davidaulloa/AmericanStories huggingface dataset:
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18

In whom we shall be especially Inter-
ested, such as little Miss "Wissic" Aston,
who sits at a table. highly entertained
by q parti-colored rubber bail: Master
Otto Ziegler, Miss Spcnder-Clay and
Miss Jean Powrie OF Texas.
All Of these children have their es-
pecial endearing traits. hut little Miss
Helen Asquith, granddaughter to the
present Prime Minister, will be gen.
orally conceded to be an absolute dar-
ling. We suspect she IL absolute in
other ways also. and that there is an in
herited trace there of the sort of thing
that lands its fortunate posscssor In
high places. II during the lifetime Of
this prospectively robust personality
the women OF England should get the
vote, and stranger things have come to
pass. 1t would not surprise US In the
least to ind Miss Helen Asquith ar
irving even to the ultimate honors that
now 20 become her grandfather.
In the midst OF these opu!ent, happy
children one little hint Of n world that
Ia different creeps in. There is a water
color Of the Little Poor Child" steal
Ing through a doorway. with big plead
ing eyes. and. fortunately at least. q
thick wooiien shawl. Little Miss Spen-
der.Clay Is by no means q poor child
II she be. as we more than suspect. the
daughter Of Captain Spender-Clay. who
married Miss Aston. but she Ia dressed
Ike one. and the room is so bare, not a
scrap OF fudge or cake to be seen upon
the window sill. and the poor chlld's
bare feet quite pink with the chilli
ness Of the frosty floor. No doubt little
Miss Spender- Clay's parents commits
stoned this sort Of portrait in order
to Impress their daughter fully with
the vanities Of this world.
Miss Barnard remains here until
spring. and when she returns to Lon
don she Is to paint II. II. II. Princess
Mary Of York.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18

retrospective show OF Miss
Cecilia Beaux at the Cosmopoli-
tan Club, Lexington avenue and
Fortieth street. is a real retrospective
show, with all of her most adj
mired successes. There are the por-
,rait Of the young girl with the
.oulful eyes and black ribbon about
her neck. leaning her face upon
her hands: the two children plotting
mischief. with a wide expanse Of floor
Is a background; that rather plain girl
Who lived In Germantown. we UNDER
stand. with the black cat purring upon
her shoulder. and the young ladys
eyes 30 like the cats; the charming
little tot out for an airing with nurse.
who. however. IL too big to be In the
picture except from the knees down.
and In fact all Of the others.
The best Beaux portraits give, We
find. the same pleasure as before. and
about as much. She gains her effects
AZ Sargent does. not so much by the use
OF colors as by forced values" All
the resemblances to the Sargent method
have already been discussed n thousand
times. or all OF his followers she 10
robably the best. 1t Is astonishing.
. iow that the furorc for values" has
passed. to sec how little color Miss
Beaux contcnted herself with--a big
portrait all in gray with q little pink:
another in gray. with some pale blue In
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18
WHAT is HAPPENING IN THE WORLD OF ART

was about as follows: First he made
the drawing In sepia or blstre. Then
he etched with his own hand the lead
ing lines of the subject upon copper
plate and they were bitten In in the
usual way. This plate. with the foun-
dalton Of the design bitten in. was
passed on to q professional mezzotint
engraver. who added all the details,
light and shade. the whole of the sky
and the atmospheric effects. Turner
mczzotinted as well as etched with his
own hand eleven of the plates. Need
less to say they are among the finest.
The Ederhcimer Print Cabinet. 366
Fifth avenue, issues a sumptuous cata-
logue with its current exhibition In
which rare prints by Durer. Lucas
Van Leyden and Marc Antonio are
grouped, but then sumptuous cata-
logucs are the rule with this house.
However. this one Is different. Mr..
Ederheimer has written poems suggested
BY the plates. These interpretations
OF the artist have been written In Ger
man, but have been done into English
by Frances Holman.
Just whether all the world will ac-
cept these interpretations OF Durer's
Melancholia,
And an angel sad is seated
on the emblem OF mans wreck,
On the stone which. flight defeated.
lie has hung about his neck.
is not SO important as Is the refreshing
fact that "A New York dealer has seen
1T to listen TO the muse OF poetry while
compiling his print catalogue George
S. Helman in commenting upon this
part OF Mr.. Ederheimer's work says:
Great art not only stlrs the emotions.
but always potently stimulates the i'm
agination. Perhaps no other engraving
can compare with the 'Melanchoiia' in
this inherent power Of suggestive
beauty, a beauty wherein mingles
mystical wonder with the wisdom or
experience Mr.. Eicrheimer's interpre-
tation OF this masterpiece in its relation
to the other three great plates must
surely add TO the general recognition OF
the marvellous genius that casts such
glamour over the works Of Durer'
That the exhibition of the Jewish arts
worked in the l5ezalel School OF Jerusa-
lem will meet with plenty OF sympa-
thetic response In this city was evil
denced at the opening OF the show In
the concert room OF the Madison Square
Garden. Crowds OF people attended and
lowered over the cases so that they were
sometimes viewed by the mere critic
with difficulty. The work IL excellent
and varied. Furthermore much Of II
makes tho strange appeal Of the unex-
pected. founded as it is upon traditions
that so far back.
As might be expected much Of the
finest metal work In the show liz
damascened. but there is metal work Of
all descriptions. In vases. bowls, boxes.
plaques and sconCes. The silver fill
gree boxes are Of delicate work and
quaint design. The capdelabra. jewelry
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18

