davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15
Paintings by Julius Rolshoven,
Miss Johnson and Others.

Mr.. Julius Rolshoven has been paint
ing in Italy and Northern Africa, and
shows the fruits of his travels at the
Reinhardt gallery, including also a
large portrait of a lady. This portrait
Is a fiuently painted, decorative per-
Torrance, but the artist is more en-
gaging in his less ambitious works.
His Tunislan impressions are capital
The yellow-white walls constantly APP
pearing in them make perfect back
ground for the figures which he intro
duces as so many notes of sparkling
color. The sunlight, too, is always
flashing in. Decidedly, Mr.. Rolshoven
has painted in Tunis to good purpose.
The Italian pictures are uneven. The
best OF them are the interiors, like the
Entrance to Gothic Tower" or la
Fiancee" In these the note is not
pitched too high. Mr.. Rolshoven is
safer when he observes discretion in
his tone. His brighter hues. brimming
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15

Crosses" which is surely one Of the
great tragic compositions of the world.
But Rembrandts emotion being, in Ar
nold's phrase, "of the centre" does not
find the heroic, spectacular issue indis-
pensable. In the whole range of his
art there is nothing more moving than
with only a single figure, but in that
his "Tobit Blind" 1t is a little plate,
figure, with its movement so subtly
suggestive of the afflicted mans help
lessness, the etcher uses a largeness
of style and a poignancy of feeling
transcending the simplicity Of the
theme. He may be studied i'm all his
moods in this exhibition. Besides the
portraits and the religious subjects
there ARE the landscapes, these last
headed, of course, by that supreme
plate, "The Three Trees" TO move
among these sixty or seventy etch-
ings is to move, as it were, in a verita-
BILE cosmos. There is memorable
saying Of Edward Dannreuther's about
Beethoven, noting how the composer
enlarges our horizon and yet speaks to
every man as though in his mother
tongue. So it is with Rembrandt.
The late Felix Buhot, whose etch-
ings are on exhibition at the Keppel
gallery was a characteristic product Of
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15
Prints by Rembrandt and Some
Modern Etchers.

In the sphere Of prints, as in that of
paintings, there are visible at the mo-
ment some steadying works. 1t is in
teresting to pass from the portraits
and the picture by Rembrandt in the
remarkable exhibition of Dutch art at
the Scott & Fowles gallery to the pro-
auctions of his needle just placed on
view at the Kennedy gallery. The
transition wakes some reflections on
the fairly miraculous power OF genius.
naturally, that Rembrandt needed color
for his effect. The prints show how he
could do without it. Indeed, there was
nothing that he could do with brushes
and color on a large canvas that he
could not do in black and white on a
trifling piece Of paper. He could do
more, in a sense, if we look to the
minutia of human expression. The
Kennedy show is rich in portraiture,
and there Rembrandt exercised his art
with almost unbelievable mastery.
There are prints on the walls Of special
interest to the connoisseur, because
they are shown in rarely beautiful inn
pressions but it is from a broader
point Of view that we prefer TO APP
proach these landmarks i'm the history
of etching which are also landmarks
in the history of art.
Rembrandt's conception Of portrait
ure involved phenomenal fusion of
detail and breadth, of hOmely sympa
thy and something akin to the grand
style. He drew his subjects as he
found them, familiar types of the
Dutch life that he knew, seated or
standing in an environment in which
we may discern his studio, but i'll which
we never find anything Fictitious, any
thing dragged in for purely decora-
tive purpose. These hale old burghers
are at their ease. We see them as
they must have lived in their homes
and in their counting rooms. There
are few in, the company whom Rem
brandt portrayed in their prime, men
like Young Haaring," but the artist
appears to have been more interested
in older types, in physiognomies lined
by experience. Old age especially in
trigued him. The wrinkled man or
woman is always turning up both in
his paintings and in his etchings. 1t
is in the latter, more particularly, that
he reveals the selective gift character
Just those corrugations on the brow
and between the eyes, just that thin
ming of the hair about the temples,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15

