davidaulloa/AmericanStories huggingface dataset:
Evening times-Republican. [volume] (Marshalltown, Iowa) 1890-1923, 1919-10-28
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Apply Il svitho1t rubbing - for It
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prepared - keep it handy.
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Evening times-Republican. [volume] (Marshalltown, Iowa) 1890-1923, 1919-10-28
PIGS MAXI HOGS Or THEM
III 4 ~ QEI VIA n,

when "a b: "a. THOMAS HOG
POWDER. Il contains the Necessary
! phsmical ingredients TO rromots their
growth, makes bone and muscYe and
kseps them In perfect health 4 -
e -. :,sys FOR itealf.
many times over a thu gain, your Dir
El Imparcial. (San Juan, P.R.) 1918-197?, 1919-07-09
Los NOItGanGIiiCa-
nos en- ESpa1a
10 QUE PIENSA Ell SIR. VAN
DERLIP DEL SUELO
ESPANOL

Ell Presidente del National City
Bank de New York, Mr.. Wander
lip, que Sc halla actualmente en-
Madrid acompaiiado de otros al
tos funcionarios de dich0 Banco
Y que sc ocupa del establecimiento
de una Agencia en- Espaila de di-
cha entidad, ha manifestado a va
rias personals, como los sei1ores
Conde de Romanones, Dato Y
otras con quienes ha conferencia-
do, la admiration grande que sien
te por la riqueza del suelo espaiIol,
el cual en- breye plazo ha de llegar
a un desarrollo Y una .grandeza
dignas de sus excelentes condiciO-
nes y priyilegiado china y situa-
ci0n.
En lsu viaje por el sur de Espa-
ila despuGs de visitar Argeciras,
Granada, Sevilla y Cordoba y de
contemplar las riquezas agricolas
de estas regiones, ha expresado su
opinion de que ell solar hispano po-
dria alimentar una poblacion has
"a de cien millones de habitantcs
una rez adquiera Ell desarrollo de
que es susceptible.
Como de una dc las personalida
des dc mayor relieve y prestigio
de America, no solo en- el orden
imanciero industrial, sino EN- el
de Mr.. Vanderlip tienen una gran
El Imparcial. (San Juan, P.R.) 1918-197?, 1919-07-09
Ley para regular las EnigIaGiOlGS en-
Puerto Rico ! para lI0S fines

Icl gobierno de dicho estado, me-
nos que la parte contratante die
Sc sufciente garantfa para asegu-
rar ell derecho de los emigrados. !,
Seccion 4. .Sera obligation de
toda persona natural 0 juridica en-
cargada como principal agente
de eontratar emigraciones de ira
! bajadores de Puerto Rico, poner
en- conocimiento del Comisionado
! de Agricultural y Trabajo todo 10
concerniente a este asunto y ia
cilitarle cuantos datos posea y
sean necesarios al efecto del cum
plimiento de esta Ley.
Seccion> 5. Queda absoluta-
mente prohibida la emigration de
trabaiadores nativos memories de
dieciseis a1os, o mayores de Sc
tenta a menos que vayan acom-
panados de sus padres tutores
legales, y de los hijos o familia-
res
Secci6n 6. Toda persona natu
raj o jurfdica que sin autoridad
contratare 0 indujere a contra
tar, por 81 o por medic de agentes
o representatives, emigraciones en-
Puerto Rico o que violare los pre-
ceptos de esta Ley, sera conside-
rada REQ de delito menos grave
(misdemeanor) y convicta que
fuere, sera castigada con una
multa que-no excedera de quinien
tos (50O) dolares 0 carcel que no
eXcedera de seis (6) meses, am
bas penas a discretion del tribu
Seccion &. Toda ley o parte de
ley que la presente Sc opusiere,
queda por esta derogada.
secci6n 8. Esta Ley empezara
a regir noventa dlas despues de
su aprobacion.
Aprobada en- 30 de mayo de
1919.
nal.
El Imparcial. (San Juan, P.R.) 1918-197?, 1919-07-09

