Having reached far into the heart of the modern American section by way
of the one-man galleries, a chronological pursuit of our study is no
more necessary nor possible. Almost all of the pictures in the modern
American section have been produced since 1904, the year of the last
international exhibition, at St. Louis, and they reflect in a very
surprising way the tremendous advancement of native art to a point where
comparison with the art of the older nations need not be feared. In all
the fields of painting, including all subjects, portraits and figures
generally, landscapes, marines, and still-life, we can turn proudly to a
great number of painters who interpret candidly and vigorously the world
in which we live.

Gallery 71.

The gallery nearest to the one just visited gives a good idea of the
mastery of a variety of subjects in the art of painting, and to continue
our investigations from this point is just as logical as from any other
part of the modern American section. In this gallery, easily located by
two large parvenu portraits of dubious merit, are some others which are
really vital expressions of modern art. Beginning on wall A, going to
the right, Luis Mora's "Fortune Teller" and Meakin's landscapes should
be singled out. On the west wall Frederic Clay Bartlett's painting of an
interior and Norwood McGilvary's nocturne charm in different ways, while
on the adjoining wall Ritschel's marine and Rosen's winter scenes
display excellent quality of design, with fine outdoor feeling. Miss
Fortune's Mission interior deserves its distinction of having been
bought by William M. Chase. Robert Nisbet contributes a rare green tree
design, and Hayley Lever's harbor pictures are all performances of