Ia as near to being Spanish as any
thing can he this side ol irun.
The paintings are decorative. as we
have said; so much 80 that you feel the
temptation lurking behind the artist to
deal In perfectly Nat tones. Perhaps
that will come In his next period. In
none of these is the outdoor background
very realistic, but 1t is always In good
color and good lines. In "Rosito," where
the most spectacular of Senior Zuloaga's
dancing girls has flung herself breath
lessly upon a sofa after her turn. the
long sinuous threads Of the fringe upon
Rosito's white silk shawl are given with
q particularly that makes II almost
top the whole pictorial scheme. Rosito's
corporal invcstiturc as IL shows itself
In all a dancers frankness above the
said white shawl is start,ingly pink.
Her hands, arms. shoulders. face are in
the same unbending. unyielding tint.
Zuloaga means something by It.. OF
course. lie is too cerebral not to know
exactly what he himself Is up to. II
may simply be the flush from the dance.
or more obviously still one Of those pink
glares from the footlights that tho
theatrical electricians pour on nowadays
regardless of no matter how great an
artistes complexion. But for our part
We suspect from II that Zuloaga Is
about to branch Off into the f'atter tones
Of the greater modernity. We shall see
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18
Here is Gertrude's play foreword:
"Marsden Hartley.

"Marsden Hartley.
"A cook \ cook can see. Pointedly
in uniform. eXertiOn In a medium. a
cook can see.
CLARK which is awful, clark which Is
shameful clark and order
"A pin is plump point and peckIng
and combined and more much more is
In fine.
Pats u.s. rats is oaken. robbrr Height
age, miles, plaster peddlc. more order.
/, "Bske. q barn has cause and more
late oak-cake specially.
"Spend rubber, holder and coal. high
careful in pointed collar. A hideous
southwest is always climb In aged sell
dom succeeded fiavoring untimely, ne
cessity white, hour in blaze.
Break sky blue light, obliquely. in a
cut carpet, In the pack. a sound.
"Marsden Hartley.
mo noon back. No noon settler, no
rounded
mo pressed plaster. None.
mo pressing plan and pancake Not
related exactly. Not related.
Matter In the centre OF single sand
and slide in the hut.
"No account Of gihberish No sky lark
utterly.
Perfect lemon and cutting a central
black. Not such clouding. \ sugar, n
lame sugar, certainly. No sobricty no
silver ash tray
"A coeXistence with hard sucking and
spoons. and spoons. a coeXistence with
orange supper a last nRnding. a beg
ging. Should the assault be extermin-
ated should II,
"Marsdcn Hartley,
"A sound is In the best society. II
huns and moves, II throws the hat in
no way away and in no way particularly
at paving. The meanness Is a selection
OF parts and all of that is no more n
handkerchief merely and large.
points
1.-THE exchange which Is fancful and
righteous and mingled IL in the author
mostly In the piece.
Hunger IL not hurry and "A silence
eno no more than ever II is not so OK
actly and the word used is there.
the soon estate and established al
ternately has bright soldiers and peace
aoie IN Inc rest OF the stretch.
Point face, canvas. toy, struck of.
sense or weigh coach, s1aii keak on, so
suck In and an iron.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18
ART NOTES AND COMMENT.

