davidaulloa/AmericanStories huggingface dataset:
Der Nordstern. [volume] (St. Cloud, Minn.) 1874-1931, 1912-06-13
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Der Nordstern. [volume] (St. Cloud, Minn.) 1874-1931, 1912-06-13

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New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

artists who have ever since sought to
do the same thing are to be numbered
by the score, if not by the hundred
In Germany, especially, have they
flourished. A few years ago an ex-
haustive survey Of the great mass Of
work shown in that country in the
season of exhibitions discovered on
every hand young men who were EMU
lating the clever illustrator Of "Sa-
lone" To the present writer ii looked
as though the younger section of the
German school had broken out in a
rash. Lifted above the ruck in this
movement is Marcus Behmer.
Closely compared with Beardsley
where comparison is most justly TO be
made, in illustrations drawn with the
pen, he is clearly inferior to his mas
ter. His line is not so brilliantly pure,
so impeccably delicate and elegant
Neither does he place his blacks so
well, nor does he exhibit anything
like Beardsley's frequently miraculous
felicity Of design. Beside Beardsley he
is, in short, heavy handed But hav-
ing noted that fact one may pass with
warm appreciation TO certain notable
merits in his work. He is something
of a naturalist, with a loving interest
in the insect world, and this trait,
constantly cropping out in his draw
ings, gives to the latter charm Of
their own. There is a fan in this ex-
hibition, decorated with a butterfly,
which would alone mark him as an
artist worth while. In fact, whenever
he touches theme Of this sort or cas-
ually brings an chronological detail
into his design he stands upon his own
legs, so to say, and strongly interests
us. His ideas, as ideas, are not par
ticularly impressive. His most ambi-
tious piece, the Temptation Of st.
Anthony" prodigiously clever as it is,
yet seems a rather hollow affair. Ben
mer's grotesqueries are not, like
Beardsley's, vitalized by a grim sin
certify. He plays well enough with the
fantastic, but never seems TO believe
in it, and consequently does not make
US feel its real force. But let him lean
upon nature and upon his decidedly
dexterous technique and he can do ex-
cellent work. Some of his etched pOr-
traits are beautifully drawn and his
k-plates and title pages are almost
always effective. He is an eclectic,
like so many modern Germans, and
other influences besides that of Boards
ley are obvious In his art. The exhibit
tion has genuine though limited in
terest.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

understand because Of the superficial
differences between il and the art Of
the West The late Ernest Fenollosa
acquired so profound a knowledge Of
Chinese and japanese art that he
came in the long run TO look at It
quite naturally from the inside, to APP
preciate 1t from the point Of view Of a
Chinese or japanese painter or sculp-
tor Hence his writings have more
than what we call the authority Of
scholarship; they have the authority
of something like inspiration. Prob
ably new and more fruitful mode Of
study will date from the publication
, of his "Epochs Of Chinese and Japan
csc Art" which the Frederick A..
Stokes Company has just brought out
in two superbly illustrated volumes.
: The work was roughly put together
for a final rehandling which the au-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27
LUX IN TENEBRiS.

H. Thompson, in The London Spectator.
The drear day ringeth to evensong in
the dark and murky town,
And even we, though not for long, may
lay our burdens down;
We that are broken and poor and old,
we that are bent and gray,
May rest in our garrets bare and cold
till the dawn of the weary day.
Now let us speak TO our only Friend,
Who hears us when we pray,
That we endure until the end, nor turn
from the bitter Way,
We are beaten and broken and set
apart from the Pride of Life 50
fair,
But we thank our Friend, with brim-
ming heart, that we yet have
strength TO bear.
oh, may we bear till the heavy load
may be laid forever down.
And each may take a certain Road that
leads from the murky town,
From the dreary Town of Evil Chance,
and over the hills so blue,
Till we win to the Land of True Ro-
nance, where the old, old tales
are true.
Each by himself we must fare, we
know, but the way IL is plain to
see:
Straighter than homing birds we'll go,
to the land where we fain would
be;
oh, the way it is plain for the poor 10
find. to the Gate we may light
ly win,
And we trust TO the Grace OF our
Father kind, TO open and let
us in.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

