davidaulloa/AmericanStories huggingface dataset:
The evening world., 1912-04-10

II % moi mean TO say That Q baJIs
player ought 70 b % that no won't
have TO work. but he ought to spend hii
Idle time during his baseball days IN
preparing himself for some oongsnial
occupation in his latter days.
Piausys Used 10 Be Careless.
The evening world., 1912-04-10

Frankie Burns. who 10 doing considerable fishf.
ms IN the south since he was defeated by Jonnn,
e~rweight o. the West. In q zen round bout 1t
lndianspolis tonight. After this contest Burns
viii GO TO Cincinnati and Cleveland where he has
been practically matched for fights with good
feathsrwelghts.
The evening world., 1912-04-10

Sam Fitzpatrick. who has taken Tommy Cole.
man, the clever colored lisht middlcweivh. Of
Philadelphia under his management. Is arother
manager who y anxious TO match his man against
Mike GibbonA In q ten round bout at one Of tbs
clubs here. Fi,s says that II Gibbons will consent
q, make rs pounds At 3 r. n, be viii bet
the end q the tenth round.
The evening world., 1912-04-10

elm the old days the ball player a.
The evening world., 1912-04-10

Matches ARRANGED.
Biz Mackey vs.. Mike MALTA. ten
rounds, Browns Gymnasium A. a..
Saturday night.
The evening world., 1912-04-10

RYU0e W0eToG1 wy4tss sreo ASS
tWta - 0y that he had great
- dimeuaty In inducing nm Acvsy
- 0sst LAngford again. 1cvsy claimed
> ~ hAn1 and VARIOUS oth~ aisabiii-
- Re wasn't at all aaxseS 10 risk
- ASsesNxss hAsvywstsht champion
- Dvdseuy 2svsy NJ Night %
- result Of the recent AGht Drovsd.
xnnGoog1 ~ ~ oestea - on the
- 80 ma uge n aet Dos osrDsn-
uDm0 - uo0DoDD 0ongu1n9L
New-York tribune., 1912-03-24
Matters Of Art

would not make a picture. The show
suggested nothing more than a colossal
DUN by which a group Of impossible
theorists actually persuaded people to
come and look at so many square wards
% colofeo canvas set within frames. I
wondered why it had come Off" won
| oered what the Partisan state of mind
was that could permit the audacity. and
! Ihis' OF course, led TO speculation as to
what the French painters themselves
were doing.
studio talk revealed the promise Of
some reaction against the Futurists, the
Cubistes, and all the other freakish in
noVators. ] learned that the Ingres ex-
| hibition at the Georges Petit galleries
last spring had made a profound impress
sion, and that there is promise Of a re-
turn to his sobriety if not to emulation
oil MS methods. 1t is expected that there
VIII be many a painted protest in the
! salon this summer against the vagaries
which have Of late so noisily asserted
themselves. Meanwhile, it is plain that
Z
in the day to point out the Improbable
nature of the conventions which have
ruled the official exhibitions for years
But saw quantity of pictures in Paris
which made it worth while to look close
ly once more into an cid subject. There
were two exhibitions in the Grand Palais
which brought out in sharp relief the
bankruptcy of the contemporary French
school apart from a few individual types.
One of these shows was held by the
Union des Femmes Peintrcs ct SCulp-
teurs. an organization founded In 1881
and officially recognized as Of public
utility" Painstaking examination of
, hat show, the contributors to which de-
'outly follow the good old rules OF the
Salon, failed to discover a single really
fine work of art and there were hun
dreds Of pieces from which to choose.
II gave one p comforting and very
pleasant emotion of pride to think Of
what would have happened iC these
ladies had invited a few Of their Ameri-
can sisters I'm art TO bear hand, giving
them small room to themselves.
could imagine in that room some por-
traits by Miss BcauX and Miss Emmett.
, some flower studies by Mrs Dewing
some landscapes by Mrs. Conan and
Mrs. Nichols, some miniatures by Miss
Hills, and some sculptures by Miss Scud-
der and Miss Longman. They, it may
be said in ali moderation, would have
modc the exhibition. For genuine artis-
tic force as distinguished from soulless
routine for depth of feeling as con-
trasted with triviality and convention,
| taste at all they would have put the
| Union des Femmes Peintres ct Sculp-
/ teurs 10 shame. The irreverent might
New-York tribune., 1912-03-24

