davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

of course, would have II that there Is
peculiar, and quite beyond the scope OF
ordinary canons of appreciation. They
are the people who in an earlier genera
ton would have stupefed themselves
Correggio. Now they occupy themselves
with the Rodinesquerie of Rodin. OF
this it is enough to say that there
amt no SIGH thing" Rodn is
not mystic. thinking profound
thoughts and embodying them i'm puz-
zling forms. One Of the marbles at the
Metropolitan is group called "Pyg-
malion and Galatea." Rodin once
showed NJ. Gsell the first ebduche for that
composition, wherein he represented the
embrace Of nymph and a faun. Natu-
rally, his interlocutor was astonished,
and wondered If subject, as subject
meant anything to the sculptor. 1t did
not do, the latter replied, TO give too
much importance to the themes that he
interpreted. Doubtless, he added, they
had their value and helped to interest
the public, but the great anxiety of the
artist, he maintained, should be TO get
the play of living muscle into his work;
the rest mattered little. That carries us
quickly to the point with Rodin. 1t is
merely life that has interested him, and,
with life, character and expression. His
genius has been for these things, and
for these things alone. 1t is an
old story that when he sent "The Age
of Brass" to the Salon in 1877 the jury
accused him of having put before them
nothing more nor less than q cast from
life. They could not have paid him a
juster compliment.
M. Gsell, describing his masters
method OF work. tells us that Rodin is
wont to have several nude models. men
and women. moving about In the studio
He is always watching them, training
his eye, and presently. when he notes
good pose. he arrests the model and sets
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

effect" Of his which he founded, IN the
beginning. so successfully on truth
II Is. after all. the truth of the fesh'
endued. as we have seen, with character
and expression. but primarily and roo
exclusively an affair ot bone ana
muscle blood and skin. over and over
again il comes out In tho CONVEX
sations reported by NJ. isell that what
enthralls Rodin is the body. as the body
steadily, as time has gone ON, he has
PLAYED with It es with medium, until
a hony plane. q leg full of sinews. soft
voluptuous curve has come to mean to
him what a theme means TO the musician
improvising upon an instrument. Whittier
does il all tend? The genius who pre-
serves undimmed an authentic lnsplra-
ton is constructive while lie plays, ana
produces one after the other. organic
fabrics Of design. BY those works of his
YOU know him for tho great creative
artist. The lesser man does not fail us
in quantity, nor is he necessarily with
out a certain passing charm. but he re-
nains inchoate and capriCiCus, and by
his work. you know him, not for the
great creative artist, but for the dltfu-
sive, unstable temperament Rodin be-
gan by suggesting that he might per-
haps. range himself I'm the first category.
and there are among his earlier works
uieces so fine that it is idle to imagine
their ever falling into oblivion. But for
wears he has been Enthusiastically the man
OF the smaller gift. cOnsummate IN MS
exploitation Of that gift, but none the
loss a man on the wrong track. lie
aimed ut grandeur. as witness the "a
founding pcll-mell OF figures in the
Porte de rFnfcr" and the maSsy con-
ccntinn of the bourgeois de Calais hut
grandeur was not In him IN any deep
spiritual and lasting sense. He figured
70 himself Victor Hugo listening 10
the voices ~ nature. and II We are
to believe the nonsense Of his acolytcs
tho poet rs ne portrayed nm Is
| truly raut bv the murmurs OF the
| sea but. as - matter Of fact h" shows
us only an old gentleman looking alb
i Sliu IN inc tn-'iI' w lli' ''.'''''''
has had anv number of nobl" intentions
| which we are told he has fulfilled. but
| he NAV design an Apollo In violent at
titrde. and We get only attitude: he
| may depict for ms UgulIo and his sons.
but we have simply some sprawling
| bodies. instead Of that figure of freezing
horror whose words Matthew Arnold put
among the touchstuncs OF great poetry
I walled not. 50 Of stone grew 7 within.
Thcy walled,
That instinct Of his for character and
EXPRESSION Il searching. so far as II goes,
and he moves you when he wreaks II
uuon subjects that lie we'll within his
scnpe. With the mere human animal no
never fails. but gets always intense
vitality and movement Some of his
uortraits. too. have a rich vitality, but
II Is significant that while he immensely
admired Puvis de Chavanncs II has been
one of the bitterest regrets IF his career
that his bust Of the latter did not please
the great painter. who Thought il. In
fact. carCaturc The episode sheds a
little light on the question Of Robins
ability to rise with his theme. He faced
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

