davidaulloa/AmericanStories huggingface dataset:
The Tacoma times. [volume] (Tacoma, Wash.) 1903-1949, 1914-10-07

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The Tacoma times. [volume] (Tacoma, Wash.) 1903-1949, 1914-10-07

Agates polished and mounted
In solid gold. Pfaff, JeweIer. HAT
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The Tacoma times. [volume] (Tacoma, Wash.) 1903-1949, 1914-10-07
100000 men die

ROME. Oct. Herman cas-
ualtfes in the war. have thus TAR
been placed at 100000. IL is stat
ed in a message from Berlin.
This Includes killed and wounded.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

ID which we will presently return. The
.aief point 10 be noted as regards
American art. after a retrospective
glance an the events of the season, is
that the school maintains a high aver
age Of workmanship. 1t is in architect
ue rather than in painting or sculpture
that there have been signs Of a deeper
vitality, p broader inspiration.
h respect TO the old masters it has
tan a miraculous season in more ways
an one. There have been some fairly
sensational incidents. like the opening
Of the Morgan collection at the Metro
politan Museum and the Altman be
quest to that institution. Then there
have been portentous exhibitions like
those Of eighteenth century British por-
Traits al the Duyeen and Knoedler gal
lsries. of the De Ridder pictures at the
Keinberser gallery. Of Dutch portraits
and landscapes at the Scott and FoWles
gallery and of eighteenth century
French art az he Gimpel and Widen
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03
ARMY SLANG.

There is more slang among soldiers
than one would find at all the schools in
England. Some amusing examples are
given by Corporal . L. King, of the I'd
Life Guards. in THE Household Brigade
Magazine"
4 Tom Clarke is a swab. and 1t Is
also kiss. Hence, one may hear a
soldier refer 10 Tom Clarking his
straight mssus." which means kissing
his prospective bride. Nobody knows
who the original Tom Clarke was
"A touch Of the Lawrence" means a
AZ OF laziness
\ pennyworth OF bread and cheese is
known as a "rlmer" Cor some inscrutaole
reason. and tea is dirty 'ot." Meat Is
Saddle flap"
To put half gauge on" anything is
10 do work Tor a man for sixpence, which
may have some connection with the fact
that a half-gallon can is known as half
a gauge"
4 man wearing a muller is in burg
lar order" and is open 10 the question.
Where are the ferrets?'
If any one has an unpleasant surprise
he drops about seventeen holes" Should
YOU agree with statement you say.
Same as that" whereas II you disagree
you remark. What's coming on?"
Bandsnen are referred 10 as wind jam
mers "-Tit-Bits.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03
the modern school as slited
through a notable temperament
Francisco Goya and His Ora
matte Passion.

In the lantern of the dome of st.
Peters at Rome there were IN the
eighteenth century some little foot sup
ports of iron. used by the workmen an
nually putting the Easter decorations
i'm place on these supports Goya once
climbed TO cut his name upon stone
no man had reached since the builders
had struck their scaffolding.' 1t is one
of the most characteristic anecdotes We
find in the Francisco Goya" &C. P.
Pu,nam's Sons) of Mr. Hugh Stokes.
the first book i'm English TO give full
biography of the Spanish painter. with
an adequate account of the world in
which he lived. He was only youth
when he thus vdingloriously undertook
to surpass in the great Italian church
the foolish exploit which Poussin is
said 10 have tried TO perform before
him. but the incident was prophetic.
Gova was throughout his career man
of unreasonable audacity and even
when time and circumstances had mod
fled his taste for bodily exertion his
art continued to hold a volcanic ele-
ment. There. indeed. lies the point Of
the story just cited. Mr.. Stokes is in
teresting and serviceable because he
tells us so much about his hero's per-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

theme as though il were an opal TO be
turned about in the light only no
picture of Bunces is in the right key,
for him. until there has stolen into 1t
something of the golden glamour
which. for him. is of the very essence
Of the Venetian scene. He has never
like Turner. brought specious mo-
tive into his work a touch Of costume
a fragment Of history to evoke the
mast. The spectacle he paints. pure
~ sensuous one. is the spectacle 10 ne
found bv any of us visiting Venice to-
day-but to apprehend its magical
beauty we must look at IT through
Bunce's eyes.
The little Daniel gallery rounds ont
its first year with an exhibition Of
flower subjects 10y six or seven painters
Of the advanced group, painters like
Mr.. w. schumacher, Mr.. II. MaureT,
Mr.. :. Halpert and Mr. NJ. Manigault.
The methods Of this group are crude.
Neither as interpretations nor exam
pies of style do the majority OF these
mixtures quite carry conviction. But IN
one OF them. painted by Mr. Maurer'
there is some pleasing color and IN
another a study of flowers in a green
lar. nv Mr.. Mayer, there is a rich vein
of beauty. The color here IS pretty
strong, but it will settle down. 1t VIII
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03
a French Critic and His Ser
vices to Art.

