davidaulloa/AmericanStories huggingface dataset:
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1914-06-26

einen WiobtIfut 6sidBe. Damn Bate
fe pobl bei6tsr mITen, uno bic 0es
i6i6te mare fix is iAlimm eetporben,
ob3par iie fi6 in 8ruuos ber3Ii9 nee
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mittag gu erIeoiseu ge9eben bate. unb
fu9r ploBlid oui.
n0ente Dir. SbaB. beute Moroen
batte i9 cine rit,ise G5eiasibung ouss
8uIprehen. Dir Jrau purbe notii->
lid aIs Der Idu,9i9s Sell srtIdrt."
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r2oB bfrsn."
so. htr Morn bate sinige griefe,
nus oenen herpor5ing. bob Die 5rau
i'm hinterginQ. Niles, mos sr fir
ibre Shulo porsyafte. fanb 19 in
ben griefen beIt3ti9t."
5riebeI ginq in ods Neoen5immer
uno Tam alsbalo nit ieiner 4ttens
tofhe nieoer.
n0o id ben Fan fir Elm bsfons
oeres Stuoium ,sbrauhen mill, babe
i'd mir Die Qtter mitgebraht."
Mit bisien @orten 0ffnete er bic
gaihe. sntnobn ibr Elm bides Nttenz
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benz Slide ou8. Damn blGtterte er
burin. rpGbreno i'm feline Jrau iiber
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elmer Stsqe motts er Salt. SO nos
rem sinioe 9risi,, Die Ii6 nebeu ben
qroken 4ttenbccsn redt pin3ig aus
nnbmen. Srau Cote ihrnt 3uIams
men. 0os tportn ia ibre 8riefe, Die
fe forqfam in iaren 6ehsimfah dufs
belpobrt batte. Sie tporen nIIo elmer
onoereu gum @srhdngnis oerporoen.
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suiommen. q MI f;e onnsrs ihulo.
log mar. frern T, our6 bic 8srtettuna
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oiq geTproder ror3en tpdre? Grnu
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geihieoene s5rou} .
3uerft poqtc ie es binousi6reien,
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onoeres 81 motsn. e.Jrgeno etnns
muBte ibr ia sirflueu.
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tensbIeide Geiitt ieiHsr 6rou ni6t
eeieben. Gr MGR gu febr nit Den Nt=
ten bsihdftist, Der SaI intereiiisrte
i'm in Der Sat.
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ooer incline fIfs 1au6e" uuo 10 fort.
Die Trnu be6auotete nber ourh ibren
Rs6tspertreter, oaB lie idutoGos iei.
oaB lie oieis griefe gar ntht femme.
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tlGrte, ooB sr bic 8riefe in benz
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babe. Do benefit bod qenug."
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fir Die Sdulo Der 6rau?" fragte
5rnu Cote.
.Tein. mein 3ino, ss iino nod
tp.ittre. oie1si6t ACKNOWLEDGEMENTS
ShuIobetpeiie porbunoen, Die i'd Dir
bier nidt beihreiben fam. 0u tdnnit
es Dir pie1eidt oenfen."
ffrdu Qotte atmete erIsihtert ouf.
Wit elmer GntihuloiQuHg ging fs
hinaus uno peinte Srdnen bitt.rer
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1914-06-26
OOo ,3utrinken."

Wie has .Rinnetrinten" it out)
oos ~3u:yir'en" cine urQermoniihe
Site. ott$ urmGbi9e rllm=bie=W ettes
G-inten". in ZEN man nit 8ett cine
9ouptoerfi5,gng gum 9etrinten fob,
uno oaS ooher sahnoie @tiese bis ins
IS. S~obrbua0.yt bineir perboteu. Die
frdnti'1en <anooen, Die 9uboronunz
Gen NM &a9jIiare peuoen Iih INNER
pteoer 8t5c7 oas Wetts uno 3utrtns
Ten. HoCl Ser 0robe. Der ieIbit iehr
n'pl9 irar mo tein Srsuno pom Ga
'%'ertje1. eey.c. 7S9 ourd eiu eigenes
@t'eR. cas ZEN 81. Gtephan, ibm
'cl1it a. tuem feinsr Sobue 81
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'el1e Scl,1,sr beItimmte er: r@er i'm
@e'5Iaa,E .,aa.tr eefunoen Miro. mira
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tenni. er ,,@ unreft setou."
I{aatec 9erteioi1er serbriht ft
zen 9ca' ,e-1it iein Silent ben lsiri'
= -. 80
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1914-06-26
ztaatsietretar Sraan bsmerfte

