davidaulloa/AmericanStories huggingface dataset:
New-York tribune., 1915-01-31

pursues us when we visit another ex-
hibition, the one at the Macbeth galley
of paintings by thirty Americans. Here
il is A. b. Davies who arrests us with
his "Foamless Fountains" a symbolical
picture in which a figure on horseback
moves on some mystic mission through
a landscape embellisned by two other
nudes. We say "embelished" advised
ly, for that is exactly the idea that Mr.
Davies suggests, an idea OF forms in
troduced into his scene as so much
decoration, for the sake OF flowing
contour a patch of lovely tone. For
moment we seem back again in the re;
eion Of Redon's Responsibilities. But
mark the essential difference. The
IMAGINATION Of this artist rings true,
and there is no mistaking his sense OF
beautv. the fneness Of his feeling. 1t
;s an interesting example Of the tri-
umph Of inspiration over material disa-
huities In this, as in so many Of MS
nietures. Sir. Davies permits himself
liberties of form, color and design at
which we are bound 70 cavil. But we
cannot escape the lure Of his appeal
Ills wistfulness comes or, because at
the bottom Of It there is spark Of
the creative fire. See how the same
irresistible law Of art has its way IN
the grand winged Figure" by Abbott
Tbayer. There are spaces in this can
vas notably those around the rock on
which the angel is seated and IN the
background which one can imagine bet
ter painted. painted in finer, more
,rarsnarent tones. But sheer genius
bs. cone TO the portrayal Of this eeles-
.il figure and its mighty wings. The
drapery. revealing the form as in some
s,lendid work OF sculpture, is Greek
in II, blending Of simple mass with
subtly eloquent detail. Ard the picture
New-York tribune., 1915-01-31

New York has had an exhibition Of
preeisely the character Of this one. II
b.srtists represented in it, living and
dead. could be imagined as getting up
: show Of their own, purely personal,
snd vi.hal. quite informal affair, they
would frame it, we believe, much as it
has actually been framed. 1t is, as we
hsve said before, an exhibition Of
psirter's painting, and az the same
tine there is not a thing in it which
would not give delight to the veriest
aynau. The sale at the Plaza next
wednesday and Thursday evenings
ought TO prove e. memorable event.
AMONG our other reproductions will be
found some Of the paintings which are
10 be placed Oh view at the Knoedler
ganery tomorrow for the benefit Of
The families Of French artists at the
front Numbers Of the most distin-
guished American painters at home
and abroad have contributed, and every
penny secured by the sale Of their
wOrks VIII 60 20 the fund.
New-York tribune., 1915-01-31
Old English Portraits and Modern
French Prints.

The small group Of eighteenth cen
tury paintings which may be seen at
the Lewis & Simmons gallery includes
seme good examples of English por-
traiture and a work by an American
member of the school which quite holds
it's own against fairly powerful rivals.
Copley's Captain Maitland" is weak
where the British masters of that
period were generally strong. 1t has
nothing like the felicity Of design
which Sir Joshua considered indispen-
sable. The figure is almost artlessly
placed" Yet in that very fact lies
certain source of pleasure for the
beholder. The portrait has the quail
ity of it's defect. l. is the more spon-
taneous, the more human, for the free
dom from convention which is shown
New-York tribune., 1915-01-31

has a profound spiritual significance.
Yes, one may be a little cavalier %
matters Of technique when one is
great painter.
The bulk Of the show at the Macbeth
gallery is made up Of paintings in
lighter vein. Mr.. Hawthorne's domestic
interior, "Thc First Voyage has its
note Of sentiment, too thin note,
perhaps, for the powerful, even weighty
workmanship lavished upon the can
vas. but otherwise we are asked simply
to be entertained by the clever, decora-
tive figure subjects of Mr.. Richard +.
Miller, Mr.. Ivan Olinsky. Mr.. +. Ballard
Williams, Mr.. +. W. Benson and Mr.
+. c. Frieseke. There are many good
landscapes, among which we would
especially signalize Mr.. Carlsen's
Moonlight and Lamplight" and Mr..
Metcalf's Brook in Winter" the latter
a mastery bit of realism. both in the
masses Of trees and the black, cold
stream. Mr. Hassam is represented by
a sparkling coast scene, and Mr.. Weir
sends the beautiful Laurel which We
noted a little while ago at the Daniel
gallery. In the lower room there is a
collection Of clever sketches made in
Paris by Mr.. Lester D. Baronda.
New-York tribune., 1915-01-31

