The City of Domes [13]
that came up with the threat of war. Working with the committee, and aided by Ambassador Thomas Nelson Page, Laurvik quickly made progress. He secured magnificent canvases by the President of the French Academy in Rome, Albert Besnard, painted, for the most part, in Benares, with scenes on the Ganges, and a collection of pieces by the Norwegian sculptor, Lerche.
Notable Collections
From Rome Laurvik went to Venice, where he was greatly helped by the American consul, B. H. Carroll, Jr. Though the International Exhibit held in Venice every two years had closed several months before, many of the works of art were still there, their owners, either afraid or unable to take them away and yet concerned about their being so close to the scene of war. It was the general concern that enabled Laurvik to secure some of his finest material. Together with the Italian work, he arranged to have shipped here on the Jason, Norwegian and Hungarian paintings and fifty canvases by the man regarded as the greatest living painter in Finland, Axel Gallen-Kallela. He also made a short journey from Venice to the home of Marinetti, the journalist, poet and leader of the. Italian Futurist painters, who, after much persuading, promised to send fifty examples of the work done by the ten leaders in his group.
On leaving Venice Laurvik started for Vienna. In spite of the war, he was promised support by the Minister of Art. Unfortunately, the art societies fell to quarreling, and gave little or no help. Then Laurvik appealed to the artists themselves. In Kakosha, one of the best known among the Austrian painters, he found an ally. The collection he made in Vienna included several of Kakosha's canvases, lent by their owners, and a large number of etchings.
The Hungarian Collection
In Hungary Laurvik had a powerful friend in Count Julius Andrassy, a man, of wealth and influence, the owner of one of the newspapers published in Budapest. From, his own collection of Hungarian art Andrassy made a large contribution and he inspired other collectors to do likewise. The getting together of the material was full of difficulties. Much of it had been taken away for safekeeping. The museums were all closed and some of their treasures were buried in the ground. Already the Russians, during their raid on the Carpathian Mountains, had possessed themselves of rare art works, some of the best canvases cut from the frames and carried off by the officials. Among the sufferers was Count Andrassy himself, who lost valuable heirlooms from one of his country estates, including several Titians. In spite of that experience, Andrassy, refused to hide his possessions. He preferred the risk of losing them to showing fear, perhaps helping to start a panic.
The Hungarian collection came near missing the Jason. It was mysteriously held up in the train that carried it through the Italian territory to Italy, arriving in Genoa three days after the Jason was scheduled to so sail from there. But the Jason happened to be delayed three days, too.
By the German steamer, the "Crown Princess Cecilie," it happened that an interesting collection of German Paintings, after being exhibited in the Carnegie Institute of Pittsburgh, was started on the way to Germany; but the war caused the ship to return to an American port. After a good deal of negotiating the canvases were secured for the Exposition and taken off the ship.
On the opening day of the Exposition it was found that the Palace of Fine Arts, far from having too little material, had too much. Not only were China and Japan and several of the European nations well represented, but on the way were many art works that there would not be room for. The consequence was that a new building had to be erected. It was finished in July and it became known as the Fine Arts Annex.
I
The View From the Hill
"The best way to see the Exposition, in my opinion," said the architect, "is to stand on the top of the Fillmore Street hill and look down. Then you will find out what the architects were up to.
Notable Collections
From Rome Laurvik went to Venice, where he was greatly helped by the American consul, B. H. Carroll, Jr. Though the International Exhibit held in Venice every two years had closed several months before, many of the works of art were still there, their owners, either afraid or unable to take them away and yet concerned about their being so close to the scene of war. It was the general concern that enabled Laurvik to secure some of his finest material. Together with the Italian work, he arranged to have shipped here on the Jason, Norwegian and Hungarian paintings and fifty canvases by the man regarded as the greatest living painter in Finland, Axel Gallen-Kallela. He also made a short journey from Venice to the home of Marinetti, the journalist, poet and leader of the. Italian Futurist painters, who, after much persuading, promised to send fifty examples of the work done by the ten leaders in his group.
On leaving Venice Laurvik started for Vienna. In spite of the war, he was promised support by the Minister of Art. Unfortunately, the art societies fell to quarreling, and gave little or no help. Then Laurvik appealed to the artists themselves. In Kakosha, one of the best known among the Austrian painters, he found an ally. The collection he made in Vienna included several of Kakosha's canvases, lent by their owners, and a large number of etchings.
The Hungarian Collection
In Hungary Laurvik had a powerful friend in Count Julius Andrassy, a man, of wealth and influence, the owner of one of the newspapers published in Budapest. From, his own collection of Hungarian art Andrassy made a large contribution and he inspired other collectors to do likewise. The getting together of the material was full of difficulties. Much of it had been taken away for safekeeping. The museums were all closed and some of their treasures were buried in the ground. Already the Russians, during their raid on the Carpathian Mountains, had possessed themselves of rare art works, some of the best canvases cut from the frames and carried off by the officials. Among the sufferers was Count Andrassy himself, who lost valuable heirlooms from one of his country estates, including several Titians. In spite of that experience, Andrassy, refused to hide his possessions. He preferred the risk of losing them to showing fear, perhaps helping to start a panic.
The Hungarian collection came near missing the Jason. It was mysteriously held up in the train that carried it through the Italian territory to Italy, arriving in Genoa three days after the Jason was scheduled to so sail from there. But the Jason happened to be delayed three days, too.
By the German steamer, the "Crown Princess Cecilie," it happened that an interesting collection of German Paintings, after being exhibited in the Carnegie Institute of Pittsburgh, was started on the way to Germany; but the war caused the ship to return to an American port. After a good deal of negotiating the canvases were secured for the Exposition and taken off the ship.
On the opening day of the Exposition it was found that the Palace of Fine Arts, far from having too little material, had too much. Not only were China and Japan and several of the European nations well represented, but on the way were many art works that there would not be room for. The consequence was that a new building had to be erected. It was finished in July and it became known as the Fine Arts Annex.
I
The View From the Hill
"The best way to see the Exposition, in my opinion," said the architect, "is to stand on the top of the Fillmore Street hill and look down. Then you will find out what the architects were up to.