davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

The selection has a special value. II
points to the fact that the old masters
were not the only makers Of good
drawings. r c.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

Inness. Constantly among his paint
ings you come upon landscapes which
suggest just such a free, audacious
spirit. color is poured upon the can
vas with a hand that seems hardly TO
stop for any respectful reckoning with
the facts of the everyday visible world.
Yet those facts individually are there.
The glow which is the glow of the ar
lists Imagination is also the glow OF
truth. Il paint i'm all these details in
order that ] may know how To paint
them out" thus runs one Of his most
characteristic sayings. knowledge, in
other words, was a the bottom of all
his radiant, romant.~ inspiration. 1t is
this that Mr.. Daingeriield brings out
both in his longer, Biographical study,
and in the analytical notes prefiXed TO
the Fifty Paintings" The plates III
! both books give us deep delight, and
the comments of the writer heighten
their charm, through Illuminating the
processes by which those vivid land
scapes were called into being. Mr..
Daingerfield has rendered "A sterling
service TO students of George Inness N
particular and to students of American
art in general.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

Muhlbacher sales, the answer was that'
where drawings were concerned there
was practically no such thing as an
American market. At the present mo-
mont this dealer would have "A very diff
ferent story To tell, and we dare say
that he has occupied part OF his time
lately in laborously buying up, Tor
clients here. at infinitely higher prices,
some Of the drawings on which for
merly he had not dared to risk his
money.
The change has been brought about
in divers ways, but chiefly, we believe,
by nothing more nor less than an edu-
cational process. and this has been
greatly developed by the establishment
of several societies for the reproduction
of old drawings In facsimile. Ii mas
been "A peculiar pleasure TO report the
formation of these bodies and To follow
their annual transactions. In season
and out OF season. for many years. we
have advocated the cult of the draw
ing in this place, and it has been IN
tensely interesting to observe its stead
lily increasing prosperity. The Durer
Society in London. including drawings
in it's portfolios. which were dedicated
otherwise to the masters paintings ana
engravings. proved that public could
be found for these casual souvenirs Oh
artistic genius, and In due time the
Vasari Society was thus emboldened TO
issue groups of drawings alone. Iheh
came the creation of a similar society
i'm Paris, thanks to the energy OF NJ.
Doucet and his friends, and now at
Frankfort the newly formed Prestel-
Geselschaft has brought out its hrst
portfolio. The old drawing had long
been getting itself reproduced in Eu-
rope in one way or another. but these
newer societies, sending to their MEM
bers for nominal subscription so
many facsimiles a year, have exercised
a new influence, stimulating a WIDER
interest in the subject and promoting
more systematic study of 1t. we Ike
to believe that they have, for example,
done something to insure a more gen.
eral and deeper interest In such an
exhibition as that of Mr.. Morgan
drawings at the Metropolitan Museum
And this exhibition in its turn must re-
act upon public taste. 1t is fairiy GER
tain that when all of the Morgan Draw
ings are permanently on view, with the
best of the others brought together
from various sources at the Museum
the broad result will eventually DE
growth among both students ana lay
men of sympathy hitherto reserved
for paintings and statuary. NO sem
sitive observer can long come IN con-
tact with great drawings and not ma
delight in their beauty and their Tree,
spontaneous revelation Of personal
traits,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20
George Inness Portrayed at
Close Range.