the studio again he f.lt his resources
stirring within him in new way, his
ideas being clarified. In his essay on
Redon, prefxed to the catalogue Of the
latter's etchlngs and Autographs issued
bv the Societ6 pour rEtude de la
Gravure Francaise, NJ. Andre Mellerio
has much to say about the influences
accented by the artist. He was devoted
10 Leonardo, Rembrandt and Durer.
Among the moderns he preferred
Delacroix. In music he was all for the
noblest masters, for Beethoven and
Bach. One thinks. with all these hero
jcal landmarks in sight, Of another
Puvis de Chavannes. But there are
some surprises in store.
After the ideals in painting and
music. TO which we have referred there
came. for Redon, in literature, the
writings Of Poe, Flaubert, Baudelaire'
Huvsmans and stephanG Mailarme'
which is to say that, after his instinct
for grandeur in art, came passion Tor
the macabre. The fall was too far. A
great artist was lost in decaden''
It js.possible to get fair, though not
at all complete, idea of his dual char
acter in the group Of paintings at the
Carroll gallery. They show Us his best
side. 10 begin with, in the beauty OF
their color. There are no half meas
ures about the "inspiration Kedoh-
esoue" 10 use NJ. Mellerio's rather
overwrought phrase. When he uses a
vivid color he gives it its fullest pos
sible value. But he keeps it very pure
and he sees 10 it that his reds ana
vellows and blues are intrinsically fine'
Merely for their sensuous brilliance
these paintings would command little
New-York tribune., 1915-01-31
MEL steichen, Mr.. Arthur b. Davies
and Some Others.

A,nosito 10 our brief analysis OF
Radon is the exhibition which Mr'
Fduard ]. steichen is making at the
KnoedIer gallery. lie, too, has his wist-
ful tendency. and in the smaller room'
where he shows his easel pictures ne
,,ives Il tolerably conclusive justifca-
ton. At the outset, moreover, he dem
onstrates that he understands his trade
Look at the large "Still Life-Bowl OF
Flowers That solid mass Of honest
color and freely but accurately defined
form might have been painted by some
uncommonly proficient disciple Of Vol
lon. And the numerous landscapes
some of them POLITICALLY eniivened by
wraithlike nudes, are very sensitlFeiy
painted. They have atmosphere. Ihey
have charm. II Mr. Steichen had
stopped here it would have seemed thAt
he had q modicum OF Imagination and
could use it 70 good purpose. But
then we step into the next room and
behold. all that imaginative glow has
faded, and We are treated 10 the spec
lacle Of an artist trying TO pull himself
up by his bootstraps. Looming por-
tentous in the long gallery, there are
seven huge mural decorations, painted
'In Exaltation Of Flowers" Tall. I'M
mobile, but by no means majestic hg-
ures are posed against backgrounds
which we cannot describe, but can only
indicate as ssvoring, in their odd ar
rangements Of line and color. Of the
New-York tribune., 1915-01-31

