davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11

literal imitation. exact copying. report
ing. He saw everything largely. broad
~, in great masses and strong con-
trasts" Although we may question
the somewhat whimsical mode by
which he reaches it. we may consratu-
late NJ Benedite on his conclusion. 1t
is a sound and happy characterization
Of what il is that makes Courbet in
teresting.
We have glanced at the difference
and that which was illustrated by some
Of the figures in the recent Armory
show. We cannot but go on thinking
Of him when We take up The Letters
of Post -Impressionist" CHoughton
Mifin Company, volume offering us
good translation Of the familiar cor
respondence Of Vincent Van Gogh. 1t
is accompanied, as we suppose was in
deliverances. The translator, Mr.. An
thony NJ Ludovici. in a portentously
long preface. takes both himself and
Van Gogh with all the seriousness in
the world. This introduction however.
can easily be skipped. The letters, too,
contain a good deal that is negligible,
but in the main they are worth read
ing. II really do not know how |
paint" says the painter. Armed with
a white panel | take up a position in
front Of the spot that interests me,
contemplate what lies before me. and
say TO myself. That white panel must
be turned into something. Dissatisfied
with my work ! return home, put my
panel out Of sight and after taking a
little rest. go back TO my work, almost
with qualms TO see what it looks like"
The passage is typical. 1t is eloquent,
as are. others, of Van Gogh's incerti-
tude, almost pitiably in contrast with
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11

motive: but 1t has. too, all or the re-
fnement and dignity which might DC
exnected in a drawing-room subject
alone. NJ. Oulmont speaks of the hne
painting of the basin and similar oo-
iects in this canvas, of the exquisite
notes of white, rose and green in the
costume. of the pure flesh tints' ana
ends bv describing the work as tour
de force equal to the best productions
of Vigee-LeBrun. Greuze and Lap'i'e-
GUARD. 1t is not too high praise anu
indeed. one is half inclined to pet'er II
before a design as bewitching as IS this
portrait of Nicole.
Vestier fell upon evil days when the
Revolution broke out. AS Nj. Oulmoht
remarks. he belonged to the old aristo-
cratic regime. and could hardly expect
To please those who came into author-
ity on its disappearance. But posterity
is even n wv redressing the balance lie
is proliting by the reawakened taste for
the French school Of the eighteenth
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11
ALTERS Of ART
%aQa sa1SR III g @s$2a 2

abiding only last Sunda" in the dis
cussion of Carpeaux, in which an ar
lists life is told through historical
and descriptive comments on his pct
ures. the latter being reproduced III
good plates There is also a biograph'-
cal and critical preface, which IN the
present instance is supplied by NJ
Ieonce Beneditc one reflects Wl'h
some amusement on the changes when
have come over the artistic world since
Courbet fought his resolute fight. Time
WAS when he seemed the veriest reVo-
lutionary if not a downright anarchist.
To-day. with the Cubists and their
friends rioting about and INDUCING IN
intimidation and bulldozc." he seems
not merel- conservative but almost a
"reactionary."
TO the disinterested lover OF art he
is. of course. neither bizarre nor aca-
demic. but a very cool and sane type
who saw the truth and painted 1t III Il
wholesome and honest way. And To
his truth ne Jolneu pudih3 wiz 3"
mak,s him seem even a little romantic
beside the less distinguished, more pro-
sale painters of the schools now cur
rent. Nj. Benedite rather piquantly
explains the source of what is fine
and impressive i'm his master. "Cour-
bets strength" he says, lies in the
fact that the efiusiveness of his tenn
perament protected him from the er-
rors of realism His staggering, braS-
ging character. his sacrifice of every
thing TO his own personality, were
translated in his Interpretation of Nat
IRE into a sort of heightening, enlarG-
ing exaggeration which gave him a
feeling for style. This saved him from
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11
Antoine Vestier and His Por'
traits.

