The City of Domes : a walk with an architect about the courts and palaces of the Panama-Pacific International Exposition, with a discussion of its architecture, its sculpture, its mural decorations, its coloring and its lighting, preceded by a history of its growthBarry, John D. (John Daniel)
History
The City of Domes : a walk with an architect about the courts and palaces of the Panama-Pacific International Exposition, with a discussion of its architecture, its sculpture, its mural decorations, its coloring and its lighting, preceded by a history of its growth
Barry, John D. (John Daniel)
Panama-Pacific International Exposition (1915 : San Francisco, Calif.)
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.
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