davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

the mysterious rhythm Of the figures, the
strenuous quest for the expression OF
emotional qualities and the vibratory &C
ton Of light; but it is meaningless jar
gon. which you are glad to forget when
vor1 hurry out of these chambers Of hor-
rors-
It is the first comprehensive exhibit
ton Of the Post-ImpressiOnists when
London has witnessed. There IS a full
set Of Gauguin's Tahitian girls, black
Digs and brown skinned savages, and the
writer of an eloquent preface 10 the
catalogue asks one to believe that II IS
decorative art. There is PiCassO's slim
nude girl with mop Of black hair and a
basket of scarlet flowers. There are Van
Gogh's irises and sun1owers, landscapes
with red-roofed factories and blackblrds
over waving grass and religious night
mares. There is Matisse's astonishing
doll with the green eyes There are
Maurice Denis's rose pink illustrations Of
the Odyssey and F'landrin's subjective
representations Of nature in badly drawn
rfct1Ires. like the one of man and girl
feeding a pony. There is a long list Of
the minor painters who have abandoned
traditions and conventions in lines.
colors, light and shade and consecrated
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

The deluge is at hand. There are ex-
hibftions in all the galleries, and the
New Yorker for whom these are not suf-
fcient may find others worthy Of pill
grimage out Of town. The show held
every two years at the COrcOran Gallery
is lust opening in Washington. Boston.
which is before very lcng 10 have an ex-
hibition at its museum in memory of
John La Fargo and Winslow Homer, is
in the mean time enjoying the decidedly
rich privilege of seeing fifty Of the best
PAINTINGS from the collection OF Mr. H.
c. Frick Among these is The Polish
Rider Of Rembrandt. which we had
hoped would first be shown in New York,
but doubtless the opportunity to study
this masterpiece viii be offered 70 US
without much delay The first Of the
large exhibitions here Of American paint
ings will soon he accessible. The au-
turnn Academy viii he opened with re
ception at the Fine Arts Building next
Friday night
The smaller shows. and especially
those devoted to the work Of one man.
are so numerous that for greater con-
yenience we record them as follows:
Hitchcock. water col
ors by Mrs Hitch
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

,.-=s she filed with the pseudo.acuyi-
H Ter - re ,o7treoai richie Through heT IN
1870 society was organized IoE w
- tine in Europe What peopie VI" - =,
1lIst 80 - II furniture they had, and now
w. -5-eir horses cost were questions lia'
IT, For the first time acquired tne ~
lie-- -- -l-av have ever since reltiIi L.
Io- Lam re Greeks had still supposed tl1l
,-,-ls of art were for pubic ptaCeI
go - Romans began the prlNate ~
$3.50, If chcfS-d GuUrc IN us mos -a1Tas
leCs'~ Is-,ao+ The parts played by the Se r.
80 - enterprise sometimes SnoHsf z-e--
-L-,e division OF labor IhaI preNe.i - ,,1l--
largely u a ei-9 al he Ilarueless: the nus
c".s ~-sf7 for The best art thal Iio Iii
I'D auv. and the wife leaIlIeefG+
.5ro-,+ II and 10 entertain the a 49,
,,,,- IF the chaos OF the Dark Ages rs
I'D Abbess and the Lady o. Inc
800 ebo1r both Of whom the au'io,
80 Nth welcome common sense -
= rho expense Of much cherlsiVU
- Tho oIoister was in those DAY
--er,,ra for women from the danger
- r;,,-~+,- If the world. but from Ille
-.-.9-,- 81. home It gave the IaoS an
,,-.,,o--r1nitv Of activity and power Ui'
,-a-alIe1ed in marriage II put heT Oh on
-,.,a7i+v with man. and removed her ecu
,--.--;, coincidence one degree The Lazy
-. he castle has lived long enough III a
- ar-nos7here Of courts Of love and as
re 77rize-giving deity Of tournaments,
-1a rIatonic mistress Of knights ana
--i-resfngers. the lady bounthul ana
beautiful idle and ornamental Inc
..,-ba~ goes into this poetic phase Of her
existence and period; she reviews ane"
and with new interest the ideal Of love OF
which she was the idol. and which
sr-arg from the calculating, material
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04
"THE IDEAL B4LLET'
4 Remarkable Work by N.
Paul Ren0uard.
Paris. November Is

