davidaulloa/AmericanStories huggingface dataset:
Chicago eagle. [volume] (Chicago, Ill.) 1889-19??, 1917-06-09

will set Off a youthful figure. It Is
simple enough with a plain, moderate
ly full skirt and wide hem. Fine or
candle ruching Is set on the skirt In
mednlliOns and about the collar and
sleeves. The bodice Is very simple
with square neck and collar that
Stimulates fichu ut the front. II ends
under a girdle Of taffeta edged with
narrow ribbon. Narrow ribbons are
placed over the shoulders and they
pass under the girdle, ut the front and
back. and fall below the waistline to
about half the length Of the skirt.
They are finished with little pink rose
buds near the ends. Also, there are
tiny pink roses ut the neck.
The ribbons and the girdle may be
in white, but in the dress, as pictured,
they are In blue.
These simple net dresses are worn
over slips of white or colored organdic.
Lace and crochet balls, small tucks
and embroidery appear in their deco
ration and the fashion Of the hour
favors light pink and blue combined In
girdles and ribbons worn with them.
G~~ 2zHz~2
Chicago eagle. [volume] (Chicago, Ill.) 1889-19??, 1917-06-09

In turquoise blue and silver, across
the ends and finish of little silver
balls. The other Is n handsome Roman
stripe In long sash with ends finished
with black silk tassels. The girdle
slips through two black silk slides.
The corset covers are of lowered
ribbon and plain satin ribbon Joined
with needlework stitches and of wide
MORE with satin stripes combined with
lace. In the latter, clusters of the
tiniest roses, made of baby ribbon, are
set across the front.
Chicago eagle. [volume] (Chicago, Ill.) 1889-19??, 1917-06-09
Toasted Corn.

An Improvement over boiled corn is
toasted corn, which has much more
delicious flavor. After boiling the ears
six minutes, so as to cook them par
TALLY, remove to a breadtoaster and
place over hot Goals, turning until they
are Drowned evenly.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08
Gotham GleaningS

lr Wood, is q busy man these days
Rev. Milan NcCurdy Will preach this a. n'
Mrs Herb Swopc had q birthday last Tuesday eve
Look, Ike we would have few days OF warm
Weather now
Rcnald Werrcura,h made quite hit singing one
day bs, week
N.,- Marian Morgan OF here had birthday party
The other night
News are scarce This 1> in this vicinity. most bcinS
from Wash. ID. {. me-,
Lot, Of orr tounspcople are wrought up over Billy
Sunday and lots OF them are not
Yesterday was hard day for those interested in
the stock market. among others.
Otto Irving Wise Stoves and lloeS broihcT' IS \~''
inc in Gotham. he being from san Francisco
These are busy days ior Dud Malone. he ha ing the
biggest collection collector OF this port ever had
Grant Rice got home with the lanks at $50 FRIDAY
morning and saws they have good chance for the penna
Mis-, Mildred Holl, Of AmerlcuS. GA" Is visiting
here these DAYS She has grown up to be big girl nov"
Freddie steele has up lot since he gained Id1hC
BY being the worlds worst pool player lie pretty Sood
now
~! OTIS of talk hcreabouts about Waly Eaton poems
Old Law Darling think, they are the best things he has seen
and We string along with Ding
Everybody is not cutton for morality; some are like Booker
Sparrow i'm The Rider Dreams who regarding prohoo
amt no frantic" there Mrs Shamer who advertSes IN
the NcNport Daily News Healthy fairly respectable white
girl"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

only with the inspiration Of Michael
Angelo painting sibyls IN the Sistine
Chapel, but with the steadfast natural
ism Of Chardin painting an onion in
the kitchen
The young artists whose WORKS arc
assembled at the KnocdIer gsllery
sorcly need TO have their attention
fixed upon the safeguards Of magma
tive art which vc have been indicating
II IS true that they are young and IN
these amiablc days. when encourage
ment' is the watchword. one is tempted
TO speak Of nothing in their enterprise
save the unimpeachabe purpose ami
mating It. In the catalogue each eN-
hibitor is privileged TO record a few
words Of self-explanation. From these
10 is clear that tho hearts OF the thirty
are in the right place They arc all for
high erected ideals. They all want to
make interesting pictures. But they
have set out to make these 'lmagIna-
tive and with the best will IN the
world to applaud their noble resolution
We arc constrained TO remark that as
vet none Of them seems TO know any
thing about IT, Well-nigh universally
they appear 70 be the victims OF that
notion at which we have already
glanced. the notion that subject VIII
carry them through, and subject as
they understand il consists Of mean
ingless nude figures placed against
Landscape backgrounds. They are Ike
the writer's Of CLOAK and sword ro-
mances who fancy that the cloak and
sword make the novel, like the drama
fist whose characters impress us by
saying fine things only we must take
the fine things for granted IN these
paintings. They have nothing really
to say. nor have they that kind Of i'm
aginative scnsiblity which we have
pointed out apropos of Mr.. Danger
fields landscapes. In the absence or
technical proficiency they leave simply
the impression of amateurs fumbllng
in the void Here and there the note
of clear thought and serious workman
ship is struck-in the flower studies by
Miss Thayer, in the portrait by Mr..
Thomas c. Cole. The rest is terribly
jejune
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