bust OF Mr.. Ryan (not yet on view ana
q number of miscellaneous fragments
and, by purchase, a couple OF his studies,
In baked clay, have been acquired. On
the walls there hang a few drawings.
We have here, in short, little Rodln
gallery, typical Of the good luck which
has steadily followed this artist No
doubt he has had his vicissitudes, in the
distant past, but for some years now the
Fates have been more than kind to him,
bringing him honors and prosperity and
everywhere placing his art conspicuously
before the world. In fact Robins career
as a spoilt child of fortune makes story
by itself.
An article in lie Temps" the other
day represented him as saying that on
his recent visit to Rome he was scrupu-
lousy left alone by the members of the
French diplomatic circle there and the
people of the Villa Medici, in which
neglect he saw an official condemnation
of his works. However this may be, It
is to be noted that the government COM
missioned his gigantic-and still I'M
finished-"Porte de rEnfer" as far back
as 1880. and it has generously entreated
him ever since. You positively stumble
upon his sculptures in the Luxembourg,
there are so many Of them in that mu-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

N work. M. Gsell could see that the'e
might be something in this more ia'o,
able to spontaneous effect than the iiiouo
followed In most studios, where III"
model takes an attitude fixed by 'he
sculntor. but he wondered II Rodln sys-
tom did not put him, so to say, at the VI
ders of his models. NO. repileu 'he
artist, 81 am not at their orders pu' NJ
those of Nature" He qualif1es the PrH-
ciple there laid down, however, by oo-
serving that everything still depends
upon the eye of the artist. Inc iheui-
OGRE craftsman. interpreting a pose thus
| observed, would not get out or IL "hal 10
accessible to the man Of genius Illus
| II is interesting to note In passing tna'
Rodin has no patience with those con-
temporaries of his who complain that
| they cannot make a good portrait unless
they have a sitter with an interesting
head and face. Rodin, we gather' "ouid
undertake to find almost any sitter worth
while. and accordingly we are not SUI
prised when in his talks with NJ Gsell
he brushes aside the idea that the GREEKS
were UNNECESSARILY luckier than our
selves in their models. The Frenchman
is not in the least dissatisfied with the
men and women who pose for him, ana,
| In fact, grows quite ecstatic over certain
of his types. bitterly regretting. as he
| looks over some of his drawings, that no
has not done justice in them TO quite OBJ
vious traits. We see him. then, In the
role of the realist. if we must find some
convenient designation for his mode Of
procedure, and this view of the matter 10
easily confirmed by reference 10 his
works Look at such sculptures in the
museum as the statues Of Adam and
Eve. the grim statuette Of aged AMI
! broken down womanhood, La -|elle
! Heaulmiere" the statues of lie Pen
seur" and The Age of Brass" and tho
busts Of Dalou and Puvis de Chavannes.
Their first merit is that Of truth, clearly
grasped and simply expressed
II is. too. q truth having y poignant
human origin. "Ln BcnWC, CeSt le
| corncferc ct depression" he SAYS. and
YOU do not find character or expression
existing in rfeless shells The best Of
Robins figures seem TO have been rea
lied by him from within outward and
hence they possess extraordinary inil-
viduaity II j. difficult to SOC how the
Jury Of 1877 could have made 50 droli
mistake about The Age Of Brass
Ramblc through tho Museum. not only
among the modern sculptures. but among
the pieces from classical antiquity ana
the Renaissance casts. When YOU
come back To The Age of Brass
YOU arc bound to admit mat You
have seen nothing more personal
than this in the translation of fact into
art. on the other hand, YOU have I'M
ouestionably seen things more beautiful,
end that raises the point as 10 how far
Robins genius carries" how far VI as
titles the vast claims OF his admirers.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

ployed for the occasion, We have received
a copy Of the catalogue, a sumptuous
folio. enriched with many plates In
photOgravure.
One thing we miss from the catalogue,
the usual preface telling something Of
the manner in which the pictures de-
scribed have been brought together. Il
would be interesting TO know under just
what circumstances the owner Of this
collection came TO give It so curiously
varied a character. She has assembled
old masters in her gallery, paintings by
Rembrandt. Rubens, Neronese and
others; she has bought fine examples OF
Corot, Rousseau and Delacroix, and she
possesses. besides, numerous works ny
Gustave Dore. Bouguereau, Meissonier
and the like. 1t would be hard 10 achieve
greater contrasts. Some of the pictures.
notably those of Dore, are merely puz-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