{
fans Coilecton)
change is welcome, for change is
rare. Whistler, Brangwyn, Cameron
and others whom we need not name
are forever with US. 1t is good TO see
them, of course, bu; they give keener
edge 70 the new thing. One Of the
three French etchers whose works are
on view at the Kennedy gallery, NJ.
Jacques Beurdeley, is type none too
common in contemporary art He uses
the needle with purpose akin to that
Of Corot, seeking lyrical effects in
landscape and translating them into
line with something of the tenderness
peculiar to that master. The "Lisiere
de Bois" is perhaps his best plate, but
all his woodland scenes are good. In
some of his landscapes, such as the
Route de Granville his style is
marked by a greater deliberation, a
closer analysis of detail, but his Gus
tomary habit is that of the "Lisiere
de Bois," very free and broad. Look
ing at his thirty-odd plates as whole,
one finds them somewhat uneven. The
architectural subjects for example. are
disappointing. When he is most him
self. most successful, he eXcites un-
qualified admiration.
In the work of Gustave Leheutre -
as unfamiliar here, generally speaking,
as the work of Beurdeley-it is alto
gether the architectural motive that
carries the day. lie has a sure in
,tinct for the picturesqueness in old
buildings, especially when he comes
10 close quarters with them, as in the
Rue du Cloitre' or the "Rue des Chats
Troyes." His art, too, is distinctly
yariab,e. Sometimes it is positively
dull. In the right moments it is beau
.iful. Witness la Loire a Nivers," in
which the broad stream and the grace
ful bridge spanning IT are balanced
with the crowded structures Of the
I'D town in a perfect composition. The
,late has the elegance of one by La
anne. and it is drawn with fneness
Z touch that he never knew. The last
member Of the trio in this exhibition
Auguste Lcpere. that redoubtable
raftsman who can range from the
oetry and lightness Of Claude to the
New-York tribune., 1915-01-31
p, ROYAL CoRTIssoZ,

-. illustrations which VIC print to-
az lock before and after. Some o,
-, RON pictures in the iehabOd
r;r,sns collection at the American
A. Galleries, which was traver'ed IN
y. Tribune last Thursday. We re-
,s,,e5 then a couple Of the Ameri-
,,intucs. and it is pleasant to
-, now some Illustrations Of the for
-, schools. 10 is a long time since
New-York tribune., 1915-01-31
Incidents Marking the High Tide of the
Season in New York.

With the recent opening Of the .
Rigs collection Of arms and srmor at
IA. Museum. artistic affairs in New
York reached something like a climax.
But there is no sign Of any immediate
asekening Of the tension. On the con
.nry. it looks as if the next few weeks
We, TO be filed to overAowing, though
p, biz show Of American pictures is In
a4 1T here. It is now the turn OF the
Aes iemy in Philadelphia to repeat the
eac -ts lately made at the Corcoran
"a .ry in Washington and at our own
Fino Arts Building. The next import
ant exhibition at the last named place
viii be made by the Architectural
League, opening next Sunday. The
smaller displays are coming on in
shoals.
The American Water Color Society
opens with a private view at the
National Arts Club next Wednesday
evening. The Spring Academy Is TO
b. expected at the Fine Arts Building
in March, and with 1t, by the way, the
American Society Of Miniature Paint
sss will make SIS annual exhibition. In
Na1ch, also, the Ten American PANT
ss will come forward again. this time
at the Knoedler gallery. The clubs as
usual arc busv. The MacDowell Club
is having SIS regular monthly group
snow, one OF paintings and sculptures
BY seven or eight artists. The Groiier
club presents a collection Of unusual
iassrest, illustrating the work OF the
famous seventeenth century engraver
laeques Callot. To this exhibition,
Which has just been opened, we shall
return on an early occasion. The
Edsrheimer gallery is showing rare
old drawings. and to the similar exhibit
Tor lately noticed at the Keppel gal
lsry some important additions have
been made, notably fine example OF
purer. Paintings and drawings by MAX
Weber are at the Enrich gallery. The
Daniel gallery is showing, under the
general title Of "The Mountain Series
Number OF new works by Marsden
nsfdey. Paintings by Marion H.
ssrket and Katharine n. Rhoades sp-
pur at the Photo.Secession gallery. AZ
New-York tribune., 1915-01-31
IN THE NAME OF
IR1AGINA NATION
odilon Redon and Some American
Types of Modern Unrest in
Painting.

