davidaulloa/AmericanStories huggingface dataset:
Freie Presse fuÌˆr Texas. [volume] (San Antonio, Tex.) 1865-1945, 1918-11-21
RaHfssf@maf Der u S,mer.

Die 8etpobnsr Der @pieen @taot
3aben f9pn BON ieber Den a~nsl1nbiz
{9en @ompnniften unb i'm 8eIpnbez
rem ben beutfhen u~nperboblen ibrs Nbz
ntiguns beaeust. Ridarb Waaner
!. 3. bate Ihon i'm Sabre 1883
grpBen grfOls in Bologna, aber erft
5ebn Sabre fpdter. 1893, tpaste BRO
fefpr 8eHello, Der Dirieent ser tdb=
tii9en Ropelle Don 9om, alItp0dent>
lid Elm Bert oes Ba1reutber Wei<
tiers ouf oas prpsramm gu fsben,
flint Sabre lang fpurbs bieie Rum
mer@ mentpsst ausse5ildt, unb erft
1893 erlnbmts bic Oppoiitipn. DAP
lie aber nod INNER nidt san5 ents
poffnet lit, aeiste elm 8orfalI, Der
ii9 in neueiter 3eit abfpisIte. prpz
feFor BeHslla batte Bel einem Der
Son5erte, bic 4benbs auf Ser piossa
@olonna ftattFinoen, oos rMnoante"
aus Der Guuften Sinfonie bon Beet
bnpen auf bas 9rpsrumm seiebt. %
bic RDmer ihre Stabt ieBt in aroben
5haaren psrldfen baben, ppllten
bi. anmef,noen Otutiden ole siinitise
@slesenhtit benuBen unb perlanqten
nah bieier hummer" cine Wieoers
bolune. anseiihts bisfer uanmos
Bune" brahen aber Die tpeniaen R6s
msr auf otm plabe in elm piloss
Soben unb 3ifhen aus unb i6rien,
bon Dem .6ien Muffperitdnbnib, auF
bas ie 10 ftcls finb, binetriFtn:
r6inous nit 6fn garbar,ni Ries
Der NIT Mosnerl" 91lisbliG musts
f6 Die ppIiaei ins NititI lsstn, nm
zine fsium prnetIsi ~ psrbaihn.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03
Some Variations on the
American Idea in Art
The Appeal of George Inness-A Retrosneo+;,,o
Exhibition by MIR. Edmund c. Tarbell-
Mr.. Mahonri Youngs Sculptures
By Royal Cortissoz

ME brilliant of the bo ro ~;
because no;,oa
season OF low pcehas been nothing suggestive than in
light mas sed the market
bought PICTURES
simply and solely because he cared
possible evidence that
securities The paintings his gallery were nua
significant this they historical PRESTIGE no
We underline the aspect matter as one which has
counted and will
the relation of the school Of
art the enegence of artist from bury have
lan Renaissance other
big neither Veasqu in terms
The gus fetched by nness and Murphy
regarded equivalent the They much
mafenot Murphy follows
They Jack up the that paid general We
DO not that they would make exactly worth Amer
artist American artists
who might just well themselves
better
of
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03