Tn una de las principales Gales
de la gloriosa capital de Aticc Sc
|ostenta desde hace un mes, un r6-
tulo que dice "Hispania".
No fueron legiones de conquista
dores a ponerlo, nj consiguieron
ID. en- la hermosa Atenas sc exhi-
biese el nombre clasico de nuestra
Inaci6n oscuros y dominadores
lacuerdos diplomaticos. ''Hispa-
lnia" no encubre tampoco a ningu
ma empresa de mercaderes que ha-
ga exploitation del nombre de
lnuestra terra, de antaiio codicia-
da por rodios y ampurianos.
Un,ndclco de compatriotas nles
ttros, que yiven en- Atenas y desean
Iofrendar d Espa1a su aliento es-
Ipiritual Y abrir GAUGES direc1os a
las relaciones de nuestro pueblo
con el Oriente europeo, nan rnnda
do una revista ilustrada, editada
en- lengua castellana, para dar a
conocer Ia Espana moderna a los
Eespailoles que residen en- aquellos
ambicntes solcados.
El Imparcial. (San Juan, P.R.) 1918-197?, 1919-07-09

Decrstase pos' Ia Asdmbtca Le,
gist0tira dc Puerto Rico.
Seccion l.. Por la presente Sc
confere autoridad al Comisiona-
do de Agricultural y Trabaio para
entender, por 81 0 por. sus agentes,
en- todo 10 concerniente a emigra-
clones de trabajadores en- Puerto
Rico.
Secci6n .. Sera deber de di-
eho Comisionado, tan pronto ten
ga noticias de que una emigration
de trabajadores haya dc HeFarsc
a cabo en- Puerto Rico, inqrlirir,
inspeccionar, intervenir y regu-
lar las proposiciones, promesas,
condiciones II ofertas hechas los
trabajadores nativos en- casos de
emigration; y gestionar, suscri-
hir V hacer cumplir los contratos
que sc formaliceD, va sea por per-
sonas naturales 0 iurfdicas resi-
dentes en- fuera de Puerto Rico,
va en- cualquier estado de la
Union Americana 0 estados ex-
tlanjeros, velando porque la esta
hilidad repatriation de los ira
bajadores que Sc hallen fuera de
Ia Isla quede garantizada.
Secci0n 3. En- ninguna emigra
cion estara obligado el Gobierno
de Puerto Rico a proteger nj en-
forzar los derechos de aquellas
personas que salieran del pals, a
nienos que los contratos que Sc
lleyaren a cabo entire los emigran
tes V el estado que los contratare
fueren sancionados por ell Conf
sionado de Agricultural y Tfaba-
jo; Dispom6ndosc, que en- case de
emigration de esta Isla, cuando
dicha contradiction Sc formalizara
entire personals naturales Q iurl-
dicas de paises extranjeros,sean o
no RESIDENCES de Puerto Rico, el
crfmplimiento de, dicha contrata-
cion debera ser garantizado por
El Imparcial. (San Juan, P.R.) 1918-197?, 1919-07-09
Una IGIiSta GSpai0Ia en- AtGlaS.


La iniciativa es esplendidu. FL
camino de Oriente 10 ha olyidado
Espaiia desdc que 10 anduvc para
combatir por la Fe, yNluego en-
Occidente otros paises, vestidoscon
la tlnica misteriosa de 10 ignotO,
atrajeron las ansias del aventu-
rero, y am mas el deseo civiliza-
dor del colonizante.
/ Y el Oriente europeo nos recla-
ma, p0r boca de, los millares de
|compatriotas que ALI viven y de
los descendientes de los que otora
hicimos emigraI del solar hispano,
Fpor no atender nuestras conycnien
|cias materiales, sintiendo en- es-
ipanol, pensando mas Ell la muerte
que en- la vida.
He aqui un llamamiento que no
.es prudente desoir. EHispanian
''pretende <llevar a Grccia ell como
Icimiento de 10 que es- la Fspafla
de hoy, ell todos sus aspectos, y
proteger y alentar los espaioles
que yiven Ell Oriente. La intelec-
tualidad y la potencia econ6mica
de nuestra naci6n, deben tender
la vista hacia los nuevos horizon
tes que Sc lie abren.
El Imparcial. (San Juan, P.R.) 1918-197?, 1919-07-09