fered among themselves. The light,
shimmering tones OF NJ. Paul Chabas
were no doubt nothing like the brown
sauce" of NJ. Charles Cottet. But at
bottom these artists and their colleagues
all seemed TO me to be working on the
common ground of the Salon, making
pictures keyed to the eXigency Of a great
annual exhibition and possessing no per
sonal charm whatevcr-none of the orig
inality that is "of the centre"
S0rs gfuic. jc Suia fGmbt. said Balzac.
Fortunately he had the genius, and knew
it. The Salonnicr not only lacks it, but
is i'm bliesrul ignorance of the fact that
wanting it. he is played out. ] got alb
sorbcd in the problem and followed it
up with an exploration of collections
outside af Paris. Such an exploration
enables one to put the matter 10 the test
in peculiarly Illuminating way. As
you study the popular figures in nine
tecnth century French art I'm the pro-
vincial museums you are struck by two
important points. In the first place, you
observe that they are at a serious dis
advantage. IN Paris the Luxembourg IS
their salvation. for there they are to be
compared only with themselves. | speak,
of course. oG the men outside the group
which has lccn admitted to the Louvre
Ingres, Delacroix, or Millct, for example,
re, in our present inquiry, horS c"rc0prS.
New-York tribune., 1912-03-24

rubbed-in ground and TO paint directly;
In fact he taught according 10 the scnools
Of Raphael and the Carracci. lie was the
first teacher over here who belonged 20
the unbroken tradition Of Italy. He be-
longed i'm direct succession TO the great
times i'm Italy and was fond or tracing
his descent through Poussin to lngres.
He painted before the students 10 teacn
them simple and direct method. ana
would draw before them from life ana
from the antique When we went round
the schools he would take stuoeh. s :
drawing in hand and. calling the other
students to him, complete the drawing
in their presence.
He was very neat in his dress when
painting and used to say that Titan would
put on his finest clothes to paint IN; he
once told me that picture should pc
finished from the very beginning and you
should be ready TO die az any moment SO
that if old Death tapped you on the
shoulder whilst you were WORKING you
could put down your palette and go with
him at once, without one regret, ana not
having to say, Just let me do this Dlt,
or Just let me clean OH that Al lle
masters work was done in this manner;
even the two or three hrst touches or
canvas, nicely prepared as II was, coulu
be taken away and framed by the iortu-
nate possessor if it was given TO hlm'
Mr.. Okey, who late In the painters
life came to know Legros very well In
the country, speaks Of his devotion TO
the genius of Ingres. "Ah! what would
not have given he used to say, TO
have seen Ingres at work." More than
once he told Mr.. Okey of the thrill or
emotion that seized him when he be-
held the veteran painter an old man or
eighty enter the Beaux Arts In Paris
and how all present rose, bareheaded, to
greet him: never before or since had he
been so profoundly moved" His favorite
picture in the Louvre was Holbeins
Erasmus" which he studied for whole
! fortnight. That" he said. taught me
how to paint head" Legros was sculp-
tor as well as painter, and Mr.. Okey'
like Sir Charles Holroyd found It was
an education I'm art to visit with him
the Elgin marbles. once his English
New-York tribune., 1912-03-24

