davidaulloa/AmericanStories huggingface dataset:
TaÌˆgliche Omaha tribuÌˆne. [volume] (Omaha, Nebr.) 1912-1926, 1919-10-21
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TaÌˆgliche Omaha tribuÌˆne. [volume] (Omaha, Nebr.) 1912-1926, 1919-10-21
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TaÌˆgliche Omaha tribuÌˆne. [volume] (Omaha, Nebr.) 1912-1926, 1919-10-21
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TaÌˆgliche Omaha tribuÌˆne. [volume] (Omaha, Nebr.) 1912-1926, 1919-10-21

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New-York tribune., 1919-05-11
Calendar of Exhibitions

Academy Art Shop Fifty-seventh
OIL paintings by Toshi Shmzu May "a.
American Institute of Graphic Arts Forty-sevnth Street
second annual exhibition by America
American Institute of Graphic Arts May
American Art Galleries. Madison Square southJudson M+
gars Japanese color prints May IL % May Is.
Anderson GaeeOrgnal drawings etchngs and drv points
wood engaving and Autographs Claude Loan Cvn Coins
borough Rembrandt Whistler Zorn and others Nav s
paintings May f
Arlington Galleries. Avenue Landscapes and
marines, by Clifford w. Ashley. ~
Museum Galleries. xbbtion bv Tho c;, c. .
of Artists ~ eS
Bourgeois Galeries-Exhibition of modern paintings
Church OF the Ascension Parish House. West Eleventh Street
-txhlblt1on Of contemporareous artists.
Dudensing Galleries. As West stree-Exhbiton Of
paintings by lnnes Dewey Leigh, Ballard Others.
Durandue Galleries.. II Fast Ffty-scvent
Of paintings by Monet, May H.
Groier Club At stree-Exhbion Of boohid
ings to June Is. ~
Hotel Majestic Central Park sevenyecond Street
Exhibition of paintings by Chapman Cooper Cuan CAM Newell
Potthast and Others to June
Kevorkan4o West street-Exibiton Of scun
by John N1owbray- Clarke, to June T.
knoedler Galleries of Alaskan draw;,cs h Pal
we'll s' 'S NoeN-
Macbeth GaleresExhibition O. American paintings
metropolitan Observation-Disclosures i of Chinese paintings
Mich Galleries, 0S West Fftyseventh Sreet-Exhib;o, 90
recent American sculpture. -
Montross Galleries, $50 Fifth Avannerxthu;on 80 4.
and etchings by modern e
Musmann Galleries, 144 Fiy-seventh sreet-Exbibi,
etchne color etchng drawings and pen davnos n
John T. Arms, to May IS. -
New York School Fine and Anniea Ars F;cht;., O.
Broadway-Annuar exhibition MAY 1920 w
New York School Applied Design for Women 1901 80 ~
ton Avenue-Twentys annual exhibition May 1919
Paint Box Gallery 43 Wasbinpto, so,.ro ruh,:.
ngs by G. F. Polowetski. ~ u paint
Ralson Galeries-Painings, by Thorolf Ho,mboo
Keinhardt Galleries. 565 Fifth Avenu-Exhbtion os it
by Julius Roshoven - N P@'N''ss
New-York tribune., 1919-05-11

