davidaulloa/AmericanStories huggingface dataset:
Imperial Valley press., 1919-09-16

All bids or offers must be in writ
ing and may be left at the office Of
j, Fl. Ards, $50 California Building,
at the Southwest corner of Second
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ed to said administrator with will
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time after the first publication Of
this notice of sale.
Dated Sept. IL, 1919.
MICAJAH THOMAS,
Administrator with Will Annexed Of
the Estate of Lucina Thomas, deceas-
ed.
j. II. ARDIS, Attorney,
$50 Cal. Bldg,
Los Angeles, Calf.
Imperial Valley press., 1919-09-16

In the Matter of the Estate of Lucina
Thomas, deceased.
Imperial Valley press., 1919-09-16

Trials Of six soldiers charged
with deaths of Captain Torres and
Lieutenant Certez commence IN
military court At Mexicali. 4. Out
siders predict death penalty and
execution.
Imperial Valley press., 1919-09-16
FOR RENT

FOR RENT-Furnished room, desir-
able location, reasonable, 653 State
street.
Imperial Valley press., 1919-09-16

Classified Advertising CHARGED
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Imperial Valley press., 1919-09-16

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rect insertion of any advertisement
ordered for more than one time.
Imperial Valley press., 1919-09-16
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Rates-The rate for inserting Pre-
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Imperial Valley press., 1919-09-16

Errors not the fault of the adver-
tiser, which clearly lessen the value of
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aE. purpose Of the advertisement.
Imperial Valley press., 1919-09-16
Situation Wanted

WANTED-Any kind of truck haul
ing. r. H. Bovee, Heber Box III.
Phone 12-F-2.
Imperial Valley press., 1919-09-16
Wanted-KeaI Estate

WANTED-HOUSE, Small house for
family of two, in or near Eel Centric
Prefer furnished. Call Mr.. Russell
Cassa Rey Hotel.
Imperial Valley press., 1919-09-16
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MONEY TO LOAN-Ten years on or
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Phone 265. 562 Main St., FL Centre
The sun., 1919-05-25

no one is such fool as to imagine
that the modern movement has
amounted to anything. II Is dead
thank God"
80 runs the chorus OF recent art
criticism in more than one ponderous
periodical and quite a few OF the daily
newspapers, from which may be
singled out q Philadelphia morning
paper whose critic outdoes all the
others in the cocksureness of his
sweeping judgments and the triumph
Of his exultation that modern art is
dead
We who paint pictures and are in
tinately in touch with events OF the
art world hearken TO this death chorus
that modern art was dead. To us. on
the contrary. it had seemed very much
alive and flourishing. And our con-
sternation is only increased when we
find that the death verdict wes based
mainly on the Independent Exhibition
recently he'd at the Waldorf-Astoria,
In New York city.
For that exhibition was anything
but modern. True II was lacking in
mat amazing meuioCrity which typiiles
the annual shows held at the old acad-
emies. But not more than a handful
of 'modernists' were represented in it.
The average critic is seldom in
close personal touch with the men he
c-itioises, and consequently does not
The sun., 1919-05-25

realize that there Is an undying en-
thusiasm for the new instruments OF
expression. and that there are many
men sacrificing gladly the facile fame
OF the popular idol. not In order to
achieve martyrdom or notoriety but TO
retain their intellectual responsibility.
And Intellectual responsibility Is con-
ducive neither to material property nor
academic favor. Because these men so
far have not organized themselves into
some recognizable society and given
exhibitions at regular intervals, and
been stamped by the critics with the
seal of approval. is not suficient
ground for believing that modren art
lie dead, however pleasing the illusion
may be to the artistic middle class.
THE spirit that infuses the work Of
the 'modernist' is the same that In
fuses all art, and has infused II
through its tortuous parth OF evolu-
ton. 1t is nothing new. strange, nor
grotesque. nor is it simply another
sign Of the general unrest that informs
all present day affairs, an unrest that
Is the expression Of aesthetic freedom
as well as social and political.
'Tt is precisely this quality of mod
ern painting which the academicians
and critics refuse to recognize-its abb
solute sincerity. They are too ready to
believe that the modern painter is
counting cheap notoriety. painting his
cross section OF tripe and spaghetti
(as one profound critic described a
certain canvas) in a spirit Of wilful
extravaganza. 1t never occurs to them
that the painter may be striving to
express something out of the scope Of
their lazy perceptions. They never re-
member that the painter could gain
praise, popularity, even financial gain
the more easily by doing the old things
in the old way. They never seem to
feel the impulse TO lay aside their old
opinions for the moment, approach a
modern picture without pre-conceived
prejudices. conscientiously striving to
understand what II is the artist Is
saying.
That were too much to expect OF
critics and academicians. Their hottest
traditions are against II. Also II Is 80
much easier to scoff. TO say ignorantly
witty things, to chortle in unrestrained
glee that this modern art. which they
never have understood and which per-
haps they never will. is dead.
But modern art will survive their
derision. No vital art movement was
ever laughed out OF court, though few
artists whose vision was ahead of
their time have escaped the ridiculc
and abuse Of contemporary critics"
The sun., 1919-05-25