r AILING the opportunity in this
country to study the great Sc
ries Of Turner's that the National
Gallery possesses. the alternative for
the student would be to study his
"L!ber Stud!orum" Indeed some hold
that the better part OF Turner IL in
the Liber. At any rate there is an
opportunity at present to study the
entire rare series Of the seventy-one
plates In the galleries Of Arthur H.
Haho 4 Co. at 56s Fifth avenue.
The series OF engravings was under
taken in direct rivalry with the "I.iber
Neritatis" OF Claude Lorraine, but Tur.
ner hoped also to vanquish at the same
time all the other leaders. such as Rem
brandt, Pouss!n, Salvador. Rosa and
Galnshorough. The "Liber Ver!;atis'
OF Lorraine was intended as private
memorandum Of the pictures that
passed out Of his possession. and the
books fame was posthumous. Tur-
ner's was, on the contrary. designed for
the public eye.
HIS method in these famous plates
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18
In the Ederheimer Print Exhibition

and perfume bottles are distinctive. OF
special interest. however are the pieces
used i'm the synagogue. the crown. the
mposingly solid and artistic shield
which is placed before the scroll of the
law I'm the service, and The silver pointer
used by the reader
There is much woodwork, carving
embroidery and textiles. The rugs cover
ali the walls and are of great interest
The woods In these rugs are dyed In the
institution according To the ancient for
mulas of vegetable dyes. \ Persian
skilled IN the craft was the first official
instructor and through him large
group Of workmen have been initiated
into the secrets OF rug making. Many
Of the rugs upon display are frankly
Persian in inspiration, hut here and
there In tho weaves one notices the star,
the candlcstick and other Jewish en-
blems Incorporated in the pattern.
Prof. Schatz the founder of the school
has brought the exhibition here in the
effort IN widen the market for the
goods made by his workers in Jcrusa-
lem. His schoo, there has made phe-
nomenal progress in short time,
Founded in 1905, it produced last year
products valued At over $4,000 Prof
Schatz's success lies not only in the
Inherent value If the task he set him
self but In the contagious ldealism and
enthusiasm that he seems To POSSESS. lie
labors not only to revive the lost arts
but 10 instil love for things Jewish.
After seven years of work the school
Is housed In one of the most imposing
structures in Jerusalem. is attended by
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18

"HE three forewords are lovely.
First there is Mabel Dodsc's,
saying that If MarsIen Hart.
ley's pictures do not cure you
at least they will not kill you and adj
vising you 20 try them. She warns you
quite honestly that they may arouse in
you your own feelings, hut that Is only
part of the treatment ard you should
not be alarmed. but just swallow them
down.
Then there is Hartley's ,wn foreword
in which he says, What's the blank
blank use of blank blank forewords
anyhow? Forewords amt no good"
And then there il wonderful fore
word by the great Gertrude Stein,
which she has made quite simple for
us so We will all understand and has
written 1t in the form of "A play. The
characters are n cook. n clark, Marsden
Hartley and solder chorus, and in
the last act there's the wedding, and
they live happy ever after. Marsden
marries the cook OF course. Lucky
dog. We shall all go TO his dinner par
ties But OF course the wedding cannot
take place until after he sells few of
the pictures.
What superb pictures. They'll sell,
sure. Everybody viii wish to have one.
But the exhibition lasts until February
s, and you can't take the pictures away
until then no matter how many you
buy.
AS the fore words are sure to raise
rumpus sure to he read with the en-
phasis upon the wrong words by pig
headed philistines, TO rural audiences
who will iffaw loudly their own lack
Of sensi;iveness. We hasten to give Miss
STEMS foreword in its entirety, that
those who are zen rapport" as Mrs.
Dodge puts II. may he conso!ed by II.
uplifted AMI "inten! filed in their own
being" and those who wish to guffaw
NAV guffaw and get II over with.
We shant give all of Mabel Dodge's
She tells too much. What's the use of
giving everything away? We are all
entitled to our little mysteries. espc-
ciaiiy Gertrude. Why cid she say
"Pictur.s must he seen an ! felt directly
in order to be received No other in
PRODUCTION Is necessary, or can be any
thing more than futile. As futile as
the description of music? Why did
she drag that in about music? Soon
everybody will be on" and then Il will
be like the flower in the Tennysov
poem. The big flower just beyond our
reach s so beautiful, but the seed blows
over the wall and To- everybody has the
flower. and despses II. Not that Miss
Stein would ever be a weed-but you
understand.
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18
Early self portrait by Whistler Shown first in America
Current Exhibition Kennedy Co.'S.