neuIlh IN etnem Sortrnse. er babe. leit
ct ods Staats oepnrtement ibernommen.
8ieles ssIsrnt. Bosu bic nH. y sun"
IN tbrsr biiiis'seiltrstden Wtanier
lhrsibt. sr ourfs utht Usrseiisn oaB es
I1u usrsOnnt es,ueisu lei. auf elmer &c.
raOesH uHerborten llnterla9e BON
II snbstt wsiter gu bausn.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1914-06-26
su Bertha u. Suttncr hat Sic

Sadls ots 6rieoeuS zine sIubenoe Dor.
fdHlyfertn uerloreu. Sic mas eine joea!
ptraula9te 5rau unp eInt Wtlitertn
oes &ortes onSu. Shr I'M Sabre 1889
gridljeuenes Suh, rGie @uiisn me-
oert~ lit in ale Gulturiprnhen Der
Bsit lberieet iporOeu. Nbsr Qegen
Guos ibres 4ebens 1T pohI aud lie ;u
Der @rtsuutniB setommen. onB man
anti Sdriiteu. Gsoeu, Gonerelisn uno
1ouiersuSsn Die Srie3s nltt aus Scr
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%frteuuune uirO ibr bic Wlitpelt uno
&abWsit niht ueriagsn. OdB is fir
etue crosse Safe eiuen auten &nmpi
1feEtVit uno Der 0sltirisoens. I oee
6reuuOe iouoer 9abI sstuorben bot.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1914-06-26
Tic huhe Muerfennuna, bic Den

Oft5iersu uno Wannlhaiten, Die lid
Dor Bern GruS auSssSeihnet bubsn. 5u'
thetl seluoroen 1T. iuur Iiherlit wobi
peroient. @swDbnIth absr, meint elm
Behielblntt. pilest man Die ShauIpie'
Ter crit baun ausSuSelhnsn penn Der
8Orbaus fdIt. unO nitt idou nod
Dem y Orlpiel.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1914-06-26
urdnpeut gNilion. Der fid be.

Tr1itoeut lSlItou, Der 1tm De'
Idwert bat, Dab Briefe ausssihidt wer'
ben, melhe pon elmer unbefrleol9enoen
@eihditsInss ipreden uno barber lid
b06it entruiist se5eist bat. lit abr re
freut oaB ibm 8riefe 5uSeben WeI6e
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rem. @enn absr, 10 ihreibt oo5u bns
,ginc. 8olfsblatt". bic cine Selte ons
8eht bat, bic @elhaitsInge gu Obe n.
miro er bod Der anoeren Seite nlht
oas Redt o5,prehen t0nuen cine c II to
9engeieste Qniibt ousjUlprehen.
Nls gutter Demofrat ioate Der 8rdiioeut
Der 8orte ieiuss 0teli.er5 SeiieriOn
eiu9ebent ietH, welder Galagt bat onB
Der Srrtbam 10 IanSe ntdt 9efdbrIlt
1T. oils elm Re6t beitebt. Ibu 5u bee
n. SIN tlebriasn mar Die ari'
III oes 8raiioenien aus Dem 8runoe
nl6t an 8Iass. neil Der Ansrifi auf
Ieine 1ruitpoIitit Md: heimIlh uno
ui6t hurh .9obbiss" ssiibrt Wtro, ion'
bern ofentllf uno obne bejabIte a9en'
ten uor lid 9sbt.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1914-06-26
2ra6ocut gSil,on hat sraeftan,

ben. baB in Der msritnnildsn Situation
cine 81 riiis einsetrsten iet. abfr
Gsrarti9sS tanu man ooh nit Elm ne.
mig 3 p bOIo9ts %iort5auberH, mas?
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1914-06-26
prdmien Site.