transcendencia e indican que la
collaboration de eapitales y eonse-.
jos que los Estados Unidos pucden
dar Espafla para dcsarrollar sus
muthas energfas ha de comenzar
en- breve de un modo PRACTICE Y
categ0rico para que ambas nacio-
nes obtengan los beneficios que no
pueden por menos de derivarse de
una mejor y mas prof4nda compen
saci0n entire ambos pueblos, cuyos
intereses y caracteres tantos pun
tos de analogfa y semeianza tic
nen.
El Imparcial. (San Juan, P.R.) 1918-197?, 1919-07-09
SERA Ell OLA Is

Ell juicio que por delito de mutt
laci6n sigue nuestro amigo cl jo-
ven Jose Alvarez Morton contra
Eduardo Pacheco, ha sido trans
ferido para el dia Is del corriente,
a las 8 A. Ne.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-09
Calendar of Exhibitions

American Art Galleries. Madison Square Soutf-The James
Franklin Bell collection of Philippine and Indian weapons
paintings collected by Robert Morrison Oypant paintings
glassware
of the late Miss Mary E.
Anderson Galleries, Park Avenue Fifty-nnh SreetBrsh
p M; Sundays, a. to p admission SO
Ching collection Of Chinese art objects; February
Art Alliance America StreetAncen
and modern textiles to February
Arlington Galleries, Avenue-panngs and NINA
lures by Nicolas Macsoud; February
Art Students See-Drawinp
by Captain Wallace Morgan Beal to
February 15a -'
dusres during by John j. Johansen February IT,
Babcock Galleries. Fortynnh Street-Western Genre
Painters; to March l. - ~
Bourgeois Galleries. 668 Fifth and drawings
by jennings lofel; from February 8 to March l..
Civic Club IA West Twelfth
graphs and waercoors by New York artists February "a
Daniel Galleries. StreetRecent work nv
Daniel Halpert February IS ~ W
ferargl Gallery "a East
H. Redheld; through February " ~
Folsom Galleries, Observation-Disclosures bv William, Mo-
Gregor Paxton; to March 8. - ~ ~
Gmpe Wldensten Avenue-war pictures bv artist
soldiers of France; February - ~
keppe & Co, East Thrtynn Street-Etchngs bv Rem
brandt; to February 1900 "s' ~ 'Neni-
Knoeder Galleries. Avenue-scupure by e. P Quinn
and Daniel c. French; Whistler autographs ~
paintings by Vincent Tack; to February Is. f ~
Mich Galleries 1os West Fiftysevenh Street-Pannps and
drawings done at front by s. j! Woolf; to February ~
and Paul Dougherty. e' ~ W H. LAWS
Mussman Gallery 14 West Stree-wateroos NV
Caroline Van H. Beam to February
Nlontross Galleries. $50 Fifth Observation-Disclosures bv Car
Melchers to February is. s ny oar'
National Arts Club 10 stree-Annual exhibit
ton or American Waercoor Society ~
February ID. s' ~ "enDoS' 70
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-09
By Royal Cortissoz

Where the relation of art TO the war
has been concerned the British have
made q good record. The government
has commissioned men of talent to il
lustrate scenes at the front and among
the war industries at home. Wherever
the artist could be of service he has
been given his chance. The result is a
body of Notwithstanding posters, litho-
graphs, drawings and paintings-in
which the authorities may fairly claim
to have done the best they could for
posterity, accommodating historical doc
uments such as the Indispensable cam
era could not hope to produce. Some
specimens of this work have already
been made familiar in the United
States. A fine collection Of British lith-
ographs was shown In several of our
cities under official auspices, and it re-
appeared in the Allied War Salon
which was held in New York last De-
cember. But there has not hitherto
been such a demonstration of what the
British school has done as the one now
being made at the Anderson Galleries
through the good Offices Of the London
Ministry of Information. In this exhi-
bition we may see national artistic ef-
fort at full length, so to say, and at its
best
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-09

