davidaulloa/AmericanStories huggingface dataset:
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19
Power O'Maley's Irish
Paintings Shown

Power O'Malley. whose Irish paint
fngs are now on view in the Knoedier
Galleries, passed his youth in New
York and received his art training
here, and it was not until he was
well into his career as an illustrator
for the magazines that the opportunity
came to him to paint in Ireland
The sights and soundsgthat he en-
countered there evidently stirred him
genuinely and deeply, and IL the feel
Ing that he got out Of his experiences
had gloomy cast he is none the less
to be congratulated upon its poetic
quality. Each OF Mr.. OMalley's pic
lures has something more than paint
in II, although in some Of the interiors
there Is also a tendency toward bra
vura- His paintings were shown in
Dublin at the Gaelic League and won
commendation from the connoisseurs
who are that city's pride-a testimony.
at least, to the realistic qualities Of the
pictures, for those Dublinites would
smite heavily the alien who Numbered
upon misstatement of fact.
The interiors of the peasants
matched cottages exercised an especial
AoSfhoeich NPOA Jul ne saw
them eioomily hut insists that they
are beautiful. He was torn between
the two emotions. He was shocked.
probably, by the earthen floors and
charmed by the cabinets Of old dishes.
1t is scarcely worth while to try to
,pnscalp Mr.. O,Malley in the effort to
discover how and why he became
poetic; 1t is enough that he became
so. But 1t is likely that the SIM
plicity of the hygienic arrangements
in the houses of his ancestors first
carried him of into those hazy mys-
tfcal regions where the muse OF poetry
holds forth. Nothing SO thoroughly
unseats the average American in his
first ventures abroad as the general
absence of plumbing in the structures
he is most often called upon to ad-
mire.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19
Yeats the Artist Creates
the Poet

Marguerite Wilkinson has been writ
ing down for the October Touchstone
an interview with John Butler Yeats. in
which sho questioned him in regard TO
the youth OF his celebrated son. the
poet William Butler Yeats. She found
him in the quaint little French pestau-
rant where he takes his daily food ana
still more essential conversation. He
said:w
1T is strange thing to be the father
OF a genius, for geniuses-you never
know where they are. One time when
Willie was little fellow, said to him,
Magma est veritas ct prevalebit--great
Is the truth and II will prevail For
several days after that he would say
the words over and over to himself as
he played around the house, not show
Ing off. but just because he liked the
sound of Magma est veritas ct
prevalcbit-magna est veritas. go. -"
What did he like best when he
was a little boy?" / asked. expecting
to learn that William Butler Yeats
had been a dreamy little fellow
chiefly interested in folklore and fairy
tales. The answer was not what !
had expected
Science was what he liked best, y
said Mr.. Yeats. "He had a passion for
science. especially chemistry. One
time when he was still very little !
found him with a big book about
chemistry. Thinking that he could
not have read lit was much too diff
ficult-I took 1t up and offered to ex-
plain II TO him. for had studied chem
istry. But ] could not explain 1t to
him. He explained II TO met"
rs he still interested in science p
asked.
He Is interested in the occult. He
is interested In the mysterious. lie
would rather talk to a peasant about
witches or TO AN old woman about a
ghost than to the greatest poet or
intellect In the world"
"Can this have grown out OF his
interest In exact science?"
Perhaps He expects a great Mar
conf some day in the future to explain
the occult to U.S.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19
Paintings by a Group of
Modem Artists

The Daniel Gallery peers oftener
into the future than into the past,
and hence is an instrument chiefly in
the control of our younger artists. 1t
looks no further TO the rear than
toward impressionism and begins his
tory with men like Jerome Myers,
Ernest Lawson, Maurice Prendergast
and w. T. Glackens and hopes to
continue history with such spainters
as Samuel Halpert. Charles Demuth.
Louis Bouche, Edward Fisk, Marsden
Hartley, Preston Dickinson. William
Zorach, John Marin, A. Walkowitz,
Gus Mayer, Henry Melee. Ben Benn.
Hayley Lever and Andrew Dasburg.
All OF these artists, and others besides.
figure In the exhibition with which
this gallery begins the season.
Louis Bouche's contribution IL
called The Nut" In this picture a
somewhat fatuous youth sprawls in
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19
leries.

