davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

gift Of being able to realize II TO u3
with two or three slight, sure touches
OF his pencil. This power Mr.. Leec1
possesses in an extraordinary degree.
It is fine, generous saying, but Ii
seems a little less than persuasive wnea
we test il at the Grolier exhibition.
Thackeray again draws little nearer
to the truth. What plump, Young
beauties" he cries, those are with
which Mr.. Punchs chief contributor
supplies the old gentlemans pictorial
harem" In other words, the people
I.eech saw inevitably passed into his
drawings for "Punch'-and sometimes
they happened TO be fair to look upon.
It CHANGED that the little dumping
who excited Thackeray's admiration
was drawn, over and over again, from
the artists wife. Mr.. Spielmann tells
how Lcech fell head over ears in love
with her when he saw her in the street,
followed her to her home, hunted up
her name in the directory, sought out
an introduction and forthwith wo9ed
and won her. Thereafter when he had
occasion 10 introduce a pretty girl into
one of his drawings, type flowed like
magic from his pencil. But, all this
apart, it is plain, We repeat, that Leech
knew nothing about beauty.
However the judgment may diminish
his artistic significance, it leaves un-
touched his vitality as recorder OK
manners and as a humorist. If he was
for long time what Firth once called
him, "the backbone Of Punch" it was
because his social and political satire
cut clean to the bone. When the elder
Sothern developed Lord Dundreary'
into a triumph it was because Leech's
drawings Of "whiskertd swells" had
helped him toward getting at the very
essence of his subject Leech, Selling
all the drollery that dubbed on the
surface of things. had also a way Of
penetrating TO the core of character.
The "swells'' aforesaid the little
dumplings," the fat sportsmen, the
DlONSl anu lii' avn
ably quaint children who flock through
his pages, are so remote from ourselves
in dress and carriage that at first they
seem almost inhuman, creatures of the
widest burlesque. Yet you have only
to be with Leech's people for a little
while in order to see that they have
a curiously winning reality about them,
genuine, human quality carrying
them safely through all the peris of
reckless farce. They, like Leech HIM
self, are invincibly likeable. That is
one reason why the Grolier exhibition
affords a pleasure out Of all propor-
ton to what it has to say to disintor-
ested criticism. You can't be entirely
and persistently dsinterested when you
foregather with Leech. You yield TO
his gentle fun. You kindle to his in
nate, untutored but strangely effective
cleverness, and then, as was said at
the outset, you remember the man and
his friends. Criticism goes by the
board.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

ians Proiiss," which Dickens once
sketched out Of his Astounding high
spirits. there is passage in which Mrs.
Camp is made 10 refer TO Cruikshank
and Leech. IF yOu'lI believe me, Mrs.
Harris" she says, 81 turns my head
and see the very man making pct
urs of me on his thumbnaii, at the
winder. while another of 'em-a tail,
slim, melancholy gent, with dark hair
end a bage vice-looks over his shoul-
der. with his head o one side as if he
understood the subjeck, and cody says,
IRE draw'd her several times-in
"Punch,"' he says, too. The owda-
cious wretch The "oWdaclous
wretch" was always looking over the
shoulders Of the Mrs. Camps in that
motley Victorian world: he was always
looking over countless shoulders, in
every strata of society, from the slum
to the drawing room and the hunting
field and what he saw he could reg
lister in lines having, in themselves, not
an atom OF tlldliils uut Pp90'7Tiii-f a.
he wove them together, fairly en-
dearing vivacity and fun.
In one respect Leech was resourccsul
far beyond the general scope Of his
technique. He could render movement
with enviable skill, and this obse"va-
ton applies not only to his hunting
sketches. where the point is most obVi-
Gus, but to his treatment of the figure
in every sort Of composition. What a
master he would have been if he had
had a true linear faculty and If he had
known something about beauty. Dick
ems, TO be sure, was quite convinced
that his friend was well instructed in
the latter subject. ITO represent fc-
male beauty as Mr.. Leech represents
it," he says, IAN artist must have a
most delicate perception Of it; and the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08
MATTERS Of Ar !
e. ezaas:ssa;S III aa| zssg5szRs5'
'''s Els=s;2a}yzssH
A Victorian FIumonst-Ihe Works Of John
Leech at the CroHer Club Recent
American Porhaiture-Om Local Gu
bists and Other Pictorial Acrobats
Some Ideas for Them from
Chardin and Vemeer.
By ROYAL CORTIsSOZ.

