davidaulloa/AmericanStories huggingface dataset:
The Washington herald., 1915-11-21

/ bright. The corsage flower was more
generally worn and suits themselves
were brighted. But this winter one
finds it difficult to get just the right
suggestion of gayety in the street
suit. The bright toque is one way
of doing this. The blouse of rose
color is another.
Shocking is good deal used on
velvet, and it really forms a most
attractive mode of trimming. Vel
vet needs little to enhance its love
illness. Its own rich coloring and
soft lines give it sufficient charm.
Shocking simply tends to gather the
velvet into folds that accentuate both
its color and its softness.
Velvet frocks show smoking on
the skirt to shape panniers. Velvet
coats for evening wear are shocked
in yoke fashion, to hold the volum-
nous and flaring lines in semblance
of fairness at the shoulders. And
velvet hats, il not exactly shocked,
are shirred on crown and brim.
New BIouses.
Every woman could wear one of
the filmy blouses Of net and chiffon
and lace that were SO much the fash
ion last winter and the winter before.
Their very filminess made them be-
coming. Moreover, they were re-
produced in inexpensive models.
This year the blouse that is oftenest
reproduced at a price that puts it
within everybody's reach is not the
becoming filmy thing OF last year. 1t
is rather severe model in taffeta, not
by any means becoming to every
body.
There are lovely blouses in other
and softer materials that are far more
generally becoming; but they are for
the most part of the more expensive
sort. For instance, there is one of
The Washington herald., 1915-11-21

For afternoon and evening veal
the hats OF metallic lace, either gold
or silver, combined with plumes. vel
vet or fur are most attractive. These
hats are decidedly becoming. as a
rule, and have the added virtue OF
prettiness. With the street suit, a
hat of velvet, with narrow, curling
brim and high crown, or with fiat
crown and wide brim, is usually worn.
There are some very smart tailored
black hats trimmed with heavy white
moire silk, cut into rounded ends or
points, and fastened, with raw edges,
rather fat against the hat. A POM
pom, or two Of them, forms the trim
ming for many Of the smartest tail
ored hats, and bands of ribbon
around the crown form the usual
trimming for the tall-crowned hats
The Washington herald., 1915-11-21
Velvet really dominates the world b

Il NSNSb iSohy uOiuindtcc tuC WOIiu
of fashion. That is fact apparent
to everybody who notices clothes.
There is, of course, chance that
women will tire of velvet before cold
weather goes, but there is little
chance that men will tire of it. Ask
the men in any assemblage where
there is only one velvet-elad woman
which is the best dressed, and nine
out of ten will point out the woman
in the velvet frock. Men look on vel
vet as particularly becoming and
attractive fabric. So if they have
their way, velvet will remain in fash
ion throughout the winter.
Velvet is a lovely fabric to wear,
too. 1t s,yes its wearer a particular
sense of well being. 1t suggests lux
ury and ease and other conditions
that appeal to the feminine imagina-
ton. Perhaps that is why it has al
ready taken such a strong hold on
fashionable fancy and perhaps that
is a reason to keep it in fashion for
months to come.
At any rate, it Is in fashion now,
and it is used in frocks for afternoon
and evening, in street suits, in even
ing coats, in hats and handbags,
muffs and collars.
The toque of bright velvet, in
cerise or bright blue or rose or gar
net, increases in vogue. 1t is so de-
cidedly the right thing to give gay
note to the somber street suit of the
season-and the street suit OF the
season, with its long sleeves and high
collars, in black, dark brown, dark
green and dark blue is distinctly SOM
ber-that many women have turned
to it with thankfulness. There was
time when the much-desired touch
of color was easy to achieve. Hats
had more trimming than they have
now, and the trimming could be
The Washington herald., 1915-11-21