These reflections have been suggested
in part by events of the winter in our
local galleries and in part by certain
contributions to the subject lately made
by Mr.. Elliott Daingerfield He has
prepared and Mr.. +. +. Sherman has
published, a book of Fifty Paintings
by George Inness," the plates being ac-
companied by brief introduction.
The same author and the same pub
Usher had not long before brought out
a monograph entitled George Inness:
The aan and His Art" this, too, being
well illustrated, but most of the space
i'm it being given TO text Taken to-
gether, these volumes form a valuable
tribute 10 one of the greatest American
painters MIR. Daingerfield was one OF
his disciples. He writes not unnatu-
rally. therefore, with something OF
hero worship. but, az it happens, he
does not overestimate the significance
of his theme. If Inness was not a type
of original, creative, artistic power,
then we will never know one in Amer
lean painting. He based his fame on
gift that was born i'm him. The rudi-
mentary training that he had from
Regis Gignoux was only rudimentary.
From beginning to end he was his own
man IL must paint things as l see
them" he is quoted as saying, and Mr..
Daingerfield ascribes to his habit of in
dependent observation the knowledge
which fitted him to say in his prime,
my forms are at my finger tips, as the
alphabet is on the tongue OF a school
boy" European travel in his earlier
years, and especially his Italian expert
ences, unquestionably enriched his art,
and It is also obvious that he looked to
good purpose upon the works of the
French Romanticists. But not even in
his formative period was Inness the
slave. of a manner. He was too intent
upon the expression of what he saw
and felt. He lived too close TO nature
ever TO tie himself down to formula.
What he saw was Indispensable to
him. He aimed untringly at the truth.
At the same time he had too strong an
imagination TO be literal coypist, and
so emotion and the complex strands of
memory were forever influencing his
brush. Once. we are told, he saw some
sketches by Rousseau at a dealers,
sketches held at great prices. u can do
two Of those in day." he said, and,
according to Mr.. Daingerfield. he made
good his word. 1t is easy to believe
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20
III this we hail with par

Tn Wow of all this we hail with par
ticular gladness the prospect oi &c, '"''
sales abroad this summer. faihtihsS'
of course. will pass through the iho'e'
Drouot in their serried ranks, but over
in Amsterdam Frederik Muller Co.
will sell next month some OF the i'ios'
famous drawings known 10 the spe-
cialist. The auction is set Tor May -
and % and it will dispose OF NUMBER
If the finest things in the London col
lection of ]. p. Heseltine, as well as the
entire collection of DR.. j. Paul Rlchter'
The Heseltine drawings nave peeh re-
,,ouped for years Among them there
ore examples of Rembrandt which stu
dents of that master have been accus-
tor,ed 70 reckon with the finest jewels
in his crown The group or thirty-
tbree includes the artists famous por-
trait If himself. standing with his arms
akimbo: his "Ruins Of the Amsterdam
Town Hall" which is said to be the ohiy
one hearing a date, 1914; several OF
his most beautiful landscapes, TWO I'M
uortant nudes, and so on through
splendid list. The other things from
the Heseltine collection are descripeu
as less important. but this does hot ny
any means imply that they are neg
ligible. for they include authentic eX-
amples of such men as Cuyp, fupehs'
Ruvsdael and Paul Potter. DR.. flch-
fer. known here as he is known In Eu-
rome for his u eful writings on art, VIII
he represented in tt sale by Italian
and French drawings, the list including
works by Raphael, Leonardo, Iltian'
Guardi, Boucher and Fragonaro'
Richly illustrated catalogues are IN
preparation. and the approaching great
event is being heralded with the Keen
est sympathy throughout the world OF
art American collectors surely cannot
afford to neglect it.
The first portfolio Of the Prestei-
Gesellscbaft. to which we have already
alluded. shows that this society intends
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20
Paintings and Prints, Ancient
and Modern.

The smaller exhibitions of the mo-
ment remain about equally divided be-
tween the old masters and contem-
porary Americans. There is an at
tractive show at the Enrich Gallery of
eighteenth century English landscapes.
A large and very handsome Morland
heads the list, and after it come some
interesting little canvases by Gains
borough. Constable and others. one of
the best things IN the collection is
painting by Ibbetson, minor man,
unfamiliar here but worth knowing in
the vein of the serene picture, delight
fully harmonious and limpid in tone,
which the Messrs. Enrich have Sc
cured. They have. too, a good Zuc-
carelli, and we have observed with
special pleasure a curious old sporting
scene by Francois Bourgoin. A bull
batting is going forward in the middle
of the composition but there is noth-
ing offensive about il, for it is pracu-
cally lost sight of in the amusing
throng OF quaint old English DUCKS anu
other onlookers.
Two collections close the long series
of exhibitions at the Macbeth Gallery.
One is imposed Of selected American
paintings, among which we would note
with warm appreciation 1.-THE White
Woods" an exquisitely felt and beautl-
fully painted winter scene by Ernest
Lawson, several other landscapes by
Charlotte b. Conan, Emil Carlson ana
Albert l.. Groll, a typical Venetian SUBJ
ject by Mr.. Bunce and interesting ilg-
ure subjects by w. n. Paxton. Ken
meth II. Miller and Charles w. Haw-
thorne. The Burial of Young Man,
by Rockwell Kent, a mountainous
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