\ painter may he member oil
brilliant school, and. paradoXicalN' io'
that very reason, achieve soihe'"ins
less than his proper fame lie SHARES
his traits perhaps, with 700 many
others. Where numerous men are
painting well, all of them IN muOh '"e
same vein, AN exceptional amount vi
personal force is needed To detach
given figure i'm the group from us sur
roundiugs. Some such reflections as
these ar invited by the experience oil
Antoine Nestier. an eighteenth century
French portrait painter who IN some
strange way has suffered ineXcuSdpie
neglect Lady Dixie. for example IN
her careful and fairly exhaustive BOOK
on the artists of his period does not
even mention him. Yet his abilities
won him high popularity, at all events
before the Revolution. and ne held MS
own as "A miniaturiSt and painter oI
larger portraits not only in the world
of fashion but among the critics ot MS
day. VI. Charles Oulmont. recognizing
these facts with enthusiastic sympathy
has recently sought 10 rehabllltatc ihlS
comparatively forgotten artist in the
minds Of connoisscurs. I'm long paper
contributed to the Gazette des beauN
Arts" he paints a charming portrait oil
Vestier and does him the justice that
he deserves.
his tribute in the assembling OF an UNI
usually large number of hitherto I'M
published portraits by his master, por-
traits which he now not only describes
but illustrates in excellent reproduc-
tions. Nestier, who was born AT Avail
Ion i'm $40 and died at Paris in ISL
appears TO have been throughout his
long life a lover of the domesticities,
undistracted from the charms of his
own hearthstonc 10y his activities
among courtly patrons. over and over
again he painted his wife and children
and more than once he painted himself,
presumably for their delectation. His
qualifications were those of his essen
italy mundane school lie drew Win
precision. he modelled with energy. and
ne had. says NJ. Oulmont marvellous
facility in reproducing the textures OF
! those rich costumes worn by his sitters
He knew all about the tastes OF the
latter when on parade. so to say, and
his instinct for the current mode Of
formal elegance affected one or two Of
the portraits he painted in his own
home Both his wife and his daughter
he thus commemorated, with all the
stateliness then in vogue. But he
painted them after the prevailing Il sh-
ion only when he wanted TO cut Just
1 the right figure in the Salon. Mostly
he studied the members Of his family
with "A more intimate spontaneity, and
. IL is In his pursuit Of this quality
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11
The Last Shows of the Season
in New York.

The Mcdowell Club, which makes
itself so useful to the artists and 10
the public all through the winter,
through it's fortnightly exhibitions OF
American works Of painting and
sculpture. winds up a successful sea-
son with an exceptional display. This
is devoted to water colors. pastels and
drawings by four groups of artists,
men and women being about equally
represented. There are a dozen paint
ors in each group and in the company
we find all manner of types. The list
includes the names Of John w. Alex
ander. Robert Henri. Rhoda Holmes
Nichols. Albert Sterner, George Bel
lows, Hlda Ward, May Wilson Pres
ton. William j. Glackens, F. Luis
Mora and Mahonri Young. The ex-
hibiton lasts until May 20.
At the National Arts Club there is
an exhibition of small marbles and
bronzes by American sculptors. The
Gorham Company is also showing,
until May 81 number Of recent
small bronzes and garden pieces by
American women sculptors. The cur
rent exhibition at the Snedecor Cal
lery, which remains open until May
80. is given 10 paintings of the Grand
Canyon and TO a number Of animal
studies by William r. Leigh. Pictures
of Alaskan scenery by Leonard NJ.
Davis will remain on view at the
American Museum of Natural History
until the end of the month. The eN-
hibition of American paintings at the
Montross Gallery has been extended
and will not close until May Il. 1t is
announced. by the way, at this gallery
that the Portrait by j. Alden Weir.
which was recently shown there in
the exhibition of the Ten American
Painters, has been acquired by the
Syracuse Museum of Fine Arts for its
permanent collection. The exhibition
of English stained and loaded glass,
lately opened at the Cottier Gallery.
continues indefinitely. Downtown, in
its new galleries in Fulton street. the
Henry Schultheis Company is cele-
brating its twenty-fifth anniversary
by holding a special exhibition of
American art. 1t includes paintings
by George Inness. j. Francis Murphy,
f.. |. Couse and others, and there are
also a number of modern European
pictures on view At the Knoedler CAL
Iery there are landscapes by Mrs. Dun
lap Hopkins. The Kraushaar Gallery
shows etchings by Seymour Haden. In
the Print Room of the New York Public
Library there is an exhibition of the
fury British engraver, William Fait-
horne.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11