have been seen by the public since the
last Independent show. Two small
paintings exhibited there gave rise to
a general discussion in the press and
the art world, a discussion which still
continues. The purpose OF this exhibi-
ton ia TO give those who are interested
an opportunity to see all the work he
has done till to-day and to form a con-
crete Judgment on its merits.
Among the quantities of trivial pro-
auctions frightened by only few
serious contributions exhibited at the.
Independents, those two small paint
ings appeared as the best proof that
art is not a questisN of coloristic or
journalistic ability or brush acrobatics,
Tut primarily question of vision.
Emile Blanchard was born in New
York, the son OF a painter who was
pupil Of Meissonier. working In the
genre style Of that French painter.
The fact that no trace of the style of
Meissonier or OF any other painter Is
discernible In Branchard's paintings
confirms his statement that he is a
self-taught man.
He started 10 paint some seven years
ago, not with the purpose to become
an artist, but 10 amuse himself. Paint
ing was entirely a secondary issue OF
lis life. In that way hee had the ad-
vantage that nobody took his work too
seriously. but that on the contrary
those who saw it considered II merely
as playful amusement. The contrast
between what is considered to-day by
most people as art and the style, OF his
paintings was 80 wide that he enjoyed
the opportunity Of being left alone TO
work out his own conceptions. They
were the dreams of youth certainly.
but IL 1t not the great secret OF life
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19

but little interest for him. He desired
to see at his studio only those inter-
ested in art or those furnishing in
spiration for it. He was very frank
and simple. He had no excuses to
make about himself any more than lie
had about his art. He had but one
burning, vitalizing desire in life. to
understand life better, TO understand il
through human contacts, TO pour that
understanding into his art.
One of the simplicities or the eccen-
tricities of his life, as you Choose, was
the fact that he would not have paid
service about him. He would have
no one wait upon him or cook for him,
except Rose, the peasant woman who
had devoted her life to him and whom
he married shortly before her death.
An extraordinary creature was this
woman, her spirit of service, her
capacity for devotion. In tempera-
ment she was timid, obscure. discreet,
the shadow of a colossal nimbus of tie
glory which vas Robins art. She
trotted noiselessly about the old house
at Meudon and when a distinguished
guest, like Anatole France, came to
breakfast. with Rodin Rose would re-
fuse to come to the table. This
always displeased Rodin. Take your
place." he would say quite sternly.
Rose would obey, but a moment later
she would find some excuse for getting
into the kitchen. And if she knew you
well she would say sweetly:
But men are dron; they imagine
-,
be seated AT the table at the same
time"
At times he treated Rose as a ser
want, again as a trusted friend. One
day in the garden at Meudon he
gathered flower which she had
raised in the garden for him, and
handed 1t to her as though il were
a precious gift. "See, Rose" he said.
this is for you" with the tenderest
courtesy. And Rose. am sure, not
without a sense of humor, accepted the
flower as gift OF heaven.
When her last illness came Robin
sat with her and nursed her with the
! loving devotion she had given him
all her life.
1t is curious how easily Il is TO be
, sidetracked in writing an article. !
had intended to write only OF the por-
trait husts in the museum of Rodin.
and then | remembered old Rose and
how she had made her soul n gift 10
genius, and the lovely garden where
Rodin walked at twilight. often alone
| and often with Rose, and somehow
these memories seemed more insistent
and easier 10 write about even than
the beautiful portrait sculpture which
has brought me such pleasure and
surprise.
In a consideration of the later can
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19