they use their brush. and therefore they
naint. hut they do not realize thai
nointinc Is a difficult thing with the
meaning that II lies below technique In
a mans character). true artist must
nourish i'm his bosom mildness, kindness
and maenanimlty: also he should los.
sess pleasant thoughts and ideas such
&c Jcbokushi called "oil-like" thoughts.
and no capable of understanding and
reconstructine in his own mind the emo.
tions and conditions OF other human be-
ings. both in pointedness and cblique-
nnss and I'm the standing side-by- side
nese;' M things. Having accomplished
this understanding of others. he should
Let item out unconsciously through the
tip of his brush.
obviously these reflections require a
gloss If we are profitably to connect
them with Chinese and japanese prac-
t,ce in art. Fenollosa provides II az
he goes along, acting not only as the
historian. but as the INTERPRETER. At
times his book makes hard reading.
The theme passes into rather abstruss
phases. But presently the reader gets
his clue and sees the painting, the
statue. the print, whatever Is in hand,
with new sense of the human and
spiritual processes out Of which the
work of art was produced. This Is
the kind Of book which is conventions
aIlv described as "a mine Of informs.
ton" but it is much more than that
II is a book Of fundamental truths.
book of ideas. Thanks also to its
really amazing body Of illustrations
Fenollosa's service to the reader is
doubly vivid and practical. For those
who wish to get at the essential quail
ties of Chinese and japanese art and
at the curious interplay OF both-a
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27
ROWlANDSON.

His drawings at the Keppel Gallery
well represent his lighter VEN. The
titles point to his interest in the sports
and hearty interests Of his contempt
raries. He draws THE Stirrup Cup
1.-THE Gaming Table" or AFTER Din
ner." Everywhere he sees his fellow
countrymen as well fed, fold Great
ures, full of the joy of life and some
how a little ridiculous. His fun, lie
the world he was wont to study, is
boisterous, and the rude vigor Of his
theme is reflected in his style. He
carried his tremendous high spirits into
everything that he did. Whether he is
poking fun at the foibles Of society or
is delivering a shrewd stroke Of politi-
cal satire, whether he is grave or gay,
he draws with an easy swing. And In
his craftsmanship, as in his color, h
can often be very winning. We may
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

what he was about, and his hand was
qualified to register the observations or
"A wonderfully seeing" eye.
He saw. too, a great deal more than
might have been expected to appeal TO
q painter who has been reckoned
among the founders of impression
ISM" and hence has been chiefly
praised on technical grounds. His
pictures of Venice are true portraits,
full OF the intimate character which
lies in the very physiognomy OF the
town. He was not content, like Cana
letto. to paint a view of a palace with
the dispassionate feeling Of a tOpog-
rapher. In Guards pictures some
thing is generally going on. A crowd
Is gathered i'm front of the Scuola di
San Marco to be blessed by the Pope,
or the Pope receives, in the grand hall
Of the Convent Of SIS. Giovanni e Paolo,
the Doge of Venice and the whole SEN
ate. Our painter loves TO depict the
pomps and ceremonies Of his day, and
when he is not painting some formal
scene in civic life he studies a popular
festival, q fair in the great square or
the crowds watching the ascent of
balloon. He painted interiors from
time TO time, and painted them beauu-
fully. as in the masquerade picture
which we reproduce. But on the whole
he loved TO do his work out Of doors,
bringing into Il the fresh charm of
luminous skies and cleaning waters.
There was, indeed. a grain Of poetry In
the soul Of this essentially clever and
mundane PAINTER. Guard had an eye
for local and fashionable humors,'
SAYS Symonds. In other words, he was
a sympathetic, quickly sensitive type.
He survives because he had genius as a
colorist, as a mere painter, and because
there was something engagingly hui
man about him. In recent years his
vogue in Europe and in this country
has greatly increased. The biography
by Mr.. George A. Simonson which We
reviewed when 1t appeared few years
ago did much TO excite interest both in
the man and In his work.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27
Old DraWingS-Guardi--MaS-
terS in China and Japan.