no glow. There Is burning life In
Robins nudities. But II is life invoked
through mechanical skill and through a
very earthly passion. If through pas
sion at all IL Is perhaps the most
conclusive Of all testimonies TO the truth
Of this impression that there is no one
above the ruck in modern sculpture who
il less haunting than Rodin. We observe
his work with interest and enjoyment.
but II leaves no mark.
That seems. perhaps. risky thing to
say OF the man who bulks 80 largely not
only in French but I'm other museums.
who has had SO many imitators all over
the world. and has stimulated such a
horde OF eulogists to unceaslng effort.
When one has accounted for all the ig-
nOrance and sentimentality that have
gone To the promotion Of the Rodin leg
end one is still confronted by body Of
opinion. among artists as we'll as among
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

delicate pink costume, bronzed face ana
eyes Of glistening enamel form strikin.l
contrast with the whites and pale green
.ish blues of the hallway, on the Threshold
Of which the figure stands, sort Of in
carnation of Asia. Then look at thu
herds Of zebus. and of tiny white oxenI
portraits of sacred elephants and al
kneeling brahmins, tn streets Of Delhi,
Trichinopoli, Tanjore, Hyderabad, Be-
mares, Pondichery and Kandi. Thrilling
portraits OF Indian women, girls, baya. 4
deres and Afghans evoke the true spir,ti
Of India.
One finds here an astounding study ~,
Asiatic arms. Forearms OF women, ner.
vous sinews Of Indian soldiers. whitehead
arms Of old water carriers, wrists oc
girls being fitted with gold bracelets,
supple round arms Of men. women ana
children, in every imaginable posture
This melody of India in light and color
places Albert Besnard foremost among
European Orientalists. CIR.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

Bernadino Lanini and Annibale Caracci.
These are typical Renaissance pieces
but of a character rarely seen In our
museums. Their beauty and. as we have
said. their technical interest will make
them an object Of pilgrimage.
While the Metropolitan is showing It's
recently enlarged collection Of works by
Auguste Rodin, the Brooklyn museum
also announces the purchase OF one OF
his sculptures, La Danaide." This Is a
replica Of the marble which he first ex-
hibited in 1888. and which is now In the
Luxembourg. The Brooklyn example
was produced in 1904 and formed part
OF the exhibition which the sculptor
made In London just after he succeeded
Whistler as president Of the lnterna-
tional Society of Artists. 1t was pur-
chased then by private collector. but
was later acquired by the Cottiers, from
whom the museum has bought 1t out of
the Ella c. Woodward Memorial Fund.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19
THE CARCAN0 COLLECTION
Some Celebrated Pictures To Be:
Sold In Paris.

This Is the season Of important ART
sales in Paris. The Dollfus collection
has just been dispersed there. NJ. Dou.
Gets eighteenth century treasures ara
shortly to go under the hammer. and
just before that event the pictures and
other works Of art belonging 10 ths
Marquise Landolfo Carcano will be sold
at the Georges Petit Gallery, in the Rus
de Seze This sale lasts for three days.
the sessions being on May 80 and 81 and
June ]. From NJ. DurandRuel, whose
firm appears among the experts en-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19
THE BROOKLYN MUSEUM.
Recent Acquisitions in Painting and
Sculpture.

The Museum of the Brooklyn Institute
of Arts and Sciences is. like the Metro
politan. always obtaining new Things.
Among It's latest and most valuable ac-
uuisitions is a group Of six Italian res
Goes which has just been installed.
These come from church interiors or
from the outer walls of houses, ana IN
their technical aspects alone have higA
significance for the student. They are
all. of course, Of religious subjects. One
Virgin and Child with Worshippers'
from a church in Bergamasque terri
torv Is attributed 10 Lorenzo Lotto. An
other painting, similar in theme. Is by
Noretto. and comes from a house in the
region Of Brescia. There is fine monu-
mental composition from the same neigh
borhood by Romanino, and there are
other frescoes by Mafeola di Cazano
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