were going on, and endcavorcd To run
to earth all tho European painters VINO
seemed ~ be active in the van. The net
result of this inquest was that IT ap-
pcarrd 10 be a case Of Besnard first, and
the rest nowhere I'm France at least
after five years. he holds precisely the
same position In Paris every one Is
waiting 10 SOC the results of his tour In
India. Secluded at Annccy he Is getting
his pictures. studies and sketches ready
for the exhibition which he is to hold III
the spring at the Georges Petit Gallery,
and that he will make something like a
sensation is confidently expected. No
recent work done in Paris can quite
compare with his decorations in the
dome of the Petit PaIais. or with his
sumptuous panel, "L'lsle Heurcuse,' in
the Muse dcs Arts Decoratifs. OF the
former work he is prouder than Of any
thing else ne has done. "C'cSt moi he
saws to his friends. But anything of
Bcsnard's. whether it isea vast mural
decoration or trifiing sketch. is i'm
mcdlately arrcsting, because i'm every
inch o. Il YOU feel tnc vibration Of his
original character. He knows how 10
paint. and he has something 10 say.
There is organic life i'm what he does.
But [ could not discover that Besnard
has developed or is promising TO develop
a fertllizing current of ideas. Il. c.
New-York tribune., 1912-03-24

assert, and not unjusty. either that the
sex has not produced anywhere large
numbers Of great painters. but il seemed
incredible that even on this hypothesis
the collection in question should be so
uniformly mediocre, that it should no
where offer even a modest squirt OF efti-
cient and distinguished energy. No, 1t
is not q matter OF sex. l. too, momen-
tarily developed some cynical reflections
on the feminine genius in France, but
quickly realized how irrelevant they
were when penetrated to another part
Of the building and saw what certain
number Of men had been doing.
THE SALoNNiER.
They ought to have been doing great
things. for theirs was the third quln-
ouennial exhibition Of the ''Prix du Salon
ct Boursiers de Voyage" and the very
legend, on a clever poster displayed out
side. whetted anticipation. Back in the
7Vs NJ. dc Chenneviercs, then Minister
of Fine Arts. was looking about him for
a means Of encouraging young artists.
The establishment of the PriX du Salon
and of the Bourscs de Voyage assured TO
the winners the advantages of a couple
of wears of foreign travel, part of It in
Italy. Naturally, this benefcent scheme
would encourage men of talent to their
hest efforts. Naturally, one would eX-
pect an exhibition Of works 10y the vim
ners 10 be full Of good material. Should
not painters and sculptOTs who had cnce
deserved well Of their fellows go on
iustifying the honor bestowed upon
tbemq | went TO the exhibition already
mentioned. assuming that it would be- as
o matter Of course, a good one, and /
found the deadening trail OF the Salon
over everything in il. There was, for
example. M Rochegrosse, who won the
prix de Salon in lSS2. He made, for
come time, a prodigious splash. ! recall
.ho Salon i'm which he exhibited his
"rau Of Babylon" the immense canvas
,,,h,cb at last found It's place in New
York restaurant. On its first appear
orce placed at the top of broad stair
case il set Paris agog. Rochegrosse
90. man 10 reckon with AS he ap-
neared in the show to which l am now
rofarring he seemed inconsequential-
merely one more maker of totally unin-
spired compositions. There were other
notod names in the catalogue-Brouillet'
| corr,on Cottet, Friant, Gorguet, Muen-
i,r and so on. OF course, these painters
a,sr,aved due competence-a proper
ahility TO put g picture together in work
,,,anIilse fashion. But TO think OF their
renutations and then to realize the APP
| ,a,,irg dulness OF the collection It's pow
nrtv IN anything like genius, was to suf-
ser rueful quarter of an hour. 1t does
-. do IA say "Why should one expect
anvtbing different from the salonnierY"
surely one is justified in expecting
,a~go group Of Partisan prize winners
seasoned by years of experience TO snow
| como qualities above the average lha'
was the depressing thing that every
hodv represented on the walls had SET
ia down TO a dead level. They df-
New-York tribune., 1912-03-24

posure was that of the Salonnier's way
Of painting form. It Is a way so thor
oughly instructed and so adequate from
q conventional point OF view that at
times It commands a very nearly fervid
respect. You find yourself wishing that
certain American artists OF undeniable
gifts could possess a share Of the French
mans mere everyday efficiency. But in
the next instant you find yourself pray
ing that American art may never crys-
tallize as an immense amount of modern
French art has crystallized. The virtue
of sound mechanism in painting is
beyond argument. and it would be fool
ish 10 disdain the Salonnier because he
is SO neat a journeyman. But in the
New-York tribune., 1912-03-24

