davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-23
AMERICAN ART IN VARIOUS ASPECTS

as lyrical and limpid as a Corot, with
horseman who seems to bear an i'm
measurable burden Of old. unhappy, far
OF things and battles long ago. The
Ryders are all true fragments OF his
odd genius. Mr.. Davies, who some
times seems kind Of offshoot from
Ryder, has eight pictures in the show.
His tendency, always, is to be uneven,
and there are some Of these examples
of his art which seem to want his &C.
customed glamour. The "Body of
Dew," for instance, is fairly crude
performance. But he is bewitchingly
himself in "The Call Of Spring." or
the Breath Of Autumn" or the "For-
est's Festival" which is to say that he
revives in these paintings all the naive
charm, as of old Renaissance IMPROVE
sations, which was once his salient
gift. He has latterly fallen upon fan
tastic ideas of modernism, which ap-
pear to have withdrawn him from the
artless spirit Of his early pastorals.
1t is hard to see how ne could have
left these ideals Of his earlier expert
ence. Take, in illustration, the Breath
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-23

Of Autumn" In a way it is of realism
all compact. The woman rambling be-
meath ancient trees, the child on his
pony at her side, make no specifically
romantic appeal. Yet the scene is
drenched in romance, in the romance
Of youth and a remote sylvan world.
There is one undiluted realist in Mr..
Montross's company, Mr.. Horatio
Walker, with big, powerful picture,
the "Ploughing in Acadia" and sew
eral smaller studies of rustic themes,
Milking" "a Stye-boy Feeding Pigs"
and the like. The large canvas afore-
said asserts itself through weight of
composition, through certain robust
quality, but the other compositions ex-
emplify the value of technique in its
more intimately appealing quality.
That is what marks the collection as a
whole. From Murphy's delicately SEN
suous tonality to the bravura of
Chase's "Fish With Still Life" the pre-
vailing strain in this exhibition is one
of interesting craftsmanship. 1t is
representative of much that is best
in the American school.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-23

nature, a fresher note of color. But
his figures and the obscurity of their
significance bring US back to the dan
gers just mentioned. One of his de-
signs is entitled Psychological Allu-
sion," and the phrase is only too apt.
Mr.. Miller is so vaguely abusive that
he loses his hold on reality, on the
beauty of things seen. Form with him
has become so much the vehicle of a
reconcile emotion that he seems, while
attempting to glorify it, actually to
slight it. The pursuit of the idea
slackens the pursuit of nature, crowds
out the nuance of modelling, the
beauty of linear expression, which in
such essays are really indispensable
1t is as if some theory, some formula
had interviewed to dislocate his cosmos
1t is still, we feel dimly-and the dry
points he shows confirm the impres-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-23

spiritual mystery and enchantment it
IS trimming over with his peculiar ro-
manticism. The three companions or
breadth of his scope. One of them is
the familiar "White Horse an illus
tration of his faculty for lifting the
portrayal of an animal to higher
power through sheer force of person
atty. Another is the picture, obscure
save as it is Illuminated by poetic emo
ton, called Landscape With Old Mill
in Moonlight" The third is his "Childe
Harold's Pilgrimage" little landscape
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-23

colors have already been shown at the
artists recent exhibition in the Art
Salon of the Hotel Majestic. Mr. Fow-
Ter is quite as successful in oils as in
water colors, and in "The Forge in the
Forest" he shows an effective COM
position of tall trees, with a group of
small figures at their base. "The End
of Summer" has brilliant color, but is
a trife hard in quality. In "The Mill
Race" however, he achieves a charm
ing, softened quality of sunshine and
shadow. Morning Mists, birmingham
Valley" has also been painted in a
poetic mood, and "Willows, Lenox,"
though sketchily painted, has much
spontaneity. The exhibition will last
throughout the month. Ladies are ad-
mitted between the hours of II and
only.
Impressions of other exhibitions
on page four of this section.)
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-23

A group of water color and oil paint
ings by Carlton Fowler has been
placed on exhibition at the City Club,
of New York. Most of the water
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-23
$lOO Prize Is Offered to
Artists by N. Y. Publishers