own inventions that this cataiosuer
has nored over the works. IL Is
pIaLo,s ORIGINALITY. his lofty, spiritual
lied conceptions, his curious magic OF
over all his iimita-
tions-that make the book worth whlle'
His fame will always suffer from his
indifference. his incompleteness' lie
was a man of genius who affirmed
himself i'm vagrant flashes, not III any
sustained flights. But the flashes work
always haunting spell, and every
volume that. like this one tempera'ely
revives interest i'm him, is volume To
be cordially received.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11
Notes on Divers Artistic Sub
jectS.

While affairs slacken in our local
galleries the season is active enough
elsewhere. The collection of works
10y Paul Albert Besnard. organized in
Paris, and brought to the Museum of
Fine Arts in Boston by NJ. Jean Cuff
frey. of that institution, was taken on
the other day to the Albright Gallery
in Buffalo; it goes thence to Chicago,
and will perhaps be seen later in
other American cities. though for
some occult reason IT is not. we be-
lieve, to be presented in New York.
The annual show at the Carnegie In
stitute in Pittsburgh is open now and
will continue until the end of June.
Boston has lately received from Chi
cago the exhibition which we saw at
the Armory this winter. The Society
of Yves ern Artists. with its peripa-
tetic exhibition, has reached st. Louis.
where it remains until May 81. From
the Canadian Art Club we have re-
ceived an announcement of its sixth
annual exhibition, opened last Friday
evening in the Art Museum at Tor
onto.
Next Thursday morning the fourth
annual convention of the American
Federation of Arts will be opened in
Washington. In the morning session
papers on art museums will be deliv-
cred by Professor +. j. Mather and
others. In the afternoon. the dele
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11

seems 10 develop nowhere as 1t de-
velops in Paris He surveys the me-
diums and the methods II the painter
from the rock pictures in the caverns
of the Dordogne 10 the works Of such
modern men as Signac and Renolr. aild
as he does so he pours forth a verita-
BILE food Of learning. Yet lie contrivcs
20 keep his pages so clear and so in
teresting that almost any reader VINO
cares at all for painting will find this
book very nearly. If not quite. as abb
sorbing as a novel. He knows how 10
humanize his reconcile theme, TO in-
troduce the historical or personal anec-
dote at Just the right moment. WIZ
ness this passage on a modern painter
famous alike for his ignorance of the
chemical processes involved in his art
and for his constant, even passionate,
inquiries into the mystery of color:
Delacroix once painted a yellow drapery
without succeeding In giving II the en-
phasis ne desired lie determined 10 90
10 the Louvre 10 see some similar drap-
cries painted by Rubens and ne sent TOT
a hackney CAP. III was to"diu 'lc 90
1920 when Partisan cabs were painted
canary yellow. In the street DeiacroiN
saw the cab waiting FOR HIM IN the sun
aud noticed that the yellow OF the Gao
produced violet I'm the shadow which was
untouched by the sun. He paid the can
man and went in again; he knew what
he had wanted 10 find out.
with scores Of similar notes Cleaned
from the experience Of the masters NJ.
Moreau-Vauthier carries on his scien-
tifc yet beautifully unpedantic analysis
of that strange process whereby, across
the generations. painters have won
new effects while they have lost old
virtues. They have lost. above all, the
ingredients of durability TO certain
extent this is TO be accounted for by
their employment of treacherous mate
rails. like bitumen, but the author lays
far greater stress upon the gradual
abandonment long ago of the simple,
careful and essentially conservative
methods Of the Renaissance. The mod
ern artist does not emulate his prede-
eessors where respect for his medium is
concerned. Thinking only of what may
Immediately satisfy his eye. he sets his
palette and covers his surfaces with a
fine disregard of the probable influence
of time upon the latter. We make no
pretence of summarizing here the criti-
cisms and suggestions embodied in the
Volume. 1t is enough TO state that
their validity is obvious and that they
are rich i'm aid for the painter. The
ingeniously made illustrations. N
which a given picture is accompanied
by an enlarged detail. exhibiting the
technique used. add much TO the illu-
minating power of the text.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11