To secure the maximum of har.
mopy and distinction in the set.
ting of art advertising, and there.
by place all dealers on an impair.
tial basis. no heavy gothic or
block type will be used, nor any
eccentric typography; no white
lettering on solid black back.
ground, nor thick or whimsical
borders for any advertisement on
the Art page of The Sunday Sun.
For small announcements, in.
GLIDING those for the minimum
space of twenty lines, the borders
used are single one point rules
with alternating square and
curved edges. Single two point
borders can only be used for ad-
vertisements of forty or more
lines; parallel one point borders
for thirty or more lines NJ
light, fsnciful borders are subject
to Individual rulings. Besides the
overtsxed Cheltenham. there are
many desirable type faces, iacIud.
ing Caslon, Bodoni, Schoeifer, De
Winnie, Century, Della Robbls and
Bookman. The underlying pr.n-
ciple of correct topographic ~.
chitecture is one face for disp
and if one other be added tins IS
10 apply to small and body t,1e
only.
All Art page advertising mus;
be set within these well known
limitations.
Minimum space. 40 lines; maxi
mum, 100 lines. Present rate, sc
per agate line. No rebates 10
transfers of direct orders.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19
By HENRY MCBRIDE.

IT. HE season promises astonish-
ingiy well. Whitney Warren
has Joined the D'Annunzio
forces in Ffume. Lord Dunsany has
come to New York and DIR. Cook has
struck "ile." For a beginning these
things are excellent Lord Dunsany
comes avowedly upon a mission Of
JOY. He intends TO preach to Ameri-
cans. not only that they have a right
N be joyful but that it is their duty
80 TO become. Possibly he will also
show us how. But in joining DAN
nunzio our, own Whitney Warren has
taken a considerable puff of wind
from Lord Dunsanys sails. In eff
feet. nothing more joyously Dublinese
than this inspired action could have
been imagined. The details will be
awaited with intensest impatience.
Heaven grant that there be photo
graphs and that our hero wore. the
most flowing OF his fByronic collars.
The Warren collars and cravats ought
to have a calming effect upon the
turbulent D'Annunzio. To. do Byron
business in Byronic costumes. must
awaken the sense of the comic. even
in the least playful of living poets
And as for doc" Cook he was Joy
incarnate, even when poor, and now
that he returns with his pockets
stuffed with bank notes is he not
adorable? But It will be just as we'll
to warn the art dealers at once that
he is not for them. Us art students
have first pick. During all the sad
period of the explorers partial eclipse
he lunched frequently at Mouquin's
showing not only that he had an in
stinct for the "milieu," but that he
was not unaware nor unappreciative
of the folle admiration that the mpst
spirited Of our younger artists have
always felt for him.
Lord Dunsany. Whitney Warren,
Doc" Cook! Really, the war may
almost be said, to be over, and we may
be fairly considered on the way to
peace. Perhaps Janet Scudder should
be added to the list The news that
she has forsaken sculpture for the
nonce and has taken up house paint
ing as a profession has possibilities Of
cheer also. She says the whole trouble
with the world at present is that mo-
body has a proper background. She
intends to supply backgrounds.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19

traits of French and American avia-
tors, by Lieut.. Henri Fare, viii be
shown at the Anderson Galleries for
three weeks. beginning october ~, for
the benefit of the "fatherless children
of France" SO many thousands OF
New Workers. were disappointed in not
seeing these remarkable paintings
during their short exhibition here in
1918 that it was felt worth while to
give New York. and especially the
children Of New York, another chance
to see them before they go back to
France.
Lieut.. Fare had the opportunity to
perpetuate In color the beginnings and
rapid development of the airplane.
The history of flying. when 1t is writ
ten, will have to go back to these
paintings as source for material.
They are already the records Of new
life.
) Every effort will be made to make
such arrangements that the school
children of New York will have an OPP
portunity to see the paintings while
here Among those on the committee
who viii cooperate with the educa-
tional authorities are the following;
Miss Luisita Leland, Mrs. ]. Borden
Hartman, Mrs. Douglas Robinson, AL
exander J. Hemphill, Seymour Crom-
well, Edward Shearson, Mrs. G. b.
Alexander, Mrs. August Belmont. Mrs.
George Blumenthal, Mrs. Nicholas
Murray Butler, Mrs. Frederick f.
Carey. Mrs. p. NICK Garrison, Mrs.
John Hays Hammond. Mrs. Hugh Min
turn, Mrs. William Fellowes Morgan,
Mrs Norman p. Ream, Mrs. Monroe
d. Robinson, Mrs. ssmlen Roosevelt,
Mrs. Jasper A. Roosevelt, Mrs. Willard
Straight Miss Jane Perry Tiffany,
Mrs. Oswald Yorke Miss Annie Rus
selD.
In an article upon Rodin as a
portraitist in the Touchstone Mary
Fanton Roberts introduces a vignette
of a character that has appeared fire.
quently in French anecdote but has
seldom been so appreciatively handled
as upon the present occasion-this
character is Rose, the sculptor's model
whom he married shortly before her
death. Mrs. Roberts writes:
Robins life at Meudon in the house
and in the garden was characteristic
of his art. The world at large had
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19