because of these and similar relations
that he is now held IN affcctionate re-
membrane. It would be foolish n
pretend that he was a great artist,
that ne survives on purely artistic
grounds. ON the contrary, the modest
celebrity Of Lecch rests in part upon
his humor and in part upon his assoc
Citations To linger among the two
or three hundred drawings, prints
and books which have been gath
cred together at the Grolier club IS
first 10 he amused and then to he slow
~ invaded by a food of delightful
memories. one muses. here as in the
atmosphere Of an incompatible band,
recalling old masterpieces and the men
Of genius who created them. The
formative DAYS Of Punch" are legend
arv. golden. not because the famous
periodical was then filled TO trimming
over with immortal wit. but because
its founders are all envelOped in the
glamour of Victorian letters at their
nlSneSl iAiiil. Anu btSihNSf Ni'O 30
sonalities Of the company were not only
brilliant bat lovabe. Sentiment has a
lot TO do with that immediate response
which we always make TO the appeal
of Leech and his circle. He and ms
comrades were full Of sentiment. DIP
almost anywhere into the memoirs Of
the time and you come upon evidence
Of the almost boyish sweetness with
which they lived and worked together
Turn, for example, TO Forster's Dick
ems" and read about the grave mis-
take which Leech made in a certain
illustration for one Of the Christmas
stories. 1--WE did not discover this,
says the biographer, until too late for
remedy, the publication having then
been delayed expressly for these draw
ings, to the utmost limit; and it is
highly characteristic Of Dickens, and
of the true regard he had for this fine
artist. that. knowing the pain he must
give in such circumstances by objection
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

revolutionary movements, ana IL was
a good thing also to stimulate the ar
lists Of this country TO the discussion
of new ideas. Naturally it has been IN
teresting ever since to watch local de-
VelOpments and to sec what II any
thing. would be the result Of the sew
eral fantastic influences then let loose.
There have been signs at the gallery
Of the Photo Secession and at the new
Daniel gallery that the Post impress
sionst, Cubist, F'uturist dstemper had
left its mark here, but II has taken
the arrangement Of two exhibitions re-
Gently opened to show how seriously
the whole freakish business has fas-
tened itself upon us.
one Of these exhibitions is at the
Montross gallery. made up of about
forty paintings from twelve or fourteen
hands. Two or three of the contTibu-
tors, Mr.. Allen Tucker, Mr. f.. l.. Mac
Rae and Mr. W. j. Glackens, go on
painting Landscape with more or less
fidelity to the verities of nature and TO
the amenities of art, but they, too, are
tnctured with a queer unrest The
, rest Of the people represented are busy
with fearful and wonderful expert
ments. Mr. Arthur b. Davies has at
last fully succumbed, and his familiar
little nudes meander about on canvases
10 longer merely naive, but now utterly
'formless and wearisome. The climax
of the exhibition is reached in two pict-
ures, "Coney Island, Battle of Lights,
Mardi Gras," by Joseph Stella, and
patterns on the Smoke" by Henry
Fitch Taylor These gentlemen sim
ply put so much color on the canvas
and let it go at that, though, We dare
say. they have some purpose underly-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

While the Architectural League holds
the centre Of the stage just now with
its annual exhibition just opened at the
Fine Arts Building, there is still no
lack Of paintings and kindred works in
The other galleries. Some Of the new
shows arc traversed below and still
others are momentarily announced. At
the Montross gallery, where some Of
tho more advanced eXperimcntalists
are holding sway, Mr.. J. Alden Weir is
filling a room with water colors done
If late in England and in Connecticut.
The English scene is also portrayed by
Mr. Howard Giles. in collection Of
drawings which may be seen in the
gallery Of the Scribners. Made 10 illus
trate a series of magazine articles
these sketches. done in black and
white and mostly on a small scale, dis
close a charming pictorial faculty a
charming feeling for the sentiment Of
historic regions and old quiet country
sides. Mr.. Giles has a delicate origi-
nality IN his work. At the Mcdowell
Club there are paintings by Rudolph
Dirks, John Alger Leon Wolf and
others. The Carroll gallery shows
paintings and drawings by Alon Be
ment. Two Italians are exhibiting at
the Folsom gallery Mr.. Gino Perera
showing landscapes done in America
and in his own country, and Mr.. Dante
Ricci presenting water colors. pastels,
etchings and pictures in tempera of
seventeenth century Roman fountains
and some Italian landscapes. Paint
ings by Mr. Bertrand Rasmussen are
at the Arlington gallery. Mr.. f. L..
Stoddard has some pictures at the
Powell gallery. and at the Daniel gal
lery Mr.. Ernest Lawson is making an
exhibition Of his own for the first time
i'm two years. Paintings and sculpt-
ures by Mr.. Charles r. knight are on
view at the American Museum Of
National History. The Kennedy gal
gerry shows engraved portraits of liter
airy and legal celebrities. In the print
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08
An Apt Lesson from Chardin
and Vermeer of Delft.

