davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

10 any student of the subject who re-
calls the first phase of Franco-Amcr-
lean intercourse in matters Of art. Inc
Young fellows who then came back
from contact with Partisan ideas were
all for queer and arid hypothesis
which they called "art for arts sake.
and they committed innumerablc lejune
sins in its name. They knew nothing
about that "rectItude of art Of which
Ingres had made so much. They were
lI'tlc late upon the scene for ms
ministry and they missed his point.
They thought. simply. that technique
Rad something talismanic about II, and
If they had attained to a certain man
ual adroitness they felt that their Tut
ures were secure. Many of them have
since got over that little error The
truth is that their masters had never
intended them 20 be so cocksure. They,
Gerome. Carolus, Bonnat and the rest.
forgot 10 make allowance for the
American temperament They were
satisfied If they set their disciples upon
the right path. Well. I'm the long run,
their confidence was not misplaced, ana
perhaps. too. the very eNaggcrauon OF
technical deXterity in the mind OF the
American beginner was good thlnG,
Il helped while 1t harmed. II deepened
i'm him the indispensable conviction
that a picture. 10 be worth while, must
be we'll painted.
There. in a nutshell, is the story OF
our unpayable debt TO French art. IL
does no violence to the memory OF
those Americans who fourished In the
first half Of the nineteenth century
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

They were men Of high ideals. who
steadfastly endeavored to establish the
best principles of painting as they un-
derstOod them. Nevertheless, IT needed
the pictures at the Centennial TO open
mems eyes to the more advanced ideas
seething abroad, and when the new
generation of the 70's turned TO Paris
for inspiration it was an-hungered and
a-thirst for a broader and more thor
oughgoing conception Of technique.
The leaders there nobly responded TO
the young man at their door. lie was
stranger and they took him IN. In
the big classes, CHARACTERISTIC or the
French capital, he was put through
rigid course of discipline, and THIS was
trebled in value by the criticisms OF
the masters How good, how sympa-
thetic, how royalty helpful the latter
werel II is in recognition OF the deep
sentiment that attaches TO their names
in countless American studios that we
print to-day the portraits OF one or two
nf those open-handed Frenchmen.
There is no end to the legendary lore
tbat has gathered about them-Bonnat,
Iaurens. Nerson, Carolus-Duran, Ge-
rome. Lefebvre, Bouguereau and a
dozen others. And the anecdotes OF
which they are the heroes are always
anecdotes of the wise and cheering
counsellor. the friend as well as the
master, speaking the right word at the
right moment. To them. far more than
IN historic monuments, the Amer
lean student owed the atmosphere
which gave him confidence and courage.
In illustration OF what they also gave
him, of more practical nature. TO aid
him toward mis- goal, we reproduce the
picture which IL, possibly, better rep
resentative than any other OF the
French standard Of that halcyon time
Geromes "Son Eminence Grise."
II is an old-fashioned picture to our
modern eyes. A lot Of water has gone
under the bridges since II was painted,
and the artist Of to-day, exercising
different method as regards brush
work and color. sees his subject also IN
a different way. But consider, merely,
The manner in which this work of art
ia put together. Have all the subse-
ouent developments in modern art pro-
duced a man capable Of teaching the
author of this picture anything about
comnosition2 The late Augustus
Saint Gaudens cited "Son Eminence
Grise" TO the present writer as the
most astounding masterpiece OF ar
raneement in later French art. Con-
slider. further. the drawing IN the
thing. hard, if you like, and absolutely
academic. but magniicently SOUND. we
say nothing OF the color. No one ever
suspected Ger0me OF being colorlst
But that was d purely personal llmlta-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