TO be generous TO its subscribers in
more senses than one. Thirty fac
SMILES are given, and not few OF
them are so large in scale as TO be posi-
lively II posing. This selection has
been made from the cabinets in the
Grand Ducal Museum at Weimar. and
with great good judgment it embraces
not only famous names but others
which, il comparatively obscure, are
still of genuine interest. The German
school predominates. but there are a
couple of good Italian drawings, and
both Boucher and Vatican are well
represented. the former by superb
Triton" In the voluminous German
section figure two great drawings by
Hans Baldung Grin. and noble por-
trait of a young man by Direr. BY the
bearing a kneeling figure, and, besides.
two or three strong studies of drapery.
Lucas van Leyden is shown i'm a mas
terly portrait of a woman. there is a
wi Apuo iN'ilbi dilbNs ShtlNil III IL lildfl
sharpening pen. and the Rubens-one
of the largest of the facsimiles-is a
bold. even heroic. portrait of the
famous Earl of Arundel. Ending the
procession is one of the quaintest and
most engaging old drawings we have
seen in a long time, an anonymous
early sixteenth century design of THE
Dance of Salome." In its decorative
background and in its style, too this is
strangely suggestive of a Renaissance
influence creeping up from Italy into
the North.
The latest portfolio. just received. of
the Societe des Reproductions des Des-
SINS des Maitres rounds out the group
OF thirty plates projected for the year
l9l2, and throws in for good measure
three more of those 'masques" by La
TOUR with which he cleared the ground
1or making his great portraits i'm pas
TEL The Societe has already bestowed
a number of these preparations" upon
It's subscribers. and promises still
further to extend the series. The
drawings which give this portfolio its
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20
American LandScape-GeOrge
InneSS-0Id Drawings.

The America school Of landscape
painting came into its own many year
ago. but it has affirmed itself in some
specially noticeable ways during the
present season in New York. Espe-
cially has ii forged ahead in the auction
room. At the recent dispersal OF the
Borden collection one Sunset by
George Inness fetched $4,000 and an
other $4,000. In the Evans sale 1t was
a "Moonrise" by Ralph Blakelock that
brought the top price of Sl3,9Oo, a
WANT sold for $1,000. a Homer Mar
tin for $4,000, a j. F. Murphy for ST.
600 and a u. w. Tryon for 5000.
These and other figures indicated the
growing enthusiasm of our amateurs
for the masters of our own school. III
is no longer a case of the Barbizon men
first and the rest nowhere. The Ameri-
can artist. if &C has the right merits,
can hold his own with the foreigner.
He is no longer e victim Of fashion,
sacrificed to the glamour sometimes en-
veloping his alien rivals. 1t might even
be said that he is, in his turn, becom-
ing the fashion. 1t is not surpris-
ing that this situation should have
at last developed, for our leaders in the
movement that displaced the old Hud-
son River tradition were men of genius
and sooner or later their triumph was
bound to come. 1t was inevitable. too
that while their works increased in
value the effects of their influence upon
the whole school should be disclosed in
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

sannah and the Elders" in fairy
glorious impression; there are a num-
Der of Durers of fine quality. and from
the German school we have, oe-'"eS
good rlates by Hans Sebald Beham, an
enchanting Judith" by AldegreVeT.
one Spanish print appears, a pic'n-
rescue st Jerome" by Ribera. Claude
duly represents the old French school,
and there are examples of Rembrandt,
Potter and Berghem. In the modern
wing. Haden, Meryon and Whistler are
conspicuous. with Zorn and Cameron
br nging the sequence up to date. 1t
is a good show.
There are two exhibitions at the
Kennedy Gallery, one of them com
posed of water color portraits anu
sketches. by Miss Elinor NJ. Barnard.
She is "A vivacious colorist who uses
her bright tints with deftness. Her
portraits. especially Of children, light
" touched and done with some feeling
for character, denote cleverness and
good taste. The other show is or Sc
lected etchings by leading modern ar
lists. some of them, like Hedley Fit
ton. very well known and others less
familiar The collection is notable for
its various skilful and picturesque
studies of architectural subjects. We
note particularly the "Quai de Paris.
Rouen." by Stanley Anderson; the
broad. painterlike Fountain OF the
Luxembourg by Thomas r. Congdon,
and the several romantic plates by :.
I.cheutre. plates in which old buildings
are drawn with an exceptional ele-
gancc. The big "Rouen Cathedral by
Albany T.. Howarth. though almost
violent in its contrasts Of light and
shade. is "A very effective AFFAIR. Other
pieces TO which we would specifically
refer are the landscapes by Lepere, the
charming "Annimoe River" by T.. NJ.
Syngc: the "Notre Dame, Paris" by
william Walker. and the capital study
OF John Knox's House Edinburgh"
by Nathaniel Sparks.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20
The Cult for Drawings by the
Old Masters.