net and Valenciennes insertion made
up over fiesh-colored chiffon. There
is haring collar, high at the back,
which is billowy in appearance. In
the front there are tiny hand-run
tucks placed between the bands OF
insertion, so that again a billowy Ell
feet is gained.
Another charming blouse is made
of white net over white chiffon.
Wide bands of silk lace are used on
sleeves and body, and along the edge
of each front and around the edge of
a little cape section is a fold of dot
ted blue net.
These blouses are especially suit
able to wear with the coat suits OF
velvet.
what Is Under Them:
The very elaborate underwear of
chiffon and lace and silk and satin
and crepe came into being because IT
was demanded by the very thin and
transparent bodice.
In spite OF the fact that velvet and
taffeta, broadcloth and serge have
taken the place Of chiffon and net in
the manufacture of bodices, the love-
~ unucIWCdI ICHidlnS- II - tOO
pretty to be dropped without protest.
And then it is required when we &C.
casionally do wear a sheer blouse, as
we occasionally do.
These is more underwear of taf-
feta and satin, of the washable sort,
however, with every week. This is
made in tailored fashion, with fat
stitching and pleats for trimming.
and it is especially adapted to wear
under rather tight-6tting, nontrans-
parent bodice.
But there are still underbodices
galore of chiffon and crepe de chine
and net and lace, trimmed with rib
rons and tiny flowers and embroidery
New-York tribune., 1915-11-21
Light from Ingres and Degas
on American POrtraiture
Some of the Ideas Suggests Applied to Works by Albert
Steiner. the Late John ". Alexander and Others,
Now To Be Seen in New York.
By ROYAL CORTISSOZ.

tue is a little evidence just than usual at
d the art season The National Association of Portrait
@ i making Fine Arts Building its fifth annual exhibi
New portraits by Mr. Sterner and examples from numerous
uO century English hands the knoedler gallery. At the
~ erv there kind of memorial exhibition of the works of
% Alexander The first of these displays has already
L some comment in The Tribune on the general subject and this
he extended OF ali artistic subjects there is
reer practical interest Porraure of the lead
the American artist and his patrons constantly
s number Yet be doubted if the latter invariably
81 The u scope of the which they invoke. They want a
| po-a and regards style they know what they
Ike choosing the painter whose way of painting gives them pleasure
% .L-s i more at a large view of porauc. There
principles and if body of public opinion IS ever developed
b United Jealous of sound and clearly understood Standards
L rncpcs will dominating influence the whole tua
Until thew accepted and enforced American porraiure will
@ what it to-day unnecessarily dependent upon the caprice of
accident We have good portrait painters We haven't good
school of portraiturc
New-York tribune., 1915-11-21

Schatz established. in jerusalem, .
school of handicraft that is the centre
of a movement 20 build up the Jewish
consciousness on the soil of Israel
through the training OF the innate ar
tistic sensibilitv of the Jew. With un-
usual sanity the founders OF the Bez-
alel school have differentiated between
artists and craftsmen. until to-day the
results of their forethought can be
seen at an exhibition Of their work in
rugs and silver fligree and vessels OF
inlaid copper at 23S Fifth Avenue.
Their pretentious efforts differ not at
all from what may be found in any
store selling Eastern "art" objects.
But. in more modest ways. they have
shown themselves capable Of express
ing a genuine sud tempered individu-
ality that needs only time TO reach a
truly ambitious height. in little silver
barrels that contain parchment writ
ten books of Esther in silver boxes and
bowls inlaid in copper. in soft-colored
rugs. appear a modest homely sense OF
beauty that is q pleasure to meet.
There is not an ounce of conscious
buncombe about them. They are un-
eccentric and painstaking.
Here ard there a bit of Western
sophistication. in ambitious but seedy
sculpture, jars needlessly. Bat. for tho
most part, the pupils of this school
New-York tribune., 1915-11-21
PRIMITIVE PICTURES SHOWN
Three Tryptyches Features of Hofer
Exhibition.