A 500 prize has been offered to
artists and designers by Boni G. Live
right, publishers, los West Fortieth
Street, for the best design for lining
paper for their volumes in the Mod
ern Library" which should express the
idea and scope of the publications.
The conditions of the compettian are
that the designs submitted must be
6ss X 8A, or in proportion and to be
made in two colors, one indicating
stock and the other the printing All
designs must reach the office of the
publishers on or before March s. The
judges are j. Herbert Duckworth
Louis j. Bouch and Horace Liveright.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-23

sion-a cosmos in which beauty is not
forgotten, but somehow it is not
brought convincingly to the surface.
The same preoccupation, the existence
Of which we suspect, is probably &C
countable for Mr.. Miller's arbitrary
definition of ground forms and his in
determinate textures. His landscapes
suggest rather than report, and that
may be on occasion a virtue, but these
pictures do not suggest enough. He
makes us feel, as we have felt before,
that he has rare imaginative emotion
of his own. But also he still leaves
us feeling that he is moving about in
a world unrealized, that he has not yet
found the right envelope for the rich
substance of his art.
Mr.. Jerome Myers, at the Mich gall
lery, knows pretty clearly where he is
going. Subject, in his case, shows
wildly through the fabric of his art
1t is the East Side that he portrays-
the life of the streets, of recreation
parks, of the humber theatres-and
through most of his scenes the chill
dren of the tenements provide the COM
polling motive. The stuff of his work
is human or nothing. AS such it goes
perilously near the edge of anecdote.
When he paints "The Grandmother" or
Evening Circle" or "Recreation Park"
he might easily be confused with the
illustrator in black and white, avid of
types" and local color, and thinking
only Of. the accurate presentation Of
slice Of the New York scene. But Mr.
Myers does much more than this. He
has gamut of color that is very per-
sonal, notable especially for some quiet
tawny notes that bark back in their
realistic way to Whistler, and even
more personal is his style. This is
what gives him his distinction, the
fresh, intimate and likable way in
which he draws his threadbare models.
young and old, giving their squalid fig
ures new and charming investiture of
art. He is weak in design, perhaps
from uncertainty as to what to omit.
When he paints a street procession it
is his canvas rather than the street
which is crowded. Even in the smaller
groups his actors are not quite spon-
taneously-or artfully-enough placed.
The naturalness of pose is felt in the
particular woman or child rather than
in the group. On the other hand, the
naturalness which he seeks Mr.. Myers
finds. His portraits of the East Side
would be hard to match and harder to
beat. Such sentiment as is embodied
in them is refreshingly sincere. There
is the beauty Of truth in these pict-
ures and there is unusual beauty of one.
Beauty OF design added to their char
acter and strength would give them
even higher rank than they now deserve
and that is not low.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-23

few bold, pure tones the result is
one-man show a fit rival to the dis
play, further downtown, of the Water
Color Society. The most prquant ex-
ample is "The Coal Wagon" 1t was
something like tour de force to turn
this prosaic theme into such effective
pictorial terms. But the best measure
of Mr.. Beauley's talent is given in
landscapes like the "Autumn Day" and
the green moonlight" and the vivid
"Snow and Water" or in architectural
subjects like the "Fountain, Riverside
Drive" the "Park Gates" and the "Old
st. Paul's.' This artist has an I'M
commonly good grasp upon textures.
His sketches of buildings denote an
architects sense of structure and ma
terial. The fountain piece aforesaid
is beautiful illustration of the point.
The cold New York" is another, and
charming portrait of a place into
the bargain. For place, indeec, afr.
Beauley has a flair. One great merit
of his exhibition is that apart from
its technical merit it is genuinely
interesting in its impressions of urban
scenes, of the countryside, of still
life, of a wide range of picturesque
subjects.
The success of the Macbeth gallery
IN holding little Academy of its own
is repeated in the current show of
thirty pictures by fifteen American
artists. Landscape predominates, but
the figure has its chance. Mr. f. Luis
Mora holds the place of honor with his
Fortune Teller" a picturesque Incl
dent of the marketplace at Madrid
1t is a Salon type of picture, big. tell
Ing, in the histrionic realism of the
racy Spanish figures. Painted a num-
Der of years ago, its rather powerful
colors have mellowed, and it is really a
handsomer canvas than the same ar
tlsts decorative Ruth in Costume -
Mr.. Maurice Fromkes, brilliant in dec
Grafton and in richness of surface
sends two portraits. Mr.. Hawthorne,s
Autumn" and "April" are both illus-
tratlons of kind of symbolism which
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-23

