davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17

Howard Giles, w. Ritschel Paul King,
Theresa Bernstein, w. II. Singer and d
host Of others give TO this wing Of the
show the free, spontaneous charm we
expect as a matter of course from
American landscape art. One or two
things recur to the memory with spe-
cial mportunty Jane Petcrson's
gay picture of "a Full Iarbor" and the
spirited study OF Moorish picturesque
ness contributed by Miss Grace Ravlin,
"Fcstval OF the Aissonas, Tangier."
They illustrate at its best the light,
captivating technical habit of which
the show brings forward an encourag
ingly plentiful supply. In the field
where it is exploited utterly for its
own sake, in the field Of still life, we
may cite three or four good paintings
by Felix Russman. Dorothy Ochtman,
Dimes CARLSON and Anna Fisher. Mr..
Russman's "Black Bottle" deserves
special tribute
In it's portraiture the Spring Acad
envy asserts itself with rather unusual
responsiveness, and this for the rea-
son that it does not assert isclf. in tho
vulgar sense, at all. There are natu
rally present some of the stereotyped
exhibition canvases which are as in
cvitablc as the tides, canvases big,
decorative" and entirely mediocre.
But things well done are in the ascend
ant. Witness Mr.. Brandegee's solid
portrait of Miss Bcaux, Mr.. CoX's hand
some "Mrs. Leonard Cox"-morc
suavcly painted than anything of the
kind ne has done in long timc-thc
vivid, sketchy, yet curiously firm "Miss
Hallowel" by Mr.. Sidney Dickinson,
the charming impression by Miss
Beaux, and all the crisp, swift, vital
lied studies by MIR. Seyffert, Mr.. Lazar
Raditz, Mr.. +. Greacen, Mr.. A. Roscn-
thai, Mr.. II. Rcnwick and Mr.. II. X.
Rittenberg. We referred, apropos of
the show at the Union League, to the
finished type of craftsmanship pre-
vaiing among our Colonial artists.
Tho modern, cosmopolitan mode OF
drawing is more nervous and less we'll
roscd, more rapid and summary, and
hence less searching. In this mass of
contemporary portraiture the drafts
manship, and the workmanship gener-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17
The Past and Present
In American, PAINTING
Copley, Stuart and Their Circle at the U,;o,
League .Club-The Spring Academy
Pictures and Studies by the Lore
Carroll Beckuith
By Royal Cortissoz

We have been deeply interested to learn that the
sculpture at the Metropolitan Museum aversed ~ M 1"ner'
sunday deca the two galleries it anne.r - pace last
illustration of our plastic art 1t is collection tb.+
but the pieces shown lent Indefinite ,
works Withdrawn others will substituted t. ~ "en
Museum Will place such of
acquire the future through gift purchase The art now 90 may
what 1t has long needed, kind miniature IN
shrine and official status Here the public NAV henceforh ne"
phstones as WERE IN the study of peculiarly important st
sno merely for momenary addition pleasure hn f ]
uulness the that Mr.. his coleaone b
the current number of the Bulletin Mrs Herbert adon~ %
point which community the United States +
Abiding Mr. military fore rh;
happens stand the door, she WHOM
shall be erecting
against second invasion of such appalling memorials as followed co
upon the Civil War; our ard with Mr.
that
dery rightly adds that m
~ could our ouhc in
rueborn
galleries. other established at pre-
daly the psychological
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17
Colonial and Cosmopolitan, Art

It is pity that the evanescence
which waits upon a club exhibition
could not be escaped by the March
show at the Union League, devoted to
about a score of paintings by early
American artists. Drawn from private
collections and, therefore, gener
allv unknown to the public, these
works might proitably be placed on
view for fortnight at least. A few
of them are of high value, and all pos
sess a certain historical and educa-
tional interest. AS regards the art of
picture making, they have little to tell
US. The two Biblical subjects by
Washington Allston and Vests eek
pulsion from Eden" illustrate thread
bare conventions handled with a tech
meal adroitness in no wise distin-
guished. Trumbull's little Study for
Battle on Lake Erie" though an adj
mirable bit Of painting, enforces no
particularly engaging principle of de-
sign. But the portraits of which the
collection is chiefly composed affirm old
ideals which are ever new.
There are always perils in the for
nation OF a cult In our latterday
ardor for the discovery and eXploita-
ton Of early American painters we are
prone to exaggerate their merits. The
sober truth is, of course, that even the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17