book Illustration. And in Germany
the curiously modern "Peregrinatio"
OF Breydenbach 14S6) and the per-
haps all too richly adorned "Nurem-
berg Chronicle" (14e3) are landmarks
in the record OF the art.
Some years after the turn OF the
century the inner impulse waned as
dexterity increased and we get the
mastery facility OF Godfrey Tory or
the hammered craftsmanship Of Jost
Amman. Yet there were Durer's ia
nous Illustrations for the Life OF the
Virgin" and the apocalypse" An in
the thirties Of this century Holbein
produced those drawings for the Cd
Testament and the Dance of Death"
which are so remarkable in their rer-
feet adjustment of end to means, their
full expression within the limits of
the medium wood cutting). Under
standing and accepting these limits.
the artist found his opportunity within
restrictions and produced little master
pieces. This exercise Of the virtue OF
appropriateness forms a basic neces-
sity in all art.
Wood engraving was thrust into the
background during the seventeenth
and eighteenth centuries and line en-
craving had its day. The Dutch
Flemish and French engravers of tie
seventeenth century had brought line
engraving to full flower. and ir the
eighteenth century 1t served in France
for the charming book illustrations
which, like all other forms OF art OF
the time in that country. mirrored the
The sun., 1919-05-25
Ferargil's Galleries
Change of Base

The latest art firm to enlarge its
quarters is the Ferargil Galleries,
which now has an entire Fifth avenue
floor at No. 6o7. This firm specializes
in the work of Americans and lays
rather an emphasis upon the group
Of men who flourish at New Hope, Pa
Most of those who are prominent in
the colony figure in the opening exhi-
bition in the new rooms. There is an
impressive example by Robert Spen-
Ger showing the snowy banks Of a
big river. and clever snow pieces b"
Charles Rosen and John Folinsbee.
Mr. Lathrop is also represented by i'm
portant canvases. \ new Childe Has
sam shows girl seated upon a willow
bank. being a variation upon the ar
lists successful picture at the acad-
envy.
Elmer Schofeld sends a vigorously
painted English village scene; Twacht-
mans old Mill gains with each re-
seeing, and Harry Waltman submits a
winter scene with a strong personal
quality.
The sun., 1919-05-25

brilliant elegance gayety and luxury
OF the Louis XIV. and Louis XVI. per-
iods. Eisen Gravelot. Marillier are
among the names in a list OF which
Moreau lie Jeune is one of the most
familiar.
With Bewick near the end of the
eighteenth century wood engraving
with the hurin across the grain (n-
stead Of cutting with knife on the
piank) came into use, and the posi-
bilities OF tone production were opened
10 the engraver. The nineteenth CEN
fury saw the publication of much NOT
able work, among others the Gunner
publications OF the '3os and '40s in Paris
and the drawings of the so-called men
Of the sos" in England, in which the
essential quality OF the line was more
or less regarded. The introduction of
photography as an element in repro.
duction of drawings brought about the
painted illustration so Characteristic OF
to-day.
Meanwhile artists so absolutely DIFF
ferent in their viewpoint as Verge
| Mcneil. Beardsiey, Pyle lin his earlier
work. eXemplified the fundamental
| harmony between line drawings and
the line of the type. So did William
Morris, and while his archaiZinG ten
dency may have missed somewhat the
eternal truth that art is the product OF
its time. his efforts in behalf of the
book as a harmonious whole were OF
The sun., 1919-05-25
By HENRY MCBRIDE.