Martin Hofer has placed on exhibit
ton at his new galleries, 668 Fifth
avenue, a collection of twenty-one
Primitive Pictures" recently brought
from his London studio, AZ Duke street,
Piccadilly. The features Of the erhibi-
tion include three tryptyches. One by
the Master of Frankfurt shows the
Holy Family in the centre. The Ma
donna is seated on wall of bricks un-
der a varicolored stone canopy, and is
robed in garments OF rich purple and
blue. The infant Christ, with necklet
of bright coral beads. stands on the lap
Of the Virgin with outstretched hands.
Another tryptych, Virgin and Child
and Two Saints" is By Bruges. In this
the Virgin. holding the nude Christ
Child on her lap. is seated in n court
yard under a canopy of red velvet. The
third is "The Holy Family" Of the
B,uges school. The Holy Family and
four saints are grouped on the centre
panel.
The ether artists represented INCLUDE
Dirk Bouts, Juan Burgos, the Master OF
Antwerp. Bernard van Orley, Hugo van
der Goes. Joachim Patinir, Roger van
der Weyden and Jost Van Cleeve. Inc
exhibition will remain on view until
December !.
New-York tribune., 1915-11-21

Stuyvesant. by Toon Dupuis. Dutch
sculptor of repute, has recently been
presented by the Dutch government TO
the old church OF st. Mark's-in-the-
Bouwerie. The gift came as token
of good will from Holland 20 the IN
habitants of New Amsterdam. 81
Marks was chosen as custodian since
il had been erected on the site OF the
Dutch Reformed Church which derived
its first endowment from Dutch sources
and, moreover. since il still maintains
its right to the property as guardian
of the bones of the last Governor Cen
eral. The unveiling will take place on
December 4. The affair has been al
most wholly brought about by the KIND
Offices OF Chevalier Van Rappard, Min
ister Of Holland; Mr.. Adrian Van de
Sande Bakuysen, Consul General FOX
Holland, and Professor Leonard {. Naa
Noppen, of Columbia University.
The bust of this Governor, OF hearty
and irascible memory, as a whole, pos
sesses authority and ease. Evidently
however, the sculptor had not heard OF
Stuyvesant's headstrong reputation
gained beyond the seas. He had no
sense of the romantic energy that sent
the man afar Otherwise he would not
have treated the head itself, with It's
hair and skull cap, in so comparatively
tight q Renaissance manner. manner
rather unexpectedly at variance with
the fashion of the drapery about the
shoulders, which show Mr.. Dupuls as
also capable of a sculptural version
of Frans Halls treatment. Intolerance
masterfulness, earnest solidlty, appeai
in the features Of this Peter Stuy.
vesant. He is a thinker Of dominant
forehead and nose and jaw. whose res-
olute strength of character Fun'
strangely counter to the marked I'M
pression of mercurial vitality In ne
makeup still held by even the rector
and parishioners of ST. Marks mere
could have been no twinkle IN the eye
of the man this bust represents
those in this, his church: pest htteu "
recount the traditions OF tneir mas
ful founder. explain, with almost uh
qodly glee, how the captain peheI al
and Governor in Cher OF Amsterdam
in New Netherland' obtained tne en-
dovmeut for the original Dutch Cnurcn
from which st. Marks sprang.
According to history, as told with
modern ecclesiastical advantages.
Peter. well mindful Of the thrift OF his
NestryTneH-lO-Dt III - aPPANoNhNN
ON an evening after a lengthy dinner,
with mellow blending of his own
eloquence and what passed at the time
for rum. Then. the following day. he
summoned them anew to verify the
noble charity 10 which they had set
their signatures opposite certain most
generous donations. At the knowledge
of those separate sums Dutch lamenta-
tions rose loud on Manhattan and
mingled with assorted excuses Of much
befuddled brains. Wherest Peter re-
vealed 70 them the horns Of their di-
lemma. "lf you were intoxicated in
the Governors house you insulted
your mother country and for that
will be forced 10 arrest you.' he ex-
Llained. eff YOU were not intoxicated
your signatures are valid"
The signatures remained valid.
Eight years ago Professor Boris
New-York tribune., 1915-11-21