Among the many things that Mr.
Morgan did for the lover of art in this
country we reckon nothing more i'm
portant than his participation in the
European cult for drawings by the old
masters We designate that cult
European" adyisedy, for it is only in
very recent years that American col
lector5 have given it any serious atten-
ton. 1t is true that they were not al
ways indifferent 10 the subject Ger
tain pieces have long been preserved at
the Metropolitan Museum To keep us in
mind of this. and only the other day
there was an exhibition at the Colony
club of drawings selected from the
fairly large collection made sixty or
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

coast scene with n gloomy procession
of mourners, shows how the influence
of Mr.. \. b. Davies is spreading, out
this artist has not yet the techhlcdl
equipment or a feeling for color COM
mensurate with his imaginative ambi-
ton. In leaving this pleasant llttle
exhibition we would note finally the
two clever notes of travel abroad,
painted by Alison Clark.
The other show at the Macbeth Cal
lery is made up Of paintings and draw
ings by Blendon r. Campbell. HIS
portraits in sanguine are executed with
an agreeable ease and precision, yet
they lack somehow the charm which IS
essential TO work done in this medium.
In his paintings Mr.. Campbell reveals
a versatile. and. on the whole. rather
winning talent or his few studies IN
low tones. one, "A Chinese Ceremony,
in which the darks are relieved by an
almost lurid effect of fire light. Is very
picturesque and gives one, besides. an
impression of ability well controlled.
His paintings in a lighter key are UNI
even in quality Sometimes. as in the
delightful Young Girl Drawing" he is
as suaVe i'm his surfaces as he is be-
quilting i'm his sentiment. but more often
his pigment seems To have been undniN
kneaded and with an uncertain touch.
/ rs "a Z In a. IL object
It may be remarked also that his nudes
show no mastery over form, being
nervelessly and even feebly drawn. Yet
these very nudes have an undeniable
decorative grace, and we like their
spirit. The long panel. "Typifying
JOY" actually does communicate a
bithe. inspiriting emotion. In this ana
in THE Bather" Mr.. Campbell makes
it clear enough that he has only TO
strengthen his technique in order TO
command hearty admiration.
The paintings by Gaetano Previati
recently shown at the Catholic club
have been arranged in a more public
exhibition at the Emmett Arcade. They
may be seen there all this week.
Paintings 10y John Sloan. +. W. Hutch
ison. Homer Boss. Mary Butler. Ethel
Wallace and others are WI view at the
MacDowell club until April -. Until
May 10 there may bc seen at 81. Marks
in the BOuwerie an exhibition of paint
ings by George Bellows. Randall
Davcy, Robert Henri ana John Sloan.
The current show at the Snedecor Gal
lcry is given TO paintings by Mes.
Frances NJ. Simonds. and that at the
Powell Gallery is devoted 10 studies
and sketches made by Mr.. +. Carroll
Beckwith during two recent years Of
travel in Italy and France. The Noank
Studio Gallery presents portrait draw
ings and paintings by Alon Bement.
The amateur of prints is i'm luck just
now. At the Grolier club there is the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20
MATTERS Of ART
&aaasR (Ea 8Ssgass>@p