modern Paris He was a clever crafts
man. almost Enthusiastically clever, and
IN his art no seemed to be perpetualIy
tugged at by some cheerful elfin famiI-
lar who would not let him be serious
for more than an hour ut time. He
had a certain instinct for landscape,
and to see how profitably he could ex-
plot IL one has but to glance at Les
Oles" or at LA Falaise, Bale de Saint
Malo." The latter, printed by itself, 10
an admirable study. with weight that
must have surprised the artist himself.
But he could not let 1t alone. Buhot
was an adept at the remdrque, and
when he etched subject he was not
content to put an isolated note upon
the margin, but must positively en-
frame the thing with sketches some
times embracing many figures Whis-
tier, we dare say. regarded this playful
indulgence with scorn, and there is no
denying that the Frenchman overdid
il. Nevertheless, we have still to
reckon with that cleverness of his. He
was so graceful In his superhuous jot-
tings that we cannot wish them away.
And, besides, when we come to close
quarters with the substance of his art
we perceive that his marginal sketches
contribute to the atmosphere In which
he is interested. Paris was his hunting
ground. He found his subjects in the
street, sketching the crowd, or a
funeral, or a cab rank, or any motive
that was part and parcel OF the city's
ordinary life. His touch was swift. In
deft, staccato way he rendered
piquant Impressions. Thin as his work
is, it still has a certain character and
makes genuine appeal. 1t was a
good idea to revive interest in his
amusing personality.
At the Kennedy gallery, along with
the Rembrandts, there may be seen
some etchings and autographs by Mr..
Lester G. Horribly. He is facile drafts
man with sympathetic feeling for
architecture and an excellent pictorial
faculty. His plates are unusually well
composed. The line in them is in no
wise brilliant, but 1t is adequate, and is
used with some elasticity. There is an
agreeable play of light and shade in
Mr. Hornby's work. Mr. Vaughan
Trowbridge, who is showing number
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15

of his etchings at the Ralston gallery,
is all for picturesqueness, and we can
not blame him, for he very well brings
out this element in his material.
| When he draws some romantic monu-
ment of medieval architecture and
shrewdly views it between tall trees,
fitting the whole to a slender panel, we
cannot but admit that the result is at
tractive. Much of his work is done in
color. He is successful enough here
and there, but he uses too frequently a
rather tasteless yellow. In fact, we
would enjoy Mr.. Trowbrldge's etchings
the more if all Of them were printed,
like those that hang in a little group
by themselves, in black. There will
open this week at the Brown-Rob t.
son gallery an unusually large exhibit
ton Of work by American etchers
About thirty artists will be repre-
scented. In the print room at the New
York Public Library the recent death
of Sir John Tenniel is marked by a
little memorial exhibition. His work
as cartoonist and illustrator is shown
in a generous number of examples, and
some portraits of him are included.
Mr.. c. de Fornaro, the caricaturist,
has been showing some of his drawings
at the Italian National Club and the
exhibition is to be continued for an
other week. This will be gratifying to
those who are interested in our pic
torial satire and humor. Mr.. de For
marc draws with some originality and
his simple linear effects often have a
decorative piquancy. He is an anus
ing commentator on current types and
affairs. At the Seckel gallery there
has just been opened an exhibition of
prints by Strang, Hole, Baird, Affieck,
and other modern British etchers. A
collection of recent etchings by Ma
thilde de Cordoba and leila de Milhau
will be placed on view at the Goupil
gallery tomorrow.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15