occasion with such appreciation of Mr..
Weir's "Col. c. L. :. Wood" in the
show at the Fine Arts Building. That
is why we commend 20 the connoisseur
OF portraiture Mr.. Sterner's pastels &.
the Knoedler gallery. He carries con-
viction because he paints a portrait
from within, sees it as d form OF art
and does his work with a conscience.
The example which we reproduce, the
Marques Alvarez de Buenavista," will
show even in black and white his re-
lance upon principle as we have en-
deavored TO state II. The composition
is simplicity itself, but a composition
is there. The figure is placed. And
in drawing, which is Mr. Sterner's par
ticular principle. the portrait has that
quality which makes what is merely
thorough something finer, more DIS
tingui shed We would cite the drawing
both Of the head and Of the coat, just
as in the portrait by Ingres that
masters glorious line tells as elo-
quently in his sitter's dress as in her
beautiful face and arms and hands. II
is the kind OF drawing that spells re-
search and selection, the kind that eX-
presses essentials and omits mere de-
tail
Even in black and white, as we have
said. the value of this portrait ls
obvious, but the tale is, Of course, in
complete without the color. On this
side Of his work Mr.. Sterner has pro-
gressed out Of all knowledge. tie uses.
here and there, sufficiently audacious
tints. bright blues and reds and yell
lows, with which, ordinarily, IT IS the
easiest thing in the world 70 90 astray.
One or two OF his portraits Of women,
light, graceful things, are proGigiously
gay. But, If we may repeat the phrase,
he thinks as he goes along. and If he
is uneven, producing some portraits
that arc a little dull, he more often
secures the full, rounded effect which
belongs 20 portraiture as a creative art.
II is interesting 10 see how this ma
ture, thoughtful nature of his approach
20 his subject enables him to dispense
with accessories and with those So
called decorative expedients Of which
we see so much. Indeed, he is better
New-York tribune., 1915-11-21

3 at times. that trained emotional re-
action is after all as great as conscious
thought. How IL comes 10 pass even
this artist himself could tell you;
Just as he could not tell you how he
gives colcr 20 black and white, how
by a combination of lines he ear sum-
ulate the same nerves in the onlooker
that are aroused by colors. All the
same il Is a fact witness the warmth
Of the stained glass in The Five SIS
ters; York Minister" Moreover. It Is
a fact that singles out Mr.. Cameron to-
day from dozens of competent workmen
about him.
Many old friends have appeared in
an exhibition Of etchings BY Anders
Zorn in the Hahlo gallery. "Strlnd
berg" is there again, as is "Skerlkulla,'
Oscar II of Sweden and the Portrait
of Himself and His Wife" Indeed,
only two new acquaintance are TO be
met with, Gull" being a head and
shoulders of robust gIrlhood, frank,
inquisitive, accepting, and DE Laro'
a new and charming variation OF
former theme, so well remembered
from such work as his Two Bathers."
outdoor nudes of women, glowing be
meath tempered August sunlight and
tool shadows.
Two constant sources of admiration
ever remain in returning TO Zorn. As
the years 90 by he does not lose the
inherent buoyancy of youth. Nor can
any temptation lead him TO exotic ex-
periments away from the expression
of that beauty which is his inheritance.
Youth glows in his spontaneous prodi-
gality, in his love OF healthy sensu-
business of flesh. in his skill at setting
down swift impressions. Work seems
play to youth and to Zorn, play filled
with the oxygen of the open air.
Consciously or unconsciously, also,
Zorn remains the best of advocates OF
the axiom that the beauty and charac-
ter which intimately surround an artist
are the beauty and character which he
can best express. Moreover, he never
lets his visitor feel for a moment that
he labors 70 treat" the beauty or char
/ acter of his subject, whether il be
"Circles in the Water" or "Anatole
France" OF course, the etcher does
80 really. for art by its very nature is
the alembic for such treatment. But
Zorn's straightforwardness promptly
accepts and hides this fact; while his
heartwarming authority places his pub
Tic instantly IN contact Win the uIIeCI
thought, the sympathetic reflection,
tha. his subject engenders.
There is an exhibition Of recent
American sculpture mostly on a small
scale. at the Gorham galleries. 4
leaves decidedly mixed impression
and the good things in it require 20 be
sought out with some care. When
they are found, it may be added, they
turn out 20 be. in more than one case.
works intrinsically unassertiye De-
lightful in its peculiarly modest
quality is Mr.. James Earle Fraser's
Mask" yet the great virtue Of the
marble resides in the fact that 1t
breathes nothing that is not the sculp-
tors own. In its strange uneven feat
New-York tribune., 1915-11-21