In the week just ended there were
sold at the Hotel Drouot, through
six sessions. the etchings and other
prints collected by the late Roger
Marx. on the afternoons Of May llth
and 18th there will be sold at the
Galerie Manzi-Joyant his paintings
pastels. drawings. water colors ana
sculptures. about two hundred and htty
pieces. mostly of modern French origin
These incidents call attention to the
character and career of a man OF moo
est celebrity. but of substantial sig
nidcance I'm the annals of his time
Marx was one of those writer's VINO
never achieve brilliance. but who fight
for the right thing and do really con-
etructive work When he died last year
the Gazette des Beaux Arts with
which he had long been allied. paid
generous tribute TO him as man Of
ideas and of helpful sympathies. Ana
tole France and Arsene Alexandra in
troduce the catalogue of his paintings
with similarly appreciative phrases.
When Castagnary was looking about
him. years ago. for young man 10
serve as his lieutenant i'm the admin
istration of the artistic affairs OF the
country. he hit upon Roger Marx. who
had come up from Nancy TO Paris and
was making his debut as a newspaper
critic From that time until he died
Marx exercised. both as "A functionary
and as a writer. traits unusually lib
eral. He had an unerring eye for the
coming man. and would defend him
against all the forces of reaction in the
official world and in the press. He was
ON the side of artists like Manet. Puvis
de Ctavannes and Rodin. Besnard and
+ Carrisre were his friends, and the ris-
inc etcher. like Lepere. could always
count upon his support. Carriere
psinted his portrait, Rodin modelled his
bust. and other evidences Of the
friendly regard i'm which he was held
nv the artists Of Paris passed into his
/ hands. The collection soon TO be sold
I is full of very personal memorials,
sketches and studies OF a fresh. spon-
taneous character which even In the
reproductions creates an exceptionally
interesting atmosphere Marx lived
in the very thick of the arosus@ move
ment. He it was who organizes the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

stein gallery One American master
was brought into this remarkable sc 70
suence Of special exhibitions when the
Knoedlers placed the Garfield Whistlers
on view. Two other notable occur
FENCES may also be recalled. The Japan
Soclety rendered a valuable service to
collectors and students i'm organizing at
The knocdler gallery its memorable dis
play Of Chinese COrean and japanese
potteries, and Messrs. Gimpel and Will
Wnsten gave a new impetus To the
selt Of the drawing when they exhibited
heir examples 81 Vatican, Boucher
and other noted Fronchmen from the
heseltine collection I'm the Print Room
o. the Public Library. at the Groler
Vlub and amongst the dealers, the art
The etcher and engraver was illus
usted in unpreccd, fulness and
'afiety Apropos of prints. we may OBJ
'erNe that the Public Library has hand
'omely profited by the bequest Of the
's'e John l.. Cadwalader. His $50 en-
s'a'ings, mostly mezzotints Of the eigh-
eehth century English school. have
maze a most welcome acquisition. With
mem Mr. Cadwalader left the library
soout a thousand books, including many
On engraving and other artistic sub
ec's A number Of meAzotints hay'
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

spirit of Goya and interpreted MN from
the inside. He has assembled all OF
the external facts OF his masters ca
reer and has clothed them in gar
ment OF appreciation. \ few letters
are included. and there are other sug-
gestive souvenirs. like these words ot
Goya's on his own methods and the
methods Of some of his contempora-
ries:
Always lines and never oody bud
where do we md these lines IN nature ,
| can only see masses in light, ana
masses in shadow. planes when adVahIe'
or planes which recede. rellets or oSCh
grounds NV eve never catches outlines
or details. / do not count the hairs on
the head OF the man who passes me III
the street. The buttons on his coat are
not the chief objects TO catch my game
NV brush ought not to have better eye
si9ht than its master. When these can
did teachers meet Nature their ensemble
is a mass of detail and these details are
almost always fictitious and lying. TneN
confuse their young pupils by makniS
tbep, trace for years. with Sharply
nointed pencils. almond-shaped eyes
mouths like arches or hearts. noses re-
sen,bling the figure seven upside dow ~;
oval heads. An. II they were hut allowed
to study nature. Nature Is the ohly
master OF drawing
Numerous good illustrations are adc-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