cifc Exposition was opened at San
francisco, it was interesting to explore
the Spanish pictures in the interna-
tional section with a view to seeing
how far these two men were represent
ative of the school at large. The COL
lection has now been placed on exhi-
bition at the Anderson Galleries, where
it is to be sold on the evening of May
20, and it revives the same curiosity.
In so far as these seventy-three
paintings reflect the current Spanish
movement they may be said to leave
the latter still in a transitional state.
The ideas illustrated by Sorolla and
zuioaga are apparently in the air, but
do not yet dominate. What persists
most noticeably is the convention of
the Salon, due partly to the Influence
OF France and even more to the curl
Gus inborn trait which has long blight
ed Spanish art. The pretty costume
picture, painted on fairly large scale.
has not lost its prestige among the
people, who, with a great artistic past,
A'S'Si oHclcSS nave maze Maurld a KIND
of imitation Paris. At the same time
artists of a higher grade have arisen.
A justly notable figure in this display
is Eliso MeifreL, of Barcelona. "The
White Rock" perhaps the best of his
three large landscapes, is a superb
piece of impressionism, as airy as it
is spacious, and beautifully composed. |
His small studies also disclose a fine
feeling for nature and great technical /
ability. Among the figure painters
two brothers, Ramon and Valcntin de
Zublaurre, carry off the honors un-
disputed. They arc oddly identical in
subjects, method and manner, profi-
clent men who both have the faculty
for delineating racial types in a pow
erful and sympathetic way. Both would
appear to have been influenced by Zu-
loaga. They have his bold, plastic con-
ception of form, his way Of treating
color In heavy masses of tone, and his
Austerity IN setting forth the pict-
uresqueness Of peasant life
Pic.uresqueness, the romantic appeal
IN characteT and dress, would seem to
New-York tribune., 1919-05-11

and ends in the cubistic muddle. But
is it sequence? There are count
less inexplicable omissions, but the
show is announced as illustrating "the
evolution Of French art" and the i'm
plication is that we may accordingly
trace in these productions the march
of certain logical tendencies. Such
an hypothesis holds, however, only in
proportion to the extent to which one
allows himself to be hypnotized by a
phrase. There is no line of descent
connecting Picasso with Ingres.
Streams of tendency in art are be-
guiling to follow up, but often lead
to conclusions that. confuse thought
A PREDATORY note in the catalogue
touches upon the immemoral distinc-
ton between objective and subjective
modes and the 'nigger in the wood
pile" presently appears in the shape
of this statements: "In the work of
certain of the so-called Cubists, it is
not visual image but a conccptual
image which is reproduced, the image
New-York tribune., 1919-05-11

not of thing seen but of a thing
thought" No doubt. But it remains
to be demonstrated that the "concep-
tual image" as it is exemplifed in
Cubism has anything to do with art.
AS a study in evolution, then, this
exhibition is not exactly persuasive.
The transition from Ingres to the
modernists is not from one point to
another in a development of national
artistic genius: 1t is simply the tran
sltlon, In scrapbook, from one page
that spells competence and an ideal
of beauty to another that spells
crudity and the cult for ugliness and
the bizarre. But the observer who
dlsmisses as irrelevant the philo-
sophical divagations to which the
Mesopotamian word "evolution" would
invite him will find this gallery packed
with enjoyment. One master after an
other is submitted to his gaze, in such
intensely personal works as reveal the
very essence of his genius. After
AhSiSo ana OcldCIOlX come OOrOC ana
Daumier; beside the rugged realism
of Courbet one may study the grace
of Constantin Guys; Degas and Manet
lead us up to Cezanne and Gauguin,
and along with these would be pioneers
may be seen artists saturated in the
spirit not of France, but of Paris,
artists like Odilon Redon and Tou-
louse-Lautrec. The last stage of the
journey is a little wearisome. Fun
bling innovators like Matisse, Marie
Laurencin, Picasso and Pcabia have
lost their power to so much as titillate
Even the "Nude Descending Stair
case" brought back in a drawing from
the painting, has ceased to impose an
amusing shock. The admirable por-
traits of Diego Rivera, at this end of
the show, alone give pleasure. But
the trained artists, as we have indi-
Gated, give the collection a splendid
backbone. Their works are good to
see for themselves ana as proofs once
more that training in art has some
thing preservative about it, Only
style will give the painter Immortality,
but without training, discipline, he
will develop no style.
New-York tribune., 1919-05-11
By Royal Cortissoz