NJ Paul Renouard during the last
twelve years has with full justice &C
CURED the reputation Of being the fore
most artist-reporter in France. His
black and white sketches, made during
the Dreyfus court martial at Rennes,
during the Paris Exposition of 1900. dur
ing the visit of Admiral Fournier to
Washington at the Chamber of Deputies,
at the Opera, at Algeciras, in Morocco;
at Zola's funeral, at the funeral of Ed
ward VII and at the Steinheil trial, are
examples of the highest and best type OF
newspaper reporting with crayon or
pencil for they depict humanity, in line
and image. with marvellous truth and
vigor. But NJ. RenoUard has now shaken
out new reef, as it were, in his artlsuc
terilperament He is decorative
rainter. with an exquisite sense of har-
Inonv and Uf refined poetic conception
This is amply proved by the exhibition
of his works at the Decorative Art Mu-
scum. in the Pavilion de Marsan, in the
Louvre. which will remain open until
the end of the year.
Sixteen Figures of the Ideal Ballet
form the most remarkable feature of the
exhibition. which also contains upward
Of five hundred of NJ. Renouard's paint
ings. drawings and engravings. This
choregraphic idyl, beautiful in compost
ton and color. .. hailed by connoisseurs
and amateurs 4 delightful surprise.
THE poetry OF motion" Of the art of
dancing has, in France as in ancient
Greece, supplied motives for some Of
the finest achievements in sculpture and
rainting. From the ParthenOn frfezes
and Tanagra figurines, from the panels
of Vatican and Fragonard, to the works
of Rodin. CarpeaUX. Degas and CASTOR
La Touche. inspirations drawn from the
rhvthmic measures and harmonious
poses of the dance are everywhere ap-
oarent No modern artist is better quail
fed than NJ. Renouard to evoke from
Terpsichore a decorative scheme at once
repIete with beauty and also technically
truthful and accurate. He was in his
youth pupil of Petipa. the celebrated
master of dance at the Opera during the
Second Empire. Among those TO whom
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

TO- - which she was given IN marriage,
hut she lays proper stress upon the pro-
sale side Of the chatelaine's life in her
lonely castle. inaccessible in winter, on
her many housewifeIy duties, her re
eD0-siEzLittes IN the absence OF her
warning lord
We must pass over the chapters on the
Ladies os the Renaissance and the
Salons. though the author is informing
Il her fresh Judgment Of these much be
written subjects. especially when she
uses Horace WalpoIe 10 point an inter
national social contrast She reverts 10
This again when she approaches the
8lle Stockings:
= We look into the eighteenth century
IN E-g-a-E We find the social landmark.
however varied. differing in one marked
contrast from the French Neither Horace
Ta-glle nor Or Johnson wanted ladies'
society. a. l. was understood III France,
Ta.ug-e went frequently 10 Paris: the
H-st friend c[ tIs middle life was an old
French lady, he had a home an almost
s1s--G ar OF French UrbaIlity and the
r-h-v polished exterior which is gen
orally deprecated as un-EngllSh. But ne
vas not for nothing q connCisseur. He
could uCC Up with culture il & French
lady. but he couC not put up with what
re ErEIisl lady presented to him under
--zC name
And thus We reach the Lady Of the
Slave states, and with her take leave Of
this most welcome result OF an enor-
nous amount Of study and research,
after having II conclusion quoted Mrs.
PCtuau's sane conclusion that the
woman Of Southern romance was the
-0ung girl When she was married her
husband carried her TO his plantation,
c-G there she lived n isolation"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04
POsT-IMPRESSIONISM
An Exhibition of Queer Pictures
in London.

London. November %
Revolutionary art does not come from
Moscow. but from Paris. A huhdreu
Russian artists contribute to an exhlol-
ton at the Dor6 Galleries, and while
there are signs Of social unrest in sub
iacts such as the lockout" with
millionaire threatened by his Worhrnen'
and Inventor and Capitalist with the
man of brain crushed by the man OF
money, there is no evidence of rebellion
against tradition in art, nor anything
that suggests the Tartar in savage con-
trasts of color At the POst-Impress1on-
fst exhibition in the Grafton Galleries,
where a group Of French extremists
with a mad Dutchman, assumes to reveal
to a dazed English public what the art
of the future will be like, there IS an
archism in portraiture, landscape, still
life. religious works, sketches and sub
1ect pictures. A few prudent critics, re-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04
Matters of Art
A Crowded CaIendar-PoSf-In 1preSSfoniSn'
ordo Note on BaziUe-An American Medal

