davidaulloa/AmericanStories huggingface dataset:
New-York tribune., 1912-03-03

Rembrandt, there are represented Lucas
Van Leyden. Marc Antonio Raimondi
the unidentified Master OF 1913" and
the able spirits who made the three
nielli shown here. Whistler. Meryon,
Seymour Haden and the Scotchman ID.
Y. Cameron are the moderns In this dis
tinguished group. Most OF the Ddrers
and Rembrandts will be familiar TO vis-
itors who follow current displays of
prints, but not often are these masters
represented with such brilliant impress
sions. The Three Trees" Of Rembrandt
shown here Is altogether exceptional.
and so is the Christ Preaching" Here.
too, is q first state Of Rembrandt's por-
trai. of Jean Asselyn- Crabbetje," with
the easel in the background. Below this
print there is hung an impression from
the second state Of the plate. in which
the easel has been removed. Lucas Van
Leyden seldom put to his credit nobler
composition than the David Playing Be-
fore Saul" Of which there Is fine ex-
ample In Mr.. Kennedy's group. One Of
the three nielli Is an Arabesque design
with a sphinx blowing two horns. pa:-
tern that seems spacious and well bal
anced despite its diminutive size.
The group of five Seymour Hadens
that greets the visitor at the left Of the
doorway as he enters the exhibition
room impresses anew the power and
beauty OF the etched work of this vet
eran Englishman. The Thames Fish
ermen," "a Byroad in Tipperary."
"Shere Millpond," "A Sunset in Ireland"
and "A River in Ireland"-these five.
seen together, form a group OF real
splendor. It would be hard to imagine
a more distinguished example cf
Thames Fishermen" than this first
state printed by Delatre. The Meryons
exert their @nfailing potency and the
Whistlers, including a group of litho-
graphs. are admirably representative.
Mr.. Cameron's plates, as noted in
recent review of another exhibition OF
prints In a neighboring gallery, stand
well the test imposed upon them by
being placed In this patrician company.
OF the group Of younger artists among
the workers on copper Cameron seems
most nearly of the stature required TO
At in with the great ones who have gone
before. Despite his prolific production
Cameron does not lower his standard.
There are plates here that emphasize
New-York tribune., 1912-03-03
SALON OF THE FUTURISTS
A Highly Sensational Art Show
in Paris by Confident Italians.


"zing, Bang! Boum" Amid beat
inc of drums and braying Of trumpets a
new school Of painting is born. Ladies
and Gentlemen: We are Italian futur-
,sts, Come into our show and you VIII
COO what never has been seen beiore'
We are young and our art is violently
revolutionary. BY our realizations we
nave assumed the lead and direction OF
ruropean paintings. This victory mas
hoan won by following a different yet
narallel road to that taken by the POST
InnressIonists, Synthetistes and Cuols's'
while repudiating Impressionism, we
energetically condemn the present re-
action. which, in order to Kill impress
s,onism. merely brings lmpressionism
hack again TO old academic forms. we
aeht Impressionism simply ~ surpass-
ing It.
"We have succeeded in intensitylns
psthetic emotion by fusing the painted
canvas with the soul of the speo\itor'
who should henceforth be placed in>the
very centre OF the picture The specta-
for will thus not only be present. but
will find himself taking hand in the
action represented If, for example, we
paint the different phases OF a street
New-York tribune., 1912-03-03

tors being represented. incidentally, the
show affords one of those evidences that
come to the surface now and then in the
swift current of art life in New York OF
the really considerable production of art
works in one form or another that goes
continuously forward in this teeming
city.
There are figures here inspired by
imaginative subjects. sculptured repre-
sentations of legendary or NEUROLOGICAL
personages studies OF movement In hu-
man beings or animals, decorative de-
signs and portraits. 1t is worth noting
that, compared with the exhibitions OF
sculpture that formed part Of the Acad-
envy of Design or Society Of American
Artists exhibitions Of fifteen years ago,
portraits occupy relatively smaller
place, and what the sculptors used to
call for convenience ideal figures are
more numerous. This may be taken as
q sign that sculpture for it's own sake
and in its own idiom is recognized and
enjoyed by a much larger public than Of
old.
Most of these figures are Of moderate
size For some visitors this may at
first be an obstacle to complete apprecia-
tion, but, as i'm the case of the Renais-
sance Italian bronzcs that will eventu-
ally be seen in the Metropolitan Museum
in their place in the Morgan collection,
1t is not the actual size that counts, but
the proportion and the distribution of
accents.
Within this group of twenty sculptors
are included men and women Of aca-
demic accomplishment and others who
have kept more vital the connection be-
tween the conception and execution Of
their designs and the emotional side Of
their nature. All told, the show speaks
creditably for what these American
sculptors are doing.
One Of the sculptors in whose work
there is living expression is James L.
Fraser. Whether one looks at his visit
tul head called "Melisande" Reproduced
on this page or at his veracious por
raiture in the head Of an old man, one
ieels the presence Of a definite vision in
The sculptor's mind which has been
clearly and skilfully embodied in the
plastic or hard material. Mr.. Fraser's
conception Of Melisande will probably
accord we'll with that Of most Of those
New-York tribune., 1912-03-03