Gin 3ahr i'm poraus be'ablenst
ubennentem erbalten ie elmer
5apeuen haIenser ais Prami'
gratis une p~ortofrei. I'm pra
suien Hne foIeenoe 'mr IusmdbI
Uorbaneen:
9saturupoff, toauon fino breio.4n Hum
mern erIhienen).
Vramisn geaen Webrbejablnn9.
aodbbnh.
Eteioer's oeutid : nmerifdniihes aofbut
fur ileine iSamilien. Bon g9aIoemnr
56reper. Breis IS Gents.
Rabmaidbinea.
Ute .g2proftern" . RdhmaIhine Wo. | Dire
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giaftlue, bic fur irseno einen Rreis er-
anltiid) Ut NO
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bert, uno 6leir 8reile rldten ih nab benz
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ge1beu 9beHiO gut uuo fidber fiHe bic VTDress
tasas tEuuast, ps.he bic Ngenteu IN alien Orr res
1tztteueR aus ellen. &euH man bas Belb per T.
s~apetiuus oosr per Experimenting. itidt. NJ e.
ztcf ncthueHbia. ben betrrFenbea Nrtef rsatit riEsa n
ISHeu, usHE bic ghrefe oeutlidb ssihrtsben III 9est
wzn bsaeaen Badrae.o In ben Brief, 10 ioaie etstst
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xE6H ia niht, bic alte ebeniomohI ME bic HeAe
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men Ia ben 6aherE gar aitt fneen.
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Efk berrstRttidhe Quitting grndbfhalteH MFR
hes. iBuhe,H lab eea Brisien betBaIsseH.
Quitting erfolg: nur ourh NeRberung
oss 1atuus auF benz AoreBItrtiien.
Rnn G~orellire elnFdh:
'EORDSTERN". La Crosse, Wis.
Nord stern. [volume] (La Crosse, Wis.) 1856-1921, 1914-06-26
Vramien eeaen Wiebrbe;ablung.
AoMbum
R6hmafhineR.

Steieer's bsutjd : ameritdnlihes aohbud
fur ileiue ;Samllien. Bon &aIoemnr
5hreper. Xreis rs Gents.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01
Recent Works by Two Ameri-
can Sculptors.

Miss Anna Vaughan Hyatt, who els
having an exhibition of her work at
the Gorham gallery is an interesting
sculptor of animal subjects. She has
to begin with, a really intimate knowl-
edge of them. She knows not only
their forms but their movements. the
way they carry their heads, the way
in which their feet grip the ground.
There is something Immediately con
vincing about these creatures of hers.
whether they he wild, like the young
Elephants at Play or familiar friends.
like her dogs and horses. Especially
do we appreciate her faculty for stat
ing all the picturesqueness that IS to
be got out Of an animal without in any
way forcing the note. Even as we
make this observation we recollect one
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01

Goncourt collection, he could sketch
the interior Of a great public bakery
and animate II with twenty-five or
thirty stout women OF Paris. making
the scene as lifelke and as simple
as a page from sixteenth century
Dutch art. As it was with the
figure so it was with landscape.
we have spoken before Of his TAI
ian gardens. the sketches he made
al the villa d'Este and elsewhere and
used when he came to paint the back
grounds i'm pictures like his ravishing
Scene i'm a Park" I'm the Rodolphe
Kahn collection. He drew these usually
in red chalk. but sometimes in darker
medium. whatever he tone. he pre-
served the exquisite sylvan grace OF ms
subject. and. what is particularly 10 the
point. revealed his knowledge OF tree
forms that fidelity TO nature 10 which
we are always returning in the consid-
Grafton of his work. There is boast
Of his. said to be found on more than
one Of his canvases, "Frago painted
this in an hour" He could work thus
swiftly because he was so sure.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01