ally, will not always stand exhaustive
analysis. 1t is often superficial in quail
ity. But it is inordinately clever. 1t
makes in the long run an exhibition
which may not be impressive, but which
has a laudably animated atmosphere.
The late Carroll Beckwith was
;teadfast eXemplar of "the rectitude of
art" man who carried conscience
into every phase of his work. The pict-
ures, studies and drawings which he
left in his studio when he died on
October "a, 1917, have been placed on
exhibition at the American Art Gal
leries, where they will be sold next
Wednesday and Thursday evenings.
From the collection of nearly two hun
bred pieces we might cite one panel
alone, the little sketch of the Diana
by Desiardns at Versailles (No. ~, as
eloquent of his whole history We
call it a SKETCH and it has unmistak-
ably the traits of such a production.
the spontaneous character, the light
touch, of a note made in passing. But
the statue seen against the rosy even
ing sky is lovingly and Loyalty drawn,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17

the thing is realized as fully, almost,
rs though Beckwitch had set out to
make a formal picture of it, That was
like him. He did all his work in the
same devoted mood and out of the
same fund of knowledge and experience
All his life long he was faithful to the
standards of honest execution to which
he had been trained. in the seventies,
IN the atellcr Of Carolus Duran.
The present exhibition disclosed his
talent in varied manifestations. He
was a constant painter Of the figure.
to which his fancy assigned categorical
OF merely decorative roles. He painted
"Actmon and DIANA" he painted "The
Mystic Marriage of St. Catharinc," but
it was mother in religious nor in classi-
cal lore that he found his true point of
departure. What stirred him, rather.
was the charm of nattcrn, the graceful
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17
The Old Man
Shows Him His Friends

an Old man is proving about tlr
debris of the church porch, ard the Of
hcer asks him:
"ls the 503d?"
Some Of them are here"
"Lieutenant F.? Adjutant :,
They are here. They are here
Here now"
Yes, since two weeks or more Siice
the great attack"
""IIih1ey are resting?"
He makes a sign to the officer. which
means:
Follow me-
Behind the church they pass along Il
rampant of earth, over which the Oft
Ger vaults joyously. Then. with Il sud
denness which cuts his breath short. he
finds himself in a cemetery. before
graves, in plot of ground all bloatcd
with mounds. He stops, turns pale.
looks at the man who has brought him
mere. but who shows no sign OF emo
5lon. and his eyes dilatc WITH astonsli-
ment. He asks abruptly:
but what does this mean ?"
The other answers:
They are there-all together
buried them-with the aid of the sol
diers."
The officers eye dilate again. He
clenches his fists. He remains stupe-
fled before these little hillocks OF
earth-of poor, chalky earth, on which
nc sees the three caps of the mon
whom he returned TO visit-caps water
soaked, stained, all mushy and lament.
able, caps under which he recalls The
figures of his friends, whom he now
pictures lying stiff and chastity in their
collins.
He has a sufocating feeling. He
starts back. az if he was afraid Of
walking over them. He realizes The
frlghtfulness of war. All Of then,
dead dead without his knowing Il.
And what is he doing there? WIN did
he come back? Is this his place? He
cho.ses- as ii these dead men saw him
and we're astonishcd at him. And his
fantastic and charming idea of taking
ms leave at the front suddenly fill
hlm with horror. He has an impulse
10 escape.
He came to look for men. He find
graves. He fees. There are under hi
feet, in this field of the dead. light and
flagile candles which the wind has
blown over. He feels cold. lie walk
quickly. His eyes are cast upon the
ground. And he arrives at the station.
out Of breath, at loss for words.
w hen does it go when is there :,
train?
what? A train?"
This time the commissioner shows
no astonishment. Knitting his brows.
he gives the information which tho
officer seeks.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17