the Cathedral Parkway gallery there
ere paintings by Francis J. Flanagan
and at the Little Gallery. along with
bookbindings by Harvey s. Chatfeld,
there is loan collection Of old Italian
towels. Perugian work Of the fifteenth
century. Thc Scribners exhibit some
drawings by A. R. Frost, pictures Of
duck shooting, chamois hunting and
trout fishing At the Durand-Ruel gal
lery there opens tomorrow an e%hibi-
tion OF paintings by Claude Monet.
Decidedly there is enough TO see. just
now.
New-York tribune., 1915-01-31

that would turn these fascinating but
amorphous sketches into pictures. Il
is the power of construction, of sus-
tanned Imagination, which is the power
Of the normal, creative master.
Redon has visions, but they are
formless and unwholesome. He invokes
the aid OF Imagination, but he cannot
rise to its rarefed plane. II is in
structive to turn over the scores OF
plates in VI. Mellerios admirable cata-
logue. Redon has been an ardent, pro
life photographer, and his work on the
stone exposes the full range of his
ideas. From beginning TO end they
make it pathetically obvious that he
has never SCARED to the intellectual
cornpanionship of his beloved Leonardo
and Rembrandt and Durer, but has re-
NAMED on the merely bizarre, deca-
dent plane Of Felicien Reps, that Bel
qian tvpe Of Partisan diabolism, or OF
Gova in the worst Of his charnel-house
moods. SYMBOLISM runs riot in his
designs and always in a nightmarlsh
direction. And, while linear passages
Of an extraordinary delicacy not IN
frequently appear in these more than
fantastic works of his, the broad i'm
nression one receives is Of the student
who struggled in vain, under Gerorne'
% "render form" Is it, then, by
faiIure of technique, that we are to
oo.orrt for his failure convincingly TO
affirm the "inspiration Redonnesque
O,1y in mart. The true explanation
los decner. in the artists habit OF
mind its sickness and its want OF
voritable imaginative force. Recon Is
. ,,-ne Of the modern hunger Tor re-
lease from ordinary, prosaic thougn'
ona oorditions which we had occasion
70 discuss at some length the other
DAY. apropOs of the work OF Mr. brS-
SON Burroughs. lie is another exem-
nIar Of the wistful school, sympa-
tbetie. suggestive, genuinely interest
;rg. but somehow Intellectual.
New-York tribune., 1915-01-31

Cubistic hypothesis. II Mr.. Steichen is
not cubist we gladly withdraw the
phrase. We are merely trying 70 give
some idea Of his decorative style. OF
one thing we are quite sure, and that
is that he is mortally anxious to avoid
the classical. academic formula OF wall
painting. The whole amazing series
proclaims the advent Of conception
new and strange. There is lot Of tech
New-York tribune., 1915-01-31

twist. It is the lovely poetic intention
that wc note first. the exquisIteness Of
the impulse driving the artist to paint
high erected themes, "Orpheus," B"
"Phaeton," Apollo even Saint John"
Almost, but not quite, does he succeed
with them. The large, wild romantic
gesture is there, the hint Of mystery,
the vague echo Of "mon origlnIlite."
But something is missing, something
New-York tribune., 1915-01-31
EXHIBITIONS AND OTHER MATTERS OF FINE ART

massy simplicity Of the old German
wood engrsvers, and in all the trans
'ormstions of his art remains beguil-
ngIy himself The present group OF
e,chings emphasizes the loveliest phase
Of his art, his delicate emotion DIS
almost classical refinement IN the
treatment Of landscape. /. Is IN TINS
note OF natures truth and freshness
that the whole collection is. richest
We commend it to the lover Of prin.
who likes 70 check his observations OF
art BY his impressions out Of doors
New-York tribune., 1915-01-31

in its composition. One is drawn a
little nearer to the personality por-
trayed through The simple, direct man
ner in which Copley studies his dis
tinguished young officer. This was the
Sir Frederick Lewis Maitland who car
ried Napoleon to England in the Bel
lerophon after Waterloo. It's historical.
New-York tribune., 1915-01-31
The National Sculpture Society ana
the American Academy in Rome.