and at the same time she well gen
always as a whole. and SO modelling it
that we not only behold its broad
physical structure but apprehend some
thing of its characteristic atmosphere.
faithful and spirited. Alike in her
small bronZes and in larger. more mon
umental pieces. like the Great Danes
executed i'm blue Italian marble she
conveys the impression of an artist
working easily and effectively IN pre-
csely the stuff that is suited to her
ideas. II is a first rate show.
Mr. Chester Beach. at the Macbeth
gallery, groups a number Of small
husts and reliefs around one important
design I'm the round. This is The I'm
folding Of Life" seen before in the
Winter Academy. The strong male
figure in the background upholds a
rude girl by her outstretched arms. II
IS "A slender, graceful composition, and
in his subtle modelling Mr.. Beach aptly
assists the play Of ascending line which
ne gives in his designing OF the form
The group has certain poetic quality
and illustrates a its best the sculptor's
suaNe deXterty. That quality rather
than any great feeling for character
gives merit to his busts, but In a couple
Of sketches Of seated figures, Great
Grandmother" and Grandfather. he
discloses more decisively than ever be
fore an instinct for the personal traits
i'm his models. There are two charm
ing relefs i'm this exhibition. both well
modelled, and one of them. the Snow
Dance commanding special apprecia-
ton for its vivacious and yet we'll bal
anccd pattern. The Wave Head"
may also bc cited with warm approval.
Merely as a study from life it is an ex-
cellent thing. and it has. besides a
rich decorative beauty. as of some
thing done i'm free, well advised emu
lation of the antique
In a neighboring room at the Mac
beth gallery there are new paintings
by four or five American artists. MIR.
Gardner Symons is especially attractive
here with his lovely winter scenes. Mr..
Richard +. Miller also gives a good ac-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01
The Belgian Constantin Meu-
nier and His Work.

The collection of the works OF the
late Constantm Mcunicr which has
been on exhibition in Buffalo and
Pittsburgh is now TO bee seen at New
York, prior 10 its display in Chicago
Detroit and ST. Louis. The sculptures,
paintings and drawings of which il
consists have been arranged i'm the
Avery library at Columbia Univ ersity
and will remain there until the middle
of the month. II was a happy idea
thus 10 make Americans more fully ac-
quaintod with an artist Of Mcuncrs
character. He was an intensely mod
crn type. dedicated 20 the expression %
sympathy shared 10y thousands all
ever the world The humble obscure
tulcr was his theme. and from be
ginning to end ne strove 10 bring out
the strength and dignity in his hrawny
models. Possessed of a sound If not
brilliant. technique, ne IS. of course. a
subject for critical discussion hut it is
only on reflection that one is inclined
To consider his art with reference to
any aesthetic canons AT the outset the
temptation is strong 10 think Of these
sculptures only as so many poignant
documents contributed to the labor
movement of our time.
Mcunier was a man of deeply COM
passionate feeling. and the conditions
he observed among the miners and
ironworkcrs of his native Belgium. con-
ditions rendered the more iOrhidding in
aspect 10y landscape background usu-
ally dark and bleak, stirred him to an
essentially humanitarian impulse. He
had. il is to be presumed. his moments
of gladncss. moments i'm which the bur
den Of life did not seem TO him intol-
crasic In one Of the reliofs for his
huge Monument to Labor at Lou
vain. he depicts harvestcrs at work i'm
the fields. and the broad impression he
conveys is one Of peace. Yet even here
the faces Of his rcapcrs have an almost
solemn gravity. The scene depicted is.
after all one Of strenuous effort. He
was obsessed by the pain and bitter
ness OF work. Labor, as nc interpreted
IL. preserves, as has been said. its
strength and dignity. but his types are
.ypes Of resignation, wearing an air of
something like settled melancholy. We
cannot help wondering If they are not
little sorry for themselves This is
not necessarily an indictment of the
artists realism. The tired laboring
man. like a good many more fortunate
human beings. is not infrcqrcntly sorry
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01