over In the sunny garden pictures, are
altogether too bright and expose Ger.
tain triteness in the painting Of form.
The study from the nude in this exhibi-
ton, "The Rose Curtain" leaves us cold,
Mr.. Rolshoven's figures are only per-
susslve when, as In his Tunis sketches,
they. are reduced to the function OF the
minor incident.
At the Braun gallery there are some
recent paintings by Miss Content John
son, who is, we believe. one of Mr..
Chase's pupils. She. like Mr.. Roll
shoven. is Ill advised to paint the figure
for its own sake. The best OF her ex-
amplss OF work in this field, the "Por-
trait Of an Old Woman" is still far
from possessing any serious qualities.
On the other hand, she paints fairly
! creditable picture when. as in her
"ChampIain Market" she records her
broad impression of a crowded scene
and relies for her effect upon a rich
harmony OF color. Her color is, in fact,
her best resource, and when, eschewing
the figure altogether, she handles 1t
with the suavity Of her Old Deerfield
pictures, she begins to make the exit
bition worth while.
At the Arlington gallery there are
new landscapes by Robert ii. Nisbet.
Oils and water colors painted here and
In Europe by Theodore r. Modra are
at the Powell gallery. The Herter gall
lery shows paintings by Ossip Linde.
At the Carroll gallery there is an ex-
hibition Of "Synchromist" paintings by
Morgan Russell and s. Macdonald
Wright, weird and wonderful produc-
tions based on a radical conception OF
what can be done with color. in a
! pamphlet which goes with the show
| the artists say: I'VE do not pretend
! to have invented new qualities for art,
| but to have brought to 1t new vision
which permits us IS express the old
qualities with potency unknown until
our day." This must be a great COM
fort to Mr.. S. Macdonald Wright and
Mr. Morgan Russell.
&. There will open tomorrow at the
gallery Of the Berlin Photographic
Company an important exhibition Of
works by Charles II. Shannon and
! Charles S. Ricketts,, two English ar
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15
A Representative Group Of American Classics
George Inness, Homer Martin and Other
Pioneers-Claude Monet Conserva-
tive-Revolutionist-R
Etchings-Felix Buhot.
BY ROYAL coRTrssoz.

American art is only a little more
than a hundred years old. but already
il has its classics. These are the land
scspe painters who began life under
the dry, chilling influence Of the old
Hudson River school, but successfully
rebeHed against it and fixed in its
place a new and really vitalized tradi-
ton Their traits may be studied just
now at the Macbeth gallery. where an
unusually good exhibition Of their
works has been arranged. Deeply in
teresting in themselves, these pictures
have a certain. relative significance
which is of peculiar Importance at the
moment. The faddist is again abroad
i'm the land, airing his fatuous incom-
petence under the thin disguise of this
or that lately invented ISM" He is
effectively rebuked by most Of his con-
temporaries, but it is well also that he
should be exposed in the light of the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15

under different conditions of light.
The series OF LES Nymphaes." painted
in his garden, wears well, but, Curl
ously. the single illustration OF his
famous dealings with the cathedral at
Rouen happens to be disappointing.
The Venetian piece, too, is a melan-
choly production. Better the pedes-
trian statements of his earliest, most
realistic essays than this splash of
paint that is not color, but only paint.
The exhibition as a whole is impress
sive and invigorating. The works of
Monet, like the works of Manet, have
TO some extent settled down. Time has
been kind to their surfaces. They have
a fine and beautiful tone. What a
crushing answer they give to the freak
ish experimentalists who think they are
opening new paths
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15
Claude Monet at Many Stages
of His Career.

The lesson for our latter-day dab
sters which is to be drawn from the
American masters traversed in the
foregoing remarks is further developed
in the current exhibition of the Du-
rand-Ruel gallery. 1t is devoted TO
twenty paintings by Claude Monet,
himself revolutionist, but no less
faithful than an Inness or a Winslow
Homer to the truth and good sense at
the bottom of all great art. These
pictures give pretty good idea of his
development in its length and breadth
The first of them dates from 1866, the
last from 1908. and practically every
phase of his art between these years is
exemplified on the walls. It is delight
full to see the earliest of the paintings,
lie Havre, Terrasse au Bord de la
Mer." Was it perchance at his fathers
house that he painted this view of the
harbor, when he was still in his
twenties and was beating out his style?
Those were the years when he was
seeking counsel of Boudin, and one
may trace the influence of that painter
in the exactitude of the work, The al
most stiff laying out of the different
factors in it, the judicious drawing ana
the simple. straightforward handling.
But what makes the picture exciting
is its prophetic significance, it's clear
indication of Monet's special gift for
light and air The color is a little
gray, and the sunshine brought into it
is a little colder, even, than would
seem TO be justified by the nature Of
the subject, yet it is obvious that the
painter has the root of the matter in
him. The sense of airy space conveyed
is astonishing when one reflects that
Monet was only beginning TO get into
his stride. The explanation would
seem to be that even then he could see.
The more delicately exact recording OF
what he saw was only to be matter
of experience with the brush
With the years there came also an
intensifcation of his feeling for color
as color. 1t would not appear from
this retrospective exhibition that longer
study led Monet to a deeper truth.
Occasionally his view Of nature may
seem to be a little more intimate, but
it is only a seeming. The charm of the
"Chemin Creux a Pourville," painted in
1881, springs in a measure from the
very character Of the quiet path to the
sea that the artist sketches, but if we
choose TO attach any sentiment, TO the
subject, that, we dare say, is entirely
our own affair. For Monet 1t would be
accidental. His concern is with the
beauty of light and color lying on the
surface. How did he happen to paint
the promenade dams les Prairies
Argenteuil,' in 1873, with its poplars
so pictorially placed and its whole at
mosphere of dainty composition? 1t
seems altogether too carefully pom
dered a work for his spontaneous habit.
In everything else here we are con-
scious only of the ardent observer, ex-
hilarated by the open air and by the
sheer sensuous appeal of the warm,
colorful landscape. The collection in
cludes souvenirs of some of those Sc
quences in which he has interested
himself, painting the same subject
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15

