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WOMAN IN ART Since the World War armistice, November 11, 1918, and the signing of the peace treaty, war memorials have been the incentive for many artists in many lands. The idea of a pictorial record composed of portraits of leaders of America and other allied nations, to be painted by prominent American artists, was an inspiration of value as a national possession, authentic for history and for art.

"With the endorsement of the Smithsonian Institution as custodian of the National Gallery of Art, the American Federation of Arts, and the American Mission to Negotiate Peace, then in session in Paris, the National Art Committee came into being, for the purpose of carrying out this idea, thus initiating and establishing at Washington the National Portrait Gallery."

The painting of twenty-three portraits and the large canvas representing "Signing the Peace Treaty, June 28, 1919," was apportioned to eight eminent American portrait painters, two of whom were women, Cecilia Beaux and Jean McLane.

To Miss Beaux were assigned the portraits of Cardinal Mercier, Archbishop of Maline; Admiral, Sir David Beatty, Commander of the Fleet and First Sea Lord of Great Britain; Premier Clemenceau, Prime Minister and Minister of War of France. Thus was given as high an honor as the present status of art in the United States could offer, "to the foremost among living American portrait painters."

The three men to be represented to the future by Cecilia Beaux are doubtless as varied in temperament and mentality as any three one might choose, but one characteristic is dominant in all—spirit, dynamic spirit under control, and a masterly demand on attention. The position of each subject suggests that dominance. Each "sitter" is on his feet, in a perfectly natural and accustomed pose. Each faces the audience that life has prepared him for; the Cardinal, the Statesman, the Admiral. Each views human needs from a different angle, the first from sympathy, Clemenceau from the point of justice, the Admiral standing for that much neglected virtue—obedience. The appropriateness and simplicity of each background is noteworthy and suggestive.

In April, 1926, the American Academy of Arts and Letters presented Miss Beaux with the Gold Medal of the Academy, thus acknowledging their appreciation of her distinction in painting. The ceremony attended by leading artists, authors, and musicians was held in the Academy Building, West 155th Street, New York, and included the unveiling of a life-size bas-relief of William Dean Howells, first president of the Academy, by Brenda Putnam. Dr. Nicholas Murray Butler, Chancellor of the Academy, presided, and the medal was presented to 139