their present enthusiasm Is expressed.
Something profitable may ultimately
come out of the Post-Impressionisti
movement. but its validity has certainly
not as yet been made clear. Until their
masters have brought forth better fruits
and established sounder principles it
would be well for the oracles to give
forth milder thunder and especially to
avoid the laudation Of this revolution by
speci0us disparag cement of the past.
Thus We are asked to believe by Mr.
Roger Fry that Post-Impressionism is to
rescue art from the hopeless encum-
brance Of its own accommodations Of sci
ence." Writing in The London Nation"
he thus develops his point:
The fundamental error that is usually
made IS that progress in art is the same
thing as the much more easily measured
and estimated progress in power of repre-
Sentlng nature. All our histories of art are
tainted with this error. and for the simple
reason mat progress in representation can
be described and taught, whereas progress
IN art cannot SO easily he handled. And
SO we think Of GiOttO as preparation for
d inianeSque climax. forgetting that with
every piece of repTeSentational mechanism
which the artist acquired he both gained
new possibilities of EXPRESSION and lost
other possibilities. When you can draw
Ike TirtOrettO you can no longer draw
like GiottO, or even like PierO della Fran
Cesca. Tou have lost the power of express
sion which the bare recital of elementary
facts of mass. gesture and movement gave
and you have gained whatever a more in
tricate linear system and ChiarosCuro may
provide in expressive power But the more
complex does not really subsume the sim
pier: II replaces it by a new unity. in
which the old elements of unity are lost
sight of Even if they are there, they are
no longer pat forward to make their
full appeal: they are ruf1ed and shrouded
IL the new elaboration.
Now, modern art had arrived in impress
SloniSm at a point where II could describe
everything visible with unparalleled ease
and precision, but where, having given to
every part OF the picture its precise visual
value, It was powerless to say ANYTHING of
human import about the things described
It could not materially alter the visual
values Of things, because the unity Cohered
in that, and in that alone. To give to the
rendering Of nature its response to human
valuation Of appearances. not according TO
tablished demands Of the human senses
Only the crassest reactionary could
deprecate the making of new expert
ments in painting, no matter how ad-
venturous, vet the concluding sentence
in the foregoing passage seems to us to
demand altogether too broad license for
the painter.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

It is not in the outer court, or octagon
gallery. that the visitor. Influenced by
the traditions and conventions Of paint
ing. is seriously disconnected. Here are
Manet's "Au cafe" 'Baigneuses" and
I'm Bar aux Folies- Bergere." and a
series Of portraits, still-life pieces and
landscapes by Paul Cezanne, who sought
70 impart permaneney to Impressionism
and to carry it into the museums. 1t is
in the adjacent galleries filled with
works by Gauguin, Van Gogh. Picasso,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

but 1t has been remarkably well placed
within the narrow bounds OF the medal
So. likewise, have his conventionalized
fruits and flowers been deity balanced
with the lettering. The very interesting
scheme Of this medal has been carried
out with excellent modelling. The work
has been struck In gold. It is the sort
of thing which one cordially welcomes
1t is delightful to know that the Aner1-
can medalIist us being more and more
frequently employed R c.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

Matisse, FTandrfn, Seurat, Signac- Cross
Denis and minor artists Of the new
school that he is absolutely bewildered
and not infreQuentIy shocked Chiaro-
scuro is dispensed with; objects are
painted in full light without delicacy OF
shading; colors are Enthusiastically con-
trasted: abstract design is substituted
for truth to nature, and in place OF the
TRANSFERRING effect Of Impressiontsm IN
the imitation Of appearances there IS a
reversion to the art of the nursery in the
suggestion Of primitive blends OF color
and the significance Of pose and move
ment of human beings The advanced
mentor at your elbow may chatter about
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

membertng the triumph Of Manet in the
Louvre. after a generation Of ridicUle
and neglect, are disposed to be cautious
in their judgments and to talk absent
nindedly about the "cIeverness' Of the
work in these galleries. The majority
condemn it with downright ferocity as
childish, barbarous and anarchicaL They
show presence Of mind in their hostility
to these crude experimenters- If the
Post-Impr essionists are reformers and
pioneers Of the future, everything that
has been done in art for centuries has
been wrong and stupid and the criticism
Of the day is absolutely futile.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04
LITERARY NOTES.