IF Won ask the rich which period
they would have preferred to live
i in the answer nine times out OF
Ten IL the eighteenth century. ana the
country Is either France or Italy. Tne
cooking was better then. the clothes
were better. and the service was
ahem-much better. Readers OF Jean
JACQUES gain the impression that 1t
wasn't frightfully affecting even TO be
poor in those days. Certainly Jean
jacques was just as happy In the time
Of his poverty as in the days OF pros
perity.
Hubert Robert, whose paintings are
now being shown in Gimpel and Wild
enstein's Galleries, was an eighteenth
century FTenchman Che died in the
nineteenth century, mere detai),
who, like Rousseau. knew his Italy;
and Italianized delightfully."- and fash
ionably the Partisan scene when ne
returned home from his travels. He
Il was who decorated "Ferney" for the
great genius that Horace Walpole al
WAYS referred TO as "that old scorpion,
Voltaire"
II the library panels at Ferney were
at all like those that Gimpel and Wild
enstein now exhibit, the extreme ma
lightly and godlessness OF "Candide'
become more Of a mystery than ever.
How could that old man have written
so maliciously when seated before such
Mozart backgrounds? How could he
have Knocked so at life, anyhow. and
craved Hubert Robert decorationsl
But when one thinks Of the eight
eenth century one doesn't think of
soured old Voltaire. but OF the theatre
that Diderot did not disdain to study.
of the powerful old dowagers with
their amazing salons. the more or less
easy love making which fell to every
body's lot, the stage coaches, the idyl-
lie country scenes, the whole grand
paraphernalia. in fact, that first came
to smash that the world might be
free for democracy:
Hubert Robert himself got scotcheo
In the fracas. but was not much In
jured internally by his incarceration
IN the prisons of Ste. Pelagie and St
Lazare (where he was sent, the voice
of scandal says, by his rival. the aus
tere David, and painted more than
forty canvases during his imprison-
ment all OF them easy and romantic.
and as fashionable as ever. The view
of Ermenonville that is reproduced
shows the monument to Jean-Jacques
The sun., 1919-05-25

undoubtedly great value. The idea OF
the book as an entity sometimes re-
suited in the designing OF type, Illus
trations, decorations and papers and
binding by the same artist
These points are illustrated In the
present exhibition by the most notable
examples in the history Of the art. In
the end It appears more important
that we produce appropriately and
well, not necessarily sumptuously, IL
lustrated books than that we produce
many OF them.
The sun., 1919-05-25
Les Bans Vgie the Pont Royal, by Hubert Robert On
view Gimpel & Wildensten Galleries

machine sowed the germs of great So
cial transformations; in imposing diff.
ferent conditions upon the spirit IL
prepared a new orientation for it,"
Fifty years have not rolled away
since the birth OF industry. Already
formidable works have been realized,
wi5ening with an unthought of ampli-
tude and with an importance which
cannot yet be measured the limits that
had been assigned to men up TO this.
They bring US perception OF beauty,
clear, aerial, general. Never since the
time OF Pericles has thought been 50
lucid"
Architecture has for fifty years lost
the sense of its mission; it is no
longer anything more than a decora-
tive art of the lowest stage. Architec-
ture would have been dead. the school
would have killed it, had it not, by a
happy detour. rediscovered its track
The engineers and constructors, with
a reassurLng largeness, have reas-
serted its grave destiny. In the sub
urbs OF the cities, in a chaos that
one must know II one would cross
they show US factories where pure
principle has guided in n construction
that realizes a sure harmony and APP
proaches beauty"
"One does not remain insensible be-
fore the intelligence which governs
certain machines before the proper
ton OF their organs vigorously con
ditined by calculation, before the
ditioned- by calculation before 9TH,
The sun., 1919-05-25

the late w. A. Spencer particularly
rich in nineteenth century books) and
now in the New York Public Library,
and the same institutions numerous
examples OF early printed books. This
interest has naturally helped to fix
and maintain certain high standards
OF book decoration. and these are ex-
emplitled in the exhibition OF Illus
trated Books Of the Past Four Cen
turtles" opened in the print gallery OF
the library and to remain on view
until November 30.
The printed book was illustrated
from the first. The illustrations be-
ing drawn in line and cut on wood.
so that the whole book, pictures and
text, was printed by relief process,
there was established from the first
that harmony between pictures and
text which is so essential a factor
in the makeup of n fine book. I'm
provement was very rapid. so rapid.
indeed, that before the middle OF the
sixteenth century the glibness OF easy
craftsmanship often replaced the
spontancity and freshness, and vigor
OF the fifteenth century work
As early as 1472, in Nal:urio's DE
re m!litari." the grace and decorative
quality and harmony so characteristic
of Italian work Is strongly apparent.
This rises 10 its highest point in the
famous "Hypnerotomachia" Venice,
1890. Meanwhile in France they were
| issuing the books OF Hours" which
form so interesting a phase OF early
The sun., 1919-05-25