and others. Then 20 this brilliant
lery which the Arundel club brinc
our doors Lord Zouche from his A.
in Sussex, contributes a glorious 4
donna and Child" by Bartolomeo ~
tagna, Mrs. Mason Jackson senA i
charming Giorgionesque Portrait 4
Youth" Mr.. Bowyer Nichols add
fine Tiepolo. and from three or -
more collectors come further worn
the highest interest. Mr.. F. D. Wa
contributes "A Dying Gladiator
which is attached, tentatively. .
name OF Velasquez. II II is not 4
his brush this nude is at all eve
from a hand not unworthy Of his tn
ton. This picture. by the way, hsr,
in the great loan exhibition ot spsr,
old masters which has just closed
London. and il was catalogued then \
having been recently discovered IN n
vate hands in Sweden. But most
the pictures reproduced By the Ar.l
del Club belong 10 that vast mas
heirlooms the ownership Of which I
divided among countless old Enid
families, many Of them. in a sense. o.
itively obscure. Is the supply Of 4
masters indeed limited? Consider
I'll that is implied in a publication !
this. we are disposed to think that / /
inexhaustible.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01
The Needs of the New Munich
pal Art Gallery.

Nowhere i'm New York is work for the
public taste being done with more en-
ergy than in the Municipal Art Gallery
which was opened not long since in the
building of the Washington irving High
School on Irving Place. one exHlpl-
ton rapidly follows another there. Al
ready four have been recorded and the
fifth is in full swing. a show OF nearly
three hundred subjects by number or
popular American illustrators. How
ard Pyle. Lucius w. Hitchcock, r.
Hopkinson Smith. \. !. Keller, Harri-
son Fisher and many other clever
craftsmen are represented. This dis
play lasts until February ID. Then
another, organized by Mrs. l.. Ogden
Campbell will take its place, TO last IN
Ill the middle Of March. Mrs. Campbell
will make her exhibition one OF works
by women artists, and those who have
paintings, water colors or other produc-
tions which they care TO contribute
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01
A Further Note on the Frago
nard Exhibition.

In surveying recently the Gmpel N
Widenstein exhibition Of Fragonards
we made brief alusion to his drawings.
The few included in the collection have
special meaning for the 'connoisseur
Of this delightful eighteenth century
master Lady Dixie speaks Of Fra
gonard's having made up for lack Of
study by Ibis marvellous readiness and
gifts" and she. recalls a saying about
his having handled the brush before he
could draw a line. In other words. he
was a born technician, and when
craftsmanship came to him it came, as
it were. by nature. II could not he
said that his line was powerful or that
il followed with any extraordinary SEN
sitiveness the last refnements of form,
the most evanescent modulations Of
surface. But it had a way Of express
ing about what he wanted it TO eX-
press. and it was invested always with
the glamour of his style. Visitors to
this exhibition will naturally pause
longest before paintings like Eh2
"Rinaldo in the Gardens Of Armida,"
but they would do well to give plenty
of time to the drawings, so that they
may see for example, how In the most
casual study Of drapery Frago gave
character TO his touch and made the
merest fragment interesting and beau
|, tiful. The drawing by a master, IS We
never tire of repeating, is the most
spontaneous of all souvenirs of his
genius. Thanks to the modern process
of reproducing such works in facsimile
we have before us at the moment
yoluminous sheaf Of these intimate
productions. They give one a wonder
fully convincing sense Of the artists
innate ability, of the sheer strength I'M
DERIVING his frivolity
Frago had a happy way of setting
forth a subject in few lines Of firm
definition, then adding a thin wash OF
tone to give body and atmosphere 20
the scene. After this fashion he would
project a picture, but it did not always
matter whether or not he carried out
the work with his brush. on small
bit of paper the picture, i'm every sense
of the term, was there. His drawings
show, too, how much of nature there
was i'm his art. His subjects are 50
often of such a light and even theatre
cal nature and the figures in them are
such gayly romantic types. that we are
in danger of forgetting his frequent
consultation of the living model our
modern impressionists are not more in
terested than Frago was in the mys
teries Of action. and. TO tell the truth,
it is not often that they rival him in
the denOtement Of it, For an artist Of
his temperament he was really re-
markablc master of gesture, remarka-
BILE both i'm the truth and variety with
which he developed this important fac
tor in pictorial art. And the drawings
especially expose his wide resource i'm
this matter, because in them, with the
slightest means, he nevertheless ac-
complishes the most substantial re-
suits. He understood the movement Of
considerable bodies of people. His
larger groups, those allegorical scenes
i'm which he tried now and then to BULL
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01