Hitherto unpublished letters Of Jona-
thar Swift VIII be found IN the forth
cou-rg new edition Of the Deans corre-
spC-de-ce. We understand that these
come from the material accumulated by
Forster. who al the time Of his death WAS
engaged on al edition OF the letters.
Nue. Yvette GuiIbert has been writing
Two novels which have not yet been
translated into English One IS described
As human study Of the woman Of forty,
he Other IS a study Of music hall life.
10 important national memorial to
Carlyle has yet been erected ii his ma
tive country. Il is now proposed that
statues should be raised in Edinburgh,
Et-kcaldy. Glasgow and Ecclefechan,
the last being the town 81 which the au-
thor IS buried L IS not stated whether
the idea IS that the statues should al
De cast from the same model
An Indiana dame thinks she has
caught CUT Thackeray in chronology
cal blunder. She has found in bound
volume Of ~Godey's Lady's Book under
ne "a A0-so inc SblaS 4IAfS - -~c~
Is written and composed for the piano
forte for fGodey's Lady's Book " by j.
Starr Ho-Iway How could the dark
CoIored Miss Swartz have sung her
Fuzzy Gu Tagy'' TO the Osborne fam
ily and TIE fair Amelia IN the spring
before Waterloo if il were not written
and composed" until 1858? Did Mr.. J.
Starr EOIlway convey q version Of
the French song?
What is said 10 be the finest and most
complete collection OF Celtic literature IN
the world is that accumU' ated by the
EeV. Donald MacLean, Clergyman Ia
SKYE. This library has just been pur-
chased by Lord Butte. Mr.. MacLean has
-1-7s-a for several years engaged IN the
preparation Of q Scol~-Osltlc bibllog-
Ea.hy.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

gave a lecture n London the other dag.
lecture about her COuntryvOmel- Tho
Frenchwoman," she declared, SIS not an
ange! nor a devil she is q WOMAN
more woman than any other; not often
beautiful, not with the robust Northern
physique and radiancy, yet few are really
ugly. She has charm. vivacity. she Is
we'll dressed, she IS small and thtn-as
il is the fashion, or fat. IL that Is a "a
mode and it is impossible TO say how
this is done: perhaps it is the cltnares
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

themselves to an artistic renaissance. in
which the inner emotional significance of
objects VIII be more important than the
external appearances. When the jour
ney around the rooms is finished there is
an impression of primitive chaos and
discordant ugliness. and in escaping into
the open air there is melancholy con-
viction that not a little Of the paintings
of the future may he done in mad
houses. l. y. +.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04
EXCAVATIONS IN CRETE.

From The London Globe
The excavations which have recently
taken place in Crete under the superln-
tendence of DR.. \. J. Evans and Dr.
Duncan Mackenzie, have resulted in the
discovery of some important archaeology
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

CT points in connection with the P aIaCv
at Knossos Some wall paintings Of very
fine workmanship were brought to Ilghl'
showing that the whole place had been
richly decorated with scenes of a myth
0I0CiCaI character
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

Keppel Gauery---.--.Eightee cen r
HeZZOuntS.
Eraushaar Gallery. -EtchinEs by Hedley
FitrOn and AXel Hdig.
At the American Art Galleries two col
Iections, those Of DR.. Charles Hitchcock
and Air. II. Hirschberg, are on view.
They include prints and OrientaIia, Eu-
ropean bronzes and miscellaneous OBJ
1ects. The sale begins tomorrow after
noon
In another column is letter from our
London correspondent on the teacup tenn
nest which has been brewed in that
city by an exhibition Of the opponents of
what has come to be defined as Post
TrnpressionisIn." The English papers
have been full Of the fracas, which to a
distant onlooker is distinctly amusing.
Prophecy is VIGOROUSLY a dangerous in
diligence, yet one may risk the asser-
tfon that by and by the advocates Of the
latest Of artistic fads viii at least re-
gret the exaggerated terms in which
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

cock and miniatures
by Allyn Williams
Madison Art Gallery Portraits by Charles
y. Flagg. LANDSCAPES
by Birge Harrison and
water colOrs by Cen
firO haCa0wa.
Powell Gallery. Paintings by F s.
DelIenbaugh-
Elite Art Rooms. Paintings and water
cOl0rs by Fukawa
BaSke
saIragundi C1ub..-..Water coIors by mem
berS.
Katz Gallery. ThurnbbOX sketches by
American artists
Durand-Ruel Gallery Paintings by NJ Bou-
din.
Cot-ie- Gallery. Sculptures by Fred
erich LeSsOre.
Kennedy Gallery Eighteenth cen Z = Y
meZZOCilLS.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