An exhibition is never more welcome
than when il is composed Of drawings.
The waits and strays Of the studio are
often the most interesting things mat
ultimately issue from IT. For this rea-
son it is good to see such a COLLECTION
of old drawings as the one which is
now on view at the Keppel Gallery
AS ii happens, the most Impressive
names in the catalogue are rot those
which are best represented. The
drawings attributed to Rembr22dt
Domenico Campagnola and Van Dyke
are all disappointing. On the other
hand, the souvenirs of certain OF the
early Dutch landscape painters are
charmingly persuasive. There are de-
lightful bits by Jan Van GoyCn, PETER
Molyn. Jan Both and other kindred
figures, truthful impressions, delicately
drawn. In a category by themselves
are thirteen drawings illustrating the
Creation, wonderful little scenes done
in sepia upon parchment by Jan
Wierix. who combined remarkable
pictorial faculty with the touch Of a
miniaturist. There is another cry diff
ferent group of drawings which is IN
its way as attractive, a group Of scenes
in color, by Thomas Rowlandson. This
rollicking artist had somewhere in mis-
composition a faint instinct for beauty.
There is a famous drawing of his show
ing hideous "Old O." in the company
of one of his charmers. The portrait
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

tention is necessarily brought back.
Fenollosa's illumination is indeed OF
the centre" and while the leisureiy stu
dant will value his work for its schol-
arIv exposition of local, chronological
DEVELOPMENTS, for its systematic order-
ing of the schools, the reader In search
of broader guidance will rejoice IN the
authors passages Of more metaphysl-
cal criticism. He speaks of the Jap
anese artists as types making artlcu-
late the emotions of a people ION hre
with religion" and brings out "ha'
II is so easy for the uninitiated West
ern observer 10 miss-the correspond
ence in Oriental art between the inner
vision and the pictorial or plastic rep
resentation Of the facts Of nature
In his second volume he has a happy
allusion to those masters whom ne
calls 1.-The Wordsworths Of China ana
he quotes some extracts from famous
essay of the eleventh century chinese
idealist, Kakki, which show how in
the East the characteristic forms OF
things were held to correspond 10
phases of the human soul THE won
derful twisted trees, mighty mountain
pines and cedars," says Fenollosa'
loved by these early Chinese ana
later Japanese, which our Western
superficial view first ascribed to some
barbarian taste for monstrosities'
really exhibit the deep Zen thinker in
their great knots and scaly limbs that
have wrestled with storms and fogs
and earthquakes-an almost Identical
process through which a mans life
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27
A GERMAN sEARDsLEY.

Marcus Behmer, the young artist OF
Weimar whose work has just oeeh
pIaced on exhibition at the gallery OF
The Berlin Photographic Company, is
a shining product Of that school whose
salient pioneer was the late Aubrey
Beardsley. There was nothing original
about the decadent tendencies when
the work of the young Englishman DIS
closed. These are traceable cohslu-
erably further back, to the diaboIishl
of Felicien Reps, to mention only the
most brilliant of Continental eXem-
pIars of morbid design. But II was
Beardsley who fused sort of charneI-
house Enthusiastically with a distinct
w decorative motive-and did 1t IN
black and white, with the pen Inc
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

aptly mention here an interesting
quarto just published by the buttons
"Rowlandson's Oxford" by Mr.. A. H.
Gibbs. The author gives us plc'u-
rescue and interesting account OF eish-
teenth century university types ana
habits, and reproduces the numerous
studies of the subject which Rowland
son drew in water color They are las
chatting little pictures, and TINS not
alone for the humorously observed hg-
ures which stray through them ou,
for the daintily painted backgrounds,
in which the old buildings of oxford
are presented with surprising skill and
taste. Rowlandson was not, by any
means, a great artist, but he had high
ability and a SAVIOR of originality when
vitalizes his work to this day.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27
GUARDI.