1t seems peculiarly appropriate at
this time to turn from the dabsters
who would hout the eternal laws Of art
to an old master of France and one OF
| Holland whose works have lately been
the objects of renewed research. There
lies before us the sumptuous volume in
which NJ. Armand Dayot has gracefully
surveyed the life of Chardin, adding to
| his narrative the invaluable catalogue
which NJ. Jean Guiffrey compiled and
first published some years ago. NJ.
| Dayot is an entertaining historian, who
relates with just the right sympathetic
| touch the simple events of his masters
career, admirably bringing out all that
was attaching in Chardin's nature. His
criticism is not profound, but IL does
not pretend to be. These brief pages
constitute. to tell the truth, SO much
appreciative talk. NJ. Guiffrey's work
is really much more than a catalogue
in the bald sense It is rich in useful
notes, especially those drawn from
Diderot and other contemporary
sources. One important purpose Of
the book, of course, is to illustrate
Chardin, and this is done through a
series of large and truly glorious plates,
most Of them in photogravure and Il
few superbly printed in colors. Even
If one did not have vivid memories Of
many of the originals one would re-
joice in these plates almost as though
in the presence Of the works they re-
produce.
One is hardly so we'll served by the
reproductions in Mr. Philip l.. Hale's
Jan Vermeer of Delft Boston: Small,
MAYNARD & Coz. Some Of the photo
gravures are good, but the halftones
and color prints leave something TO be
desired. 1t is pity, also, that this
book, which is meant far more than NJ.
Dayot's "Chardin" for the general
reader. should have been made neither
a stately folio nor a convenient oc-
tayo. IL is about the size and weight
Of a young city directory. The text is
a shade too fervid. AT the outset"
saws Mr.. Hale. 1T may seem strange TO
call Vermeer the greatest painter who
has ever lived" Ii is worse than
strange 1t is jejune. That is a quaint
section Of the book, too, in which the
author, looking about him for evil
dences OF Vermeers influence on mod
ern painting, solemnly drags in all the
members of the little group of artists
identified with Boston. This is the
more amusing inasmuch as he seems
not to have heard OF Alfred Stevens.
the Belgian, who in his best work,
done before Paris had corrupted his
talent, did more than any other painter
OF our time to revive the tradition or
Vermeer. In short, this is not criti-
cal study. on the other hand, IT Is
good thing to have IN English net only
a carefully framed account or the 1T
tie that is known about Vermeer's life,
hut an intelligent analysis of his tech
nique. a good catalogue OF his pictures
and a wholehearted tribute to The
beauty of his art.
Ii is TO the beauty and the integrity
Of Chardn and Vermeer that We pass
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08
The Works of John Leech at
the Grolier Club.

II is almost a century since John
Ioech was born and exactly fifty years
since he died lie belonged 10 a period
IN English art which witnessed the
swift subsistence Of the great eigh-
tccnth century tradition-and invented
nothing 10 take its place. He was a
caricaturist. and as such, giving his
work an essentially contemporaneous
and even ephomeral note. his chances
Of fame were perhaps slenderer than
most. Nevertheless, ne remains an
historical figure Of considerable weight,
beloved Of the collector and not with
out a certain popular appeal TO this
day. The Grolier Club, which has
lately filled its charming little gallery
with an exhibition Of his works, has
never more servicoably exercised its
functions as body dedicated TO the
interests Of art and letters.
Leech was peculiarly allied with
both. The pictorial humor which he
contributed TO Punch" was that Of an
alert observer glancing at the foihles
Of the moment and satirizing them
with light neeting touch. But THIS
comic artist" was also prolific Illus
traitor, a point well enforced by the
nresent exhibition. and. what is more
ne was the cherished comrade Of the
great imaginative authors Of his day
ThacAeray and Dickens were his de-
voted friends. and indeed, II Is largely
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