that later. no doubt. for Mr. Kraushaar,
fortunately for US. seems To be deter
mined TO keep an eye upon Zuloaga.
Zuloaga is just little past 40, so it
Is 10 be hoped he will have many
periods. He was born la 1870 in the
small town Of Eibar. in the county ~
Guipuzcoa. His great grandfather was
a celebrated armorer. who created
countless pieces 81 art for the court
and who instituted the Madrid Armcria
His grandfather was an Incompatible
damascier and later a great manufac-
turer Of ceramics. His father started
as sculptor OF plaster casts of animals
In the Paris colony with Carpeaux and
Barge and later he changed to the art
steel work. He returned to Eibar and
started there an elite Of the best
artisans.
Ignacio Zuloaga had therefore the
true artists blood In his veins In 1855?
ne went TO Rome. afterward to Paris
and was feeling his way In doubt
ful atmosphere. living in loneliness and
struggling hard. In 1894. for the first
time. he exhibited in the Salon OF the
Societe Rationale. In 1898 one OF his
portraits attracted attention. In 1899
a series of figure paintings made him
better known. This WAS the hour of
the birth of his glory.
"There Is nothing more to be said
about his life. II lives entirely in his
works. He is a!oof from all worldly
distractions. absorbed and intent In his
work, to which he Is entirely devoted.
He was married to the sister of the
French painter MAXINE da Thomas
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18

tn HE three forewords are lovely.
First there is Mabel Dodsu's,
saying that If MarsIen Hart.
leV's piCiures do not cure You
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18

A MOTHER painter Of children. Miss
n Elinor Barnard. IL showing her
\ work In water colors In the Ar
lington Galleries. PA Madison
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18
Candida hy Zuoaga On exhibition in the Kraushaar Galleries

shut the chamber In the door. so
well and so weak and So buttered. Shut
the chest out. do not shut 1t in.
"A sun in shine. and a so and %
helped angle is the same as the whole
right.
The wedding.
at is not for nothing that the row
placed quantity without grinding. Fur
n.shing IL something. individual y
pointed. Beetles only aged sounds are
hot. n can in ease and Il sponge full q
can In case and wax well come. "a can.
a single hole, a wild suggesting wood q
half carpet and a pillow. a pillow In
creasing. a shirt in a cloud. n dirty dis
ress, thing gray. a thing thin. a long
shout, wonder. an over piece Of cool
oil. a sugar can, shut open accident 4
result In "A feat, copper. any copper
A cape coat. In bold shutters. In bold
shutters shutting and not changing
shutters not changing climaxes and peel
ings and hold over the switch. the bind
ing Of pet and n revolver. the chosen
loan. the owned cake in pieces. the way
TO swim"
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18

the cushions; and a still larger one with
q little soft yellow conceded to the
child. hat.
We Ike Miss Bsaux's children best
upon the whole, and are inclined to pace
the little girl who clasps the hand of
her bigger sister. dressed in black. near
the top OF the list. All the children are
quite spontaneous. Had these pictures
been placed IN a gallery a trife more
accessible TO the public the service to
the public and TO Mss BeauX would have
been greater. Retrospective shows of
this character are very necessary II We
would do Justice TO artists who have done
valiant service in the past, and whose
scattered works have passed into private
galleries. and So out OF the reach Of the
younger generation.
4 MOTHER painter Of children. Miss
n Elinor Barnard. Is showing her
1 \ work In water colors In the Ar
lington Galleries 274 Madison
avenue. Miss Barnard Is English and
has had the great luck. apparently. to-
have TIE pick Of the present fook Of
British children to portray-healthy.
hearty. beautiful children-and she sue
ceeds not only In getting their portraits
but In making pictures of them as well.
Miss Barnards manner In the use OF
water colors Is not so free as Miss Bcaux's
"A oils. but she takes as much care as
the Philadelph!an does to avoid all traces
Of the pose. The color in them Is fresh
and good the drawing and workmanship
In general have n British thorough
and excellence.
Surrounded by this bouquet OF aristo.
cratic English children are several
American and near-Amerlcan children
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18