The rank and file OF the Salon are spared
that test IN Paris. But I'm the provinces
they are hung with the old masters, for
every little town has its Louvre, and
there they are tried as il by fire This
brings us tC our second point, which is
the utter powerlessncss Of method, as
method. to carry anybody into port II
is only individual force that can meet
the test to which ] have referred This
immemoral truth was only too sadly
confirmed as I turned one provincial
museum after another inside out . It
was rathotic TO meet, years after ! had
wellngh forgotten them, pictures that
] had seen triumphantly Haunting them
selves in cid Salons. How trebly me-
chanical they looked! How fiat or how
gaudy, was the color in them, and how
cold the light, But the cruellest ex-
New-York tribune., 1912-03-24
CALENDAR OF EXHIBITIONS
Current Displays of Paintings, Object:
Of Art and Prints

City Club..............Pain by {. w
Hawthorne n {
bronzes by r.
Aitken; end n :
March 81.
Charley & Kraemer -..-. ~
Gallery. .........,..PalnunSs py j.. MtI,
ger: ending March
Durand- Ruel Gallery. Paintings by .Maufra
ending April 6.
Folsom Gallery. Paintings by Henry
G. Keller; ending
April 6.
Gorham Company ...... Bronzes and paint
ings by w. ID. Pad
dock; ending March
HaElo Galleries. Prints by old and
modern masters.
Eatz Gallcry............Pa Paintings by Bolton
Brown and mono
types by G. w.
Eaton; en- n s
April G.
Kennedy Callery.......P rint,s by REM
brandt. Durer. Van
Leyden, Meryon.
Whistler. Haden
and Cameron.
knoedlcr Galleries. Water colors by John
:. Sargent and Ed
ward u. Bolt: end
ing March 30.
Macbeth Gallcry......P Paintings by Arthur
3. Davies ending
March 90
Mac DowclI Cub. Paintings BY Eliot
Clark, Ossip l.,
Linde, lisa b /
Cohen, Susan n.
Knox and others;
ending April >.
Montross Gallery. ry.....The Ten American
Painters: ending
April S.
National Academy of
Design. pring exhibition;
ending April II.
New York Public Lii
hrary....,,....,........ japanese pIIitS from
the collection of
Charles : @ " a T
Smith. ending May
l. and book-pates
and engravings by
the late Charles W.
Sherhorn, ending
Anril 80.
Newark Public Library. Modern German ap-
piled arts; ending
April 2j.
Powell Gallery. Paintings by Paul
Cornoyer and l. +.
Berneker; ending
Rectors Hotel ......... Pastels sHi. by the late
Francois l. Jubien.
Reinhardt Gallery The National Asso-
citation OF Portrait
Painters; ending
April 6
lorv rv.'..,,...............S Sculpture and draw
ngs by Henri Ma
tisse; ending April
Pratt Institute Brook
iynD.....,.,..........,,.I .Iaintihss pS T.. LUIS
Mora: ending April
saImagundl Club. annual exhibition OF
oil paintings; end
ing March 81.
Scott & Fowles Gal
lcry....................T Three paintings by
Gainsborough.
Snedecor Galleries -. Paintings by w. H.
Lippincott, y. A.:
ending March IS.
Womens Cosmopolitan
club ub.,.................Pic Pictures by Julia
Dewey and Joseph
inc W Colby; end
Ing March So
New-York tribune., 1912-03-24
Mites of a Winters Holiday in
FIropean GaIlerieS-Il.