disposition of form and drapery. He
liked occasionally to abandon the rec
tangular canvas for the oval or the
circle. He was curious in new ara
besques Of design, seeking always the
thing that was of the greatest impor-
lance to him, felicity of contour, which
implied, for him, an ardent struggle for
felicity in the linear Interpretation of
1T. He was a disciplined craftsman
His interest in line was the unfailng
source OF his energy as painter. There
is color in his work, sparkling color
but the salient merit revealed in this
exhibition IS that of the artist who
knows how to define form. 1t is this
that most effectively comes out in his
portraits. lie had much elegance in
his portraits of women. "The Spanish
Veil" evidently an early work, points
to the vivacious style which he prac-
tised throughout his career But it is
in his portraits Of men, in such strik-
ing canvascs as the well-rcmembercd
civilian Walton" and 'Mr. Isaacson,"
that he eNceled. Next to these for
technical authority, and with blithe
charm supcradded, we would place the
numerous souvenirs Of his European
travels, especially the Versailles gar
den sketches. He was delightfully."- deft
in sketchinr the romantic silhouette Of
an ancient town: or the CLEAN of a
marble statue against sunny LEAKAGE.
These French notes will doubtless
prove among the most popular items in
the Forthcoming sale.
Two other collections may also be
seen at the American Art Galleries just
now. The one belonging to Mcssrs.
Voron & Chat, which will be sold on
the afternoons of March 21, 90 and %,
is composed of Chinese porcelains,
carly Oriental pottery, jades, enamels
and rugs. There are some fine single
color glazes shown, but the decorated
porcelalns are most conspicuous. The
to be sold on the afternoons of March
l2, 10 and 90, body of more than eight
hundred pieces, is extremely miscellan-
eous in character and very attractive
throughout 1t reflects the taste of a
Tastidious amateur. There are old
rings, snuff boxes, fans, watches and
similar objects. There is a small sec
ton devoted to coins ana medals. The
Orientalia embraces worries, porcelains
and lacquers. Some good textiles and
tapestries appear and there are some
interesting pieces of old furniture. AL
together a promising opportunity for
the modest collector.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17

leaders in our old school, Stuart and
Copley, were not impeccable masters
of the first flight. They had their in
spired moments. We have never be-
held Copley's superb "Mrs. Ford"
the gem of the Hartford Athennum
without cheerfully rejecting that none
of his English rivals could have beat
en- 1T. There are some of Stuart's por-
traits which evoke the same thought
The fact remains, however, that both
these painters are continuators of the
eighteenth century English tradition.
They and their colleagues in the Union
League group-nay, even the earlier
men, like Smibert and Theus-are sig
niticant of the Jealous emulation of an
English style. On the other hand
their value for US lies in the SINGER
ity and fine spirit in which they de-
veloped the impetus received from
abroad. With what gusto did Stuart
ply his skilful brush. Two of his por-
traits in the show, the king George
Il1' and the "Queen Charlotte" arc
exactly what they set out to be, court
portraits, and are consequently little
sleek, but in the "Ozias Humphreys"
he lets himself go, paints with breadth
and freedom, and is wholly personal.
In sense this is an intensely modern
piece of work. But it has certain
steadying elements which are charac-
teristic of the whole school, which
mark its date and at the same time
keep it, as we have said, ever new.
These are elements partly moral and
partly technical.
When Stuart painted the portrait at
which we have just glanced, when
Coplay painted his delightful "Thad-
deus Burr" and "Eunce Donnie Burr"
when Vanderlyn painted his little
head of "Joseph Reade" Ga head as
crisply drawn as head by David,
they were all subject to the social
movement of their period. They were
iudicious in the matter of prose, re-
and careful in the expression of char
acter, and, perhaps, trhe cold; and
in the pervading spirit of what they
did, altogether measured and serene
TO sum them up in a phrase, they
were types of good breeding. AS it
happened, too, their cquablc tone
played right into the hands Of their
technical method, and, in fact, height
encd its effect. They looked upon
their craft as they looked upon their
social function with kind of pas
sion for dignity, for self-respect. Their
color schemes are quiet and we'll held
together. Their modelling does not
go very deep, but it is thorough, so
far as it goes. Their craftsmanship
above all is polished, adequate, not
very personal, but nevertheless tingcd
by sort Of austerc charm. AS
painters they seem "old- fashioned" to-
day But they knew their business
Sterling merits such as they cult
waited never grow really old Fashioned
They command our respect, and, in
cidentally, give 'us lastlngly agree
able sensation. Part Of this is
aesthetic. AN equally large part of it
is traceab!c to the sentiment associ-
stcd with memorable epoch in our
national life.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17