just that bagginess in the cheeks and
lust that curious shrivellng of the
mouth, which in marking the passage
Of years denote also the Individuality
of the sitter. It is, indeed, late in the
day to talk about Rembrandt's tech
niuue. One thinks Of him, rather, as
the collector Of human documents,
stamping upon them the dignity and
beauty not sprung from dexterity alone.
This impression, drawn always from
the portraits, is deepened as invaria
bly, when one turns TO the religious
subjects. He is most obviously the
imaginative dramatist in his treatment
OF these when he gives himself to some
grand scene, as in "The Three
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15
Some Types of American Land
scape Painting.

The object lesson embodied in the
present exhibition Eliminates every as
pect Of the subject. Let US consider, TO
begin with, its bearing upon the prob
lem raised by that Mesopotamian word
individuality" Everything, it is true,
depends upon the artists point of de-
parture. 1t is essential that he should
think for himself But it is essential,
too. that he should make the right
start. that he should think straight-a
very different thing from the queer,
yeasty, so-called independence" Of
which we nowadays hear so much. The
founders Of our landscape school all
thought for themselves, but it never
crossed their minds that in order to do
this they had TO run absolutely counter
to historical precedent and to the
fundamental ideas Of all the schools.
There is some one" said Talleyrand,
who has more sense than Voltaire,
more sense than Bonaparte, more than
any Director, more than any Minister,
past, present or to come. That is
everybody" Surely, in applying this
political remark TO a matter Of paint
ing one need not be suspected Of want
ing TO hand the interests Of art over to
the tender mercies Of needless democ-
racy. Inness and his comrades were in
no danger Of sacrificing their artistic
individuality when they quietly ac-
cepted the artistic laws Of their day.
Such acceptance left them quite free TO
express themselves in their own way.
We know Of Inness, for example, that
When he began to paint he followed the
careful, rather tight, method then pre-
yailng The disclosure Of his own per-
sonal inspiration could wait Mean
while, he would learn how TO draw and
how 10 use perspective, he would de-
yelop a workmanlike manner Of put
Ting a picture together, and all the
time he would be studying nature,
seeking out her tangible forms, and
feeling his way toward the secret OF
her feeting subtleties. Then, little by
little. he superimposed upon this solid
foundation the particular fabric Of
beauty he was destined to create. Did
he lose his freedom? The best answer
10 that lies in his four pictures at the
Macbeth exhibition. They belong TO a
period subsequent to that of his pupil
age, and they show him moving with
absolute ease and authority in world
mat he had conquered for himself. His
early conservatism is there, but only
as IT makes itself felt in honest con-
S'ruction. The rest is pure lnness'
which is TO say rich glamour OF light
and color, Of nature not copied but in
'erpreted. And even in this small
group one can see how wide was his
range, how he could pass from the glow
Of the "Tenany oaks" to the dark, re-
poseful green's of the Summer Foil
age"
They were all thus faithful to old
'ueas and thus carried TO new tri-
umphs, these sterling pioneers of ours.
iufn from Inness to Homer Martin,
VINO was If anything even more closely
aiied TO the Hudson River school
among his seven or eight pictures
mere are one or two. notably the Adj
'ohdack Lake" in which he seems al
"sether content with the old fashion Of
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15