or complaint, he preferred to pass Il
silently"
Dickens and Thackeray We'd with one
another in applauding their friend and
colleague. This book is better than
plumcake at Christmas" the latter
wrote of volume of Leech's drawings.
1T is an enduring plumcake which you
may eat and which you may slice and
deliver TO your friends; and TO which,
having cut il, YOU may come again and
welcome from years end to years end.
Leech is the sort Of man who
appears once in a century" They are
apt words, especially apt in that they
seem somehow 20 fix the readers eye
on substance rather than on form. OF
form, as the artist pure and simple
understands il. Leech knew practically
nothing II is the testimony of Lin
ton. the engraver, surely a good judge.
that his drawing, except his dainty
little bits Of landscape background, was
never good" But this same critic goes
to the root of the matter, and initiates
us into the true secret of Leech's sue
cess, when he adds that his hand
never failed in rendering wildly what
his eyes saw" and while recognizing
the fact that he had had no academi-
cal education he points to his talent in
the portrayal Of character as "a natu-
raj gift" There you have. in nut
shell. the whole history Of this drafts
mans career. He learned and grew
by practice" and if in the process he
failed TO achieve real technical distinc-
ton. he at all events made himself
extraordinarily adroit, and, what was
even more important for his purpose.
extraordinarily expressive. one can
laugh over his drawings even without
the aid of the jokes affixed To them, for
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

Continued on seventh page
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

with a blissful sense OF - -
from the crude posturings u 49,
have referred above. These 80
loyal to rheir craft They kn4.
is fundamental in art to drs. q,
use color with respect. nav r. ~
toward the insensate' pigme,, -.
certain reverence and tendern...
appreciate what they did is,
preciate exquisiteness Of psin,.s :
face alone. II IS to recogn,v. . =
sential rectitude Of all the,,
iEgs. the founding Of their ar, -
a rock On knowledge and skiIt -
out genius they would have b.
1t was their genius that py
among the great masters V. =
trying his best 10 dissect verm...'
and arriving now and then :.
suggestive bits Of exposition n.,.
less comes 10 what he calls IA.
Nermeer quality-the incomr,..
something which no one el~
teach him. It is something WI.
could not teach 10 anybody Ella :,
surely Vcrmeer and ChardIn -
in quite practicable fashion IA =
and principles by which any Of
profit. Above all, they remIna /.
beauty and Of how still life A,
humblest figures may be envet,.,
a deathless enchantment Let tn. :.
er reflect. too, that these mas,,-,
long to a prodigious COMPANY !.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

There are some interesting subjects by
effects of color In the landscapes by
Mr.. f.. A. Kramer and at that end Cf
the gallery where the pastellists have
the space TO themselves there are some
charming drawings by Mr.. Ernest Has
kell Elsewhere chaos reigns. Guam
titles OF artists, some Of them hitherto
known i'm current exhibitions. but more
Of them quite unfamiliar, seem to be
bent upon trying the Post Impression
list or Cubist trick and 10 be having a
rather messy time OF it.
II is all very blatant and stupid In
cidentally IL raises the question as %
how far any one is justified in bestow-
ing time and trouble upon sucn
"yiewy" stuff as reyails just now at
the Arts Club and the MontrOss gal
lery. There is, Of course, a certain
point OF view from which il is anus
ing to ridicule the laundering amateur.
It is recorded Of the late Mrs. judith
Flanagan. for a long time the leader
Of one OF our most exhilarating Saloons,
that on "A day she met her dearest
enemy halfway down the back stairs
and stopped TO parley. Good morn
ing, Mrs. :turphy," quoth she. Not
that / care --, but just to make
conversation" Thus considered the
two exhibitions in question doubtless
offer food for talk. But the difficult
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

job Of extracting motives for CONVERSE
ton from these tedious smears OF paint
can hardly commend itself 10 those
who take a serious interest in the
beautiful and delicate art Of painting.
They can only witness the degradation
of that art with sorrow and disgust
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

the joke clearly lies also in physiog-
nomy and gesture i'm costume and, in a
word. in the unmistakable reflection Of
current absurdities. He did not draw
from the model, and that cost him
much. but. if we may risk the seeming
paradox. he drew from life, and that
gained him a great deal. In the Pill
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08
What the Armory Show Has
Lately Produced.