Apropos of all this excitement about
the Post-Impressionists the reader
should turn TO the current number Of
The Burlington Magazine" for some
pages by R Meyer Riefstahl on one of
the founders of the School" the Dutch
man, Vincent Van Gogh. They contain
some valuable biographical notes The
son Of Presbyterian pastor. born in
1858, he hesitated for time between
art and the church. When he made his
decision he began by entering the house
Of the well known dealers in Paris, the
GoupiIs but after a few years he tried
teaching in England, then turned to the
oIogy again, and for a while worked as
4, missionary IN one Of the mining dis
tricts in Belgium. In the early eighties
he studied under his brother in-law. the
painter Mauve, and not long afterwards
went to Paris, where he fell in with
Gauguin and other artistic radicals. He
appears 20 have suffered from mental
trouble, and once, in a quarrel with eau
gum, threatened his friend with a razor.
He was quoted at the moment but the
next morning he got hold Of the razor
again and cut off his own ear. Under
. the care Of very sympathetic doctor
he continued to paint and his critic. an
ferentiate between the works Of the sane
and the insane Van Gogh. He commit
ted suicide in 1890
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

In the Burlington to which we have
already referred there is another paper
| Of profound interest to students of an
tioue sculpture Mrs. Eugene Strong
summarizes therein all of the arguments
that have been developed in the discus
sion of that naarvelIously beautiful Fan
ciuIIa dAnzio" which was discovered in
1873, but has only recently received its
due honors. Two of her points may be
mentioned here. The first is that this
| is not. as was originally thought and is
still maintained by some scholars, fe-
male figure. Mrs. Strong very cogently
illustrate her conviction that the statue
Is one of a youth. Furthermore, she de-
yelous the hypothesis that the statue
renresents the chief Daphnephoros, the
| hoy leader chosen for his beauty and his
strength from one of the noble houses
| Of Thebes 10 be the priest Of Apollo
Ismenios for the space Of one year. Sha
quotes from Pausanias the saying that
they call him the laurel bearer, for all
| hove wear crowns of laurel and from
another source the statement that this
hoy, walked at the head of the process
| sion holding the lau4 tis IN A'iiS liz
! flowing on his shoulders, wearing IA
Golden crown, clad in shining raiment
- his feet, and shod in shoes Gale
irbilratfdes." This essay, minute and ex-
,7ane+ive. must be read in its entirety for
all its weighty arguments to be appre-
dated It throws precious light on one
If the noblest Of the sculptures OF an
tiqutty.
Amongst our Illustrations will Be
found new medal by the American
SCULPTOR. John Flanagan. This meoai
has been established by Mr.. George ROD
art White. of Boston. to be awarded to
| tI,,,s, who have brought scientific genius
! - hear upon the fostering Of the fruits
- +ba earth. A man like Luther Bur
banl, for example. is eligible for this
u,eda1 The first recipient Of it Is MI
| charles Sprague Sargent, whose services
/ - orhoriculture are known throughout
tho world Mr.. Flanagan had a difficult
,asl- 70 produce a design in keeping Win
The essential modernity or the subject
and AT the same time adjusted TO the
Inns If nedalIic art. His kneellng ng-
~a Go n decidedly naturallstic mollFe'
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

It is Interesting, by the way, to turn
from, Van Gogh to a man who in his day
excited, in some quarters. criticism as
severe as that which is now bestowed
upon the unfortunate Dutchman. Fred
eric Bazille came to Paris as a young
man to study medicine, but was ire
sistibIy moved to paint instead. He
foregathered with Manet and the other
pioneers IN that group and achieved
brilliant things. Then, in 1870, he died
in the service of his country. The au-
turnn Salon in Paris has included a
retrospective exhibition Of his works.
From the Gazette des BeauX Arts" we
reproduce his Portrait de Famille," one
Of his most important productions. The
harmony between him and Manet is OBJ
vtous Forty years ago, when they
painted pictures like this, the world, as
we have said, was quick to scott. This
fact is, of course, cited by the partisans
Of Post-Impressionism as a warning.
# is difficult to see, however, that the
parallel has any force.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

Madame Marcelle Tinayre, the novelist.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1910-12-04

Eighteenth cen : u = y
meZZOunrS.
.EtchinEs by Hedley
Fitton and AXel Hdig.