- saIient exhibition of modern work
ris this winter was devoted to a
u in..riard who died there seven years
Daniel Verge. In the Pavilion de
s,.on ssD that part Of the Louvre which
pa, occupied by the Musee des Arts Deco
~. a number of his drawings and
lss 1,ssr productions was brought together
","I, o. recognition of the fact that it was
- ,,.s time for his genius to be, in the
pIo- psIoorocteristically French phrase, defini-
. '''..,v established and consecrated. For
'.,. - nurpose the organizers wisely chose
' .bsir most desirable souvenir of the
1T craftsman the series of illus
Stems which he made for that beau
'',,,1 edition Of Don Quixote" which the
cer,bners published few years ago. In
,hsse drawings he fulfilled the ambition
IN lifetime, and it was fitting that they
New-York tribune., 1912-03-24

friend spoke TO him about proposal TO
restore them 10 Greece. Passionately
he exclaimed, "Jamais! Je prendrais un
fusil: je descendants dams la rue"
There was recently organized in the
home of the late Howard Pyle. at Will
mington Del, an exhibition of about $50
of his paintings and drawings, The pur-
pose of the show was in the first place
to afford an opportunity to the people
of the artists native city TO see his
works and, secondly, to promote action
towards the establishment of an art gall
lery dedicated TO his memory. The
scheme is commendable and there ought
rot to be any difficulty about carrying
it through. for Howard Pyle justly had
a wide popularity.
New-York tribune., 1912-03-24

ingness beside the decorations that Puvis
de Chavannes painted for the upper
walls of the staircase leading to the pict-
ure gallery. And so the tale continues.
The government has flooded the prov
inces with paintings, and thereby given
10 the French school an immeasureable
amount Of, no doubt, very desirable and
even precious encouragement" But the
searcher who follows tho trail of the
governments good deeds preserves MEM
cries of but handful of men who paint
ed greatly because they could not help
themselves. 1t is genius. and again
genius, the personality. the man born
To paint. and only that man, who can
Dit against the record Of the past the
New-York tribune., 1912-03-24

provinces It is hard, much harder than
at Paris. TO take him without impatience.
THE MASTERS.
The only case in which ne seemed to
me happily To hold his own was that OF
Bonnat, at Bayonne. That celebrated
painter has produced portraits and
pictures which look as though they had
been cut out Of steel and his color often
sets ones teeth on edge. But Bonnat is
a master. he knows form. and he knows
how to draw. Finally, he has the per
sonal quality which is worth an age "f
training. and II was fine To see no" IN
the little museum which he himself
created at Ravonnc his own works sus-
tain comTanionship with The old mas
ters. the drawings and paintings 10y
IngrCs. and the many other treasures
Of art tlat he has given tJ his native
town. This gift Of his. by the way
extraordinarily rewards a pilgrimage.
The paintings include some exquisite
carly Italian pieces Spanish, Flemish
and Dutch paintings OF great value. and
a rare collection OF drawings. Some of
the most renowned drawings Of Leo
nardo. Michael Angelo, MantcGna. PISA
ncllo. Raphael and Titan arc at Bay
onne. There are som" superb Dii"crs
and Rcmbrandts. and among the
modcrns Dcacruiv aud Ingrcs. cspc-
ciaIly InCres, ur, richly represented.
Then there are bcaptiful ancient and
renaissance sculptures. and the coiicr-
tion includes important hr, n2cs and
ivurics Presumably Bonnat viii ati'l
further enrich the museum. As II
stands ii IS a little gem. Tn" things ,n
il are the lhings that q painter has
loved. Other museums of FAR greater
prctcnsions cannot claim an equal
charm. M that one can r"cr"t about
q is tha, 70 should bc tuetcd away in
far corner of France. wh'r" travellers
on ,hn way',o Spain too seldom pause.
ArroIos NJ Bouuuts generosity, a'lu-
sion may well Doe made here tu Tho SER
vice rendered los the state 90 all ihc rrn-
vlnrial museums. Everybody knows how
the government encourages painters and
distributing these over tho country. In
cossantly I'm the museums ] would read
the legend ON q frame. Given 10y the
State" II is n splendid policy. which
one observe with heightened alprocth-
ton on tracing the result Of il in many
towns. The stimulus 1t gives To- public
interest In art Is realized then more
kcenly than ever. And yet wc come back
10 the other side OF the medal, 10 the
conviction that no government policy
but only hcaven-s sent genius will hil
museums with the works that really
leayen taste and give people The right
ideas At BayOnnc IL was Bounat alone
who had anything interesting 10 say, and
found for the popular SalunnIcr. At
Toulouse where there Is a most pOrtcn-
tous array of huge Salon canvases, II
was only Benjamin Constant who could
stand association with the older masters,
and he pulled through" by virtue Of
gorgeousness Of color not, after all, very
serious in its appeal. At Dion the
museum contains many beautiful old
pictures and a generous number of mod
crn works. The latter struck me as. on
the whole. negligible, until / encountered
the graveIy beautiful Eek Voto" Of the
late AlphOnsc Lcgros. The museum at
Lyons is we'll provided with Salon mas
terpieces." But they shrivel into moth
New-York tribune., 1912-03-24