Rodin loves the Greek masters. lie col
| lects their works when he can get hold
Of them. he Is always studying them. and
something. a faint something. OF their
exquisite strength has just touched us
own artistic character. The hierophants
To whom we have already alluded make
an easy mouthful Of the assumption that
IN emulating the Greeks he has quite re-
captured their power The disinterested
onlooker can hardly see this. NJ Gsell
paints us a charming picture Of an tVe-
hing in the studio at Meudon' with
Rodin lowering around his antiques
lamp in hand. and exposing with delight
the effects Of color" thus extorted from
the old marbles. Throwing CLEAN upon
one antique torso he asks rs there not
there prodigious symphony In black
and white? Unconsciously, as II seems
TO us. Rodin was thus exposing the little
rift within the Lutte. he was thus mark
ing his essential detachment from the
snirit OF Greek art. II is the insidious
element OF "Ie pittoresque' lurking In the
noint of view revealed by NJ. Gselrs
anecdote that promptly brings Rodin
down to his own level. and careful
scrutiny Of his art soon gives the meas
| ure OF his fall.
His sculpture is full Of "holes," spots
where deep shadows play their In
dubitably effective part Bodies are
flung about at any angle, limbs are en-
twjned or lifted in nomnally sublime
gestures to heaven, and one Immediate
result Of this contortion is an amazing
play Of light and shade. In unskilful
hands a procedure Of the sort instantly
gives itself away, but Rodin Is, among
other things, uncannily clever, and there
is nobody like him for Disgusting a mere
| tricious habit beneath an air OF primi-
tive simplicity. Primitive" Is, to pc
sure. the very word. How many times
has it not been applied to figures of
Robins like the adam" say, in which
muscular arms and legs and gnarled ex-
tremities recall, as the elect would ex-
press it, some early race, heaved up out
Of the caverns OF the earth by the sheer
force of nature? Only this primitive
ness does not wear well, especially II
you happen TO turn back from II to the
serene might Of Greek or Egyptian
sculpture or to the heroic types of
Michael Angelo What Is 1t that first
wakes a doubt? 1t is that these large
contours in Robins art spell not so much
style as manner. The dictionary ex-
plains the word "mannerism" after a
rather formidable fashion. "Monot-
onous,' 1t says, formal or pedantic adj
herence to the same manner; uniformity
OF manner, especially a tasteless uni
formity without freedom or variety: ex-
cessive adherence to characteristics
mode or manner OF action or treatment"
Let us by all means eschew pedantry
and commit no such sin as that of hurl-
ing the dictionary at Robins head. And
yet-there is appositeness in that out
rageous definition Repetition has nearly
killed Rodin; not repetition Of specific
types OF composition. though that has
been hA tendency. but Of that very
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

zling. but. on the other hand. It Is pam
that this collector has had a way OIL
getting hold OF some OF the best works
of her artists. There is one Dore, LOT
example, a study of three or four motn'
ers and their babes against an old wall
which Is, as a painting. astonlsmnsV
good for a man who won his fame %
an illustrator and was practically not
painter at all. There are some mo
things here. moreover. by modern types
of an academic cast. types like BonnaI
His early canvas of some monks IN th'
Sistine Chapel looks, In the photosrs''
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

asts who have long made it their busi-
ness 10 see that he was not left 10 to,l III
obscurity.
There is already in existence large
literature relating TO this sculptor. NJ.
Leon Maillard published a book ABOUT
him in 1S99-a book especially Vaiuapie'
bv the way, for its illustrations An
other volume, by NJ. Camille Mauciair'
appeared in an English translation III
toO5 Two years later Mr.. Frederick
Lawton brought out an exhaustive biog-
raphy. and in 1908 there appeared IN
Brussels the monumental folio ny Jul
dith Cladel There is a booklet IN 'he
"I,angham Series devoted TO Rodin, Il
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19
Auuuste Rodin at the Metropoll'
tan Museum.

In the long, narrow room which 1orhls
q kind of passage at the right OF the
grand staircase on the main floor or the
Metropolitan Museum there has just oe9i
arranged special exhibition OF sculpt-
ures by Auguste Rodin. 1t presents
fairly voluminous collection. The mu-
scum has for some time owned several
works by this noted Frenchman. and re-
Gently It has received from Mr. Thomas
F. Ryan a gift of about a dozen pieces.
Rodin himself has presented n bronze
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19
BESNARD IN INDIA
His Brilliant Success in Painting
the Life of the East.
Paris, Nav 10.