cuffs. What can this be? Why my
dear simpleton, it is a picture OF the
funeral OF CALI, the anarchist. Still an
other trial. / see huge glass bowl tull
o; goldfish, the fat face of young
woman wearing red hat, and glistening
heaps Of sanguinary refuse from a
slaughter house. An explanation Is soon
forthcoming. 1t is the famous picture
OF Laughter" by Signor Boccioni. Yet
another effort. l see a sort OF Chinese
puzzle in bright toned mosaic, sunrise,
a beautiful half-face Of a girl with de-
licious coal black eyes and fragment
Of a vermilion lip. This is Signor Sever
inrs picture of La Danseuse Obsedante'
The Haunting Dancing Girl what
is this? see black beetle, planta-
ton Of bulrushes and orange stripes
not unlike chevrons worn by sergeants
in the United States Marine Corps. This
is Signor Russolo's cerebral painting
representing La Revolte.'
A complacent "futurist" explains that
the average spectator, or benighted art
critic. is not yet educated up to the level
of appreciation of true painting. because
he cannot understand the simple axiom
Of art, that "the dynamic principles OF
the real representation of bodies IN
motion set free violent groups Oh
gas atoms" In other words, the only
way to picture TO ones mind the action
of n man fiourishing a cane Is to draw
a single strong force line" representing
the stick, followed by an infinite Sc
ouence of vibrating" streaks, rays and
blotches, that convey the idea of the
motion of swinging IL.
Bear also in mind that perspective as
understood by most painters OF the "aca-
demic" and "pompier' schools. is pure
optical delusion that is eliminated by
true "futurists' from all their WORKS.
New-York tribune., 1912-03-03

riot, the mob bristling with uplifted
fists, the police with drawn swords and
the Gathering charges OF cavalry will be
translated on our canvas by dynamic
lines corresponding to all the moving
elements Of the fight, and will conform
to the laws OF violence Of the scene.
These force lines should envelop the
spectator and compel him to partici-
pate in the conflict, as 1t were, and thus
to realize the sensation of physical
transcendentalism! This cerebral paint
ing enables us to become painters of the
condition of the mind-the 'etat dame
Of the spectator. A galloping horse, for
instance, does not have four legs, but at
least twenty. After having painted the
left ear and the left shoulder Of model
we find it utterly useless to paint the
right ear and the right shoulder. We
simply continue the idea OF sensation of
motion by vibrating lines drawn at close
intervals. We thus fix on our canvases
the frenzy Of movement"
These are the startling words that
greet the visitor to the Italian Futurist
salon that is daily attracting crowds to
the Gallery Bernheim Jeune, near the
Madeleine. The forty paintings on ex-
hibition convey a most bewildering i'm
preston. 1t is realism raised to its nth
power. At first one must look at the
pictures through smoked glasses for fear
Of being sunstruck. The colors are
blazing greens. reds. yellows and whites
Is it cinematograph show or a night
mare? Just glance at this large canvas
painted by Signor Severlni. see show
ers Of multi-colored confetti and fire.
works. Is it a railroad catastrophe or
New-York tribune., 1912-03-03