They have got hold of the wrong end
Of the stick. The imaginative impulse
is no more magical in and by itself
than that personal accent to which we
have recently referred. 1t must be gov
erned. il must be accompanied by some
manual ability, and especially it must
be sure, in the first place, of its own
existence. We are all imaginative. Of
course. Just as We are all possessed Of
a thousand other immortal attributes,
but as a matter of fact the gift Of
imagination is very like the proyerbial
ear for music-you have it or you
haven't it, you were born with 1T or
without it. While the young artist is
waiting TO find out what happened TO
him when he was born the first thing
for him to do is to learn how to paint
Then he might at least make his de-
jected ladies in fantastic landscapes Of
some interest as academic studies of
form. And in the process of making
IlUlHtll d II al Asludll llt may NNhAN ~
comprehend himself, 20 learn precisely
what he can and can not do. For no
one is this more important than for the
imaginative artist. He deals in such
delicate elements. They may so easily
betray him. We can imagine some
kindly adviser of the young people at
the Knoedler gallery cheering them on
into fairyland, telling them to read the
poets, urging them to consult the great
masters Of imaginative art. For our
own part we would commend them 70
the painter whose death Of Cesar
was sold the other day at auction in
New York. along with half dozen Of
his other productions would com
mend them TO the tradition Of Gerome.
No doubt they would Aout the sugges-
tion as cruelty irrelevant. Gerome was
so uninsprcd, so cold, so Archaeological
so academic But how thoroughly ne
knew what he was about.
The Death Of Cesar" IS not one OF
the great imaginative pictures IN the
world. Delacroix, for example, would
have made it infinitely more enkindling
in dramatic power. But there Is imagi-
nation in II, plenty Of it, and the I'M
portant point is that Gerome knew just
how far he could 20. Aeademiclan as
he was, he painted with a splendid SIN
cerity. His conscience was superb.
From his youth up he was respectful
OF his art. a veritable slave 20 drafts
manship and composition. Il does not
matter for our present purpose that he
was 10 colorist. that the Salon style he
cultivated has had its day. Work like
his outlasts the fashion which produced
II. because 1t is at bottom sound as a
bell. He had ideas and Imagination.
He cleared up both, made sure OF them
before he used them in his painting.
He brought a sense OF balance, Of meas
ure, 20 his task. lie took pains 70,
understand himself and to master his
craft. It Is only at this point that the
artist comes into mis- own, and
That minister Of ministers,
Imagination. gathers up
The undiscovered Universe.
Like jewels IN q Jasper euP'
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

that its highest manifestations are
those which are the most closely linked
20 human experience Imagination alb
hors q vacuum. Spiritual, mysterious,
the resource OF genius which longest
cludcs our analysis, it is nevertheless
the c'f, Of mortals and il Graves the
-vmpathy OF men. True imaginative
arr is rarely difficult TO understand;
IFS basis In truth is Enthusiastically pro
claimed. The poet, says Lowell some
where. is known by his metaphors.
Shcllcy. writing his lines "1o Sky
lark" passes with extraordinary imagi-
native fcrvor from figure TO figure, but
throughout the poem despite the ia
nous denial iu the second line, he
keeps us aware OF the very bird and
its soaring The aerial character o.
tho picture is there, with all its con
suucuts Of space light and air. SO it
is n painting The conception may be
q dream. but if it is to carry convic-
ton on canvas it must be the dream
:l.., -;,o,, rool,t,.
"
mag l'"''' painters may ~ io'
Convenience ''''u'u ''''' NV"
IicS' IKE 'No'e W '"' a'.'''o w " wv
famous rene" "'@i''"''''S' i''' '''''
F a''ei' OF inc o"'' IL "'' "'''' W. .''
pressed inc b''oIue' u! say '"S I''''
things me characters o. 'ne o'"''
were Impressive without saying any
dMnG. There is the painter VINO Ie''es
upon bus subject mere is inc pd'"'e'
who relies upon himself bu' 'heIe ~
also, perhaps ihifd category 'pa' o'
the painter VINO osciiia''S p'l"cch inc
o'"cr TWO ~ sue" d type - -'i' i','.'
Ecrh''"' y ''''' .''''
",''-' ''''''' ANU ~. -
l"h'h' " o'S''P'' w. ms
many " ''''o '''' pa '. ~ ,,''',
h' 'o'''''
nature -.
WIZ" ., -
men. %.
i'-"l'- L.
on'"n"' r. - ...g.. -.
when me- paints '',' Wv '., 80 y.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08
Ia BAYADERE