gates and their friends will be tab.
about Washington in automobiles =
see what has been done toward ~.
Identification of the city. There min
be reception in the evening. m
next day there will be another morn;n.
session. given TO the discussion OF "a
dustrial art, and in the afternoon .,
ter attention has been paid to genera,
business, an adjournment will h,
taken to the White House, where tho
President and Mrs. Wilson will vol
come the federation to garden party
AprOpos OF the first topic which IN.
Federation is to treat, we may call at.
tention here t. valuable little book
on the subject just published by the
Scribners This book, entitled "Art
Museums and Schools is composed NJ
four lectures delivered in the spring of
last year at the Metropolitan Museum
of Art as course for teachers nv
Messrs. Stockton Arson. Kenyon ca,
G.. Stanley Hall and Oliver S. Tonks
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11
An Illuminating Essay or
Technique.

No better example could nc cited
than the one supplied in THE Tech
nique Of Pain.i: &" &C.. +. Putnam's
sons, 10y NJ. carries Moreau-N authier
This clever Frcnchman exercises in a
modest way that gift for the lucid ex-
position of abstruse subjects which
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11

facts and with critical citations. We
do not know which to admire the NOR,
his industry or his tact. This book
has been a classic from the date of its
publication. In its present form ~
value is doubled.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11
Two Types of the Modern
Realistic Trend.

new volume in the series Of
"French Artists of our Day. Phila-
deIphia: The j. -. Lippincott Com
pany) is devoted TO "Gustave Courbet"
This is the series TO which we were
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-05-11

century. and this critique in the Ca
zette" will doubtless deepen the interest
of collectors in his art.
The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1913-08-19

and a necessity. but the benefit gained
is lost if the fruit is smOthered be-
tween rich pie crust that increases
the heat of the kitchen in its making.
and the heat of the body in its diges-
ton.
The office downtown was hot all
day, and the girl who has no mercy
on Mother complains all evening be-
cause she had to work in it, taking
into no account that the hottest of
fee in town is a delightful cool sum-
mer resort compared with the kitchen
at home.
And all Mother gets in pay is her
board and clothes, great deal of COM
plant, and an occasional scrap Of love
which she glorifies and hugs to her
breast, and magnif1es after the man
ner of all Mothers
Have mercy on Mother Lessen her
labors and increase her wages. Pay
no heed to the foolish longing of a
fond heart that would be satisfied if
paid in love alone, but see that she
gets more.
The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1913-08-19

