Gallery 71 is notable chiefly for some good landscapes. Gallery 72 contains little to hold the attention, unless it is the group of canvases by Walter McEwen, who shows adherence to the older traditions, not only in smoothness of technique, but in sentimentalism and general prettiness. Gallery 73 is given up chiefly to Alson Clark's over-sketchy and intemperately colored Panama pictures. The most interesting thing here is Ernest Lawson's "Beginning of Winter," on wall B, a representative work by one of the most successful American followers of Impressionism. Gallery 74 is a room of good landscapes, with a few outstanding canvases like Will S. Robinson's "Group of White Birches" on wall C. A new start should be made here by passing through rooms 70 and 71 to 43, from which the numerical order can be followed back to room 51, adjoining the central hall. Galleries 43 and 44 have a range from many mediocre to a few really good things, lacking anything that demands special attention. Gallery 45 is a room rich in comparative values. Note the delicacy of treatment and of color in William Sartain's three landscapes, on wall A, and in Birge Harrison's atmospheric paintings on wall D. Compare these with the heavily painted and richly colored canvases by Walter Griffin on wall C, and then with the more straightforward, vigorous work of Charles Morris Young on wall B. Harrison, Griffin and Young, at least, are of the distinctly modern school; but note how individually each has utilized his inheritance of vibrating color and light. On wall A are two fine figure studies by Robert Reid, an innovator and a really great painter, though he did not show it when he painted the panels for the Fine Arts rotunda. Gallery 46. There is much poor material here; but on walls B and C are some paintings by Frank Vincent Dumond that are interesting for their fresh coloring and their solving of light problems. Gallery 47 contains evidences of progress in varied lines, from E. L. Blumenschein's big Indian pictures, and Cohn Campbell Cooper's studies of American cities, to the experiment in painting flesh against a richly varied background, by Richard Miller, a gifted American who has long lived in Paris. Gallery 48 contains much promising work of various tendencies, but no outstanding features. Gallery 49 contains, on wall A, a splendid collection of the work of Dwight W. Tryon, one of the older school of landscapists, who helped to break the way for the moderns and has kept up with them to a great extent. With the exception of one canvas, the pictures on walls B and D are by J. Alden Weir, another roadbreaker, and an experimenter with new effects of light and atmosphere. In such canvases as "June" and "White Oak" one finds some of the best that American art has built on the theories of Monet. Gallery 50 contains some good landscapes, but nothing that demands special attention aside from Sergeant Kendall's refined figure studies.