The thick tent trails istess poles.
Beneath the inert swag o the middle roof
A slayc-eirl droops IN a mound of huddcd SKINS
Glazed eyes fixed dizziy gittering sand grams
That wink and twinkle, CLEAN and vanish
Drums throb under rub and thump OF thchened thumbs
The save-cir gathers ali her langud length;
Slow She sXays hands hanging her nervecss arms
Black locks bow the drowsy head
Black beads bend the slender neck
From the slackened waist close folds OF Some 'oh ""s
To weight the sluggish feet
The slavc-gr dreams
Sees herself high, hgh-a dancing mote
non "A ouyering ray Of sunshine
Shmmerng, flashing, darting spinning
"Nu-u-u-U-u-u-u!
Her duh voice climbs a distorted scale
To her. pure clear, victorious as mounting or''
4 faint flicker rpplcs all her duSky SN'"
Muscles stir and her thighs;
In knottcd coils and fierce commissions
twist and wrench her shoulders wreathe her pendent breasts
Her CLASSY eyes stare hfclcssy
She is a motc-a dancing mote
That spns and twirls
Heavy sand has driftcd deep her eaden feet
The break with Austria reminds Of series when the
". Sc is in progress
,-,o,c the March book publications Pep" Pip" and
"Pippn"
WITH THE CUSTOMARY OBElSANCES
Time was when war and ! unacquaned'
Time was when ! refused TO take d stand
A peaceful youth. by martial rage untalne"'
No gentlcr than / in all the land
Time was when poems mildly paclstc
Would without effort from my P'"'
Time was when / gay and optimistic
All me! | was a fair young neutral then.
Tho greatest temptation coyumist has to resist these days
that of bcwaing the difficulties OF beng coy ~ "
days.
What the United States can chiefly IN the way OF
sgriKultur
Consider, this beautiful morning, the "d'e..
They've had universal millinery training
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

bic But then we think OF Balzac. Turn
to almost any chapter in him devoted
to the outside Of an obscure house in a
provincial town or 20 a room in Paris
and you are Immediately conscious Of
a thrill of life that "Yathek" never
knew. He could make bricks and NOR
tar eloquent. The explanation is plain
enough. Bedford, with his subject
fighting half the battle for him, never
theless is inferior to Balzac. who has,
we will say. no subject at all, and he
is inferior because he lacks Balzac's
intensity of Imagination. Mr.. Danger
field. i'm his landscapes, with enough
imagination to feel and express the
beauty i'm them, is safe. Trying to do
what Beckford did, he breaks down
he hasn't the imaginative power to
realize his dream. 1t is partly that
and it is partly a matter Of technique.
Effectively to paint such picture as
The City That Never Was" or such
companions as he has sought TO pro-
vide for il i'm several studies OF the
Grand Canyon some of them embel-
nshed with symbolical figures -
painter needs TO be able TO dip his
brush into earthquake and eclipse with
the ease Of a Rubens finging rout
Of nudes upon the canvas. Mr.. Dam
gcrfcld lacks that ability. Why IS It,
we wonder. that so many modern ar
lists with lofty imaginative impulses
have so stumbled in the ordinary ldiom
of their craft? Moreau in France,
Boecklin IN Germany, Watts and Ros-
setti and Burne-Jones in England
Ryder in America they have al! lost
much OF their due status through fail
urc TO obtain complete control Of then
instruments. Appreciatiye things may
be said of every one Of these men, but
rarely Of any one Of them that
He hath found out Speech. and the
giving
OF wings 70 his high proud Thought.
The fundamental intention obvious
IN Mr.. Daingerheld's art raises up
good will for him, and it is delightful
TO observe that so many of these pict-
ures have been loaned that, in other
words, there is a public for the man
with a soul above the daily pedestrian
round. An artist who has the courage
20 use nature as a kind Of springboard
from which to take leaps into the blue
cannot but win our regard But II the
leap only lifts him a few feet above the
earth and presently brings him down
in confusion sorrow is mixed with our
elat!on. The lesson Of this exhibition
remains that the imaginative painter
must recognize his limitations. and IN
the exploitation Of all that does lie
within his scope make as much Of his
technique as though he were the most
devoted Of realists Above all things
he must really visualize the fantasies
he wishes 10 put before Us. In the
realm of Imagination, as in that OF
rlain prose. he must keep MS eye on
the object If he Is 10 make it manifest
to- the beholder. The only way 20 make
n CITY That Never Was" as convincing
as any city that is, IL to paint 1t not
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08
Some Recent Examples of
Imaginative Painting
Mr. Elliott Daingcrhclds Landscapes and Inventions
Works by Group Of Very Young Artists-Ihc
Relation Of Ideas to Technique Once More
Bv ROYAL CORTISSOZ

