davidaulloa/AmericanStories huggingface dataset:
New-York tribune., 1919-01-19

show he throws convention overheard
bids farewell to his accustomed "man-
ner" and seems simply to play with
form under the pressure of the mood
happening to visit him. He sketches
recumbent figure, "The Woman, and
in small statuette conveys an impress
sion Of having come under Michael
Angelo'a spell-and Of having capt
ured so~cthing of its massy grandeur.
He mcoels his "Tragic Figures,' a
group likewise on a small scale, and.
without making the meaning Of his
subject altogether plain, yet makes US
feel its tragic emotion. So his "Seated
Athlete has, prominently, the charm
Of life, observed with imaginative fer
vor, modelled with the skill that
kindlcs into style. Can all this be
gained by the simple process of talk
ing vacation from ones daily habit?
Then there is many an accomplished
artist of our day whom we would like
New-York tribune., 1919-01-19
Moicrnisi Sculpture

At the Bourgeois gallery There rs an
exhibition Of sculpture akin to that Of
painting a, the Montross gallcry, which
we traVcrscd last week. That is to
say, the contributors arc mostly "ad-
vanccd" types, bent upon expressing
Themselves in their own way. There
is, however, difference to be noted
Except for Mr.. Robert Laurent, who
carvcs two pieces Of wood into grace
fully curved forms and then naively
labels them "Flnlnes" and "Eclesion, d"
those extremists are careful not TO be
too extreme. They arc willing, for one
thing, that sculpture should look more
or less like sculpture. In one case,
indeed and it is the most interesting
in the show We have TO reckon not so
much with n man Of "ncW ideas as
with a man who has permitted himself
some liberties which he does not ord;-
narlly take with his art The result
is delightful. This sancly adventurous
sculptor Is Mr. Stirling Calder
The admirable work by which he has
long been known has about it the ataid
atmosphere Of academic sculpture. In
the little pieces he has gent to this
New-York tribune., 1919-01-19

traits, brandtcsQue in their rich
ly toMed realism. They had the de-
fects Of their qualities. If Duvcncck
know how TO paint he did not know
how to escape from the shadow Of the
old masters, Rembrandt and Halls, who
largely taught him. He took over from
them too much both as regards style
and tonality They cultivated in him
too conhdmg a faith in what Manet
used to call brown sauce Above all
they blinded him to the magic Of light
and ar. He gave Twachtman, as We
noted in this place las Sunday an
invaluable training, but tho Younger
man knew better than TO pause where
Duvencck left of Twachtman really
commenced there, and, with the aid Of
sunlight, taking a leaf from Monct's
book, he painted pictures which, be
sides being fine IN Themselves are in
harmony with the modern progressive
movement. Duvcneck's failure to adj
vance in the same way viii always be
4 mystery. When, on thc death Of his
wife, ne turned from painting to
sculpture, fashioning the beautiful re-
cumbent 'iqure which lies upon her
grave in Italy, il seemed as If he mad
pushed biz talent as Il painter from
him forever. 1t is to be regretted.
Yet, We cannot be sure that if inc had
persisted he would have cmcrgcd from
the pcnumbra Of "brown saucc" and
treacfcrouz bitumcn in which his beat
worl. ~as donc. Ills sprirgtmc, while
it lasted, was complete, and, we blicvc,
the full oppression Of all that was real
~ characteristic in him. lie had his
say. with all his limitations IT was
enough to make his place sccurc
New-York tribune., 1919-01-19

season, ir the galleries of the Lux
embourg. The project was under con
slderation before the end Of the war
and has developed definitely since Oc-
tober last, when NJ Alfred Cortot.
representing the Minister of Public In
struction, NJ. Leferre, arrived IN the
nlted States with the orchestra Of the
Coneervatoirc Prior to his arrival
the scheme was the Subject of CORE
spondence between the French authori-
ties and Mr. Ernest T. Rosen, an
American artist resident in Paris until
the last two or three years, which he
has spent in this city. In October NJ.
Cortot invited Mr. William A. Coffin.
VINO has been consricuously active in
Eranco-American artistic relations dur
ing the war, to form a committee. Of
which he should be president, this
committee 20 select works for the FRO
jectcd exhibition and TO take gen
eral charge Of the undertaking. The
committee having been promptly or
ganized and several meetings held, its
personnel may now be announced.
The list of officers is as follows:
William A. Coffin, president; Herbert
Adams, vice -president; Francis C.
Jones, second vice president and treas
urer; Ernest T. Rosen, general secre-
tary; Chauncey +. Ryder and Jonas
Lie, committee secretaries. These gen
tlemen constitute the executive board
The remaining nine members of the
committee are George Bellows, Edwin
u. Blashfield, Arthur Crisp, Daniel
Chester French, Robert Henri, Max
Weber, ]. Alden Weir, Irving r. Wiles
and Mahonri Young. There will also
be a number of honorary members,
headed by NJ. Edouard de Billy, Dep
uty High Commissioner of France
This will include NJ Henri Care Del
vaillc, NJ. Ernest Guy, Robert W. de
Forest, president Of the Metropolitan
Museum; NJ. Denys Amcl. editor of
"Thc New France" and various other
gentlemen.
Tie exhibition Will be made up Of
about 100 paintings and about twenty
fgurines or small bronzcs, busts and
reliefs. The omission Of large sculpt-
ures is explained by the difficulties in
volvcd just now in transp portation. A
few blacl, and whites will be sent. Liv-
ing artists only Will be represented.
A return exhibition Of French art for
next winter is contemplated which will
be shown not only il New York, but in
New-York tribune., 1919-01-19
Auouste Lepere