deliberately recording facts. He never
reached quite the masterful sweep
which Inness achieved. But then that
would probably never have been adj
Unstable to- his subtler temperament.
For the pyrotechnical blaze dear to his
great contemporary he preferred the
more mufied, slumbrous beauty of the
opal. Having once discovered that for
himself he, too, could forget the literal
conventions in which he had been
brought up, save as rudimentary helps
to be kept in the back of his mind.
Like Inness, he knew his trade, and.
knowing it, could let himself go in the
evocation Of exquisite soft symphonies
of tone. More than that, he could in
vest his studies with vaguely poetic
charm. Witness the strange, even
mysterious, loveliness which pervades
THE Sun Worshippers," that long
panel of bending trees set against a
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15

lists who for more than twenty years
have been close comrades. Observers
of artistic affairs in London have long
known the distinction of the pair, but
they have never hitherto been made the
heroes of an exhibition in this coun-
try. Paintings, sculptures, Autographs
and drawings will be shown on this oc-
casion
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15

any truth in the contention lHdp
can girls studying art abroad ra
moral risks.
1.-The moral risks they run" aid M.
Paderewski, ARE not half so grave as
the physical risks l seem to be running
over here with the Black Hand. All this
talk about European immortality is
mistake. It's as absurd, really. as the
story I've just heard about the Portland
dentist.
"A young man, according TO the story,
was seized with a raging toothache.
friend took him to dentist to have the
tooth out. But the sufferer, after a
chance look into the operating room,
whispered doubtfully:
"1By Jove. you know, I'm afraid to
let this chap tackle my teeth. He and I
are rivals for the same girls hand
But his friend persuaded him that
his fears were absurd, so when his turn
came the young man united the flannel
band from his face and disappeared.
"A long time passed. The man wait
ing outside grew restless. At last, fear
ing that something serious might have
happened-that his friends doubts might
have been too we'll founded after all
he opened the door and entered the
chamber of horrors.
What sight met his eyes, The pa
tient lay, rale and unconscious, in the
operating chair, while with maniacal
smile the dentist bent over him, pulling
tooth after tooth, and murmuring gayly
as he tossed the little white worries IN
the air:
"'She loves me- she loves me not. She
loves me- she loves me not.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-15

his two pictures really does him justice.
The two Twachtmans are both perfect
examples Of his light, vivid and very
personal inpressionism.
The Brattleboro daily reformer. (Brattleboro, Vt.) 1913-1955, 1914-01-21
WILMINGTON.

John Fowler is away on business
trip.
Clarence Pike of Springfield, Mass,
is visiting relatives in town.
Miss Lizzie Howe is nursing for Mrs.
Iona Dexter at Mountain Mills.
NJ w Stickney Is much better. He
has been away on business trip this
week
Mr. and Mrs Leonard Brown enter
tanned a party of 20 at cards Saturday
evening
There was large gathering at the
opening of the toboggan slide Satnr-
day night.
Mrs. Jessie Case was called to Or
ange, Mass. Saturday to care for her
aged father, Manning Bassett.
Mr.. and Mrs. Harold A. Spencer and
/ little son of North Adams were guests
i over Sunday at the Childs Tavern.
/ T. Gosselin of the Power Construe-
ton company of Somerset spent Sun
day and Monday at the Childs Tavern,
/ T. j. Gendron OF the Standard Oil
company of North Adams, Mass,
spent SUNDAY with Mr.. and Mrs. r. 2
Crafts.
Mr.. and Mrs. Orrin r. Buell. of
! Springfield Mass, were guests over
Sunday at the home of Mr.. Buell. $ ia
Their, John r. Bull.
Mrs. Rov Williams and Edmond
have returned to their home in Gran
vile, \. y. after prolonged visit
with Mrs Williams s relatives anC
friends.
Harry Boyd who bought a farm il
Guilford about month ago, came
this week for the rest of his house
hold goods. Mr.. and Mrs. Henry Boyd
his arents, returned with him and vii
spend the rest OF the winter there