is peculiarly his own-he attracts by
technical ability, but wins US especially
through subtlety of expression. Mr..
Ivan Olinsky and Mr.. Richard E. Miller
are all for a purely decorative ele-
gance, the former dealing in restrained
tones, the latter painting his pretty
figures in gayer scheme of light and
color. The landscapes make a beguil-
ing array, embracing the opulent,
rather intricate, harmonies of Mr..
Charles III. Davis, the penetrating and
beautiful impressions of spring and
winter by Mr.. w. L. Metcalf, examples
early and late of Mr.. Childe Has
sans luminous impressionism, poetized
scenes by Mr. D. W. Tryon, forcible
snow pictures by Mr.. Gardner Symons
and divers other pieces. The show is
small, but full of interest.
Until March 1 there will be on exhi-
bition at the Salmagundi Club a group
of sculptures by Massey Rhind and
paintings by E. Irving Couse, Glenn
Newell, Ivan G. Olinski, Edmond w
Greacen, Fl. Giles and II. f. Mailman
Mr.. Newell paints cows in pasture with
much understanding of his subject, and
in Clear and Cold" especially, he
achieves charming crisp quality which
is very refreshing. A few of the can
vases by Irving Couse have been seen
before, but they do not lose by repet-
ton. Massey Rhind shows seven sculpt-
ures, mostly portraits. They are we'll
handled and masterful after a fashion.
Among the busts are Robert Van Ider-
stein, Esq.," Joseph S. Isidor, ESQ.,"
"Ex-President William H. Taft" and
&C. W. Feigenspan." H. F. Mailman
shows several portraits, cleverly and
spontaneously handled. Holidays" by
Howard Giles, is sketchy, scrappy bit
of painting with happy color scheme,
and "On the Beach," by Greacen, is a
contrast in handling, but also is charm
ing in color.
group of water color and oil paint
ings by Carlton Fowler has been
placed on exhibition at the City Club,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-02-23

Nothing in an artists work as il
appears from year to year in local
galleries is more inspiriting than
definite sign of progress, of crafts
manship brought under frmer and
more fruitful control This is the
mark of the exhibition of water col
ors which Mr.. William Jean Beauley
is making at the Rcinhardt gallery.
He is far and away stronger than he
was in his last show, hardly more
than year ago. A we'll considered
simplicity is at the bottom of his sue
cess. The moment he swerves from
it he loses. There are certain pictures
here, like the "Forty-second Street."
or the "Thorley's," in which light and
color are diffused with too lavish a
hand. The result is disunity, rather
spotty effect. But when he sees his
subject as mass and paints it in
New Britain herald., 1919-02-10

black duvetyn, made with a very mar
row underskrt and a broader tunic
just above, each of which had a bordure
of broad black silk braid. The slightly
surpliced waist had vest of geor-
gette and was caught by a huge yell
low diamond. Black patent leather
pumps and white spats were on
Mary's feet, while chamois gloves la
mousquetaire were on her hands and
pearl earrings in her ears. Her small
fiat tricorne of black satin was pinned
to her shining head with two emerald
and diamond pins, and over these
a black lace veil was tied primly. Be
it known neatness is a keynote of
Miss Gardens personality.
ooh, yes, and the cane?"
THAT was given to me by brave
French soldier" said Miss Garden.
It was a new Mary in spite of the
old. Somehow that darkest hour just
before the sun dawned so gloriously
New Britain herald., 1919-02-10
Back to Abrahan.'s
Old Home TO1Urs