back to the light, is also by a man who
is distinctly himself. 1t is "Wamboll,'
by Adolf A Weinman. the portrait OF
an Indian boy without feathers. II his
brothers and mother and father were
only with him il would be doubly a
treat. In addition 70 this Mr.. Vein
man has two small portrait reliefs OF
katherine Weinman." In both he
proves that he understands how TO
place head on a round medallion, al
ways so difficult task. In the relief
Of Adelaide" too, he shows that his
texture is constantly firm. not waxy.
and that he can place the proper stress
on line, making II neither hard nor
mealy. Mr.. Daniel Chester French is
represented By sketch for his spirit
of Life" for the Spencer rrask me-
mortal. Especially about the head and
upper portions of the figure there is
TO be recognized Mr.. French's intel
lectual refinement, his understanding
of what TO put in and what TO leave
out. IL makes the visitor wish 70 see
more OF his portrait work. Near By
Mr.. French's pupil, Miss Evelyn Long
man. has set up the sketch with which
she has recently won the competition
tor figure 10 surmount the new build
ing of the Western Union Telegraph
Company. Conspicuous also is Mr..
Edward McCsrtsn's Spirit of the
Woods" a dancing bacchante which
will likewise win many friends.
Much other clever work is shown.
but the lack of really interesting self
expression is the one undoubted cloud
over an exhibition Of this sort. One
feels all the time that he has been
here before. OF course there are
plenty OF young sculptors nowadays
who would talk new language, invent
ing new contortions and new anato-
mics, but they do not count. What is
needed is greater courage and freedom
on the part OF those who realize that
the symbols OF beauty are the same
now as always and that art continues
10 be an ever new reconciliation Of
those symbols. Mrs Jones can tell
Mr.. Jones's step in the hall from all
the ninety million steps this nation
could send echoing down that passage
way. Yet every man jack of the ninety
millions wears boots. SO with sculp-
tors. If they will only purchase good
shoe leather. at the cost of much train
ing in the schools, and then feel free
70 step out with their own stride. our
plastic art will continue TO advance as
it has in the last thirty years.
A bronze bust of thoughtful Peter
New-York tribune., 1915-11-21

brittle habit Of the Hudson Riv,r
school. Nevertheless il IS relief to
return to this r.oiest cL,pte in our
artistic history. 10 look upon such d
landscape Is the "Harpcr's Ferry" of
Thomas Doughty il at least to come n
contact With the s.nceritv and the sane
idealism Of the best in all painting.
ancient and mod.rn. What If the
technique Of this pedestrian painter.
born in 1898 and dying in the middle
of the last cenruIy, is the technique
New-York tribune., 1915-11-21
Random Impressions of Art
in Current Exhibitions
New Landscapes-Etchngs by Cameron and Zorn-E
Group of Sculptors-Ihe Memorial tc
Peter Stuyvesan