ments of their comrades, note trifes of
humor and sentiment, and occasionally
rise to the tragic plane, as Jean Dufour
does in his picture of the French pris
oner tied to a post on the Russian
front, barbed wire all around him and
deep pool at his feet The recur-
renee of the humorous emphasis is.
remarkable. Even the Hun is drawn
with sardonic touch, as in the sketch
by e. Cocard of new arrivals in the
prison pen. There are instances Of q
larger, broader view of wars scene.
Raoul Lespagne affords one in his ad-
mirable "Ruins Of Revigny" There is
another in Alexis Demarle's "Plateau
OF Tavanne," and o third, which is es-
pecially ingratiating, is M. Barriere's
little picture of "a .12o In Lorraine"
capital impression of one Of the great
guns. But the collection as collec-
tion-and it is fairly voluminous-is
one of sketch book fragments rather
than of pictorial achievements in any
AMBITIOUS sense. 1t IS not, indeed, of
artistic ambition at all that we are
conscious as We survey these souvenirs
Of the war. 1t is, instead, of everyday
human traits, of brave men relieving
an intolerable routine with unpreten-
tious artistic excursions, dashing off
slight memoranda Of dreary scenes, af-
firming not SO much dexterity of hand
as a simple, manly courage The
French government, we dare say, will
assemble much more imposing groups
of paintings and drawings having COM
memorative value. But it will assem-
bic no Impressions of the rank and file
more intimate or more personal than
these.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-09

posterous form. He succeeds Just in
proportion as he keeps his feet upon
the solid earth and paints, if you like,
conventionally. Let it be said for con-
vention, in this case at all events. that
it is impressive, moving. Mr. Nevin
son is very good in those pictures in
which he is content to "dip his brush
in earthquake and eclipse" depicting
the horrors of war in straightforward
fashion. He is not, any more than
Orpen, a great artist, but he is one of
sincerity and force. lie is, perhaps, the
leader in the group composed other
wise of the two Naihes, Eric Kenning-
ton, Bernard Meninsky and divers
others, a group of grim, painstaking
realists. 1t may not be thrilling, but
it does capable work.
This is, to tell the truth, the conclu
sion to which we are led by the exhi
bition as a whole. 1t has its high
lights. Besides the delightful contribu-
tons of James McBey and Muirhead
Bone, there are some stunning litho-
graphs by G. Spencer Pryse, a single
painting illustrates the austerely be-
quilting art of Augustus John, and Mr..
Brangwyn also introduces an individual
note. But the British artist at the war
has stayed true to form, he has cxem-
plihed the pedestrian virtues Of the
Royal Academy rather than those orig
inal traits for which it is impossible
not to sigh. One needs to be careful
in this matter, not to sigh for the un-
attainable, not to ask any artist to be
somebody else. Nor can we too often
reiterate that the war has not, in tho
nature of things, promised to summon
genius out of the Vastly deep. We must
be grateful, simply, for what we re-
ccive, and be doubly grateful when as
the fruit OF Britan's effort we receive,
at least, the truth. At the same time.
let us look the facts in the face and
recognize that it Is just the truth, and
good workmanship, that this exhibition
puts before us, AS regards invention,
creative fire, originality, beauty, style,
it leaves the subject much where it
found it.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-09