The protest recently addressed 10
the European belligerents' by tho
national Sculpture Society cam OK
course. amount 20 no more than
pious aspiration. No one imagines'
we suppose, that il will ever reach the
gentry who destroyed Louvain and
shelled the cathedral az Rheims, or
that IL il did reach them IL would bring
about the smallest difference IN their
proceedings. Nevertheless IL is well
for such protests 20 be made, for IN
the long run they are Of more than
academic import. In the affirmation OF
an ideal they stir the waters OF emo
tion and thus help to keep them sweet
and clean. II has been well said that
the spiritual benefits OF the war are
bound 70 be much greater in Europe
than in the United States. The poets.
as we were told long since, learn in
suffering what they teach in song. It
is the peoples who have made the bit
terest sacrifices who will reap the
Continued on page nine.
New-York tribune., 1915-01-31

Odilon Redon was born at Bordeaux
in 1910. lie was an impressionable
child, and the sentiments promoted in
his nature by early contact with the
Pyrenees and the melancholy region Of
the Landes appear to have been fos-
tered by an indulgent father. lie loved
art and music when he was a boy Al
New-York tribune., 1915-01-31
OdiIon Redon. a Spirit Unconhned and
Undisciplined.

lndlsclpilned.
Two years ago, at the Armory, IL was
amusing TO come upon Odilon Redon in
that strangely mixed affair. He Was in
it and yet not altogether OF it. One
knew that he had long been in sym
pathy with the more unconventional
movements in contemporary French
art, and therefore his presence seemed
natural enough, even to have certain
appropriateness; but all the time he
suggested ideas with which the Cubists
and the rest Of the so-called reyolu
tionists disdain TO have any traffic.
He reappears to-day at the Carroll gal
lery. and in this instance his col
leagues, if they must be so described,
fall incontinently into the background.
They include the valiant souls who are
supposed-in some quarters-to have
invented q new art: Renault Chabaud,
Duffy, de Segonzac. de Niaminck and
Duchamp-Villon. Let us leave their
tasteless pomposities to the votaries Of
an outandish cult and examine an
artist who, with all his faults, pos
sesses some authentic gifts.
New-York tribune., 1915-01-31

nical adroitness shown in it. But TO
what end? Mr.. Steichen would be more
happily employed, we think, in painting
Vollonesque bowls of flowers.
The phenomenon of the artist NOV
ing about in worlds unrealized still
New-York tribune., 1915-01-31

more than respectful consideration.
There is genuine FIRE in them. In the
next moment, however, we are on shift
ing ground, and respect is tinged with
dubie,y. We begin to reflect on the
;acss embodied in the pictures, and the
nroblem takes a decidedly different
New-York tribune., 1915-01-31

.ho. time. too-and the, point Is sig
.;eoort-he had proper sense OF
4uop originalitt." When the time came
,o wont TO Paris and studied under
but struggled in vain 10 "ren-
3er form" with anything like Academic
.,,hor;ty II was not that he was un-
New-York tribune., 1915-01-31

Continued on page nine.
The Daytona daily news. [volume] (Daytona, Fla.) 1903-1926, 1915-01-20
Count de Beaufort Describes
Trip Along the Battle Line
in West Flanders.
HIGH PRAISE FOR BELGIANS
Courteous and Hospitable and Will Do
Anything for the English-Com'
fort In the Trenches-Germans
Reply in Kind to Belgian
Fire.
Nv COUNT M. DE BEAUFORT.
International News servicel