half inches in diameter. 1t must be re-
ceived before April 80. All drawings
must be sent, marked Seal Competi-
tion," to the secretary of the union, al
No. 264 Boylston street, Boston.
II is reported that there is danger that
the Colonna picture gallery in Rome may
be broken up. In consequence OF the
death of the late Prince, who was the
head of the family, the collection Is 10
be divided among the heirs, and, being
thus distributed, will practically disap-
pear from view into private houses.
The late AIphonse Legros is the sub
ject of some charming personal reminis-
cences contributed to the current num-
Der of THE Burlington Magazine" by
Sir Charles Holroyd and Mr. Thomas
Okey. The former was one Of his pupils
and has some interesting things to tell
us about his methods and tastes. Legros
he says, was glorious company" Here
are some Of the glimpses of him that his
distinguished pupil gives us:
We visited the museums and galleries
together. ! remember long morning III
the Elgin room which ended with the
Ilissus: and his last words were, Tht
navel is divine" At South Kensington we
visited the Raphael Cartoons, and he en-
loved pointing out that masters owl
hand. where it is to be seen, and tine
hands OF three of his assistants, Wnlch we
we're soon able to identify. In the Ma
tional Gallery he was devoted TO tht
primitives and the Venetians. ! thinf
he loved Titian's Bacchus and Arladn'
most OF all, but there were also seVera
little considered pictures that we used t'
talk of together They are mostly II
good places now. We continued oul
studies OF the old masters when Legroi
visited me I'm Rome; afterward We wen
10 Assist and Parma, where he hsd never
been before. and he fad often regretted J
in my hearing. This was the way TO loof
at pictures: to enjoy their beauty anC
workmanship, to see how they were done
and go and do likewise as FAR as W.
could. We never bothered our head'
! about attributions and such things bu
New-York tribune., 1912-03-24

me Tribune, and so / need not discuss
thern In detail. The astonishing thing TO
me was that they had got themselves
exhibited at all, and that people were
willing 10 write and talk about them
WIN more or less seriousness. At this
moment they are being shown in Lon
uOn and the English critics are SOL
.n'nly explaining them. They deserve
"o explanation. Surfaces covered with
enaotic biobs of paint, in which with an
Wort you may make out fractions Of a
.'cs or Of an arm, are not, strictly
'peaking. eXplainable at all. A rag car
's' covered with paint OF many coIors
New-York tribune., 1912-03-24
A WISE WOMAN.

Now for So" announced the star Gazefs
"I will furnish you with a philter which
Will make your husband love you to the
exclusion OF all others.
Il don't think I'll invest" decided ths
practical housewife. But il you have
philter which will make him bring home
some Of his salary on pay days, III allow
you q percentage on all sums realized. -
Louisville CourieT-Journal.
New-York tribune., 1912-03-24

record Of the present.
It Is the dearth of personality that Is
lowering the vitality of contemporary
French art. Five years ago the present
writer swung round the circle" when
all the great Continental exhibitions