High Commission. This show, like the
other, has obviously its official cachet,
but in character it is essentially cas-
ual, informal. introduced as a collec-
ton of paintings it seems rather col
lection of sketches, of notes spontane-
ously made by the ninety soldiers
named in the catalogue. The book en-
braces few biographical details and
from these we gather that cartoonists
and engravers, as we'll as painters, are
in the valiant company. A few men
of wide repute are included. One of
them, Georges Scott, the we'll known
illustrator, makes the most salient
contribution, a group of pictures we'll
designed and we'll drawn, full Of fire
There are some admirable subjects by
the satrical Jean Weber, delectable
sketches of children by Poulbot, draw
ings by the vigorous Lucien Jonas, and
some particularly fine bits of color,
atmospheric in quality, by the accom-
plished Andre Devambez. These are
essentially professional in attack, men
of training whose work makes suf-
tciettly aggressive appeal. Charles
Fouqueray belongs in the same cate
cory. The portraits of types in his
picture of "The Prisoners: Belleau
Wood" are superb. Above the aver
age, too, are the cartoons of Jacques
Nam, fantasies drawn with delightful
spirit in black and white and in colors
In general, however, the show makes us
think far less of the sophistication of
the salon than of the ordinary aptitude
of moderately. accomplished men, oc-
cupying their leisure in the trenches
with brush and pencil.
They delineate the traits and move
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-09
Iauo Exhibitions of Paintings
And Drawings Done OF the Front

sent home bit by bit in an aeroplane
and how it is valued at something like
a million dollars. We have heard no
such anecdotes about Mr.. McBey's per-
formances. But in intrinsic beauty
they make the backbone of this ex-
hibition.
With them we would cite the draw
ings by Muirhead Bone, especially the
al. NJ. S. Vindictive After Zeebrugge"
and the "Repairing Torpedoed Ship"
In these you see how style comes to
the artists rescue, OVERLAPPING upon a
seemingly ungrateful theme an attrac-
ton only second to that of creative de-
sign. 1t is draughtsmanship raised to
a higher power, giving to a web of
lines reporting prosaic facts the witch
cry Of beauty. 1t is personality come
into its own. 1t is the transformation
of documentary record into work
by Murhead Bone. Another artist
from whom something of the same illu-
mination might have been expected, Sir
John Lavery, is repre- sented by four or
five canvases; but while he discloses
his characteristic authority in "a Brit
ish Aerdrome" and "a London Drawing
Room, Wartime" he fails to make
either of these a fresh, compelling pict-
ure. Mr.. C. r. w. Nevinson also
piques expectation, for another reason.
He has dabhled in cubism. He has
moro than one picture here designed
under the mystic sign of that quaint
hypothesis. But it is interesting to
note his proof of what we have re-
peatedly argued, that the war was not
going to act in any talismanic way
upon art, developing new methods, en-
couraeing any revolutionary principles.
Mr. Nevinsons cubustic paintings, like
"Looking Down on Bombaraed Town."
are merely absurd, their tragic sub
stance doing nothing to save their pre-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-09

captive. The "Major General Sir H.
NJ. Trenchard" supplies an effective in
stance. Drawing and brushwork are
here positively exhilarating. Yet even
this portrait fails to wear well, as it
were, to stay in the mind as work of
creative art. That last glamour is,
indeed, denied to Orpen, and the fulness
OF the denial is only made the more
manifest when we turn to his miscel-
laneous subjects, landscapes and the
like.
They have the virtue Of truth, we re-
peat, and in his panorama Of war, as
in his studies of types, the artist does
precisely what the government doubt
less wanted him to do-he brings home
a telling record. If only he would
make the record fascinating for its own
sake! There is, too, about all his
French scenes, curious, rather dis
concerning quality as regards the color
We have heard of the strange white
ness resulting from the churning up of
VIC Sudihy sui, RuL tttlS OOSS AOO diLO-
gether account for Orpen's sedulously
light key. There are pictures of his
like "The Big Crater, No. g" which look
as though they had been painted in
the Arctic, and all through his land
scape work he adheres to a gamut of
whites. pinks and blues puzzling In
the extreme. They find no warrant in
the tints of other artists, including his
own colleagues on this occasion, who
have painted similar scenes. And rumi-
mating over this detail we come to the
point which throughout asserts itself
as we survey "OPENS paintings and
drawings. He is an artist of manner
rather than of style, q sound but alb
solutely uninspired craftsman. With
his pure, somewhat fat color, with his
neat, firm, staccato touch he sets down
exactly what he sees-and he has
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-09
McBey, Bone and Others