II is interesting TO find among the
wood engrayings in this exhibition sew
erai examples Of the work Of the Eng
lishman, 7. Surge Moore. less known
here as an artist than as poet and
writer on art IL must be twenty years
and more since engravings by him in
the shOrtlyed Dial" published in
London by Charles Shannon, Charles
Ricketts, and their circle. brought him
into notice, and this is, we believe, the
first time that any Of his prints have
been exhibited in New York He is
an accomplished craftsman, very skilful
and firm in touch, and there Is always
rich artistic feeling in his management
Of contrasting masses Of black and
white. Perhaps the finest of the three
prints AT present shown is the "Thes-
Gus Finding the Body Of Phedra." II
has an impressive element Of mystery,
showing that Mr. Moore is as imsgi-
native as he is decorative. An even
larger body Of his work would be well
come on this occasion. Among the
other exhibits the blocks by Timothy
Cole and Henry Wolf, reproducing
paintings by various masters, are de-
lightfully conspicuous.
Although, as has been indicated
above. the art Of the wood engrsver
has not the broad based position in
this country that II deserves, there ere
signs that the tradition once so potent
with US is deyOutly preserved in GER
tain quarters and may some day again
come into its own. The prints at the
Enrich gallery offer one testimony in
this direction. Another appears AZ the
Camera Club, where Mr.. Henry Wolf
has an exhibition 20 himself. He pre-
sents a large number OF engrayings
after we'll known paintings by Amer
lean and foreign artists and a few
original designs. In them all he we'll
sus,aIns the tradition aforesaid. the
tradition built up when the illustrated
magazines were awaiting the haiftone
process, and, while they waited, were
only too glad 20 employ the wood en-
graver. IL used 70 be said. in those
days, which witnessed his last strug-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

grave in conversation, dHcien r6Qime in
his demeanor. as beftted the director
of an historic institution. Under the
oaks in the boScD / encountered the
venerable Hebert, silycry haired,
wrapped in a vast cloak despite the
sunshine, and as absorbed as a youth
in the painting of a picture which
was 20 meet again, in after years, at
an exhibition in Paris. In and out Of
the old palazzo, idling in the summer
air or hurrying back TO their studios in
the further reaches of the garden, were
the young lions of French art. the win
ners of the PriX de Rome. IL rs an OK
quisite memory of courtly hospitality.
of kindling talk, of a bright, intensely
humaniZed aspiration toward beauty.
The background was monumental The
spirit of the whole episode was natural,
artless, :he spirit of many an atelier !
have known in Paris. In Paris It has
never tagged, and there it can never
die. Once more it has manifested It,
self in the fine gesture with which the
Fraternit6 has thanked the American
artists who put their shoulders to the
wheel a year ago. Is not the gift gra-
cious? Is it not superbly French?
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

ton. and. besides. did not affect the
fundamental lesson which he had TO
convey. His purpose. like that of his
fellow masters. was TO make the young
American see the power, and the Dig
nifty OF honest picture making. TO IN
culcate in him such a conscience for
composition. for drawing, for tech
nidue. in a word. that he could not but
lift his whole idea Of art upon a higher
plane. To be competent workman
should be the artists first ambition.
The French studios were vitalizcd b.
that principle. and from them there
flowed across the Atlantic to these
shores an influence without which
genius itself would be at a loss.
Our gratitude would have TO be deep
indeed if all that we had 10 reckon with
was Just an influence, just a spur to
our energies. But what makes US i'm
measurably thankful is the conscious
ness Of all the grace and charm that
has accompanied the tangible service.
| recall n perfect day spent years ago
at the Villa Medici in Rome In mem
DRY ! can see VI. Guillaume as | saw
him then. a tall and stately figure in
the great shadowy salon. frock coated,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

The walls Of the picture gallery at
the Century Club are hung with
roodly number of Winslow Homers
water colors. Here, indeed, is feast
for those who are privileged TO see
them. A large portion Of the paintings
shown were done in Bermuda and the
bahamas, where Home worked so
much. and are full of the wonderful
deem blue Of West Indian waters. Then
there are a few pictures Of the coast
OF Maine and of the Adirondacks and
the Canadian woods.
The West Indian scenes are all strlE-
ing in color Perhaps the two when
contain negroes are the most effective
in this way. The one called ne
Sponge Diver" shows the back OF the
wet body of a magnificent chocolate
negro up to his waist in the intense
blue sea, while his right hand clings to
the stern of a cleaning white rowboat'
The visitor wonders, incidentally, why
there are not more painters who realize
the great pictorial possibilities OF the
negro. after the Tornado" is tragic
subject, done also in vitsl color5.
A great negro, stripped to the waist
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