the anecdote Inness knew nature and
anything he liked. one can conceive
him looking upon a scene and then
shutting himself up in his studio to
paint il with results not only finer but
more accurate than those achieved by
some lesser artist working with his eye
devotedly on the object. Mr.. danger
field tells this amusing and quite con-
vincing story of his masters extra ordi-
nary resourcefulness:
A gentleman bought one of his pict-
ures at an exhibition OF the Nauonai
Academy of Design Ii was a delicate
spring landscape with cows grazing in
the broad mea lows. The picture was
brought to Mr.. Inness with the request
to sharpen the drawing in the coWs-they
were little more than notes or colof-i
saw the picture in ms studio qulte cary
in the morning and admired it greatly;
About o'clock that afternoon he knocked
loudly at my studio door and opened
il 10 find him much excited ms eyes
aflame and hair wild. but happy. eXuit-
ing look upon his face. I've got it! he
said. Finest thing I've ever done iol-
lowed principle from beginning to end;
now all | got to do is to 90 ahead ana
paint everything the same way.
went into his studio, and saw a
stormy sunset, over a much torn. SURF
broken ocean Two black rocks were in
the foreground. over which the sea
pounded with the fury of hate, and SKY
of purple gold-lined clouds was fairly
ahame. l caught my breath witt, gasp
the thing was so powerful. Then In
ness said slvly. and with twinkle IN
his eyes, Il guess | touched up MS cows
for him. What do you mean?' | asked.
why. that's the picture you saw mere
this mornng-it's better now, isn't II.
OF course. there was a scene when the
owner came. but he was wise enough
to take the new picture although Inness
told him he need not.
The virtuosity illustrated in this cpl
sode is in no wise surprising to any
one familiar with the work Of George
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

remarkable collection OF early wood
cuts, chiefly German, but inclusive of
some fine French and Italian pieces.
which We traversed at some length last
Sunday. A good pendant to this is
supplied in the first part Of an exhibit
ton at the Hahlo Gallery. This en-
braces some superb engravings by
Mantegna, Francia, Marc Antonio and
Marco da Ravenna, a small but richly
significant Italian group. The rare
Francois are particularly welcome.
Lucas van Leydeh, including a "Su-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

character, however. all from the collec.
ton of NJ. Beurdeley, are Of more
modern origin, the only relic OF the
eighteenth century being an extraordi-
nary portrait of David by himself.
There is a magnificent Gericault, full
length of a negro soldier, and there are
fine specimens Of Delacroix, Ingres,
Gavarni, Guys, Millet and Carpeaux.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

the same way, the living painter profit
ing in the marke', as in his art, by the
great men WI went before him. AS
Inness, for example, in what seems the
most natural way in the world, appeals
10 the collectors to-day no less po-
tently than Rousseau and Corot have
appealed to then. we realize anew how
heavy is our bt TO him. how broadly
fertilizing has been the influence Of his
genius.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

abroad were obtaining in the auction
room, at not unreasonable prices, the
precious drawings for which we had no
enthusiasm whatever. Some years ago
when the present writer asked an eX-
perienced and not by any means timid
dealer why he did not compete for the
American market at the Goncourt and
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

seventy years ago by the first SUPER
intendent Of the Astor Library, Joseph
Green Cogswell. In our own day more
than one amateur of. discernment has
occasionally added a drawing to his
treasures But on the whole this
branch OF connoisseurship mas been
sadly neglected, and, by the way, the
neglect which has already proved ex-
pensive promises to cost us more and
more as time goes on. While we We're
busy collecting Barbizon pictures, and.
later, old Dutch paintings and eigh-
teenth century portraits, conhoisseurs
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-04-20

Larry-Remarkablo statistic here. ola
chap, showing that every time breathe
some one dies.
Harry-Great Scott, man! why don't
you chew cloves?-Judge.
Duncan Arizonian., 1913-03-05
WILSON AND MARSHALL
INAUGURATED PRESI-
DENT AND VICE PRE-
SIDENT YERTERDAY

j. V. Martin was recently in
Duncan renewing acquaintance.
Harry Kirkland, Will Houck,
Harry Larson and Mart Layton
motored over from Stafford Sun
day.
Jim Cosper, a cattleman of the
Blue country, came down Mon
day on business and to visit home
folks.
Mesdames. Cecil Harris and j.
P. Oberholser were visiting in
the county-seat Sunday and spent
Monday at York.
Buck Miller was hurt here last
Saturday by fall from horse,
hip and collar bones broken be-