1t is not the dramatic spirit that we
miss so much. AS we have noted be-
fore, in dealing with the Allied War
Salon, the great conflict just ended has
from its peculiar conditions discour-
aged the production of the dramatic
battle picture. If there is no Lady
Butler, for example, in this show, it is
for the good reason that there was no
Scotland Forever" sort of thing to call
for such type. The thing of which
we feel cheated among Orpen's paint
ings and drawings is the pictorial in
vention, the emotion, the quality Of
style, which will take the place Of
drama. In an exhibition by an Ameri-
can artist, Mr.. S. j. Woolf, which was
traversed in this place last Sunday,
there was a hint of the point at which
we are driving. In style he, too, has
much to seek, and he is not Orpen's
equal as craftsman, but he seeks to
give his work an individualized,
painter-like quality, to get away from
routine, and there you have the root Of
the matter. Remark how in this ex-
hibition, where, as we have said, Orpen
is the hero, looming most conspicu.
ously, coming we'll into the foreground.
the true honors must nevertheless go
TO certain men who are nominally Of
lesser significance. Remark, for cx-
ample, the pictures by the etcher James
McBey. He has been in Palestine, with
Allenby. He has drawn the entry Of the
Allies into Jerusalem, a camel corps
marching in the night to Beersheba,
the bombardmcnt Of GAIA, and so on.
And he has drawn these things not as a
reporter, but as an artist, beguiled by
effects Of form, color, movement, and
transIatiDg them into an idiom of his
own. To say that he draws we'll, that
his color IL light and charming, is not
enough. II IL because that idiom Of his
Ii his own that he holds us. We see
the war in the East through his TEN
permanent, and it Is an interesting tenn
permanent. Prodigious tales are told
about the orpen collcction--how it was
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-09
Sir William Orpers

II is national or nothing. If there
is one trait which more than any other
leaps to the eye from this collection OF
over 200 paintings and drawings it is
British sincerity, the persistence
among all the men represented Of a
quiet resolution to keep the facts in
the foreground, without any attempt to
picturesque" envelope. The hero Of
the showroom certain points Of view
is the least emotional of them all.
He registers the truth with the dis
working under the orders of military
superior. He is as brilliant as it is
possible for man to be who has not
a trace Of imagination in his makeup.
This artist is Sir William Orpen, who
fills the bulk of the space with col
lection quite large enough--and quite
interesting enough-to have furnished
forth a show by itself. He is remem-
bered here from the exhibition he held
at the Knoedler gallery three years ago.
We welcomed that affair because it
satisfied curiosity as to a type not up
to that time known in our galleries and
because it brought forward 81 clever
painter. But we could not regard the
cleverness as any greater than that of
an adroit Royal Academcian who had
acquired something of the cosmopoli-
tan touch Of the Salonnier, and to-day,
even though his experiences of the war
have interviewed, Orpen leaves the same
impression. We look at his work with
respect for its sound technique and
with that eager interest which the ma
ture of his subject is bound to COM
mand. 1t cannot be said that he stirs
Us to unqualified imagination, that he
makes us feel his subject as a thing
heightened, transmogrihed. He is too
cold-blooded a realist for that, and, in
style, too modestly endowed.
"OPENS best achievements are his
drawings, and, after them, his por-
traits. In the former he uses with ex-
traordinarily uniform power the clean,
strong line which is his chief resource.
His figures are freely enough, yet, in
subtle sense, rather formally, appre-
hended. That is to say, that, while
they are not exactly imsnobie, they
nevertheless have little of that iso-
lated, posed quality which one might
expect In, say, book on "Types of
the British Army" One feels that
these are not SO much Impressions
caught on the wing as carefully
wrought reports, prepared with a view
to their being fled in the archives Of
the war. 1t might seem an unimpor-
tant, IL not negligible, point until you
begin to realize that it deprives the
drawings Of beauty, of charm. Orpen
is strong. but not distinguished
craftsman. His line is competent, but