IHiS artist mas all the technique ne
needs, all The decorative faculty. For
the first, turn to the exquisite elegance
and precision of such a Fascinating
little etching of his as "The Forge, Rue
St Jacques" For the other, turn to the
picturesque Bird Bath" one of the
best pieces Of garden sculpture we have
seen in long time. But to get the
true measure of Mr.. Young's abilities
you must pursue in his drawings and
bronzcs the stirring expression he
gives to form. Working, as rule,
on 4 small scale, he invests his fig
urlncs of ]aboring men with remarka-
bic weight and meaning. The sim
phcity and breadth of his almost rude
modelling, as we'll as the character of
his subjects. may provoke a facilc ref
erence to Meunicr. but for our own
part If we cite that predecessor of
his 1T is only for the purpose of point
ing out that Mr.. Young's debt to the
belgian sculptor is negligible. The
vital quality in his work is unmis-
takably his own. His brawny work
ers make an altogether persuasive
appeal because they have been por-
trayed at first hand, their strength,
their 1.-the NOV ament, their WEAKNESS,
graspcd from within outward and trans
lated into plastic terms with an in
tense personal feeling
Why does an artist occasionally
take hold, as it were. upon the wrong.
end of the Stick? Mr.. Tarbeu, whose
natural gait is wholly for the intimate
interior of The sober portrait, must
needs tackle in his "Nrs. A." the gor-
geous fusion Of sitter and furniture
which belongs 20 the staggering Salon
nier. Mr. Young. who is a realist if
ever there was one, cannot escape the
influence of the "archaic" movement,
and models number Of nervecss
nudes which We only take to be his
because they appear in his exhibition,
Finally, he allows this curious excur-
sion to land him in the grotesque ugli-
ness of "Pan and the Hamadryads, )"
a relief that is, again, fairly incom-
prehenslble as coming from his hand
But, by good fortune, these things can
do him no lasting harm. They shrvel
up, indeed, beside the works of which
the bulk of the exhibition is made, the
portraits busts and full length stat
uettes - that have very nearly the
thrill of drama in them, thcv arc so
tlngllng with life; the fountain figure.
The Piper at the Gate of Dawn"
which is like gust Of baroQue humor;
the troop of ironworkers. shovellers
.SSeio anu SO on, Wnlch forms Il lit
tie panorama of humankind, monu-
mentally seen. The drawings. mostly
nudes, take us ~ another path to the
secret of this artists power his warm,
manly search after truth, his firm
grasp upon il. his splendid technical
resource. and. glimmerng through all
this: his unconscious cropping after the
golden element of which we make so
much, the element of style He is still
cropping. The panels for the 'Sca Gull
Movement,' attractive as they are, with
something large and even noble about
them, still leave him this side of the
great plane Of beautiful design. He is
sure of himself, as it seems to us.
thus far only as he deals with the
single figure. There his original and
poignant realism strikes note in
American sculpture which should carry
far.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03

had the needed serenity and taste.
Moreover-and this was more to the
point than anything else-hc had the
passion for good workmanship, which is
the surest stay of the realist.
The "Girl Crocheting" promoted a
craze for that kind of picture. Any
number Of Mr.. Tarbell's colleagues
sought to turn the same trick They
couldn't do it half as skilfully as he
could. If they, undiscouraged, never
theless kept on, is it any wonder that
he, who could manage the thing so
well, persisted even more resolutcly -?
Observing in the exhibitions from year
to year his prescriptions of the same
central idea, we have found them de-
lightful or not as his hand has func-
toned perfectly or has faltcred. In
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03

erers," the picture which made such a
sensation III the Hearn sale, remains
masterpiece and a joy. A lovely scene,
bathed in light and atmosphere, this
Will work its spell-when genius is
there. 1t is the genius, of course, that
accounts for the whole business: that
is the secret of this painters appeal.
He had no formula, no especially felic-
ltous pattern of design. He had not
even that particular addiction to q
magical effect which sometimes goes
with genius-the tremulous silvery
LEAKAGE of Corot, the dramatic skies of
Rousseau, the iridescence Of Turner.
There is not a trace of sophistication
about his style. In the matter of style
indeed, he sometimes makes you think
of Balzac who has no style at all, but
OF whom it has been said that just his
genius, working on the stuff of life.
carries him through. SO it is with
lnness. His genius, working on the
stuff of nature, enkindles US with q
feeling of artistic fneness and power.
He has a kind of Wordsworthian sin.
cerity. His natural magic" is of that
intense, unprecedented order which
puts the least possible veil of imam.
/ ner' between ourselves and the truth
ne sets out to depict. And, as is habit
ual with such masters. the very absence
OF consciousness from his wor,
leaves it saturated in the spirit of his
personality. Style rests upon land
scape Of his like the fleeing light he
painted, subtle, impalpable, incompara.
bly, original. An S'investment," for
sooth! People don't buy the works Of
painter like that simply to sell them
again. They buy them because III y
have fallen under the dominion of his
enchantment.
We are Ike that in the United States.
We are a practical people, and, possibly
for that reason, we respond to work
Of imagination. The other side of the
medal, the dry light of American art. if
We may so describe it, as distinguished
from that which is fashioned of CLAM
our and feeling, may be studied just
now in an exhibition at the Knocdler
gallery. At that place there has sud
denly appeared, unheralded and there
fore little more exciting than it might
otherwise have been, a collection Of
pictures and portraits by Mr.. Edmund
c. Tarbell, Of Boston. 1t was an in
spiration thus to illustrate practically
the whole range of his art, borrowing
paintings from private collectors and
'Eblic galleries. He is perfectly we'll
nown here as one of the original mem
ers Of the "Ten," and most of the
t~cnty-seven canvases now shown we
soem to have seen before, but on no
other occasion have we had so good an
opportunity to apprehend the essence
( OF ms talent One painting supple
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03