They have just been celebrating In
Venice, where he was born, and in the
Val di Sole. the little Alpine valley
where his family had its origin, the BIZ
centenary Of Francesca GuardL This
master first saw the light on october
3, 1712. He grew up, the contemporary
of CanalettO and Tiepolo, to play a
memorable part in those eighteenth
century developments which shed a
kind Of dying glow upon the history of
Venetian painting. The period Of
eclipse was at hand, but these artists
In a last burst of energy affirmed their
past. Tiepolo was, of course, the
greatest man in the group but neither
he nor Canaletto, who was the master
Of Guard, can dim to-day the fame Of
the latter. Tiepolo, the painter Of
great decorations, had bolder sweep.
Canaletto painted his Venice with a
touch more austerely fine. But Guardi,
with his more flexible brush and with
his feeling for light, remains unique in
his time for certain vivid and spark
ling notation of the heeting effects OF
the Venetian spectacle. He, like
Longhi in his interiors, and like Ro-
saba in her bewitching portraits, seems
to have been absolutely at one with the
vivacity, the recklessness and the
subtly morbid yet compelling charm Of
the social movement His Venice lies
happy under the sun. His Venetians
come into the picture with just that
fastidious swagger which belonged to a
people absorbed in dancing, gambling
and the general designations of de-
cadent world. 1t has been said that
| Tiepolo, who married Guards sister,
Cecilia. sometimes helped him on his
figures, but the surmise is in no wise
convincing. Guardi knew very well
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

In another room there may be seen
group Of caricatures by Max Beer
bohm, including some Of the wittiest
portraits he has ever drawn. Their
humor momentarily forces into the
background all purely artistic ques-
tions. To look at a design like his
William Shakespeare Writing Som
net" or like his Goethe Watching the
Shadow Of Lii on the Blind" is to be
captured by the draftsman's sheer fun.
Max" is surely one of the most liter
airy Of pictorial satirists. A caricature
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

struggles with enemies, rhisfortunes,
and pain have stamped themselves into
the wrinkles and strong muscular
planes of his fine old face. Thus nat
ure becomes a vast and picturesque
world for the profound study of char
dctcr." Let us turn now to some OF
the ancient Chinese masters sayings:
Mountains make water their blood;
grass and trees their hair mist ana
cloud their divine coloring. Water
makes Of mountains its face, of houses
and fences It's eyebrows and its eyes
and Of fishermen it's soul Therefore
mountains arc more beautiful by having
water, bright and pleasant by having
houses and fences, open and free by
having fishermen. Such are the COM
binations Of mountains and water.
mountain is a mighty thing, hence
its shape ought TO be high and steep,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

is very interesting. II is not, as line,
exactly distinguished or powerful, but
it has the great virtue Of expressive
ness. With it the caricaturist does
absolutely what he wants TO do. 1t
is the same with his color. His rather
fiat tints have no intrinsic beauty, but
in their fitness they are we'll nigh per-
feet. Irresistibly playful and some
times exquisitely cutting, Max" first
amuses us and then makes a more
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

of his does not simply make a point, it
speaks volumes. And the joke is always
one which no one in the world, save
Max" could have made. Neverthe-
less. a large part of our pleasure in
seeing these originals lies in what they
show us Of his method. 1t is, in its
way. as decorative as Beardsley's.
That is TO say, Max" has an extra
ordinary gift for filling given space
for getting into his composition both
freshness and balance. His line, too
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

freely disposing itself like a man at
ease, or standing up with grandeur, or
crouchng down like a farmers boy; or
as having a cover over II, a chariot be-
low It, seeming as IL II had some sup
port in front to lean over or something
behind to lean against, or as. gazing
down upon something below: such are
some OF the great form aspects OF
mountains.
Rocks are the boEes of heaven and
earth: and. being noble, are hard and
deep. Dews and water are the blood
of heaven and earth; and that which
freely flows and circulates is noble
blood. Rocks and forests Gin
reason.
The men Of the world know only that
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

Of the damsel shows that Row landson
could draw grace and beauty when he
chose to do so. But mostly he chose
TO be more humorous than lovely.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

phenomenon never before clarified as
it is clarified in these pages-he Is an
ideal guide. X. Z.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-10-27

serious appeal, through the fine sim
plicity of his art and through its un-
wavering individuality