aO the exhibition room must be our excuse Tor
to-day the remarks made in these columns week
ago. Pictures and prints then under consideration brought up
question of the personal accent IN art We cndeaorcd 10
Show that il f., OF value proportion To- it, alliance with ideas
and technique Two exhibitions kindred issue
Mr. Elliott Dauccrhcd has at the Rcnardt gallery sixteen OF
his paintings Landscapes and other subjects At the knoeder
gallery rcnds OF Dung Artists have organized an eXhbi
Of pictures by thirty OF their proegte presenting these
works as specifically imaginative paintings Facility and OK
citv the two shows affirm the claims OF the Imagination
factor tn painting and underline significant OF par
cula order of Incidentally they set one to thinking ON the
broader aspects o.. always fascinating problem
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

by the late Miss Lydia Hays, Of Pitts
burgh. Autographs and etchings have
been added to the Avery collection, the
importan, group OF the late J. Harsen
Purdy's Faithornes mas been increased
by two dozen ougrsvings left By him,
and numerous other prints, old and
modern. have recently come 20 the
Library's cabinets. The exhibition will
last until the fall A. the Kennedy
gallery there IS a brilliant exhibition
Of ctchings and dry points By Haden,
Torn. Cameron and Bone. the eollee-
ton beng notable for its fnc impress
sions. The Rolston gallery announces
an exhibition Of recent portraits b.
Richard Newton. jr
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

Mr.. II. {. Denslow makes his third
annual exhibition OF "Our Well Known
Birds" life size) at the Arlington
galleries. lie began life as taMder-
mist and he knows well his birds and
their habits and the romances or trag-
edies that might be justifably woven
about them. His inclination in a lit
erarv way is toward romance. and in
a PAINTER way toward decorative line.
This last inclination not seldom mill
tates against the realism which one is
led. quite naturally 20 expect Of a
tavidcrmist Ia THE Battle Royal
for example, we find the line strained
and insisted upon for the sake Of
very pretty decorative arrangement,
and the color washed on thinly, so that
the effect is rather of picture or Of
p design wherein the birds c"Ameri-
can Eagle Attacked by Kingbirds") are
arbitrarily conyentionalized and their
rotuudity considered a negligible fac
tor. Then, too. there is the suspicion
that this decorative scheme was born
before him. He is happier, however,
in other panels, like "Our Kitty THE
Evil One" and an Ny Garden"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

The current exhibition ar the Mac
lowell Club includes the work Of Belle
Bennett, Alice Judson, Julia Peck, Jane
Peterson. Harriet s. Phillips. Della
Shull. Caroline Spearc and Marca
stone and Frederick T. Weber. james
Weiland and Alexanire Zc.tu lt is
dominated rather ob,rua.e.y oy life
size Nude Figure" the ror. Of Miss
Spearc. executed w..h much attention
10 a preconce.yed scheme Of color quite
modern and quite blatant. which does
away entirely with all human apprecIa-
tion and with any effect o. reality
The figure, for all its violence, wants
both force and solid.ty. Miss Spcare
makes up for IL, however in the still
life No. So. in which the design is
dignifed and the color rich The five
pictures by Miss Peterson. done about
Edgartowu and Gloucester. are built ln
fiat. Efficient marks Of the brush. DO
which the fault may be that they are
too purely painter-hse. Nr. James
Weiland paints sunlight boz the manner
Of Sorolla, and yellowed, so that 90 APP
pears, more often than not, with the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

when it refrains from saying anything,
when it is content to disclose itself as
a matter Of emotion rather than Of in
vcntion. when 1t is case of his imagi-
nation being stirred by the contemPla-
ton Of beauty and not by any desire to
bring a new thing into the world.
The pcrils Of this last impulse Of his
are well Illustrated in the picture called
"Thc City That Never Was" a dream
picture Of domes and walls and towers,
sort Of Khubla Khan vision. II has
a most beguiling motive. But the dream
doesn't come true. Our own magma
ton is in no wise stirred by this city
that never was. There is no illusion
here. And why not? Let US revert for
a moment to the parallel in letters.
"Vathek" Bedford comes to mind with
the romantic scenes he made so plausi-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