When the Association of American
Painters and Sculptors organized their
remarkable international exhibition
last year they rendered a substantial
service to the community. It was
worth while to show the public what
had been achieved by certain so-called
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

ing their divagations. The other show
is at the National Arts Club, contains
over two hundred pieces and represents
a large number Of contributors. Here,
too, there are few artists who have
not quite lost their heads. Mr.. Luks
has three or four pictures on the walls.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-08

room Of the Public Library there is a
little exhibition drawing attention to
the lbrary's collection of works by
John Leech and supplementing the eX-
hibition at the Grolier Club.
The Daily Missoulian., 1914-10-24
YOUTHFUL WESTON
RETURNS TO HIS
D0|M|C|LE
lsADoRE 1lscHoFF NOTIFIES HIS
SISTER AT LoLo THAT HE is
A VISITOR IN HAMILTON

Isadore Bischoff, the 12-year- old
million-dollar mystery, didn't run away
from home. He just started out for a
walk and before he realized that he
had strayed beyond the sound of the
dinner bell found himself in Hamil-
ton, some 40 miles from his sisters
Lolo home.
Yesterday Isadore called his sis
ter over the telephone and told her
that he had found himself. But it was
too late. His sister hadn't slept at all
and was in no mood for trifling. Isa-
dore is going to be sent back to the
parental roof in New York. lie takes
too many walks for the good of his
present hosts.
Isadore can do more running away
to the minute than most men. He is
western Montana's most persistent dis
appearance case. Next week he is 60
ing to disappear forever, and the po-
lice won't be asked to look for him.
either He will be packed aboard a
train, unless he has run away before
his ticket can be bought, and will be
shipped to New York.
His sisters only fear of that plan is
that 1sadore will take an after dinner
stroll back to Lolo. She would like
to send him across something as wet
and unavailable as the ocean.
The Daily Missoulian., 1914-10-24
THREE CASES CONCLUDED
IN DISTRICT COURT
ONE COMMENCED

The following cases were disposed
of rs indicated in the district court
yesterday.
George F. Brooks against Ida NJ
Shy and Charles Shy, suit on note,
dismissed as settled.
Mary j. White against John J.
Clifford and wife, condemnation, dis
missed as settled.
G. J. Kneck against A. l.. Crawford
and others, suit on note, dismissed as
settled. each party to pay his own
costs.
The suit for divorce of Lillian Coyle
against Edwin G. Coyle was the only
new case filed yesterday. The complaint
states that the Coyles were married in
Helena in February, 1910, and that the
issue of the union is one child, four
years of age. 1t is alleged that the
plaintiff, after neglecting his wife and
child and being attentive to other
women, made good his threat to 'go 1T
alone" and deserted his family last
August. A decree of divorce, includ-
ing the custody of the child and SIS
per month alimony, is asked.
The Daily Missoulian., 1914-10-24
BITTER ROOT AUTO|STS
FINISH HARD JOURNEY

Guy Haselton and George Rowe, who
own orchards up the Bitter Root val
ley, bought q Hupmobile from Massey
Mccullough and had it delivered in
Great Falls. The two young men ac-
companied by Edwin Pierse of the
Standard garage of Great Falls, drove
the new car fran that city to Mis-
soula, spending two days on the road.
They encountered heavy roads and
had to take roundabout ways to es-
cape mud. Even with roads in the
best of condition." sads Mr.. Haselton
yesterday, "the record of - hours for
the drive from Great Falls to Mis-
soula, which was made. recently by
Massey Mccullough, stands in class
by itself and not to be soon beaten"
Mr. Pierce went yesterday by train
back to Great Falls.
The Daily Missoulian., 1914-10-24
UNIVERSITY GRADS
PLAN STIRRING
\ CAMPAIGN
ALUMNI. or LOCAL INSTITUTION
WILL MAKE HOT FIGHT IN
BEHALF OF CONSOLIDATION

The alumni of the university will
enter the fight in behalf of the initia-
tive bill for the consolidation of the
states institutions of higher educa-
ton. Every day next week at noon
the men of the alumni body will meet
for luncheon at the Palace hotel
There they will discuss the measure
and lay plans for the campaign which
is to mark the days Immediately pre-
ceding election
All men graduates and former stu
dents of the university are requested
to attend these meetings.
The campaign will come to climax
Thursday evening, when rousing
outdoor demonstration will be held.
Speeches will be made by Paul Dorm
blaser Carl Cameron, Chester Boldly
and some representative of the under
graduate body. The university band
will participate and typical college
features will mark the occasion.