count for little in the modern rcaliza-
tons, clear. harmonious and already
beautiful; and after having seen the
other part of the art the day one is
frightened at the mediocre place II oc-
cupies. This Is because of its indif-
ference to the modern lie; Its isolation,
is it not? And cannot one risk this as
sertion, that modern art is everywhere
rather than in the studios OF the
painters, everywhere rather than in
the Offices of the architects? The
actual art is made by men who live out
OF their time or who touch it only
through fashion.
will art disappear? 1t can in GER
tain troubled epochs pass to the second
plan, lose contact. But We come to a
period in which art may regain its
destinies.''
Here are a few paragraphs from the
chapter called "L'esprit moderne.'
Where then is modern life?
THE nineteenth century gave us the
machine. In revolutonizing work, the
The sun., 1919-05-25
An Artists Defence
of Modern Art

The academic assertion, in which the
wish was father to the thought, that
modern art is. dead" brings out a
warm reply from William H. X. Var
row, which appeared last Sunday in
the Press Of Philadelphia. Like Mr..
zorach's letter, already published in
these columns, 1t breathes sincerity
and ardent ambition, qualities which
the open minded will appreciate. He
said in part:
Modern art is dead. The old force
is spent. and the many painters who
are known as 'modernists are dis
credited and are hanging their heads
in shame. True Cezanne painted a
few fair pictures, and wasn't bad
painter. but since him-Bah. Surely
The sun., 1919-05-25

Rousseau with a pair Of lovers reading
the inscription who might have
stepped out OF the Confessions" The
grove of trees upon the distant side o,
tho stream gives a hint of the pearly
atmospheric quality that Corot was
afterward to make his own. Corot was
a boy when Robert died. and 1t is not
difficult &c believe that the decorations
Of the eighteenth century master must
have strongly impressed him.
The sun., 1919-05-25
On view, Gimpel Wildenstein Galleries.

ments. before the beauty OF material.
before the security OF their move
ments; there is in them something
like a projection of natural law.
"All this is In train to realize that
which the Greeks. so comprehensive
OF this spirit, dreamed of without
the power of creating 1t. not having
methods and means comparable to
modern industry. We have construc-
tors to-day. II we have to-day our
Pont du Gard. we will have also our
Parthenon, and our epoch is better
equipped than that OF Pericles, to real
lie its ideal Of perfection"
The sun., 1919-05-25
While the HEGEMONY OF


THE SUN IN THE WORLD
OF ART is due TO the influence
of THREE editions Morning
Evening and Sunday. the domi-
nant force is the SUNDAY edl-
ton, regularly accessible 70 the
art public on the day of rest, ard
at the right time for being read
with care by those then naturally
in the most receptive OF moods
Both Art Page text and art ad-
yertising are thoroughly edited,
with resultant missionary and
alluring effects, respectively. An
enticing visual appeal is always
of moment when backed by IN
teresting letter press and sup
Elementary advertising taste:ul!y
presented-the latter suggestive
of the adage that goods well DIS,
played are more than half sold.
Minimum space-2o lines; max
mum, 100 lines. Present rate. IS
cents per line per issue after
June Ist. so cents per line PEI
issue. agate measurement. A! ad'
vertisements must be set Within
the we'll known limitations Con,
fiicting notations on copy VIII
be invariably disregarded.
The sun., 1919-05-25
TIFFANY EXHIBITION

Mr.. Louis c. Tiffany is exhibit
ing, until May 3lst. his latest
works in Lustre Glass. among
which is a large Memorial to SOL
diers of the great World War. in
the form of mosaic panel. entitled
The Christian Soldier" Art stu
dents and schools are Shown tie
workrooms upon APPLICATION at tie
Ecclesiastical Department Of
Tiffany Studios 70 West BIRD ST..
New York.
The sun., 1919-05-25

The New York University maintains
unique art department in its sum
mer school. This offers many courses
of lectures extending over severa,
years; also well developed scheme Of
teaching design, but all under one in
structor. DIR. James i. Haney is the
teacher who gives both the lectures
and studio practice. His courses are
arranged so that five separate divi-
sions are presented in Ave succeeding
years. The work in each division is
completed in n three weeks summer
session, and the students by working
several hours a day are able in thu
three weeks to cover most Of the work
done in three complete winter courses.
In the coming summer Dr. Hansy
Is TO talk on supervision and the praC-
teal methods Of organizing and direct
ing art work in town and city school
systems, He will also give practice in
design in the form OF daily lessons and
criticisms dealing with pattern ap-
piled to a variety of different ma
terials.
The five series of lectures which
constitute the course have already
been given twice over in the last dec
ade. This coming series DR.. Haney
has announced as the final one.
The sun., 1919-05-25