Home Study courses in fine arts
have been announced by the depart
ment of extension teaching, Columbia
University. The courses. which are
under the direction of Prof. Richard
F. Beach, curator of the Columbia
school of architecture. include the his
tory of ancient art, history of medi-
eval art, history OF modern ornament,
decorative arts, history of painting.
and the history of sculpture.
The courses in the history of art are
arranged in series, it being possible
and permissible to take any part of
the series or OF registering for the en-
tire sequence. The work given in the
history OF ancient art viii cover the
development of art from known begin
nings through ancient times. The ar
chitecture, painting, sculpture and
decoration of Egypt, Assyria, Persia,
Greece and Rome will he studied with
due regard for the growth of civiliza-
ton, of which art is one type of
manifestation Primitive and savage
art and the causes of art development
will also be presented
The Romanesque, Byzantine and
Gothic types of expression will be
studied in the development Of art dur
ing the Middle Ages. The history Of
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19
Galleries,

ister Lafferre of the Ministry OF Pub
can Ambassador Hugh C. Wallace.
Mator-Gen. Tasker II. Bliss. Henry
White and Paul Leon, director OF tho
Division of Fine Arts. 1t includes the
1875 paintings sent from America,
twenty painted by American artists In
Paris and fifty paintings by Ameri-
cans owned by the museum itself,
.twenty-four pieces of sculpture ship
ped to Paris and three pieces of sculp-
ture by American artists abroad.
A small retrospective collection that
includes examples by Winslow Homer
and Whistler was arranged by Leon
Benedite from collections in Paris and
was placed in a sale d'honneur,
After President Poincare had re-
ceived the pictures from Col Knowlton
Mixer of the American Red CBoss on
behalf of the American committee
NJ Benedlte said: We have already a
good collection Of American pictures,
but we must have mope. This is the
first American exhibition at the Lux
enlbourg, but I hope that II will be
followed by others and later We may
be able to offer proper prizes 10 Amer
lean artists at such exhibitions"
The impressionists have the pre-
Donderance on the jury of awards for
the winter exhibition at the Corcoran
Art Gallery, Washington. 1t consists
of the following: Willard l.. Metcalf,
Daniel CARRIER, Richard f. Miller,
Trxsfnar ID VUf1ag nd rhar1ag
bury. They will award the four inn
portant William A. Clark prizes of
s., 900. s1,5OO. 81 900 and. $500 re-
spectively.
The announcement contains the fol-
lowing:
"The last exhibition of contempt
rary American oil paintings held in
this gallery was visited by many
thousands of persons.s 1t attracted
wide public interest and was by far
the most successful exhibition of any
we have heretofore held. Forty-five
pictures were sold. aggregating the
sum Of $4,000, which, II is believed
establishes a record for sales from ar
exhibition Of this nature.
''The trustees OF the gallery beg tc
announce the seventh biennial exhi.
bition, which will open TO the publ,
on December 81, 1919. and close Janu.
airy 25. 1920. II will he the effort OF
the gallery to maintain the same high
standard as heretofore and to max,
the exhibition as representative rs
possible. The jury will not be limited
as to the number of pictures which
they may accept and every pictur,
accepted by the jury will be shown IL
the exhibition"
The '5ky Fighters Of France" ar,
coming back to New York. These of
hcial French aerial paintings and por
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19