For a moment she wanted to tell
him the truth-that there had been
nick out of the top, a piece SO small
that it did not affect the beauty or
the usefulness of the pitcher. and that
she had it wrapped just as it was with
the piece inside, so Carrie would think
it had been broken in delivery.
She hated herself for this subter-
fuge ever since, and it would have
comforted her to tell Warren, had
she not been afraid. But she knew he
would be furious; he would say it
would have been better to have bought
the cheapest trifle than to have re-
sorted to such trickery for the sake
of sending an expensive looking pres
ent
And what nave you for father? he
asked.
Nothing yet-I've seen a pair OF
military brushes that / like, but l had
rather wanted to get him silver han
died umbrella, one of those you can
fold up and put in a suit case"
Better get the brushes-heIl lose
the umbrella. And for goodness sake
hurry up and get through, Don't put
everything off until the last moment.
| know how you women shop, you
have everything in the place pulled
down, and then walk off, saying you'll
decide later.
Warren, that isn't true. You get
these ideas from cheap newspaper
jokes and then state them as facts.
Besides the shops SO display their
goods now that there is very little
need of pulling anything down"
The door bell rang sharply. 1t was
the delivery boy with more packages.
"Oh, here are toys l got for Carries
children" She began eagerly to I'M
wrap them.
This is what got for ROY" She
took from the box a large sheep ON
rollers.
Isn't it a dear?" She stroked it's
fluffy sides and black nose and
laughed at the meagreness of it's tail
What on earth did you get such a
fool thing as that for?"
why, he'll love it! Didn't you love
, things like that when you were a lit
tie boy?"
mo, didn't You'd much better got
him some building blocks or a game"
"Oh, l never thought of them"
HIS DIsAPPRovINe ATTITUDE.
We'll, if you've used no better judg-
ment in your other purchases than
you have in this-your time and mon
ey is mighty poorly spent"
''Oh, Warren, what an unkind thing
to say-when I've tried so hard to get
suitable presents" Her lips quivered
and there were tears in her eyes,
thing which always goaded him to fur
Their harshness
For heavens sake don't start
whimpering! You exercised bad judg-
ment in your purchases. and l told you
so. That's no cause for a scene-is
it,"
Keeping her face turned away so
he could not see the tears, she gath
cred up the toys and wrappings and
took them into her room and closed
the door.
why did he always succeed in hurt
ing her? However hard she tried
why could she do nothing to please
him? Why was his attitude growing
more and more one of criticism and
disapproval.
The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1913-08-19

have no mutual ecquaintances and
am at lost to know how to accom-
plish an Introduction. She works at
the same place | do, but l don't know
in what department. | show her every
courtesy, ard sometimes she favors
me with a smile. but l am still as far
from an introduction as when l first
saw her. G. II. T.
An introduction is always best. 1t
is what you would insist upon for
your sister. Isn't that true?
I am sure in time you will find a
mutual friend, but if one does not
r. pear, and you are satisfied in your
own heart that you will never give
her cause fer regretting your ac-
qUairtance, say Good morning" next
time you meet. A closer acquaintance
will develop.
The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1913-08-19
HAVE MERCY ON MOTHER
By BEATRICE FAIRFAX.

IF some one did not occasionally
point to the burden on every
, Mothers shoulders, the world
would forget she carried one, for
she never complains. Could she have
the longing of her heart gratified her
burden would always remain invisible
to those she loves.
She is happy so long as the bur
den rests on her back. It is when neg
Elsct and interpretation from her chill
dren lift the burden to her heart that
her SORROW begins.
Mother is in need of mercy all the
year, and her need is particularly
great in the hot days of summer. 1t
is then that husband and children
seek every bit of cool air in the house
and out, and Mother is left in the
kitchen. The steam from the cooking
vegetables, the wave of hot air from
the oven where the strawberry short
cake the family demands is turning
a delicate brown; the heat curling up
from the iron that is pressing out
daughters dainty white dress-all
these, If justice is done. are some
where, in a world not visible to NOR
tai eyes. turning into the smoke OF
incense before mothers shrine.
There must be more garments in
more mending. and a larger pile for
the laundry. and Mother has only the
two hands she has at other seasons.
The Richmond palladium and sun-telegram. [volume] (Richmond, Ind.) 1907-1939, 1913-08-19

and the strength poured into them is
not so great.
There are preserves and jams, and
for a hot fire: there are basting and
beating and stirring, all exertion that
quickens the blood and adds to the
heat which is already intolerable.
The puddings and cakes and pies,
which Daughter spreads on a cool
We're prepared in hot, steamy kitch-
en- in the morning. and they represent
the work of Mothers hands. Every call
made upon Mother from May till Sep
TENDER seems to carry a hot fire with
it. There is no one who can do these
things but Mother No one will do
them but Mother, and many girls ar
que there is no one who SHOULD do
them but Mother.
1t is to these girls the plea is made;
have mercy on Mother! She will not
ask it for herself: she will not seek
fiery furnace of love and service, COM
monty called the kitchen, and suffer
there all day that her family may
have all the comforts of midsummer
without paying the price.
A girl must have wash dresses in
she owes it to her mother that they
be of fashion easy to make and easy
to launder. Fruits are a Summer Joy