States collier "Jason" was then preparing to sail from New York with Christmas presents for the children in the war zone, and the secretary of the navy had arranged with the Exposition authorities that, on the return trip, the ship should be used to carry exhibits from Europe. The first plan was that the exhibits should come only from the warring nations; it was later extended to include other nations.
In Paris Captain Baker found the situation discouraging. The first official he saw told him that, under the circumstances, any participation of France whatsoever was out of the question: France was in mourning, and did not wish to celebrate anything; if any Frenchman were to suggest participation he would be criticised; furthermore, Albert Tirman, at the head of the French committee that had visited San Francisco the year before to select the site of the French Pavilion, had come back from the front in the Vosges and was hard at work in the barracks of the Invalides, acting as an intermediary between the civil and military authorities.
Then Captain Baker appealed to Ambassador Myron T. Herrick. Although the ambassador was enthusiastic for the Exposition, he said that, in such a crisis, he could not ask France to spend the four hundred thousand dollars set apart for use in San Francisco. Captain Baker said: "Don't you think if France came in at this time a wonderfully sympathetic effect would be created all over the United States?" The ambassador replied, "I do." "Wouldn't you like to see France participate?" The ambassador declared that he would. "Will you say so to Mr. Tirman?" The ambassador said, "Willingly."
A week later Baker and Tirman were on their way to Bordeaux to see Gaston Thomson, Minister of Commerce. They made these proposals: The exhibits should be carried by the Jason through the canal to San Francisco; the building of the French Pavilion should be undertaken by the Division of Works of the Exposition, on specification to be cabled to San Francisco of the frame work, the moulds for the columns and architectural ornaments to be prepared in France and shipped by express; the French committee of organization was to work in France among possible exhibitors; a statement was to be made to the ministry of what each department of the government could do in sending exhibits and what exhibits were ready; a statement should come from the Minister of Fine Arts as to how much space he could occupy and how many paintings could be secured for the Palace of Fine Arts; a complete