not only his always discernible person
ality and point of view. but also the
mans skill, which amounts at times to
virtuosity. as in the authoritative and
beautiful doorway Of old St. Etienne IN
Paris.
one of the interesting announcements
early i'm the winter concerned the de-
Cision Of William NJ. Chase to sell his
we'll known collection of paintings. Mr..
Chase is one of the not too many ar
lists whose appreciation of what other
men have done and are doing-or may
do i'm the futurc-has led him TO buy,
now and again. pictures that Interested
or pleased him. Examples from Mr..
Chases collection. which has just been
placed on view at the American Art
Galleries. prior to its sale at the Plaza
on Thursday and Friday evenings of
this week. are reproduced on this page.
4 review Of the collection, with which Is
shown that Of Miss Frances o. Morse.
Of historical China, will appear In due
course. Meantime it is worth while to
quote few paragraphs from the brief
introduction To tho catalogue written by
Dana II. Carroll:
The collection was brought together
neither 10 adOrn home, nor 20 form coli
lection, nor with the thought OF selling.
Mr.. Chase is authority FOR the statement
that he never bought picture with the
idea Of selling II, and his friends know
that this Is So. lie bought in every in
stance because he found in the picture
something which represented accomplish
ment In art-usually that elusive and mys-
teTious character Of excellence and
achievcmsat known as quality" stamp
OF distinction and professional success I'm
the art OF the painter.
The beholdcr Comprehends presently
Chase's attitude and experiences, which.
when hc has failed TO purchase picture
which he knew TO be good, have prevented
him from sleeping. aud sent him back
again after the picture, even II n" had 10
pay more money for Il.
Suppose ] had bought an automobile.
one can fancy Chase saying. "or made
trlp to Egypt, instead Of buying some
painting. ! am sure the automobile would
New-York tribune., 1912-03-03
Matters Of Art

who respond to the haunting magic of
Maeterlincks fantasy. Whether or not
one agrees with It, there is no denying
its realization of a mood. The surface
Of his head has been modelled with no
lack of decision, but with a veiled quail
ity of texture that hints at the idyllic
and the remote. On the other hand, the
surface treatment of the portrait head OF
the old man is literal in the best sense,
which means that actualities are here.
but that they are also grouped and
evaluated, so that from them one gets a
keen and vivid impression Of something
authentically real. The mood is varied
again, and with it the treatment, in Mr..
Frasers small marble, entitled Grief"
New-York tribune., 1912-03-03
THE MODESTO.

is a personal impression happily re-
corded and Gay Head Promontory'
will be enjoyed for its evocation OF
nIace worth visiting. Children under
trees or in Swallowed rooms are sympa-
thetically rendered, and in Mr.. MacRae's
portraits in pastel he has shown a genu-
inc feeling for the characteristic breadth
and freedom of this fascinating medium.
New-York tribune., 1912-03-03


leries. .....''...'. H " to'''Sllou - ~
paintings owned by
William NJ. Chase,
y \. Oh view til
sale at the Plaza,
evenings of March
and =. The coll
lection Of hStori-
cal china owned by
Miss Frances 6.
Morse: on view till
sale at the CALLER
les. afternoon or
March 6.
Berlin Photographic 49,,
ton Easter Field;
ending March T.
Catholic Club. Exhibition OF deco
ratlvc art under
the auspices Of the
National Society
Of Mural Painters;
ending March 10.
Cottier Gallery. ry........"Pictures by modern
French apd Dutch
artists and by
Gednry Buncc.
Detroit publishing
Company. y.........',....Second annual exhl-
bition of original
drawings.
Durand-Ruel Gallery. Paintings by Renoir;
ending March ..
Enrich Galleries. Paintings By Dutch,
Flemish. German
and Italian "Primi-
llNtS ~ - =
March ..
Glaenzer Galer!es......Annual exhibition OF
the Womans Art
club: ending March
uablo Galleries. s.........Prints by old and
modern masters.
Houghton Mifiin COM ,..,
pany. ......LO9h eNlllpitioh vi
fine book bindings
by Miss L.. Aycrill
cole, including the
Smoneau collec-
tion of r. l.. Stev-
cnson; en- n g
March Q.
Katz Gallery Paintings by john +.
Carlson. \. y. ~;
ending March 9,
Kennedy Gallery Engravings and etch-
ings by Rembrandt
Durer, Van Ley
den, MeryO
Whistler. II a Il
and Cameron.
lennel Gallery .Etchngs by Auguste
Lepere; e n n <
March 23.
Knoedler Galleries. Exhibition OF old and
modern prints.
MacDowell Paintings by George
Kroll. Guy Pene Du
Bois and others
ending March 3.
Madison Art Gallery. Paintings In oil and
pastel by Elmer
Livingston Mac
Rae.
Montross Gallery. ...... Exhibition OF sculpt-
ure: ending March
IL.
Moulton & Ricketts,
Gallery. ...... .btCHlIBs py Alpdny
T. Howarth: end
ing March 16.
Murray Hill Gallery. Paintings and draw
ings by Samuel
Halper from
March 4 20 Q.
National Arts Club 49,. Etchngs by Il. t.
Hurley: ending
March TO-
ptoto-Secession Gal
g. Dove ending
March IL
Powell Art Gallery. Pastel pictures by
Allen Tucker. A. h.
Davies, wa ter
Kuhn and others
ending March g.
Reinhnrdt Gallery. Recent portraits Dy
wilhelm Funk.
The Rooftree Miniatures and pict-
ure portraits by
Hugh Nicholson.
II. NJ. s.. II. r. A.:
ending March o.
ct-auss Gallery. Water colors by Miss
Florence Robinson;
ending March o.
women's Cosmopolitan
Alden Weir; ending
to-day.
New-York tribune., 1912-03-03
An Exhibition of Sculpture by
" Americans Prints and
Paintings.