takingly "set" as they are, they are
enveloped also in something of the
atmosphere of home. They are linked,
at least a little, with life. To a cer-
tain extent Mr.. Tarbell's craftsman
ship, exercised as means to an end,
may be said to serve him as an illus
traitor of contemporary types and man.
ners. Yet, when we consider how the
sentiment of "still life" prevails with
him, and when we turn to the purely
decorative pieces like "The Blue Bowl"
or the "Mrs. c." we are driven, willy
nilly, to think of him as the tcchnician
IN eXcelsis, for whom life, as life, holds
no emotional eXcitation whatever. The
portraits slightly countcrbalance this
Judgment, their reality is so strong
their understanding of character is
sometimes, if not always, so clearly
manifest Mr.. Tarbell may be essen
TALLY a painter of the studio, but he
IS no painter of manikins. There are
flesh and blood in his pictures. Only,
at the best, he is so freezingly dispas-
sionate. SO eXasperatingly content with
the fairness of the spectacle before
him-and the fluent, masterful play of
his brush. Once or twice he strays out
of doors, into the sunshine. The Sum
mer Idyl" is captivating instance of
his brio then. The lovely figure lives
and moves, in lambent air. What more
could one ask?
One asks nothing more, but, inevi-
tably, one distinguishes, barking back
to the issue as we have raised it in our
brief comment on lnness. Fine crafts
manship by itself is a delectable thing
10 enter this exhibition after contact
with much of the fumblng, mediocre
painting of the day is TO be refreshed
as by draft of delicious cold water
How good it. is to SAVIOR technique so
pure and so confident! What exhilara-
ton there is in light so deity handled,
III form painted with such knowlcdgel
And Mr.. Tarbell's color light, gracious,
dclicately restrained, is in the main so
when he wanders, as it were, off the
pitch, and turns as cold and uninterest-
ing as in the portrait of the impossibly
tall lady in pink or in the Mrs. A."
which suffers shipwreck on its overdone
background. 1t is never difficult to for
give Mr.. Tarbel when he falls bit
below his accustomed Standard his art
in its length and breadth is so capable
and so true. But you sense the reason
for his lapscs-the want of that genius.
that powerful personal quality, which
made 1nness so moving. And then you
come to the reflection that perhaps
craftsmanship, like Mr.. TarbelPs, and
genius, style. as Innes had them, are
mutually exclusive. If nature fires
your imagination you cannot pass
equally and happily, through the ami
able monotony of impressions here
gathered together. After your sixth Or
seventh Girl Crocheting" or Girl
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03

the present show the test is graver
There the familiar compositions are
ranged, nine or ten of them, and pres
surmisc that the painters ardor has
worn a little thin. What we take to
be the latest in the group, the "Girl
Writing,' seems Fictitious, muscle
bound, beside the Girl Crccheting."
The theme repeatedly pressed upon us
ends by disclosing q curious want of
substance. The model is always "knit-
ting" or "mending" or "readng," ac-
cording to the catalogue. But the
situation of the young Woman Study
couple of unopened books and leave
rs trihe puzzled as to whether the
latter conceal a veritable text from
The beholdcr's view, is humorously
suggestive of what is the matter with
thc whole company. Nermeer's wom-
N are surprised at authentic tasks.
Mr.. Tarbells are nominally doing some
hing, but actually they are doing
nothing - the Young Woman Study
ng' is not q human being ovcrseen
in moment of absorbed thought, but
a model posed for the sake of her
Green coat. Mr.. Tarbell, who made us
think of life when he painted the Girl
Crochetng," has come more and more
10 make US think of "still life" as he
,.as painted her successors.
If he were not a brilliant craftsman
he would be lost, as so many of his
fatuous imitators have been lost. But
as we are thrown back upon the
technique in this exhibition, we almost
forget that there is nothing on the
walls to interest us from the point of
view of imaginative art. What does
it matter? There are many kinds of
beauty. And Mr. Tarbcl's kind gives
an abundance of pleasure. We have
glanced at his prcoccupation with light.
1t is rich element in his work, but
we arc inclined to attach even greater
weight to his instinct for form and
his really rare ability as craftsman.
Look at the heads and the hands in
almost any of the portraits, but cspe
cially in the portraits of men, where
he has more interesting modulntions Of
structure to report. We might pause
we'll enough on the impression he con-
vcys Of truthfully characterizing his
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03