Paris, May ~.
Albert Besnard stands forth among
French contemporary painters as the
supreme master Of light and atmosphere.
He is the poet Of Respondent color
harmonies. bathed and scintillating with
luminous rays. During years stay IN
India he painted upward of eighty pict-
ures, In which scenes Of the Far East
are depicted with fairylike vision. daring
fertility of imagination, and fascinating
caprice. These works are exhibited in
the Georges Petit Gallery, and justify
Besnard's claim to be the Baudelaire OF
modern painting.
There are superb orchestrations of
tone In orange, crimson. cherry. old rose.
violet. yellow. pale green. saffron and
copper. "L'Homme en- Rose" is the full
length portrait Of young Rata. whose
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

laymen, which is bound to command re-
spect. 1t is still permissible to believe,
however, that Rodin has been vastly
overrated. that his great merits lie within
clearly defined and, on the whole, rather
narrow boundaries, and that when the
imitators and the panegyrists have gone
down the wind they will be accompanied
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

scum, and elsewhere in Paris they are
always turning up. His Victor Hugo.
IN marble, has been placed in the gar
dens OF the Palais Royal. He has con-
tributed to the inside Of the Pantheon,
and one Of his most important monu-
ments, lie Penseur," occupies posi-
ton directly in front Of that building. It
Is true that the Societe des Gems de Let
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

tres rejected his Balzac. but there was
never any occasion for regarding that in
cident with sorrow, the truth being that
,n SO far as II made a martyr of Rodin it
also stimulated to frenzy the enthust-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-05-19

Continued on seventh page.
Arizona republican., 1912-09-13
ORDINANCE NO. 524.

An Ordinance Creating the Office of
 Street Superintendent of the City
 of Phoenix.
 of the state of Arizona at it's regular session did pass an act known as Improvement Act of 1912" conferring upon legislative bodies of municipali- ties within said state authority to or der the whole or any portion, either in length or width of one or more of the streets. lanes, alleys, etc, graded or regarded. etc, and did in said act confer upon the office of Street Superintendent" or Superintendent of Streets" certain duties not here5o- fore conferred upon such official, and
 WHEREAS, the Common Council of the City of Phoenix deem it ad- visable in order to comply with the provisions of said law to create by Ordinance the office of Street Super intendent, whose duties shall be as provided in said Improvement Act of 1912 Fnd the Crdinar ccs ond re"o- lutions of the said Common Council not in conflict with said act
 NOW THEREFORE, the Common Council of Phoenix do ordain as fol- lows:
 Section | That the office of Sup erintendent of Streets of the City of Phoenix is hereby created who shall be allowed such compensation as the Common Council of the City of Phoe- nix shall fix, not to exceed five dol lars ($5.00) per day, to be paid out of the General Fund of said city, or said Common Council may appoint one of it's members to fill such office, in which event such appointee shall receive no compensation. Before talk ing office said Superintendent of Streets shall be required to furnish bond to the Common Council of the City of Phoenix in the sum of $1000.00 dollars conditioned that he will to the best of his ability conform to the requirements of said Improve ment Act of 1912" and to the pro- visions of this Ordinance, and said bond shall be approved by said Com mon Council.
 Section ?. It shall be the duty of the Street Superintendent to exercise the duties and powers of supervising and directing the work of the repair, maintenance and construction and inn prOvement of streets, alleys and other
Arizona republican., 1912-09-13
ORDINANCE NO. 523.

An Ordinance Creating the Office or Street Commissioner, of the City of
 Phoenix.
 The Common Council of Phoenix do ordain as follows:
 Section 1 That the office of Street Commissioner is hereby created, who shall receive such salary as may be fixed from time to time by Resolution of the Common Council of the City of Phoenix, and whose duties shall be, among other things. to have charge and supervision over the City Corrals. the City or Public Parks, the City Stables, Wagons, Sprinklers, Graders, Horses and all live stock or other property belonging to said City, to- gether with all employees of said City employed at said City Corrals, City or Public parks, City Stables, or on the sprinklers or graders, of all Zanjeros employed in the distrl. button of irrigating water and all persons employed by said City on any work on any street or alley of said City or any portion thereof, ex- cepting the supervising and directing of work connected with the repair, maintenance and construction Of streets, alleys and other highways in said Municipality, which is required to be performed by the Superinten- dent of Streets, and excepting the Phoenix Fire Department which shall be under the charge of the Chief of the Fire Department. He shall be