be interesting to see this picture
year or two later. when it will have
taken on the bloom that comes with
time. It shows now serious quality
of its own.
MIR Henry Clews, jr.. has new
group of his sculptures at the Gimpel
and Wildenstein gallery. He discloses'
as he has disclosed before. a facile. pi-
quaint touch. and again fails to sug-
gest that he has the power TO invest
his works with an interest matching
the quaint titles he gives to them
Poet and Parasite The Blind,
God of Bottled-Nosed Chimeras'
God of Crocodles," The Fallen An
gel" THE Soul Of Robert MacCame-
ron"-all this eloquence I'm the cata-
logue prepares MS for ideas in the eX-
hibition But Mr.. Clews merely goes
on modelling queerly shaped heads ana
faces. and i'm thus straining after effect
does nothing to persuade us that he Is
charged with imaginative fervors The
depth Of his art and the nature OF his
taste may be judged from the Miss
Nancy Cunard." a bust i'm white mar
BILE 10 which he has affixed two black
beauty spots.
The current exhibition at the Mac
Dowell Club is given To water colors'
pastels and drawings. fairly large
number of artists contribute, thelr
works being divided into four groups.
The show lasts until May l.. At the
Womrath gallery there is on view n col
lection of etchings by the late Scotch
artist Frank Laing An exhibition at
the Brown Robertson gallery IS dc
voted 10 Autographs by Henry Rivlere.
Early English miniatures are exhibited
at the Hodgkins gallery. The Cniver-
sitv Settlement Society announces that
il will continue for a time its exhibit
tion Of works by Mr.. AuerDach Levy,
Miss Margulies and Mr. Ostrowsky. Al
the Anderson galleries there opened
Yesterday an exhibition of early and
modern prints from the portfolios OF
MIR Tavlor Hatfield and other collec-
tors These etchings, engraVlngs ana
,,ezzotiuts i'm color will be sold next
Wednesday and Thursday evenings.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

sonality. thereby showing how Coyas
art was in a peculiar sense the out
come of Goya's life. the expression Oh
n kind of dramatic fervor sprung from
the very centre OF his being.
He was true Son of Aragon. III We
have To reckon in his biography WIN
the usual legend of artistic precocity'
watching him as he draws a pig on the
barn wall. while passing priest on-
serves his skill and offers 10 find MIN
a master and set him upon ms reai
career, we have also to reckon with
tales Of turbulent adventure. lie was
q ringleader in the street fights oil Sar-
agossa and when in the course OF ms
studies he proceeded to Madrid, where
he copied Velasquez in the Prado ana
felt the influence OF Raphael Mengs'
then the dominating artist in the Span
ish capital, he also found time 10 ac-
quire The reputation OF a roistering
bully who was always ready for a fight
or a dissipation" A dagger driven into
his back i'm some nocturnal brawl was
not enough TO Kill him. but the affair
at least had the effect of moving the
Inquisition to issue an order for his
arrest. BY good luck he was able TO
escape from the city and make his way
to Rome. The story goes that he earned
his passage by working as bull
fighter In Italy. as we have seen, ne
exhibited the same reckless traits that
had got him into ill-repute at home,
and again he came into conflict with
the law. this time nearly fetching up
uuon the scaffold Scaling the walls
of a convent ut night, with the purpose
Of abducting lovely young nun, he
was detected and clapped into prison.
Once more il was only happy chance
of fortune that procured his liberation
and in return for that gift he had at
once TO leave the Papal States. Return
ing to Saragossa and marrying Josela
Bayeu. he settled down, after q fasnlon'
and henceforth we know him largely as
man ga inc Sbuhlp' dc~VsHN' -
work. But though we are not, AFTER
this date. forever observing him In
quarreIs with the law, we go on know
ing him as a man of hot blood, Of de-
cidedly irregular conduct and or an
essentially violent habit Of mind. II Is
in fact indispensable thus to apprehend
him IL we wish TO understand his art.
But Goya's was a noble rage If ever
there was one The cynic in him was
never base. His irony was cruel bus
never petty. Mr.. Stokes, in the SUD
/ title OF his book, calls him painter and
satirist." and the latter designation Is
Justly made. Goya's work is full OF
satire. and this may be said not only OF
the paintings and etchings in which he
showed his scorn for social conditions
in the Spain of his day. but of some OF
his portraits. especially those of the
roval family. He was a good Mater
and the man at whose pugnacious TEN
pcrament we have already glanced
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