sitter, of bringing vivid vitality into
the picture, but striking as are his
merits here we go back with sort of
blessed contentment to nothing more
nor less than his drawing and model
ing, to the sheer honesty and thor
oughness OF the devoted workman.
Craftsmanship, we say, is only a
means to an end. Mr.. Tarbell is too
much Of an artist to be content with
the tour de force of the juggler, keep
ing SIX porcelain plates all at once in
the air, and he is, into the bargain.
too much of an, American. There is
human interest" of a sort, in these
pictures of his. The models to whose
rather meaningless employments we
nave referred are, after all, of a very
wholesome type Of prettiness, and if
they wear the air of the studio. pains
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03

ments another in calculating the drift
of his purpose, the roots of his artistic
character. We see that character more
clearly than we have ever seen it be-
fore.
1t is the character of craftsman.
absolutely. Every one remembers the
Juror created by the "Girl Crocheting"
when it made it's appearance years ago.
There was much talk of Vcrmecr of
Delft, based not simply on the artists
choice of subject, but on his mode of
approach. The greatest of all the little
old masters of Holland had doubtless
given him his point of departure-th
single figure engaged upon domestic
task, the shrewdly selected accessories.
the few pictures on the plain wall and,
above all, the pearly, diffused light. In
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03

Paris in October. should have
feared, now that my father is no
more, to put her TO too much trouble
having the house opened for me. On
returning TO my command | had the
great JOY TO be made a sub-lieuten-
ant
IAN officer! An officer, The regula-
lions said in my time: The commission
Is dignity You understand. dignifu)
conferred by the King To be an Of
ticcr-that signifies not only to com
inand, but even more, and above all
tn'ngs, to be by education and knowl-
edge OF the world the equal and the
associate OF the highest III the lane"
AS he was talking woman servant
entered, carrying Il letter on plate.
"News from him again" said Nine.
Plessis, recognizing the handwriting on
the envelope. Opening it she read:
September %, 1916.
Madame: Permit me to ask your
aid IN discharging a sad duty. The
son of NJ. lc Marquis dc Ligneul a
corporal in my company"
Nine. Piessis began to tremblc. NJ.
de Ligneul arose, very pale. and said:
go on. [ pray you, go on"
was killed yesterday in the course
on an attack by the enemy. His COM
rades were able TO recover his body.
To-day he is at rest alongside the
reconquered trench. At first | de-
cided to write TO his poor father.
Then thought that You would know
better than | how 10 soften the cruel
blow. Tell him. when his first shock
of emotion has passed, that his son
died as brave soldier, carving with
him the esteem of his men, the
friendship of his comrades and the
respect Of his chiefs. Will you kind
ly, Madame. accept. etc.
"LIEUTENANT BAURIN."
NJ. lie Marquis dc Ligneul wept for
long time, his head in his hands, with
out uttcring a word. Then he bit his
lips, Strengthened himself up, and. with
his hand stretched toward the letter
which the old Eldy still held between
her fingers, he murmured
Give me that gentleman's address
that | may writ to him"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03

Mending,' shifting the chairs about,
moving the lamp and its ribbed shade
to another corner, you realize that
something is wrong. You say OUT"
You rush out and paint picture. Per-
haps that picture develops into mas
terpiece. Perhaps IT is . sorry failure,
But if, we repeat. your Imagination has
been fired, something Of yourself creeps
into the canvas, and that something, the
mark Of genius, the stamp of style, is
beyond ruoies. illumining even a
failure
Subject as subject. We are often told
by the sapless dabsters in art. is of no
earthly consequence. On the other
hand, it often holds clew to the in
most quality Of 4 given artist. The
American idea as we have seen it in
lnness is all for an emotional interpre-
tation OF nature; in MIR. Tarbell it is for
technical adroitness, and in Mr.. Mahonri
Young. who is having an exhibition of
bronzes, drawings and etchings 1T the
Sculptors' Gallery. it is for what we
can only define as spiritual expression.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03
Genius and Craftsmanship