From Paris"
But nov does it happen thar ybcn
you went away they didn't tear ~ tln
otner half OF your paper >"
am arriving, my friend am not
returning from a leave"
peats:
mot from leave! Oh. yes"
Then he says:
"Lieutenant. won't Won nleaso ,,c nd
see the military commissioner
The commissioner is even moro oh
fuse. Then the lieutenant explains TO
nm Very gently, almost in whispcr.
as If making confession:
am an officer on duty in the rear.
l used to be at the front. | was re-
called from the front six months ago.
II seems that was indispensable i'm the
H1lanuiacture OF powder. But that
me four days leave. I have taken
,hem because | need a little change.
ana have come to spend them here
mat is all there is to it,
"You-here ?" stammers the commits
sloner letting his lorgnon drop. con
leave? Oh! yes"
tie gives the officer the same queer
KIND of look as the gendarme did and
'neh steps away, his hand to his cap.
The lieutenant leaves the station
MS two companions of the night be
1ore follow him from afar, with dazcd
eyes.
He takes the single street of the
ruined village. between houses demol
ished and facades which still stand as
by miracle. with nothing behind them.
He looks at the smoking rubbish. The
arr IS heavy and acrid. Without doubt
the enemy has bombarded here vcrv
recently. He stumbles over the splin~
tered masonry and studies eagerly tho
number on the collar of each soldier
whom he meets.
lie reaches the church and finds it
gashed, palpitating, in cxtremis. lie
had left it intact, robust, thick-sct.
with It's short clock tower and it's VIII
lace clock. 1t had a good clock. prosaic
without resonance, which now lies on
the ground and whose sad PLIGHT would
lnSDire a noet
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17
The Good Wife
Sends Many Things

Have you got piano in your KNAPP
sack?"
"A whole orchestra, Gregory Our
good wives, you know-it is absurd. 1t
is their pleasure to ram your bag full
of things. And my wife, too, packed
them all so nicely. But in walking
they've gotten iumbled up. Now a
mother pig would never be able to find
her little ones"
With a match, which he strikes on
his leg, he lights a little candle. Then
he stands it on his drinking cup, turned
upside down, and in the little dancing
flame he tries to make his comic in
ventory.
"Handkerchiefs AS if one had any
idea of using handkerchiefs when the
gas shells are bursting"
eff you wanted any | would lend YOU
mine"
Yes. That's what l said. l said it
twice over. But she called me her
little husband and kept packing the
things in. A flannel waistcoat! Don't
you think it's shame to give a fan
mel waistcoat to a man Of my type?"
Don't wear it!''
Hand me your knife. III make Rus
sian shoes out of it,"
NO. It's too warm for the feet
And then-but all the same they're
funny, these good wives Look at
these cravats. And l told her: I'll
never wear Them
Give me one to clean my gun. And
what's that underneath there"
That's something to eat. Rabbit
pate
is it all right ?"
."Wo2ndeerful! Russian rabbit A
And what's that at the bottom ?"
"My wife"
Your wife,"
Photographs of her"
"Show me them. Oh. She is large
She carries herself we'll"
she weighs 100 pounds"
All! That is fine'
And there, you see, she is with the
She is large, too. Did she rccog-
nize you"
"Ah! Joseph. She cried to me:
Pepere, 'pepere, old poilu.' Poor little
dear! took her up and jumped her.
Ihen she went to sleep in my arms.
st'll Tee the weight of her little
moist head on the crook of nv arm.
But stop. When I think of ali that.
| get too mclancholy"
"D9n't think of it, old fellow. Look
Pack. but he doesn't worry about any
thing"
And he points to the man in the
corner who is fast asleep.
The train starts. The two soldiers
eat and drink. Then the digestion OF
the Russian hare, added to the joltin~
OF the car, makes them drowsv. They
fall asleep and snore
The train rolls on. 1t takes advan-
tage OF their forgetfulness 1t carries
them quickly toward the Boches. And
when day breaks and awakens them,
they blink their eyes, look out at the
country. see the troops and grumble:
well. we're back in the bacchana!c."
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17
Notes

The Brooklyn Museum is indebted to
Mrs. Herbert Spencer Greims, Mrs.
Clarkson Cowl and Mrs. Percival NJ.
Barker, daughters of the late George
A. Hearn, for series of eleven
beautiful ivory carvings selected by
the museum authorities and purchased
at the recent Hcarn sale with funds
presented by these ladies'. The episode
makes an apt tribute to Mr.. Hcarn's
memory He was friend to the
Brooklyn Museum, as to the Metropoli-
tan, and it is charming to have him
thus remembered there
the Gimpci ana Wildenstein gallery
Announces an exhibition of old masters.
1t is devoted to Dutch and Flemish
paintings OF the seventeenth century.
At the Modern gallery there is new
show of paintings by Picasso, Derain,
Girls, Rivera, Burty and Fcrat
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17

and SO on repeat we'll enough the vir
tues Of observation and vigorous paint
ing TO which these artists have accus-
toned us, but offer nothing novel or
distinguished.
The studies in richer keys convey, on
the whole, richer impressions. Mr..
Walter Griffin's luscious color is re-
markedly winning in both his pictures,
Autumn, France" and "Grand Canal,
Venice" There is sturdy composition
and there is some good, bold painting
in the "Rocky Mountain Valley" by the
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17