may communicate with her at NO. I'D
Irving Place Following this exhibition
there will be one under the manage
ment of Mr. Arthur Hopkins. in when
il is proposed to illustrate subjects OF
special interest to men, subjects relat-
ing to adventure, industry invention.
sport and so on. It is earnestly 10 be
hoped that artists and collectors VIII
freely contribute to these exhibitions.
They attract thousands and are doing
solid good. They require. of course,
an abundance of material. and this,
equally of course. is always hard 10
get 1t is a time for generous cooper
alton on the part of everybody inter
ested in art and in the artistic welfare
of Nav YOr'
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01

The Architectural League is IN pos
SESSION Of the galleries at the Fine Arts
Building. and will open there next
Saturday its annual exhibition. Paint
ings sculpture and the allied arts VIII
as usual, receive some attention put
VIC gather that this year the art of the
builder will be kept more than ever IN
the foreground Meanwhile. the Amer
;can painter. signing to make himself
felt i'm the large miscellaneous SHOW
will have his chance i'm Philadelphia
whore. Likewise on Saturday. the an
nual exhibition of the Pennsylvania
Academy will be opened. At the New
York School of Applied Design Tor
Women there is an exhibition of old
Chinese paintings lent by Mrs. Sen
iamin Thaw The Italian National
club is showing caricaturcs 10y For
marc At the Enrich gallery there are
PORTRAITS in miniature 10y Martha
Wheeler Baxter. Decorative panels
and drawings by Marcel Lcjeune. Of
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01

dainty worth seeing as IT is, neVerthe-
less is little monotOnous. Its at
mosphcre is that Of a social rather
than an artistic subject We arc in
tcrcsted we are moved, but we arc not
charmed. II is a piQuant illustration
of the Unsuitable craving i'm the human
mind for the one inalicnable sanction
belonging to the true work of art, the
sanction of beauty. and We are re-
minded. too. of how completely that
depends not upon the subject but upon
the artist. 1t was not because Meunier
went to the mine and the foundry for
his models that ne fell short of the
highest goal It was because the gods,
giving him some sterling gifts. with
held the rarcst gift of all.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01

do not show him at his best. they do
not suggest that he was safe with
crowded canvas. But he could gather
together "A number of men and women
in a drawing room and bring others
through the doorway in a little throng
and perfectly adjust each of his many
figures To a natural and subtle scheme
drawings formerly in the celebrated
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01

ply at all, but more recently il has be-
come obvious that the dealers can. II
they choose. get hold of almost any
thing. There is always the English
country house To draw upon. The
point is enforced anew by the latest
portfolio OF the Arundel Club. col
lection of twenty plates after pictures
nearly all in private collections. We
Churchill, Of Northwick Park. Block
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-02-01

ley, is known save to the few spec
interested in the subject as The a.
Of important old pictures. but from
portfolio it is plain that he has .
gems. One Of them is a little n,
cation in the Temple" by In~.
Monaco. a bewitching example Of /.
Florentine art. and along with th,,
Spencer Churchill can put before
beautiful Alteration Of the Mar
the school OF Verrocchio. and M.
takably representative things by ],
daens, Gerard David, JoOs van q,