Belgium.-A belgian officer return
ing with his men from a week In the
trenches along the User was asked by
one of his colleagues, whom he met
on the road from Newport to furnes'
how things were going in front. 'oh,
he replied, all right, but it isn't ex'
actly a picnic. you know" That is ex'
actIv the answer | felt like giving
TODAY when | returned from a fe"
days' gypsylng in West Flanders. IL
ia difhcuu 10 know where to start In
relating my impressions. 1t seems as
II for four days have sat in huge
moving picture theater and watched
one film after another being reeied on
at the same time listening to an ex'
tremely eloquent lecturer.
How and why was able to WANDER
from. village to trench, and from
trench to village, or whatever is LETT
of them, is story which, perhaps
with many others, will be told later
after the war. They are courteous
onen.hearted. hospitable lot, these Bel
eians. and anybody who seems TO De
English. either in appearance or &C
cent can have anything they own.
"Ah. England" l hear from all sides
The Daytona daily news. [volume] (Daytona, Fla.) 1903-1926, 1915-01-20

"why they have certainly stood by us
Les Anglais sons, chic" ("chic' in TINS
sense of the word refers to character
not to appearance).
The most interesting place in the
line along the User these days mas
been the village of Styuvekonskerke'
II lies on the left bank Of the User,
The main road from Dixmude to Per'
WISE runs about half mile to tho
west Of It, and the railroad about an
other half mile farther Both lines
are held BY the Belgians. On Tuesday
morning some of our advanced patrols
yentured close to the village. and not
seeing any life there, went In. inc
Germans had retired to the other size
of the river. Promptly the village was
"retaken" by the Belgians But OF
what use is a practically RACED village
anyhow? It would have taken a great
number of extra men to guard IL AT
night against surprise attacks, so the
officer in charge retired at sunset INTO
his own lines along the railroad
Enjoy Temporary Armistiee.
On Wednesday morning the Ger
mans we're occupying the village again
for the day, but this afternoon the
Belgians might have had their Tea
there but for the sudden interruption
of business of the only patisserie. the
English sign, Tea served at all hours'
was still intact. We took II down, ana
and now II Is heading the entrance
to one Of the sleeping trenches mile
back. At certain points around TINS
village the advance lines are not fur'
Their than 1900 feet from each other'
and have seen soldiers on both SIDES
walk about unconcerned without
shot being fired on either side. hut
in the distance, one hears from time
to time the roar OF the guns.
NV wanderings landed me near
lonely Belgian field gun. one OF the
"75's," in the neighborhood OF PER
WISE. knew the officer in charge,
and was promptly invited to stay, ana
take pot luck. an invitation winch
needless to say, | accepted. Someho"
one seems to be always hungry, yet
one eats more and oftener than al
anv other time. His underground
dwelling had been made quite habit
able. He insisted that | should take
the "fauteuil" in the shape of the only
soaphon present. while he balanced
himself on a one-legged piano STOOL
Our meal was simple enough. but
The Daytona daily news. [volume] (Daytona, Fla.) 1903-1926, 1915-01-20

And the cellar offered certainly a
curious picture Fourteen soldiers sat
around makeshift table. at the head
of which-on barbour officer had
presided We had evidently inter
rupted meal. An iron bedstead.
with planks and few lunches OF
straw, took up one corner; a tier OF
knapsacks and some more straw. lined
the opposite wall. An oldfashioned
gramophone rescued from the ruins.
formed conspicuous piece OF furni-
ture, but the records had been
smashed Still. one gets inventive
when time is long and tedious-and 1t
has been very slow around here .hese
last days-so some of the records we're
pasted together on piece OF card
board, and with the assistance OF
helping finger, bridging over the gaps
to give Carmen" La Boheme." and
some popular French airs.
The first opportunity have ] shall
send them much-needed records and
needles. so that in future tho ,Ghab-
itants may have some decent music
with their meals. The food consisted
of cold beef, brown bread and water,
the color of which did not look ap-
petizing at all. One Of the soldiers
noticed me glancing - the water bot
lie, and he remarked, especially for
the benefit of the younger men. "Oh.
it's all right, this Eau de l'Yser.' there
may be a dead German or two IN It,
but that adds a sting to 1t, as they
say in the States"
The Daytona daily news. [volume] (Daytona, Fla.) 1903-1926, 1915-01-20

The Daily News, 15c per week.