Of Charles Reifel Is one Of the best
portraits we have seen this winter.
That OF G. Bertram Hartman is also
exceptionally good "Tce on the Water
Pitcher" "A picture Of girl smuggling
IN bed under a gay patchwork quilt, is
striking In color and has decorative
qualities. II is rather better than "a
Snug Little Kingdom" which is the
same type Of painting. Mr. Hubbell
uses his brush with skill and convic-
ton.
George Luks contributes but ono
painting, a portrait Of James Britton.
very masculine in handling. 1t was
painted by the light Of the full moon
and is called simply "The Moonlight
Portrait" Among Martha Walters
works are two delightful beach scenes
The color is charming, almost ir-
descent, like mother f-pearl, and they
are full OF outdoor atmosphere.
The sculpture Of the exhibition in
cludes the work Of Marie APPEL, Scion
Borglum, John Flanagan and Mahonr
Young. II consists for the most part
of portrait busts, all Of interest. It Is
a pity that they are placed on a low
table, for it is difficult to examine
them with ease or any great degree Of
satisfaction
At the City Club there are a number
of canvases by Mrs. Johansen, better
known as NJ. Jean McLane, well worth
seeing. There are several Of her char
acteristic pictures OF children. "Moth-
or and Child" contains one of the jol-
lest and most delightful Of babies
The picture called PORTRAIT Of Baby"
has a strong and effective note in the
black waist of the mother. The color
ing Of the whole, blue, black and white,
gives 10 it a decided decorative quail
ity Then there is a charming child's
portrait called by the odd title with
DOLL In many ways the finest thing
shown is the portrait Of Albert Spald-
ing. The young vioinist is placed in
rather unusual but agreeable manner
quite low on the canvas. The coloring
is all in tones Of brown. There is ar
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

face. The more important thing i.
f.st the American artist sojourning IN
Paris for his education has there had
the opportunity, at all events, TO go to
The root OF the matter. In Paris the
whole spirit of the world of art has
tended toward one thing, to make the
painter, the sculptor, master OF ms
II is an ideal by itself, this ideal
Of work well done That it has been
sadly enough is patent
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

lies dead on the beach beside the frag,
ments of a skiff. The atmosphere oil
the picture is calm. Only in the lew
trees on the horizon to the right. does
one get the vivid impression that a
great wind has recently passed over the
Mace. The little Gulf Stream" IS in
teresting because it apparently L a
study. or first idea. for the well kn' n
picture at the Metropolitan Museum.
In this water color it is a white man
fully clothed, who lies upon the deGH'
instead of a half-naked negro as IN the
larger painting. The composition Is not
so good and the effect as a whole IS
not nearly so effective.
A highly keyed picture is 'Stowlng
Sail" which shows boat rising and
falling with the gentle swell Of sum,
mer sea. The movement is superb and
the craftsmanship of the finest; One
of the Maine coast pictures, "Prout S
Neck, Evening" is highly decorative
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