While we are speaking Of those
French masters Of black and white we
cannot forebear paying tribute to one
who has lately died in Paris, Auguste
Lepere He worked to some extent in
color. He was painter and illustrator,
otchor and wood engraver versatile
type if ever there was one. But sue
cess in black and white sums up the
achievement Of his long, busy life lie
began as . wood ongravor, and as
young man was employed by "Le Monde
Illustre" to translate the designs Of
Nierge. When that consummatc
craftsman suffered the stroke of par
alyss which temporarily interrupted
his laBors it was Lepere who took his
place and, with the first drawing that
he made for tho purpose. attained
rank of his own We cannot pretend
in "a brief passage TO survey even
province OF the realm he conquered
He illustrated innumerablc authors.
Ho was forever depicting his beloved
Paris. making full dress studies Of
Notrc Dame or drawing lightly touched
vgnettes Of street life and casual
scenes along the Seine His landscape
etchings fill generous category By
Themselves But above all, We delight
10 recall the Lepcrc Of the "Rcvuc IL
lustrd' who was not only an ilustra-
tor but dcviser Of perfect dccora-
tions, headpieces and tailpieces which
used to seem pretty nearly the best
justification Of that excellent maga-
zne's existence.
The influence Of Vicrgc counted in
these vivid drawings Of his. Also one
fell in him as IN ongraver q familiar
ity With Durer and the carly Germans
generally But the final effect was al
"ays his own; the grain Of his style
va untouched by external Influences
II was hardly great style. Again we
revert to forain and his gcnlikc per
foctiou. Lopcrc never quite reached
the caey authority Of his flashing con
temporary, was never 50 sure or what
20 omit. Sometimes, especially in his
ctchings, his linc is weak, redundant
and, on occasion, meaningless. In his
natural meticr as black and white
designer pure and simple, he vas more
csenly auccossful Then, too, Ike
steinlca. he put humanity into his
mofk and developed Il most bcguiling
ofarra. His official oulogists in Paris
w'l call him, after the good French
fashion, illpstrious. Possibly the cpl
thc' ~ll stick. Bat the disintcrcsted
collector. turning over the relics Of
I.opcre jn his portfolio, not only for
iaally etched and engraved platcs but
fragments rescued from some pcriodi-
cai will reckon him amongst the ar
ti1'e whom he has first admired and
then found lCvablc.
New-York tribune., 1919-01-19
Forain, SteinIen and Lepere--
The Late Frank Duyenecl<