r,,,oon years ago-perhaps even as
&C ten years back-sculpture by
M1'. ,,can artists, or even by foreigners,
Al LA hardly be reckoned here a COM
'orcial go commodity. To-day it has SO far
ni,l '.onced INC in public appreciation that not
y, have there been two or three yearly
O~s re of small work in bronze at the
sn'h .oth Gallery. but the Montross Gal
g now occupied by a dignified and
~ I'D exhibition Of works in marble.
,~onva and plaster, some twenty sculp-
New-York tribune., 1912-03-03

'Fenella." BY Bella L. Pratt, Of Boston.
are two figures from his Fountain Of
Youth" each disclosing the tender dig
nifty that perhaps best represents his
style. OF Paul w. Bartlett's half dozen
contributions. one of the best is his
Here, as in the examples already men,
| TONED, one feels that the precise sug-
gestion the artist has conveyed could
not so we'll have been communicated in
any other medium.
Robert I. Aitken has Dancing Bac-
chante" in which something of the sense
of rhythmic motion is gracefully set
forth. BY Karl Bitter is a rather assertive
and commonplace nude Diana with her
bow, the whole figure wanting the re-
serve power that is enhanced by the
skilful employment Of light and shade.
There is, in fact, lack Of what 1t Is
proper to call color, meaning con-
scious and temperamental utilization or
shadow, in a good deal of the sculpture
shown here. There are specimens mere
that are in essence not much more than
relief maps of the human model, the re-
suit, one might imagine, of sort of
Typographical survey, and with about as
much sense OF accent and selection.
Sculpture. no less than painting, de-
t.mands from the creative artist the eX-
ercise of the editorial faculty. the en-
phasis Of what is significant in the
/ ,f NKfhat
he sees or imagines
Daniel G. French shows his fun length
abraham Lincoln" recently finished,
bronze embodiment Of the man that has
dignity without quite reaching the OBJ
server in the powerful way that one
ought to demand from any monumental
treatment Of this great subject. Mr..
French is also represented by two less
important works. From the studio of
Herbert Adams has come n bust por-
trait of Mrs Adams, conveying sensi-
tive sweetness without sentimentality.
Mr.. Adams sends also group Of medal
lions done i'm mood OF contemplation
rather than one Of energetic creative ac-
tivity.
BY Solon Borglum is one of his truth
ful themes of life on the plains. showing
man and horse crouching in a blizzard.
Aernon A. Ma"Ncil sends fountain
motive, wanting the massive simplicity
best adapted for sculptUral treatment.
| his head Of a Sioux brave is more Wig
orous. Evelyn B. Longman shows two
I small studies of the female torso, and
Anna V. Hyatt conveys stirringly the
dynamics OF a tiger leaping 10 catch a
bird. and oS goats butting each other.
A. Phimister Proctor sends a prowling
panther and other examples of his mas
culine and able talent and Janet Scud-
der. Isadore Konti, Carol T.. MacNeil. r.
! TAFT Mckenzie. Sherry G. Fry and A. A.
! Weinman are also represented. Bessie
! Potter VOnnoh sends several specimens
of her graceful but not very significant
art.
Another exhibition of prints, one Of the
handsomest IN quality seen this season,
/ has been opened at the Kennedy Gallery
/ OF the old masters. besides Durer ana
New-York tribune., 1912-03-03