The transition from the Union
League to the Spring Academy is that
rom calm to rcstlcssness-from con
Nehtlon to Independence Something
is lost and something is gained. We
MISS the old sense Of measure and,
OR the side of technique, we miss
the old standard of good drawing. But
the gains are Individually consoling
mere is picture on the threshold
which may we'll be taken as contain
ng the gist of the matter-Mr. Martin
borgord's Corner of My Studio"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17
His Furlopgh- the Front
By Rene BENJAMIN
Translated By William L. Mcpherson
Copyright. 1913. by The Tribune Association,

here IS story By Rene Benjamin. achch shor ham IA orc
OF ms g7mmer moods. He has at times poetic and clqo
'ooc GEN. out again he be rhlessy realistic ia his
reaction to the misery and cruelty of a M this storm ,f
81 hu'nor tempers the unsparing realism.
W: ben1am'n as cor wo1her cell aca1 acys He
mas usated o the British armies and their IN France and
has 7rratten much to promote better undeysad;o Of M
British and Britains part the 1ca He has oiso ,roa
apprecotcety about the american erpedonary forces osd M
dehrered short tas to the American soldiers IN their coo
menus ne therefore hno1s the men at the front foc other
acriters of fiction kno2c them
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17

late l.. Ii. Meakln. sir. G. II. Davis de-
viates overwhelmingly into an unfamiliar
key in his "Sunset Light on the Hill"
and Mr.. A. L. Groll similarly commune
Gates a welcome freshness of tone to
his "Laguna Mesa" detaching himself
for once from the darker tints of the
desert scenes he has been painting so
long. Paul Dougherty, Emil Carlson
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17
Dawn Is the Very
Bleakest Hour

Dawn, in tho life of the soldier. is
almost always lugubrious hour. Only
poets, who have never been to war.
IND 1t cheering. And now the man
who has been curled up in the corner.
mute and motionless, suddenly begins
10 move and gazes at his COMPANIONS
with an air of astonishment He puts
en- his cap. And there is a lace stripe
en- the cap. What? An officer? The
other two give q start. They are
stupefied and worried They have
taken liberties with MIN. the thought
Of which makes them pancstricker.
offended. he has the eyes of a man
who is happy, or excited. and he saws
TO them. in benevolent tons
'"'Friends. do you know if the 5o3d is
still at S -?"
They humble:
."Lieutenant, we belong to the 52oth."
In giving this answer they straichtcn
up and both of them think:
I'VE are in a first-class car. What
IS gong to happen to U.S."
But nothing happens. The officer
makes only commonplace remarks, like
hello! There is a sausage" a cap
tured baloon), or AN aero. Two
aeros! How Interestingly" They feel
mat he IS laboring under some internal
stress And they look at him with in
c-easiNg anazement.
When the train stops at S The
provisional terminus Of the line for
further on the cnemy's shells have
destroyed the track, the oHcer leans
out on the platform with the keen
ness of the man who says to himself:
Here | am. at last" He has ewes
full OF curiosity, nostrils on edge. and
ears which he turns toward the roar
OF the cannon.
A gendarme politely asks him for
his furlough card. He produces il,
But the gendarme. as he is about e,
stamp it, stays his hand and says:
pardon me. lieutenant, but where
do you come from on this"
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-03-17

TT Wo comrades have run across
each other on the platform of
the railroad station and so to-
gether to look for places in tho train.
But since they have the heavy hearts
OF men 'on leave returning to the front
they find all the third class cars un-
comfortably full. Wishing to travel at
their ease, they murmur in a clammy
voice:
cts no good here. Let's try the first
class"
They board fist class wagon. one
after the other, and shamelessly settle
themselves on the soft leather seat.
But in a corner of the dim compart-
ment there is already sleeper, whom
they accost, but who doesn't bulge.
"He, friend, you're running big
risks! Are you out of your head j?
What is your idea? Life is an onion
which one peels with tears Where do
you come from?
But since the stranger makes no
reply they ignore him and begin a
friendly chat.
You should see the mess of stuff
that | am taking back"