Art, too, has it's place in the peace
treaty. When the complete document
is published it may be expected to
contain important articles compelling
reparation on the part of Germany, for
the few details given in the official
summary indicate that the matter has
been gone into in a more than general
way. 1t is specified, for example, that
the destruction of the library of Lou
vain is to be balanced, in a small
measure, by the handing over by
Germany of manuscripts, early printed
books, prints, ETC., equivalent to those
which disappeared in the early trag-
edy of the city. Another provision
convinces us that, after all, sometimes
dreams come true.
Early in the war, when it was first
Jan Van Eyck had been stolen, we ex-
pressed the hope that ultimate indem-
nifcation would include the reorgani-
zation in Client Of the great altar piece
for which they were originally paint
ed. Over and over again in these
columns we have dwelt upon this as
the one act of reparation which above
all others was to be desired. The
parts long in the Berlin gallery we're
not stolen, but it has seemed pecu-
liarly fitting that they should never
theless be restored, as symbolizing the
return to their natural abiding places
of uniquely precious souvenirs of the
Flemish genius. The writer's of the
treaty have recognized the validity of
the point, for it is stated that Ger
many is to hand over to Belgium wings
now at Berlin belonging to the altar
piece Of The Alteration of the Lamb
by Hubert and Jan Van Eyck, the
centre of which is now in the church
of Saint Bavon at Ghent." The wings
of "The Last Supper" by Thierry
Bouts, are also named to be returned
New-York tribune., 1919-05-11

what painter could thus portray him,
stately in carriage, calm in gesture,
as imposing as monument against a
draped and pillared background? But
then comes the second and more last
ing impression. What statesman, we
ask, would not be glad to go down to
posterity in so simple and dignified
composition? And what artist would
not rejoice if he could recapture some
thing of Stuart's serene authority {?
There you have, in brief, the lesson Of
TINS famous painters career He was
not of the great creative body of art
lists. He wanted supreme originality
as he wanted invention. But to the
fine skill which sound training devel-
oped in him he added truly personal
quality, the distinction which manual
dexterity takes on when it is turned
to lofty purposes, and If he was ex-
pert in the familiar craft of his per-
iod, making q good conventional por-
trait, he was also, we repeat. a paint
er, caring for his medium and hand
ling it not only with respect but with
gusto. One or two Of the smaller por-
traits here particularly we'll illustrate
his success in pushing the elements of
technique to point where they fuse
in kind Of sensuous beauty. The
"Mr. Webb, jr.,' might have been paint
ed by Gainsborough in moment of
bravura. The General Peter Ganse-
WORT" discloses the same purely pain
ter-like fervor and this time there is
more of STUART himself in the touch.
less Of English suggestion. The "Pres-
ident John Quincy Adams" is another
example Of his freer, more intimate
workmanship. He Is n type Of good
brush work in these portraits, rather
than the exemplar Of traditional for
mula.
The full length of Washington. one
of the seven headed by the famous
Lansdownc canvas, has a history of in.
terest to New Workers. 1t was com
missioned by Mr.. Burke, who projected
a Kind Of museum to serve as an an
pendage to Tammany Hall. That plan |
New-York tribune., 1919-05-11
ART OF AMERICA, SPAIN AND FRANCE

fell through, but the portrait passed
into the hands of a member of the po-
litical society, and finally it became
the property of Boss Tweed. From his
descendants it has been acquired by
the present owners. 1t is handsome
canvas, and the suggestion that some
private citizens might unite in Offering
it to the Louvre is a good one. 1t
would serve there as perfect memo
rial both of the President and the
painter. 1t speaks Of the latter more
especially, as we have said, in his aca-
demic role, but contains some mas
terly painting, too, as in the treatment
OF the cleaning blacks, and it has some
valuable qualities also as an illustra-
tion of other aspects of Stuart's tech
nique. 1t reflects his polish as
draughtsman, his discreet touch in the
handling of accessories-in a word, his
we'll instructed craftsmanship. Like
all the men Of the English manner, his
atmosphere is that of the court. But
where he resembles the best of them is
in bringing US back to the true spirit
of the studio. There are a couple of
his graceful studies of women In this
exhibition. Otherwise the portraits
are of men, grave, balanced, very care
fully painted records. In tone, as in
the placing Of the head on the canvas,
he is restrained, cool, formal. But un-
der all the conventional investiture
there glows the energy Of man born
to paint.
New-York tribune., 1919-05-11
MRS. RACHEL COX STEVENS
rom the portrait by Gilbert Stuart the Enrich Gallery)