Whlch we reproduce from another
source. Forain is incompatible for the
delicate artistic charm which he adds
TO his prodigious simplicity
Steinlon. his companion on this oc-
casion owes the kindred celebrity
which he enjoys to merits which are,
nevertheless of somewhat different
order. His fame has it's roots in the
character of locality. Despite his
essentially Partisan accent, there is
still a kind of universal stamp upon
foraln; his style is so brilliant as to
range him apart from school or a
period Stcinlen has never been so
much the master of his surroundings.
indeed, his environment has in a sense
mastered him. lie is the craftsman,
specifically, Of Montmartre, the picto-
rlal laureate of a clearly marked part
Of Paris, the Interpreter of its types,
ITS movement its atmosphere. Whore
foraln is the Balzac of the whole
Comodie H1nNaine, Steinlen is the Bal
zac Of single neighborhood 1t
IS true that with so many Frenchmen
he has been lifted by the war into
larger and purer air. His military sub
Jects show this. His poilu is no mere
Nontmartrois, but has grave pathos,
nay. a grandeur. of which previously
we had not known Stcinlen to be capa-
bic. But the characteristic Stcinlen,
the Steinlen Of long career, is the
man OF local color, of a distinctly
urban picturesQueness, of the humor
of quarter, gay quarter, with its
seamy side constantly showing through
The nature Of his preoccupation has
reacted upon his line, which il not
precisely heavy is at all events want
ing in the rapid, clean-cut elegance
which we recognize in Forain. On the
other hand, it is worthy of Forain in its
original SAVIOR, and in its personal quail
ity there is even an ingredient which
the greater craftsman might envy.
This is q certain human friendliness.
Forain CLEANS like a diamond. and he
is as hard. Beneath his superficial
brutality, the truth-seeking instinct
which leaves him unafraid of ugliness.
there is in Steinlen something like ten
derness Note the gentle sympathy
with which he draws cats and dogs. 1t
helps to explain why his hard-fcatured
washerwomen, his shabby street sing
ers, the hunge~ pinched and often dis
sipated types with which he is gen
orally concerned, are never repellent
but. on the contrary, have something
winning about them rorain would
triumph by virtue Of his line alone
steinlen is unimaginable without his
searching, sometimes ruthless, and al
ways intensely human sentiment.
New-York tribune., 1919-01-19
SOME GREAT MASTERS OF BLACK AND WHITE

view. For that is literally what hap
pencd to him. His friends found him
an inspiration down to the day of his
death. and to his pupils in Cincinnati
he was helpful in his later years as
he was long ago to his "boys' in
Munich, Florence and Venice But as
an outstanding figure he ended as he
began, the painter Of divers canvases
dated twenty and thirty years ago. The
great merit of these was that they
were truly "painter-like" in period
during which most American artists
were only beginning to learn what the
term meant 1t means, of course, Civ
ing paint, as paint, its full value 1t
means the adroit manipulation of paint
for its own sake, leaving subject, as
such, to take care of itself In this
intelligent and enthusiastic eXploita-
tion OF tochniques which was to dc
more than anything else to recon
struct the American school in the late
seventies and all through the eighties,
Duveneck played compelling part.
Some OF the cloverest men we ever
had, like Chase and Twachtman, re
ceived precious impetus from his infu-
cnce.
He brought to our technique d new
lease of life, set his disciples to think
ing in true painter fashion about prob
lens which had too long been subordi-
mated to the gloriticaton of subject.
When you studied under Duvcncck you
learned anew old secrets of modelling
and brushwork, you became-unless
YOU were a hopeless dufer in which
case he knew how to get rid of you
with neatness and dispatch-an ardent
and skilful craftsmen, rejoicing in
nothing so much as the sheer fascina-
tion of your craft. At the San Fran
cisco exhibition, where room was
hung with his pictures, a special medal
testified to the honor in which his
fellow artists hold him. And the pict-
ures made it plain to the public why
he was held IN such esteem profession
ally They We're robust, vigorous por-
New-York tribune., 1919-01-19

justified in hoping for building Of its
own. For the benefit OF It's fund for
the furtherancc Of this lauGabe object
it is holding in its Fifth Avenue rooms
loan exhibition Of French art of the
periods Of Louis Nv and Louis XVI.
The space is limited, but the diminutive
nature of many Of the objects has per
mitted an uncommon representative dis
play, which has been arranged with un-
common good taste. Paintings arc
shown, Of course, and they include
some fine things. There is a beautiful
Natter, the group Of Bouchcrs is inter
csting, and there arc delightful pieces
by l'raGonard, patcr and Perronncau.
The Judgment Of the committee, which
has aimed at illustrating tho very spirit
Of the eighteenth century, is admirably
reflected in its choice Of the little
drawing by Portal. 1t is in such SOU
vcnirs as this, quite as much as in the
moro formal paintings, that We apprc-
hcnd the light graceful atmosp pherc of
the period. The Portal drawing is
which draws lis strength no less from
furniture and bibclots than from pict-
ures and statuettos. from a trinc like
n drawing as well as from a master
piece by Clodion
That life should be suavc, charming.
gay, luxurious, was the whole aim of the
eighteenth century i'm France as it is
disclosed IN the works Of her artists
and craftsmen. There are some things
ia this exhibition which wake other
thoughts, autographs Of the two kings.
and Of Marie Antoincttc, which set
the historic Imagination ranging but
the ensemble speaks simply Of great
tradition or elegance. There was moth
ing shat that tradition did not touch.
One may see here practically every
thing filing ibc world, making the
background Of tho exquisite personali-
ties mirrorcd In the portraits. One
may sec the tape tries from eighteenth
century walls, the chairs and tables
from Partisan drawing rooms, the
books, poicclains, fans, SNUFF boxes
which made up the frou-frou of an
Incompatible period. Private collcc-
tors have lent freely of their treas
nres, and there ale many precious rari-
ties in Che exhibition, works with al
luring associations. But the point we
would emphasize is the harmony ostab-
Ishcd, the unity Of style revealed The
l'rcnch genius for order and for decor
atiYc perfection was never in such
nawlcss flower as IN the eighteenth
century. This exhibition gives end
less pleasure just in showing how life
can be adorned, bow nrtifcc may wait
upon utility to the end that hcuuty
may prevail.
New-York tribune., 1919-01-19
lttlvcneck