Edith Woodman Burroughs is another
sculptor to whom imagination IS no
stranger. Her beautiful nude entitled
"L'Arriere Pensee" is richly infused with
this precious quality, and the pose has
both character and a regard for the es-
sence OF sculptural form. Expressive,
again. is her graceful little figure called
New-York tribune., 1912-03-03

the explosion Of a dynamite bomb2 No.
1t is simply a modiste displaying her
wares in a shop window.
Another attempt / see dark swarrns
OF submarine monsters. youth with
white straw hat and alabaster shirt
New-York tribune., 1912-03-03

with it's distinctive composition Of the
arms and legs of the nude figure in lines
nearly parallel. This sculptor's response
to still another phase Of plastic beauty is
found in his decorative treatment Of the
hair in his Figure for Fountain"
New-York tribune., 1912-03-03

of italian futurists" is the most sensa-
tional art show that has been held In
Paris for many a year. 1t is certainly
ualI worth seeing. G. ]. B.
New-York tribune., 1912-03-03

the Rembrandts, Velasquezes. Ruysdaels.
Hobbemas. Frans Halses and their de-
scendants. such as Ingres, Rousseau,
Daubigny, Corot and all other old-fash-
toned fogies or back numbers" There
is no question but that this exhibition
New-York tribune., 1912-03-03

be smashed; a trip to Egypt is a possibil-
| Ity of any time: but have got these paint
ings and all that they have given me-"
He has bought the paintings anywhere he
found them-m the artists studios, the
dealers shops, the auction rooms of the
world. The fact that he had n good paint
ing by an artist never stopped him from
buying another OF the same mans WORKS,
or another. or another. II ne found another
with the quality he sought.
Some OF the pictures have been kept in
Mr.. Chase's various studios, and others
have been the familiar companions Of his
home on StuyveSant Square. The writer
asked him one day which among those al
his house he liked best. The answer sums
IT have eight children" said the painter,
epaules en- haut; 81 love them all alike!'
Elmer Livingston MacRae has been a
frequent contributor to current exhibit
tiCns. and he was one of the organizers
of the annual shows OF the Pastellists,
now a set feature Of the New York sea-
| son. At the Madison Gallery he Is show
ing group Of paintings Of landscapes,
some of them with figures. and of pas
tells. chiefly portraits. Mr.. MacRae is
! not an asscrtive painter. nor does he al
ways succeed i'm comforting upon the OBJ
server "A due proportion Of his own vision.
Sometimes he does not make fully clear
what has been the central interest for
him in what he essays to transcrlbe, and
again he has I'm some cases lacked
! the positive skill of eye and hand to
realize in full measure that for which he
l 10, ctr
! Yet the total impression Of this modest
exhibition is decidedly pleasing. There
| is a rendering Of "Cos Cob Inlet" in
moonlight. which has not only beauty
and resonance OF color but holds the
veritabe air Of mystery and suggestion
that spurs the obeerver's Imagination.
"Lilacs," with its serpentine tree forms.
New-York tribune., 1912-03-03

The ambition Of the "futur,sts" IL bound
less. Among other details It aims at the
expulsion from the domain Of art" Of
New-York tribune., 1912-03-03
CALENDAR OF EXHIBITIONS
Current Displays of Paintings, Objects
Of Art and Prints.

American Art Cal
New-York tribune., 1912-03-03

Another exhibition of prints, one Of the
handsomest In quality seen this season,
has been opened at the Kennedy Gallery.
or the old masters, besides Durcr and
New-York tribune., 1912-03-03

Women's Cosmopolitan
Alden Weir; ending
to-day.
El Paso herald. (El Paso, Tex.) 1901-1931, 1912-12-12
Ugh! NOT CALOMEL, OIL Or SALTS,
But DELICIOUS SYRUP OF FIGS"
Give your stomach liver and 30 feet Of bowels thorough
cleansing without grippe or nausea. Ends headache,
biliousness, indigesti on and constipation.

This wonderful fruit laxative acts as
a liver and bowel leanser-tonic-not
as an irritant. It's action is natural and
gentIe-no gripping. It is delicious-no
dreading. It is positive and prompt
no waiting
IF your stomach is sour and filled
with vile gases, your head aches, or
you are bilious. nervous, dizzy, halt
sick vour tongue coated. your thirty
feet of bowels clogged with waste not
properly carried off-don't wait. Surely
take a teaspoonful of delicious Syrup of
Figs tonight. and in the morning all
constituted waste, sour bile, gases and
pofsOns will move on and out Of the
system. gently but thoroughly - no
eriping-no nausea-no weakness. In