epoch which plunged the world into
scientific research, started to replace
faith through reason, without realiz-
ing that our reasoning power Is lin
tied In consequence the artists began
that struggle with scientific art the
cries which continues up to this Gay.
That is, the struggle TO superpose
their inner vision to the scientific laws
or reality: to the laws of perspective,
color, balance, anatomy, light and
shadow, spectral analysis and atmos-
pheric reactions, hneary compost
tions. &c.
AS a result of this the artist threw
overheard a unified style and tech
nique through which centuries OF
great masters and humble painters
reached out for the possession of
heaven and earth.
Individual personalities who were
able to readjust scientific theories on
realities to the impulses of their inner
life appeared from time to time; all
others who busted themselves with
art struggled with theories or imi-
tated the style Of those who had
reached the goal, without understand
Ing the essence OF the great work
done.
The age Of the ecclecticists and cpl
cones in art began, quantity of pro-
duction grew. quality diminished
standards of art were established. ar;
education became imitation and copy
of the forms of nature, and the human
minds natural tendencies TO see the
whole In the part were replaced
through representation. OF the part
| alone.
We see to-day the disastrous effect
Art, we must confess. has steadily
declined and II We had not had q few
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19

Prof. Louise Mallinckrodt f<uetIner,
Phi. D., formerly of Vassar College, will
deliver a series of lectures on art on
Wednesday evenings at $3.50 p. Nj.
October 22, 20 and November 5, in the
auditorium of the Peoples House. I
East Fifteenth street. The lectures
will be illustrated by stereopticon
views and cover: l. Greek Art and
Life. 2. Medieval Cathedrals: BY
zantine. Romanesque. Gothic. 8. Ex-
pressionism in Older Art; Albert
Duerer and Matthias Gruenewald. A..
Development of Landscape in Paint
ing; Heroic, Realistic and Symbolic
Types.
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19
Notes and Activities in
the World of Art

c. r. w. Nevinson, whose personality
made quite as deep an impressions
upon New Workers last spring as did
his vivid pictures in the Canadian ex-
hfbition at Anderson's. promises TO
come again to New York this winter
His "Ramming Home a Heavy She'll"
is one of the half cubistic war works
which have converted SO many Lon
doners into the belief that there is
something in cubism after all
After many vicissitudes the collection
of American art gathered by the com
mittee of which William A. Coffin is
chairman is at last installed in the
Luxembourg Museum, Paris. 1t was
formally opened on October by Pres
ident Poincare, accompanied by Min
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19

The "slxy Fighters OF France" are
coming back to New York. These of
ficial French aerial paintings and por-
The sun. [volume] (New York [N.Y.]) 1916-1920, 1919-10-19

In a consideration of the later can
The Barre daily times. (Barre, Vt.) 1897-1959, 1919-01-13
AFTER EFFECTS
OF INFLUENZA
OFTEN SERIOUS
Keene, N. H., Young Woman Finds a
Way to Restore the Systems
Resistance to Disease.

No pestilence since the Black Death of
the fourteenth century has caused more
widespread suffering than Spanish in
fuenza The epidemic came at time
when the great mass of the people were
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rious nervous strain caused, in many
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germ. Thousands who have recovered
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Mrs. James A. Rover, OF No. rs Dun
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Following an attack Of influenza |
was 50 weak that it seemed as though
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me
MY mother had used Dr. Williams
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II seemed az though ! obtained relief
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brought back my strength and appetite.
My color is restored, my stomach is
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nights sleep. I always keep box of
Dr. Williams Pink Pills on hand now
and have recommended them to many Of
my friends who had never fully recovered
from the effects of influenza attacks"
The debility that invariably follows
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ness. 1t must be met by remedy whose
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Our booklet, Building Up The Blood"
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