The directors, in reviewing the situation, saw that, far from being a disadvantage in its effect on their plans, the war might be an advantage.In the first place, it would keep at home the great army of American travelers that went to Europe each year.With their fondness for roaming, they would be almost certain to be drawn to this part of the world.And besides, there were other travelers to be considered, including those Europeans who would be glad to get away from the alarms of war and those South Americans who were in the habit of going to Europe.Furthermore, though the Exposition had been designed to commemorate the services of the United States Army in building the Panama Canal, it was essentially dedicated to the arts of peace.It would show what the world could do when men and nations co-operated.
The Department of Fine ArtsMeanwhile, the war was upsetting the plans for the exhibits, notably the exhibit of painting and sculpture.
When John E.D.Trask, for many years director of the Pennsylvania Academy of Fine Arts, was appointed Director of the Fine Arts Department at the Panama-Pacific International Exposition, he had made a careful survey of the field he had to cover.It virtually consisted of the whole civilized world.After arranging for the formulation of committees in the leading cities of the East and the Middle West to secure American work, he made a trip to Europe, visiting England, France, Holland, Sweden, Germany, Hungary, Austria and Italy.With the exception of England and Germany, the governments were sympathetic.The indifference of those two countries was at the time was not quite comprehensible.
There might have been several explanations, including the threat of war.
There were also those who said that England and Germany had entered into a secret alliance against this country for the purpose of minimizing the American influence in commerce, soon to be strengthened by the opening of the Panama Canal.Wherever the truth lay, the fact remained that both countries maintained their attitude of indifference.Individual English and German artists and organizations of artists, however, showed a willingness to co-operate.
Through emissaries, mainly unofficial, 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 ItalyMeanwhile, 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.