A more delicious accompaniment to
the pictures cannot be imagined. Is It
not wonderful the way in which Ger
trude responds 10 every one Of Hart
lays moods? MIR. Sticglitz really should
give the de lecture some time during
the run Of the show. Miss STEMS verses
gain enormously when read aloud. The
reader naturally should be some one Of
high intelligence with fine natural
voice. The tea could be the usual Lip
ton blend.
Not more than twelve should be in.
vited to the the de lecture, owing to the
smalness of the Photo Secession gall
leries Besides there are not even twelve
Of us In New York who are really en-
rapport. l suppose We could invite
Glendenning keble of pittsburg II
necessary to have "a crowd. But you
see the different acts Of the play would
have to be read in different galleries
according to the location of the pictures
The reader might stand In that little
central hail TO be heard In both rooms
But no. We should have to move back
and forth as the climaxcs Of the play
are reached and so much jostling with
cups OF tea in our hands would be
disastrous. CLARK which is awful,
clark which Is shameful" but just the
same "clark and order when II comes
to drinking tea.
Mr.. Stieglitz reported at the close Of
the first day OF this most fascinating
exhibition that most OF those who were
annoyed by the pictures were annoyed
by the figure SIS which appear here and
there In some of Mr.. Hartley's German
experiences. VIII you believe Il. We had
not even noticed the figure s.. There
seemed to he so much more In the pic
lures than the IS that we had passed by
them completely In the first thrush.
That's the pity Of letting the things be
seen too quickly. People will force you
too. to look at the figure SO. What Is
IT, in heavens name. we ask you. when
a murder is being done. that the
rescuing ar f'eeinR-as the case may be
policeman on the beat happens to
sport the number 8? Not that murder Is
being done in Mr.. Hartley's pictures
there you go again. you see. The per-
vading literalness Is too colossal to be
comhatted except, as Mrs, Dodge says,
by IIartley's pictures themselves.
And also. since we find you dragging
heavily on the chains. must we explain
that those are not policemen In the
pictures. but Uhlan Dragons.
We fear that Mrs. Dodge's "One man
might say: Hartley understood the
mountains. he learned their cruelty:
their eternal aloofncss and separate
ness; their immutablc silence. He
learned their last secret, the secret that
perhaps they are not there at ALL" will
Internationally mlslead some OF the pill
The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-01-18

TIVE kraushaar Galleries, 30 Fifth
avenue, In honor OF the Zuloaga
pictures now on view there, have
hung some other important works, even
in the entrance rooms and windows, maxi
ing display OF great interest. Among
them there IL an unfamiliar and large
CASTOR La Touche. several by w. De
Hwart OF great richness. a George Luks
and several Lavcrys.
The Iuloagas are eight In number.
large important examples OF this ar
lists later manner. In which the dec.
Grafton counts for no much. The mat
ter Is as essentially Spanish AZ ever.
even more 80. for the only gentleman
portrayed Is gentleman bullhghter.
and four out Of the Ave ladies' are
Spanish dancers, the exception being a
yoaaS "AssstsaasGsisc." who after all
La Junta tribune., 1914-08-22

For scientific protection to
Home industries and products.
5.-For n scientific Industrial
Commission SO that the economies of
business consultations may 20 di-
rectly to the people in lowering the
cost OF living and thus increase our
incomes and actually reduce the cost
OF the necessities OF life.
6.-For Merchant Marine so we
can carry our products to every part
of the world and thus increase the
value OF all products Of the farm and
the factory
For efficiency and economy In
the public service and the immedi-
ate reduction OF taxes by the election
Of capable public officials who will
manage public funds with the highest
skill applicable to the management
OF private funds
La Junta tribune., 1914-08-22
ISAAC n. STEVENS
FOR UNITED STATES SENATOR
ON THE REPUBLICAN PRIMARY TICKET

Mr.. Stevens has equipped himself
for public life by worldwide travel
and study. by writing two successful
sociological books. by his career as
District Attorney and as owner and
editor OF daily newspapers and other
wise.
He has lived In Colorado 35 years.
Mr.. Stevens probably knows more
public men the world over than does
any other Colorado citizen.
He stands:
l.-For law and order at all times
an! under all circumstances.
2.-For the legitimate use of all
Colorado resources by bona fide Col
orado citizens.
3.-For the right OF prospcctors To
operate on Forest Reserves as well
ms upon the balance of the public do
main.