be the leading motive with the better
painters in this show. 1t is sought to
good purpose, occasionally, in the more
stable aspects of nature, as witness
the clever garden scenes of Gonzalo
Bilbao and the capital Valencian Gig
Tree" of Juan Llimona, but as rule
the object is to make the most of Span
lsh character and trappings, the
gnarled old peasant or the black haired
beauty in her mantilla. Antonio Fill
lol's "Uncle Tanacha," F. Cabrera Can
to's "Woman's Love" and Conde
de Aguiar's "Study" are salient ex-
amples of this dedication of moder-
ately facile technique to rather super
flcial effects. There is an adroit wa
ter colorist in the company, Constan-
tlno Gomez, whose "Procession at Al
barrin" should be favorably cited. But
there are few who detach themselves
from the background, and this fact is
symptomatic. The school must gain
a little in its repute here from the
exhibition, but only little. In the
absence of a fuller representation we
must continue to believe that modern
Spanish art, if not standing still as in
other years, is not making very great
progress.
The Road From Ingres to Picasso
A collection of moro than two hun
dred paintings, drawings and prints
at the Arden gallery forms one of the
dellghtfullest episodes of the season.
The pictures include works which
would constitute "full dress" exhi-
bltion, but there are any number of
casual studio fragments on the walls
and the final effect is that of some
enthusiasts scrapbook, unfolded page
by page, to tell the story of French
art from Ingres and Delacroix down to
the Post Impressionists. The sequence
begins with the pure line of classicism
New-York tribune., 1919-05-11
Some Types of Modern Spanish
Painting

There was a time when modern Span
ish art was known in the United States
only through tho glittering legerde-
main of Fortuny and his followers. We
saw little else here, and next to moth
ing was done by the Spaniards at the
Chicago Fair to correct the idea that
their school had been standing still.
That idea, indeed, was only too sadly
justified by the facts. Some years
afterward, when the present writer
looked up the subject at first hand m
Spain, there was nothing save the
dawning vogue of Sorolla to suggest
that the school, frittering away the
impetus received from Fortuny and
Pradilla, was on the way to finding
itself. Then, in more recent years, we
were made voluminously acquainted
with the work of Sorolla, by this time
a sensationally able but much over
rated painter, and after him came the
exhibitions of Zuloaga, another type
worth seeing, but not, on the whole,
the master his partisans proclaim him
to be. In 1915, when the Panama-Pa-
New-York tribune., 1919-05-11

(More Random Impressions aoiu be
found on page nine, this section.)
New-York tribune., 1919-05-11

lery, he shows some twelve or fifteen
Indian pictures painted on the reser-
walton near Taos, N. M, and it would
seem that in changing his environ
ment he has reinvigorated his art
He was always accomplished, at his
ease, but we had associated a rather
delicate kind of grace with his art.
To-day he is as robust in his crafts
manship as is the life he depicts. His
portraits, mostly of the head and
shoulders type, are modelled with
great boldness and directness. The
brushwork apparently knows no hest
fancy and in color these canvases are
as uncompromising as they are in
handling. The tawny flesh tints, the
reds in a cloak or among the feath-
ers of a headdress, are stated with
force that would be somewhat dis
concerting if Mr.. Rolshoven did not
happen to know how to hold his
schemes together. His most ambitious
design is full length of a Taos chief,
Pablo Suazo, in gorgeous festival
costume of white buckskin. The blaz-
ing white key must have made it ter
ribiy hard to paint without falling
into violence Of tone, but this paint
ing is, as a matter of fact, the mellow
est and finest of all Mr.. Rolshoven's
performances. His work seems to
have gained enormously in body and
in a certain crisp freshness. 1t makes
an inspiriting exhibition.
(Mnre Rnaad01n Ltnnressions at,iu he
New-York tribune., 1919-05-11
Random Impressions
<z1 Current Exhibitions