In the foregoing note we have reg
istered merely a current fact. But
from the fact that collectors are now
willing to pay as freely for an Ameri-
can as for foreign picture there are
surely some differences to be drawn not
exclusively economic in their nature
Why this willingness? Does man pay
$4,000 for an Inness only because he
hopes some day to get his money
hack" and little more? The cynical
reflection IS not to be disdainfully re-
jected. Collectors of that type have
been known-all over the world. But
rot al collectors are of that type. Mr..
Hearn wasn't, as we have said, and, in
fact, if the reader will think over this
question and use his memory, recalling
the notable American victories in the
auction room Of recent years, he will be
struck by one eloquent circumstance
they have invariably been the victories
Of beautiful pictures. Inness is dead,
but other American painters who are
quite as dead as he is have not made
Ms record. 1t IS not the comparative
rarity Of his works that alone has de-
veloped the cult for them; it is also
their respondent beauty.
Witness, for example, their superb
ority to the whims OF the moment. In
ness, beside the Impressionists, is a
conservative of the conservatives.
Compared with the inefable Cezanne,
he IS We suppose, hde-bound acade
mician. Yet somehow The " God Gath
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03
he Officer
By Maurice Level
Translated By William L. Mcpherson
Copyright 1918, By The Tribune Association)

Here story bg Maurice Lere rlh
e 1eail.e yctchh the has had
the old barriers The reported
those Of 170IS71 liz said 1t dGai eating considered
abandonment By the French OF The
"a the officers
fench deocrG'led
the co,,yo
nth what they
Mr. Level makes has discreety cthou augmentation He
Glcays master OF has 'ncr0 He, like attract
appcarc lolVmg s coury fo stories pub;sbed
t7s m 1917 three doubtorred
list short gear
periodicals. ranking mach to the critical o
. fiction n s country
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-03

fnctprc Mr.. Tarbcll made no pretence
of emulating the depth and polish of
Vermeer. He did not even try for the
lacquered surface so often character
istc of Alfred Stevens, the most famous
of Vermeer's modern disciples. For
pigment, as pigment, he seems never to
have developed that positively sensu-
Gus fdiY which is at the bottom of the
Dutch virtuoso's extraordinary achieve
ments. But he had the Dutch mood,
the instinct for the pictorial charm
lying in these interior motives. He
Evening star. [volume] (Washington, D.C.) 1854-1972, 1918-10-09
NOTE GETS SOLDIER
APPROVAL; CLEVER,
|SL0NDON VERDICT
By the Associated Press.


LONDON, October o.-In
diplomatic circles here President
Wilson's reply to the peace pro-
Posals of Prince Maximilian, the
imperial German chancellor, is
regarded as clever and logical.
1t is felt in these circles that the
President was wise in refraining from
flat rejection. The President, how
ever. it is considered, displays the
same attitude of skepticism as do
British and continental statesmen con-
corning the good faith of the German
government and desires satisfaction
on this point before taking further
steps.
1t is believed that satisfactory
answer to President Wilson's ques-
tions will severely test Germany's
good faith, while an affirmative reply
will mean the acknowledgment of a
German defeat.
The acumen and logic of the Amer
lean executive in framing the reply is
regarded by the diplomatists as char
acteriStic of him.
WITH THE AMERICAN FORCES
IN FRANCE, October 9 (by the Asso-
ciated Press).-President Wilson's re-
ply to the German peace proposal
reached the rear lines of the Ameri-
can Army this morning. 1t had been
eagerly awaited. it's possible charac-
ter having been widely discussed The
general tone of the rank and file
comment was quiet satisfaction that
no armistice would be grant ed while
the enemy troops were on allied soil.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1918-10-09
By the Associated Press.

By the Associated Press.
WITH THE ANGLO-AMERICA
ARMIES NEAR ST. QUENTIN. Octo-
ber 9-Heavy fighting continued
throughout the night on the Cambrai-
St. Quentin front and the British and
Americans continued their progress
of Tuesday under a heavy protective
fire from the British artillery.
The defeated enemy was almost
smothered under the great deluge of
steel and explosives.
German reinforcements have arrived.
but as these troops have been engaged
several times recently their presence
merely adds to the confusion in the
enemy ranks.
Many Guns Captured.
"A large number of guns have been
captured by the British and Americans
in addition to the great patches OF
prisoners which continue to arrive al
the cages. The American troops alone
captured two complete field batteries
and battery of heavy artillery.
The Americans captured their guns
Tuesday afternoon. when they sud-