The training Of an artist is one-thlrd
r.s-+sr Of the rudiments and two
tb,r5s matter o. the spirit IN when
thev are worked into his character.
For him. j. re Dee @ true artls'' Inc
laws ~ art are sacred, but ask MIN
vbs. he remembers with the most graf
;-u6s from the time of his pupllage ana
10 vii tell YOU that 10 is the stimulus
g,vsr r n. first BY his master and then
5v his surroundings. What is II tnat
re vov-- American returned from
Jew wear, E. Paris viii give as the Sc
rret Of bis happiness there: The al
rosphere" ot things, the SPIRIT OF
Efe led wtl complete Devotion 20 lNt
interests Of art. ] remember Nlslllh~
an artist friend who had -ett New loiA
.or France 20 execute several coL-illS-
so-s which could be carried out ln mat
e5uu.rv more conveniently tnao al
h-,e One Of his sculptures had re-
eeivet medal in the Salon q fe" GAYS
before. lie told me that arr SIS, some
Of them G. ebrated men much o4ctI
than himself and personally Qllle ~4'-
known 20 him, had come al the way
20 his studio 20 congratulate MN an"
express their appreciation. lie was
walking on air. il was not merely
their praise that had moved Nun, l- was
their ul,r Sd. GcaI- ..tl.t-- r..'
and. above all. the he ghtened sense
they gave him Of the solidarity OF the
profession ] asked him when ne was
coming home He did no, know. mere
was something about WORK ln faIla
tha. KEEP. one so tincling with happi-
ness and ambition. That was lone ago,
and be has not come home yet.
Il the reader viii look back ove-
those charters .n the history of Amer
lean ait which relate 20 Its traffic with
European schools he viii be struck by
the emereeuce iu every one Of them OF
this feeling for atmosphere. for al
IDEAL not derrable ln any hard and
dry formula. The American sculptor
who lr an earlier generation emulated
the antique were Influenced, really, 10y
the broad tradition of Rome. When
Duveneck went 20 Munich and de-
velopec the enthusiasm Ior Rembrandt
esQue painting which he transmitted
70 some q his clever juniors. ne pro-
NOTED new manner amongst us,
but performed q more lasting service
IN starting the cult for paint as PANT
The influence Of Paris upon our artists
has been Of a similar character. II has
implied. al different periods, different
surface traits. "Bill" Hunts initiation
into the spell Of the Barbizon group
reacted upon our landscape school We
owe % the men Of that epoch good
deal Of what is best IN the romantic
natursllsm which many OF our painters
are practising to-day. Carolus-Duran
gave Sargent his first impetus, which IS
20 say that he is the father of q Ger
tain type Of our portraiture. In Paris
the American has acquired not always
10 his essential advantage the trick of
the Salon picture From Paris came
the seeds Of that Impressionism
through which an American like
Iwachtman could rival Monet himself.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

Why is IL that etching, engraving
and the other arts Of printing from
metal plates have an established popu-
larity, while the sister arts Of lithOg-
raphy and wood engraving, in this
country at least. are comparatively
neglected? One would think that the
softness and color suggestiyeness Of
these latter forms should make them
dear 10 the hearts Of all who are artis-
tically inclined. II Is exhilaratilg 20
visit the Enrich gallery and study the
prints now on exhibition there. There
are examples Of the work Of many
British and Scotch masters ard OF a
few Americans.
The only Continental represented is
Fantin-Latour, Of whose work there are
several noteworthy examples. His
prints have great beauty of light and
shade, are strongly suggestive OF color
and possess a lyric quality which puts
him among the great masters Of the
art. Two Of his loveliest pictures are
shown: "Duo des Troyens,' beautiful
in its light and shade, and "L'etoile du
Soir," inspired by Tannhauser and red
client of the mystic beauty OF night.
Here, too, is a print Of his rarest litho-
graph, Bouquet de Roses" his only
still life.
Frank Brangwyn contributes two
large and two small Autographs. The
largest and most striking is the Tower
Bridge" 1t is done in quite his usual
manner, with his mastery drawing and
knowledge Of composition and the use
Of masses Of black. The most interest
ing, however, is the Mowers" unusual
in subject, strong in drawing, and in
spiritingly rhythmic in line. Next TO
the latter hangs large print by
Spencer Pryse. one of the. new British
iithO"raphers. II shows "The Kaiser
and His staff at a Field Day." and
was done in Germany just before the
beginning of the war. It is superb in
handling, and Mr.. Pryse has we'll
caught the Teutonic type. He is
welcome newcomer.
Ten of VIII Rothenstein's lithographic
portraits are shown. They are all Of
men famous in the arts and are brill
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