Wallace Bryant has just completed
a three-quarter length portrait OF
Lieut.. Andre L'Huillier OF the French
High Commission, the young officer
who for some months has made Wash
ington his headquarters while lectur-
ing on the devastated cities OF France
and endeavoring to raise a fund for
the reconstruction of Somme-Py, his
native town. which was captured and
burned by the Germans in September,
1914. This portrait, completed only
last Monday. was shown informally in
Mr.. Bryant's studio on V street Tues
day afternoon. and is now on exhibit
ton at Knoedler's, New York.
II is a gift from the painter u
Somme-Py as lasting memorial OF
the gallant spirit and untiring patriot
ism Of the young officer, as typifying
the spirit with which France has met
misfortune and risen to greater accom-
plishment.
The sun., 1919-05-25

The Enrich Galleries have placed on
view a collection OF wood block prints
in colors by the following artists /:
Herbert Baer, Charles Bartlett. Gus
tave Baumann, Elizabeth G.. Brunton.
Elizabeth Colwell. Harry de Maine.
Hugh NJ. Eaton. Ruth c. Farrell
Helen Hyde, Bertha Lum. Margaret
Patterson and Rudolph RuZika
The prints will remain on view un-
I'll May IS,
The sun., 1919-05-25
Illustrated Books
at the Library

The interest in finely illustrated
books has resulted in various notable
public and private collections OF such
material, such as the one formed by
The sun., 1919-05-25
Notes and Activities
in the World of Art

The annual exhibition OF modern art
in Bourgeois Galleries has met with
so much appreciation it has been de-
cided to continue the show until
March 81.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-10-26

He'll pipe IN such cunning way.
That foolish folk who hear will gay,
ITS 40 exaggcration :"
And like the rnts Of Hanielin Town.
Behind him they'll come running down
From chapel, church. and every quarter.
Until they drown themselves in water'l
And if he finds it doesn't pay"
AZ did tho Piper Brunswick way,
He'll doubtless change his note,
And try for prohibition sake
10 lure so.ne other kind OF cake
10 Local Vcto's vote
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-10-26

"

TARRIE A. NATION is dead.
~ Kansas t0-ddy IS bore dry.
Bet echilo she lipcd The l0du ce,.-
s0dor1cie{ded such l0ich,ed hutchct
IN smashing up the illegcl bars
and "blmd TIGERS that the state
prohibition Lua0 ,cas fnnNy en-
forced to the letter. She become q
notiona' figure and lived to see
her crusade against liquor actual
~ "cdrry nGtion."
Ont Of Ohlahoma, Just TO the
south Of Kansas, has come her
present dog prototype, Sheriff
William 4 Johnson, Of Yulsu. His
smooth ioo1h Gs Federal agent IN
breaking up iN.cit hquor sales
To indians earned hm the nick
name "Pussptoot.' WITH the
Niddic Wost safe for prohibition
be has sought Other fetos 10 con,
qUer. lO-0dy ne Us oTyGnf1lNy Eng
land for the Anti-Satoon League,
and, gosh, holg the Brat shers
hate hinl' What makes them
eucn muddcy is thot Ms. DavM
Lloyd George has joined lands
nth the crusader for q dry Bit
an.
No other man has so tlro1cn the
ire Of the entire British press to7
the post fe1o months. Some thin0
Of The temper Of opinion ucy b.,
seen from these cartoons, all re-
produced from "The London
Morning Advertiser" srcept the
one ca ptioned ION Gstnrd," vhscJ,
Is from "7he London Duty Ia.
press
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-10-26
PUSSY" THE PIED PIPER.

A modern Piper, starred and striped,
Who in the States with cunning piped.
And lured the drinkers off their potion:
Has come to us across the ocean.
And Pussyfoot's his name.
He means to try HIS dirty hest
BY shady methods cast and west,
And north and south, with feline zest.
To do for us tho same
So be prepared TO hear hic notes
From eli Land s. End to john o Groats,
A wild vitoperation
OF wines and sprits. stoot and beer.
The genial source OF English cheer.
The life blood Of onr, nation