Some years ago we remember see
ing painting by Mr.. julius Rolls
hoven which suggested not only in
subject, but in manner, that he had
never stepped outside the pleasant
sunlit placidity of French or Italian
scenes. The other day he made a fairly
startling temperance with pas
tel, unprecedented in scale, of scene
crowded with Indians afoot and on
horseback. Now, at the Reinhardt gal
New-York tribune., 1919-05-11
A Group of Portraits by Gilbert Stuart


In the catalogue of an exhibition of
portraits by Gilbert Stuart which has
been opened at the Enrich Gallery we
are reminded of the fact that abroad
he is usually listed among artists of
the English school. There has never
been anything difficult to understand
, in this Interpretation of his status.
He brought back to this country from
London and his pupilage under West
the idiom of the eighteenth century
English school. He never used any
other. 1t would be a great mistake
to allow a patriotic view of the sub
Ject to obscure the truth. BY no proc
ess of reasoning can he be canonzed
as forerunner Of modern American
art in the all-important matter of
style. He is separated from us by de-
velopments in which France has had
far greater influence than England.
On the other hand, he remains the
chief of our pioneers, American by vir-
tue of his fidelity to the temper of his
time in this country, and closely linked
to the masters of our later, dissimilar
modes, by his capacity for one thing
good painting.
There are two impressions to be re-
ceived from the Enrich show. In the
tlrst place, we feel the extreme sobriety
OF its key; we seem to be passing under
the gray light of an academic tradi-
ton, wherein our present-day concep-
tion of portraiture could not but be i'll
at ease. What statesman of the twen-
tieth century could pose after the fash
ion of "The Baker Washington" and
New-York tribune., 1919-05-11
Three Exhibitions
Of Historical Import

from Berlin and Munich to Louvain,
which is more good news, but the de-
cision as to the Van Eyck master
piece is by itself enough to rejoice the
soul Of every lover of art in the world.
AS an act of justice to Belgium, it
encourages the belief that a really
thoroughgoing plan has been framed
for the repayment of the art losses
ofNthat country and of France. Mon
uments like the cathedral at Rheims
have suffered losses that can never
be made good, but in the field of
paintings, sculptures, books and man
uscripts Germany can pay, and it is
plain that she is going to be COM
PEELED to pay.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1919-12-21
FOR SALE-HOUSES.

JAMESON-BUILT HOMES.
On Girard St. Near North
Capitol St.
Six large rooms. tile bath.
pantry. servants toilet, laundry
tubs. double floors. h.w.h.. gas,
and electric lights, large attic
and a deep lot to wide alley
Price, $500; $1,000 Cash
Immediate Possession.
For Sale by
THOS. A. JAMESON.
go New York Ave. NV.
Phone Main 1877.
Another New Row of Jameson
Built Homes. Just Completed
1901 to l6ll Z St. Sc.
Six rooms and bath, electric
lights. h.w.h.. large porches and
a deep lot.
Immediate Possession.
For Sale by
THOS. A. JAMESON.
go New York Ave. NV.
Phone Main 1877.
Evening star. [volume] (Washington, D.C.) 1854-1972, 1919-12-21
WANTED-ROOMS.
Continued.

IOwuunue0
YOUNG MAN desires furnished room: would
consider congental roommate. Address h"x
Bic. Star Office.
JANUARY l, room for two employed women
twin beds; preferably Ontario apart
n,ents. Address Box 65-C, star otfice
BY QUIET COUPLE, no children. about LIST.
in private home. two rooms and kitch
enette. with without private bath. for
Ink purposes reasonable; walking distance
Of 10th and e SITS. NV: state price and 10
cation. Address Box So. Culpeper. Va.
THREE furnished Ink. rooms; two adults:
state price. location. Address Box 80. Star
office.
WANTED-To rent. =, or for
housekeeping: three in family also garage
Address Box re. STAG Office.
YOUNG LADY. employed will give services
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ANTED-Room ard bath or and board,
on direct car line to 14;h and Is SITS. NV:
reasonable; cour!e. Address Box l1o-C. sta
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Ply MAN ANi' WlfE. no children rooms for
housa H.. pmg: god section OF city pei fora DC.
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HY MARRIED COUPLE or ) furnished or
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REFINED young couple desire . :, light
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