TNHE British, on their recent advance
- in Mesopotamia, passed over or at
least near the ancient city of Ur-a
most interesting town, to be sure,
inasmuch as it was there that Abra.
ham was born and grew up; and
thence that he departed with his fam
lily and relations on a journey to
Palestine that was destined to be so
productive of important events for the
Hebrews
We are accustomed to think of the
days of the early Pharaohs as almost
lost in antiquity, but Ur was pre-
historic. Eight or nine thousand years
ago that great Chaldean city was a
seaport on the shore Tor near it, of
the Persian Gulf. It traded with In.
dia and all the then known parts Of
the world.
Today Ur Tor what remains Of it,
is 120 miles as the crow flies from
the head of the Persian Gulf Surely
it has not moved; but the alIuviaI de-
posits, carried down by rivers, have
built out the land, so that the head of
the gulf is no longer where it used to
be- The pushing southwark of the
shore-line is known to have averaged
about a certain distance yearly since
the time of Alexander the Great, so
that the period when Ur was a sea.
port can be reckoned with fair &C.
curacy.
Ur today is about halfway between
the head of the gulf and the ruins of
ancient Babylon. 1t is near the Eu-
phrates-across the river from the
modern town of Nazarieh-and is rep
resented by a vast group Of mounds
that conceal remains of extraordinary
interest Undoubtedly 1t was war that
destroyed this ancient metropolis-as
it seems to destroy everything that is
worth while, sooner or later.
Out of one huge mound has been
dug the ruins of a pyramidaI tower
which is regarded by Assyriologists as
the most perfect specimen of Baby
lonian architecture known. 1t is built
in a series of stages, like the Tower
of Babel, with a continuous fight of
broad steps running up the outside.
1t originally supported temple-the
great Temple of the Moon.
The ancient Assyrians worshiped
the moon, which to them was an all.
important divinity. The tower, indeed,
was hardly more than an immense
altar, and the alteration of Sin, the
lunar deity, was so profound that his
name survives in Sinai, the Noun
tain of the Moon-god," in Palestine.
Ur, in prehistoric and even in early
historic times, was the political and
religious capital of the Babylonian
Empire. Its ruins stand today in the
midst of treeless plain.
New Britain herald., 1919-02-10

across the Atlantic and have found
her most interesting. 1t is a great
drama, as you already know, and
Fevrier has composed an equally great
score for it. 1 have studied It with
him and am infatuated with it, 1t
will | am sure, be as great a success
as the same composers Norma Van
ma Commonplace roles never have
interested me, and this one is most
uncommon.
What new character do 1 most
desire to portray? All, that will be the
great climax if l can ever induce
a conductor to rearrange and an
impresario to produce Faust, with
Nephistopheles as a mezzo soprano
role for my milieu."
Then the interview was over.
zone moment" This from a, Young
lady society reporter, who stood with
notebook writing down the details of
Mary's attire. Her dress was of soft
New Britain herald., 1919-02-10

ZONES now Mary Garden of Paris
~ and Chicago.
The usual formula was followed in
receiving her: The New York news
paper reporters met her on the incom-
ing ship to hear what Our Mary"
might say about cabbages or kings;
and they of the same profession in
Chicago met the train on which she
arrived there, for the same purpose.
To all were apparent her newly &C.
CURED slenderness and her enduring
youthfulness, for Miss Garden has re-
turned to her former aVoirdupois of 119
pounds, and the legendary fountain of
youth was frequently mentioned
among her intervicwers. Those who
have become familiar with her during
her several years of pulchritudinous
plumpness see her now in a sort Of
REORGANIZATION metamorphosis.
II have tried both the svelte and
the embonpoint," she explained, ''and
have resUmed the former because L
ike it better. How is it done? Eat
sanely and exercise.
Yes, 1 had appendicitis in Paris,
but that had nothing to do with it. I
weigh the same as I did before my
illness and never felt better in my
life.
NO, didn't leave it there; 1 still
have it with me, and it is a perfectly
good appendix"
But the most striking change no.
ticed was Miss Gardens willingness to
discuss things in a serious vein, for
she was always wont to quip and
parry, especially with newspaper men.
When this was remarked, she replied
that she had always been serious.
"Who could work and study. and
learn so many grand opera roles with
out being serious? We have been
passing through the greatest crisis in
the worlds history; perhaps that is
it," she said.
ST was in Paris in that darkest hour
Just before the sun began to dawn so
gloriously at Chateau-Thierry. I tell
YOU those were tense times. We had
New Britain herald., 1919-02-10