The Print Room at the Public Ii
brary ia making It's regular spring ex-
hIbi'ion Of recent access.ons. The most
important OF these is the collection Of
about $50 prints and drawings, lnclud-
ing many American works. bequeathed
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08
THE SAIMAGUNDI CLUB
IL West Twelfth Street
Exhibition and
Auction Sale of Paintings

u
Two hundred excellent pictures of moderate size, in
Guiding splendid examples by
l. Franc, Murphy Frederick Waugh Paul Doushery
Bruce Crane Emil Carlson F. Ballard William,
now on exhibition at the club house afternoons and
evenings and will be sold at auction the nights OF
Thursday Friday and Saturday. April 9TH, 9Th and
l4th Admission to sales by card issued upon appli-
cation to this club by mail only.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

An entertaining exhibition is that o.
garden and flower pieces held az the
Enrich gallery. TO which Frederick
Crownnshield, Mary Helen Carlisle
Maria Oakley Dewing, Ruger Donoho'
Lisbeth Hunter, Childe Hassam, Eta
Hast Hayes. Jonas Lie, Maud Mason
GLADYS Thayer and Martin Mower have
contributed. Mr.. Martin Movers two
cafvases especially the one Of flowers
in stone urn, handled in the conven-
tional manner of the ancient flower
PAINTERS are unusually distinguished.
Flower painting would seem TO lead 10
one extreme or to another, 20 be ln-
teresting or insignificant. The ho"ers
themselves are not enough. Mr. Mower
uses them as tools Of a definite scheme,
and while re ponding to their nature
adds something of his own. precise and
formal. which would appear 10 us cold
were it not so nicely judged. There is
more impulse in the work Of Mrs. Dew
ing. whose color has depth and quality
and profound refinement. These
two arc the most significant contrib
utors to the show Mr. Hassam seems
IN at ease in the better one Japanese
Iris of his TWO canvases, and the late
Ruger Donoho. in his well sustained
a Veil Of Leaves" drives interest 20
a
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

A. the Daniel gallery arc q number
of water colors whose authors range
from Jerome Myers TO Preston Dickln-
son. Zorach and Man Ray. It should
prove Of particular interest 10 those
who admire in water color the comics
sion of certain technical limitations
This is indeed a collection Of works IN
nure water color, notations swabbed IN
freely and loosely. the color permitted
70 retain its original transparency INC
spbiects treated with the sketchers
caro- Of tho salient and his carelessness
before those details which sometimes
seem but knots through which the
whole is tied together. Moreover TINS
il an unusually Joyous and colorful col
lection. b. Charles Demuth. VINO
harks back while peering ahead. are
number Of circus studies. drawings
tbat have a satirizcd resemblance 30
the subject and charm and originality
in the color. Back Of him and back OF
enc or two others here's the work OF
Jules Pascin, an influence which can be
found spotting the exhibitions of the
work of any Of our youthful water col
crists. But Mr. Demuth, it is only fair
20 say. would seem lately TO have
shaken Off the merely parrot-Iike quail
ity of this influence that was apparent
in the beginning.
With Mr.. Preston Dickinson the in-
hucnces are more diverse. Ills Abb
sinthe Drinker" contains as much Of
Picasso as of Pascin, and while looking
around thus to be directed in this
picture he fails entirely Of rendering
any connection with life. or, rather,
with 5ohemianism for this last. &C
cordinc to their records, is The life Of
the youthful modenists. We are to be
thankful IN any case. that this wild
cat sowing is done early, and that most
men do not remain a, the Toulouse
Lautrec period so long as he did him
self. Mr.. A. Walkow.tz contributes a
tender landscape. Mr.. Man Ray one TO
be admired for its textural qualities
and Haylcy Lever a Gloucester Boats,
in which the line swings joyously
along with the pulse Of the painter.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

truly patriotic automobile it seemed should be stripped
f its neutral gear when suggested mechanical
advisor he said no. it'd do
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08

FOR sALE-TwO EXQUISITE ITALIAN
hairs ~ absolutely unique model; $500
each WADsW WORTH go Riverside Drive
Corner I3Nth 81
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-04-08
SPRING

Before those languid languorous days,
When you just sit idly round
And revcl in the airs soft haze
And the green things from the ground,
There comes day like piping fife
And the crisp air seems TO ting;
And you must live quick to keep up with life,
Oh. then YOU kuo1o its Spring,
= W