interesting of the moment promis
ing exhibition organized the former Bakesee galleries by the
Alliance of America 1t will present art has been associated
with the child and will embrace paintings sculptures etcng interior
and dozen other types of artistic production The Sho"
November and will continue until December 3 At the
Gallery there will open this week exhibition OF paintings
Hassam little later the there will be shown at
place collection paintings and colors by Cezanne The
Berlin Photographic Company follows the exhibition of Miss Gold
paintings with of studies made Fiji and the Bahamas
by Mr. Stephen Hawei This gallery also present during the
season. exhibitions Baks and Emil Ork and will bring out
the recent works of Paul Manshp.
Gallery filled with paintings by Charles p Guppe
will December show landscapes by Mr. Stephen Parrish His
give those of the French maker of portraits
Gabriel Nicolet Exhibitions by Osp de Alexander Zn and
others prospect Ecng by Chde Haam will be at the
Keppe Gallery November The Schwartz Gallery announces
of ngs by Edgar L. Paison of London AT the Brooklyn
there collection of etcEings and Autographs by
and Fantin-I Iatour
The Avery Library, Columbia exhibition by
furniture makers textile workers and other craftsmen
small sculptures included At the Little Gallery there
exhibition of hand wrought ewy and Byrdclife pottery The
Kouchjaki Gallery shows quantity of antique glass
Anderson Galleries there has just been placed view the
of Egyptian objects brought together by Robert de Rusa
iae will extend through five afternoon and evening
on and December Early painting and ceramic
art are represented this collection includes figure
portant also noted in the prospectus
New-York tribune., 1915-11-21

tation nor formula. but the general
recognition Of certain Fundamental es-
ssniials Let Us turn in illustration TO
tgo notable French portraits, painted
more than a generation ago. The frst
is one OF the masterpieces OF lngres'
hs "Comtesse d'Haussonville," at the
Chateau de Coppet. The lovely young
woman who posed FOR this three-quar-
Ter length wore the by no means lovely
dress Of the SOS or COS, her hair IS
smoothed down over her brow in the
pTOsaie manner OF the period, and in
ne mantle. against which she leans
here is repeated that note Of decora-
ten which dates" a picture 70 its dis
advantage. leaving it not so much old
a old-fashioned The artist, as he ap-
pesls 10 posteri;y. has only the per-
oaal charm Of his sitter 70 help him.;
costume aGd accessories yield him moth
ias. and, Ia fact. il they could, they
s,uid eount against him. But nothing
l the subject Of a great artist can
e5sat agairs. him. He forces his sub
;sr. 20 se-ve his purpose. Partly It IS
ia Individuality that enables him TO do
hla Partly it e. his recourse 20 prin-
ciple. lngrcs, for whom drawing was
'he very recti.u1e of art, lavishes upon
.s 4Comtes-c dgIaussonville" such
e-aE.ns as Holoein might have enyied'
nd every inch Of IL Is studied, every
.-sh Of i has az unmistakable organic
i,aiion % tac ensemble. lie draws
I'D be design. lie fixes the placing Of
AIS fgure with sense Of composition
/" rich il tact and power as that Of
Titan in his MAN with the Glove"
1id-fsshioned2 Fiddles:icks. The
P''iFsit is immortal
Now consider the Lacy Ia Black" BY
Dsgss. IL Mrs. Cardner's collection.
hs is . totally different type from In
sst. he dEcioscB b. the blacks and
'eloT5 0i this painting such feeling
-of color a. lnsrss never had. lie
'n4kss more, too. of mere painted sur
ace more Of the quality Of pure pig
msh'. But where he recalls Ingres is
- marshaliing these factors, with
af>~ing snd design. into an eHquis-
'siy balanced whole. He ~ thinking
= hs goes along. thinking not only
'sFYsly, but with a profound eonsei-
'1'Nusnsns, Of the respect which he
'~e' 70 biz Instruments and to his
e's- he knows what be is about and
s' hihgs hc knows aTe worth while.
"' portrait u full Of interest. II is
~ SIMPLY Likeness. IL Is a picture.
"'o 'ns great workmanship in II. 20
'S'sheidly guided 70 a noble end,
|sehss the Imagination. Here, we
y, b'r'raitgrs il wha, IL ought 20 be,
.''le cosmos By Itself. endued with
''ig principles. Zach one Of those
''~fs 70 which We have referred IL q