Is very young. and lil1e many young
industries it has suffered greatly from
commercialism. 1t will eventually
settle down on a better basis, become
serious artistic undertaking and
take it's place among the arts as we'll
as the sciences.
MY faVorite role? Impossible.
They are all different Identities, and
each seems to be the best while am in
it. That's, Carmen, Norma Wanna, Mel
iSande are all different, so varied that
each one is faVorite in it's own turn.
From one standpoint 1 enjoy
Melisande the most. She is so COM
pick, SO far from obvious. 1t requires
so much care, such mental effort to
project her into the minds Of the audi
ence, that the very difficulties of the
role make her most interesting to me.
Il was much interested in the
production of Henri Fevrier's CHS
monde for the first time in America
and first in the world I have studied
her for months, communed with her
in Paris and iourneyed with her
New Britain herald., 1919-02-10

science of motion pictures has already
reached almost perfection. Such Won
leave little or no room for improve
n1ent, it seems, but as an art, strictly
sneal5i,g. it has a long way TO go.
That intelligent, restrained, human,
even intellectual, acting may be regis
+erad on the film has been demon
strated by this same Mr.. Hart and
few other real actors. The cinema
New Britain herald., 1919-02-10

away for days at a time, for nobody
doubted that we might have to leave
Paris at any moment on short notice.
THE most tragic instant was when
the first shell from that monster long
range gun burst in Paris. There was
something positively uncanny about it.
What mysterious engine of destruction
the barbarians had discovered nobody
could imagine. From that time until
the Americans got into the struggle,
enough to turn the tide, the morale,
both civil and military was at its
lowest ebb. Your splendid Yanks ar
rived just in time and what might
have happened if they had not is too
terrible to be thought of.
do the French love the Ameri-
cans now? No, that is too weak a
word France gives to the United
States-adoration That is one Of tho
happy results of the war-if one may
speak of such a possibility after such
a tremendous tragedy.
The French have discovered Amer
lea, and the Americans have discov-
81 France-the real France. Now
they know over there that Americans
are something more than oVerfed,
eli
faIlacy that the French are frivolous
and morally careless is exploded for all
Americans will return to tell of the
noble, brave, honest, unselfish French
headed hordes until VIC could get ready
to do our share.
Other good results? Yes, chiefly,
the Huns have taught is 20 hate them
properly"
A Mary Garde interview woul1
hardly be complete without some ref
erence to the woman's world. What
effect would the events Of the last
four years have in this regard?
Again her blue eyes spar!lled, and
she was again our effcrvescent MARI
of old as she laughed. well, it has
set women free; actual liberty ia theirs
from now on. I am not a ranking
feminist, but I think that women have
won and are winning something NOR.
than the merely mechanical ballot.
which has never appealed very strong
ly to me. They are going to be vhat
the French call pussant. If you want
that put into the campus English vol,
might say that after this women gen.
orally speaking, are going to have q
weighty say in what is to be done in
the world. 1t is hard now to ana1,,zo
reconstruction problems, but tbosa
will work out; women will not ha +ho
losers, and the United States will ~,
on the threshold of its greatest e,,o -,
Reference to her own mart -
woman's war work IL France brongb+
no ready response, despite the fact
that Miss Garden has been decorated
by both the French ana Serbian Cow
ernments for such activities. That is
one of the things she refuses fatty
to discuss. Nor will the fair Mary
New Britain herald., 1919-02-10

tho wild West and the cowboys IL
is his obvious sincerity which WINS
them. and he never overacts."
Her own experience in the pictures
naturally followed for discussion.
II hated the work before the movie
camera at first, but after [ got used
to the new surroundings, the strange
technique, I grew to like it very much
I think there is a much greater artistic
future for the cinema than most
people think The depths of artistry
have not been sounded in this field,
although we occasionally see subtleties
displayed upon the screen that only
indicate how much farther actors and
directors may go in human realism
and psychological portrayal in moving
pictures I believe that some day this
art form will assume equal dignity
and Importance along with opera
drama and other histrionic mediums
That is a long way off, but it will
come.
Mechanically, photographically, the
New Britain herald., 1919-02-10

man things that went into the win.
ming of them locked tight within her
breast. A person cannot help Won
dering if later the great Mary will
sing with her memories!