been some one other than Goya. The
flame and murk which were Of the very
essence OF his individuality were In
compatible with the calm perfection OF
velasquez. He lived hts long life
through a sequence Of hot. moody
achievements. sometimes inspired and
thereupon striking twelve, sometimes
moving with uncertainty or capri
clously and thereupon falling short OF
the goal. but always preserving his
honesty and always using a rough and
curiously compelling power. There are
moments when Goya is almost ugly in
his art. There is never a moment in
which he is repellent. because there IS
never moment i'm which he is COM
monplace or vulgar.
Mr.. Stokes has written a good book
because he has written with gusto' AMI
that means that he has compassed the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

surmise. he has thus far produced
Some of them are i'm bronze and some
are in plaster We need hardly repeat
what we have said about certain of the
SCULPTURES i'm this collection, but in any
case the temptation would be strong 10
subordinate criticism of this or tndl
composition 10 brief survey of Mr.
Manship's art i'm its general aspec's'
II happens that we know nothing OF
his training save the fact that he mas
passed through the Academy at Rome
but the point is imm,terial. and in that
very circumstance we recognize an I'M
portant source of the interest attaching
10 what he does. TO look for internal
evidence of some influence eXerted upon
him when he was first forming hlmselt
is to be delightfully."- and very sugges-
lively disappointed He is an eclectic
i'm style. and nothing could be more
obvious than his indebtedness to sew
eral historical periods. But that Is
very different thing from Indebtedness
to a type, to master. one thinks OF
Mr.. Manship. rather. as having oeeh
born with the plastic instinct at ms nm
ger tins. as having received somewhere
some instruction in the rudments, and
as nav'sS forthwith proceeded to de-
VEIN ideas and a manner Of his own.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

could always be counted upon TO give
the freest possible rein to his hooking
ideas. The macabre lure OF his grim
and sometimes even terrible compost
lions has its source i'm an intellectual
and emotional conviction, quite as
much as in an artistic fury. At the
same time. for the modern observer
much of what Goya has 10 say Is a 1T
tie obscure or relates to themes when
have lost something Of their poignancy.
one responds to his appeal out OF sym
pathv not so much for its specific loca!
point as for the fundamental fire with
which he makes it, which is TO say for
the purely personal spell that he eXerts.
That is GOya's great strength. He IS
all force and sincerity. We may not
even understand his subject, but W.
know that we are in the presence OF
eager, eloquent genius. II is the FASH
ion i'm criticism TO make much Of his
bravura. Of his slashing brushwork, of
bis demoniacal manipulation Of light
and shade. one could hardly make too
much OF these things. Goya's tech
niuue. inevitably uneven, Is at its best
superb. But his technique. in good or
bad estate, is interpenetrated by his
dramatic passion, a fact which better
than any other explains his eminence.
The greatest OF Spanish artists since
Velasquez, it is only in few Of his
portraits that he recalls the tradition
Of his august predecessor Really TO
have continued that tradition he would
have had 10 transform himself, 10 have
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03
Works by the Late Wilton Lock
wood and Others.