II is composed of parallel bands; gray
for the sea, the palest OF yellow-gray
for the lower sky. and mass Of dark
gray cloud at the top. In 1t Homer has
put all the beauty and calm Of the
evening. Other pictures include a won
derful leaping trout, one or two wood
land scenes, and fine "Saguenay Fish
erman" poised on a rock in the midst
of the rushing, swirling rapids OF that
wild and romantic river.
It is pleasant to come upon the
pictures now shown at the Folsom gal
lory. They make the first exhibition Of
a new group of artists who call them
selves the Eclectics. There are eight
painters and four sculptors, and one
has the feeling that they are good
friends, for the number Of portraits Of
members of the group which are hung
against the dull red fifteenth century
patterned velvet give the room rather
the effect of a family gathering.
The talent of Teresa Bernstein is
essentially for color and decoration.
Her Opera Night" shows a group OF
spectators in deep shadow in the fore
ground. and in the background the
brilliantly lighted crowded stage OF the
theatre, almost dazzling in color. She
has we'll caught the effect of silk
clothed figures revealed IN the glare OF
the footlghts. The picture called
Caprice" is rich and fantastic, a great
mass Of trees with & scarlet figure to
the right. The colOrs glow like some
wonderful black opal The work Of
James Britton is of quite different
character. Perhaps his Portrait
Sketch" is the most effective Sketches
are often of greater interest than I'm
ished paintings, for their greater spon-
taneity. This one is fine in handling
and highly satisfactory in color. We
like also his portrait of Mrs. Britton,
painted in an accomplished manner and
somewhat suggestive Of sixteenth cen
fury tradition.
Guy Pene du Bots contributes four
of his satires with extraordinary titles.
His pictures have a humOr of the KIND
that sends the mind back 20 Daumler.
They also are good IN color. The best
is the Automobile Tires showing a
man and a woman seated IN chairs well
down in the foreground. There are
three canvases by Philip J.. Hale, two
decorative pictures and portrait.
"Wistaris" and Autumn Fruit" are
delightful. light IN color. with figures
Of women in 1860 costumes against
vines and trees The design in both
is pleasing and the tone charmingiy
cool The portrait Of an old sea
captain is fine in conception but does
not seem 10 be so successful as a
whole. Perhaps the hands, which are
full of character. have been emphasized
at the expense of the head.
{. Bertram Hartman's -Four Sea
sons" are a JOY to behold, SO full are
they Of color Of decorative design and
of spontaneous "joie de vivrc." Mr;
Hartman paints in what has been called
the confetti" technique; that Is, he
nses small square spots of color. This
manner. when carried to extremes IS
APT to be disagreeable. but his use OF
il is decidedly persuasive. The land
scape parts OF these decorations are
picturesque. The figures are gta,c,eeIuI
and well placed. His use of q brilliant
famingo red In each picture IS clever.
There are several examples OF the art
Of Henry Salem Hubbell. HIS portrait
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02
Random Impressions of (.
Artin Current Exhibitions
Wnslow Homers Water Colors at the Century Cub-Ihe
First Appearance of The Eclectics, Group
Of Painters and Sculptors-Wood Engravings.

number There is something in every gallery The Amer
can Art Association offering Mr. Thomas B. Carkc interest
ing textiles and patters The Anderson galleries
show early miniatures and manuscripts Oriental and European,
belonging NJ Leonce Rosenberg, OF Paris and by him con
signed to Towing * Co.. this city.
At the Daniel gallery there exhibition OF American Art
OF Today works by Ryder Weir Prendergast Manigaut and
others The Aontross gallery is filled with paintings by Cezane
That artist and number OF other Fenchmen may also be
studied exhibition just opened the Nnoedcr gallery The
National Arts Club opens Wednesday evening an exhibition
zimmerman are be the Enrich gallery The 5th
Street gallery paintings by Enscbcrt Gmnska At the
rooms OF the Professional Woman League that organization for
the first time making exhibition OF works by members HE
Association Women Painters and Scupors opens on Wednes
av evening at the Municipal Art Gallery exhibition OF the
DESIGNS received in its postcard design competition Paintings OF
the Arctic and Antarctic by Frank W. Stokes are at the Airing
ton gallery The Goup gallery shows portraits by Miss Betty
Peters and landscapes by Mr. Richard Montague
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

earnestness of handling, an under
standing Of character, in this which
make it an absorbing portrait. Across
the room is a large decorative piece
entitled Autumn Breezes," done in
light browns. II shows a girl, with
wird-bown dresr, posed against
grapevine. The pattern is charming
and the workmanship. as in all OF Mrs.
Johansen's paintings, is fresh and free.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02

liant in character study and uncom-
monty clever in the manner in which
the few lines of which they are com
posed are drawn. James Cadenhead'
a Scotch artist as vet unknown in this
country, shows himself master Of
drawing on stone in his two prints.
They are skilful in the handling OF
masses and possess a remarkable at
mospheric quality.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-02
What We Have Learned from France.

I'm short. we have brought back from
France many a recipe for the making
Of q particular kind Of work Of art
But for the present purpose all that
may be left. w repeat. uDon the sur