In the gallery of Mr.. II. j. Dawson,
in East 10th St. there may be seen a
number Of portraits and flower pieces
by the late Wilton Lockwood. He had
an agreeable if not very forceful gift
In portraiture il carried him to point
where he invariably excited respect and
even a little admiration, but not any
very warm feeling. This was because
he was a perfect type of the artist who
has the defect Of his qualities. Lock-
wood was in his work gentle. suaNe, re-
fined-possibly a shade too refined. He
lacked nervous force, a fact which told
especially in his portraits Of men. Wiz
ness the portraits in this exhibition OF
MIR. Choate and Mr.. Cleveland. The
likeness is there. i'm each case and the
rainting is scrupulously workmanlike.
il is adequate, it is gracefully finished
l.. fortunately, this grace Of Lock
woods had about it a SAVIOR of weak
ness. The construction OF a head in a
portrait by him almost vanishes behind
the soft. bland impression which he
conveys. one is always wishing that
the painter had had a little more Nigor,
a little more fire 1t did not matter
when he was painting flowers. the
peonies Of which he seems never to
have tired. These cool, exquisite
blooms Of his roappear in one canvas
after another on this occasion. practi-
cally always in the same bit of green
pottery. and from beginning 10 end the
procession Of pictures beguiles us with
its tender charm. We would give all
Of the portraits not only those Of men
but those. in a more decorative vein, OF
young and pretty women, for one Of
these lovely floral subjects.
Mr. William Gedney Bunce, who is
making an exhibition Of oils and water
colors at the Cottier gallery. is a kind
of romantic improvisatOre. For years
he has been painting Venice, and from
a certain point of view he might be
said to have been repeating himself
but as a matter Of fact Mir. Bunce could
not paint in a stereotyped way if he
tried. His Venice like Turner 5
Venice. is an affair of prismatic pa
geantry. a turning about Of his beloved
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03
An Exhibition of the Sculptures
OF Paul Manship.

The one American artist who has of
late appeared to make some sort of a
fresh and salient affirmation is Mr..
Paul Manship, the young sculptor who
came back from his sojOurn as stu
dent in Rome only year or two ago.
He then showed some of his works at
the Architectural League, and they
have since turned up in other places.
on every occasion they have left the
same interesting impression, and ;his
is dcepened by the exhibition which he
now has to himself at the Women's
Cosmopolitan club. There he brings
together all of the pieces which, we
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

IL is. perhaps. at the present time more
achieved, though his work Is 80 good
that II seems almost churlish to grudge
him the nober opithet II one has any
doubts in the matter IT is because this
sophisticated and thereby. to some ex-
tent, to have -personalized his art
The Inflated Bastianini. certain of
whose works successfully passed for
while as authentic souvenirs OF the
high Renaissance. lost, just through
the success OF his manual dexterity.
such credit as he might have won as "A
sculptor in the strict. individualized
sense of the term. Mr. Manship. using
classical idioms as though they were
his own. fastens our attention upon n
wondering little as to just how
much sheer original genius there
may be in him. But he leaves us
also feeling that genius. or some
lIlflS iiht IT, must Dt thtlts WIN
technique alone he could not have
invented the charm of his statuettes,
the architectural decorative dignity Of
his big garden terminals. or the refined
bravura of his fountain figure. the
"Pompeian Girl" Nor can technical
proficiency account for the two things
which more than any others make his
sculpture fascinating. his pure, supple,
really moving line, and his curious note
Of beauty. His linear charm would by
itself give him a place apart There are
sculptors of ten times his experience.
sculptors of genuine talent. who might
envy him the delicate precision and the
distinguished taste with which his COM
positions are drdUH. Decidedly, there
has been no artist visible in New York
the season, or in any of its predecessors
for a lorg time. who has so stimulated
thought as Mr. Manship has stimulated
it or who has raised such hopes. This
club. which has made several good ex-
hibitions since its foundation, has done
particularly well in arranging this one
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

retrospective wing at the exposition or
1900. which we wildly remember for
its well-balanced illustration of a CEN
fury of French painting. There was
nothing perfunctOry, nothing to sug-
gest the museum about that show
Marx had gathered in the cream of his
subject. II was very like him. He
had a flair for the living thing in art
This illustrated catalogue makes in
some sort q memorial to his enthusiasm
and taste 1t brims over with the
vitality of an epoch, vitality eX-
pressed i'm names that range from In
gres. Millet and Daumier TO Manet.
Mary Cassatt Degas, Renor ana
-Lautrec The sale should
make. in its way, a sensation, for 1t
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-05-03

u.,, the coming of May the art
"a IN New York draws 10 a close.
40 galleries Of the clubs and the
-, the last shows are on view.
-. wind up am almost incredible
- II is doubtful If in the same
.,oa q, six or seven months any of
4. ruropean capitals, even Paris, has
messed the public display of such
!. immense number of paintings.
,,ntures and miscellaneous objects OF
: as have been offered in this city.
20 .one-man" show. for example,
..,-isbes here. we believe, as nowhere
*. in the world. II has justified itself
!. that il has brought forward much
,tsresting work by able men. 1t must
!. admitted. however. that neither this
me Of exhibition nor the larger more
.snprehensive kind. such as the Acad-
~ has disclosed any new figures Of
rginality and power. save in one case