The status in American art Of the
latc frank Duyenock is undoubtedly
unique ic painted humorous pictures
all of them Worth while, yet there is
something obout his repuo eugpcst-
inY that of the poet who lives by virtue
II Il einRlc m"atcrpicce. That is to
zay, havlnG struck twelve. Duvcncck
stopped Having dcmonstratcd that ne
saew nov ~ painf snpcrlatyely we'll.
al te co0io make his liltIc stir in
the world, he wss content to drop from
New-York tribune., 1919-01-19
Random Impressions
In Current Exhibitions

To the programme outlined in The
Tribune fortnight ago, suggesting
that the damage done by Germany to
works of art in Belgium and France
might be in part balanced by the dis
tribution among the Allies of works Of
art now in German galleries, Mr.. Childc
Hassam would append clause impos-
ing one more duty upon the Hun. 1t
would compel him ito erect in the
Sicges- Alice at Berlin monumental
portrait of Mr.. William Randolph
Hearst
The Museum of French Art, which
was founded in New York in 1911, has
prospered since that time and has so
far extended its minstratons as to feel
New-York tribune., 1919-01-19

many Of the principal cities Of the
United States.
The Enrich gallery presents a re-
markably good little group of old mas
ters' illustrating northern and south
ern schools. There are three Italian
works Salient in this section, if the
mere weight of name is to count. is
the portrait attributed to Lotto but
as a matter of fact the finest Of the
Italian things is the small portrait by
Giralamo Santa Croce, a brilliant bit
OF fifteenth century polish in drafts
manship and color Next to this we
New-York tribune., 1919-01-19

thing more than his familiar work exc
cuted for the magazines. In the last
two years or so he has produced a
number of blocks Independently, blocks
on a larger scale than the periodical
press permits. The Messrs. Hahlo have
published seven or eight Of these,
translations of paintings by Yer Nicer,
Metsu, Turner and Millet Mr.. Cole
has also engraved several American
artists in this new series of his, land
scapes b. Inness, Blakelock and J.
Francis Murphy and Sargent's por-
trait of President Wilson. His art has
always possessed distinction. In these
New-York tribune., 1919-01-19
AU CAFE

would place the fine landscape by
Guardi, an unusually beautiful ex-
ample The descent from the Cross,
by Van Dyck, is an interesting sketch,
infinitely more important than most of
the portraits attributed to him which
come our way. Among the several
other works from the Low Countries
there is really stunning Louis XIV
on Horseback" by Van der Meulon,
decorative piece, handsomely painted.
The big double portrait by Francis
Cotes, MIR. and Mrs. Joah Bates
which from its subject should appeal
to students Of English musical history,
is an excellent specimen OF this artists
formal but fluent manner.
One Of the most noticeable Of the
current exhibitions of prints is that
of more than two hundred French and
English engravings at the Ralston gal
lery. The collection is strong in the
British mezzotinters of the eighteenth
century. plates after Reynolds and
Gainsborough and their circle being
conspicuous Morland's charming de-
signs, in the plates of Wood and others,
are also to be cited. The French
school is represented by many prints
in color At the Knoedler gallery the
otchings and dry points of James Nc
Bcy, the Scotchman, are shown, this
being the fourth exhibition of his
works at this gallery. The collection
now displayed embraces his Scotch and
Continental subjects, including the
series dedicated to the Spanish bull
ring. and the Moroccan set Of thirteen
plates. Halt dozen subjects drawn
at the front in France are also pre-
sented.
1t is interesting to note in the eX-
hibition Of wood cngravings by Tim
othy Cole at the Hahlo gallery some
New-York tribune., 1919-01-19

new plates it appears to finer advan-
tage than ever.
Several collections Will be placed on
view at the American Art Galleries
next Wednesday. The first, and larg-
est, is that of Oriental porcelains and
other souvenirs of the East brought to-
gether by the late Rufus f. Moore.
This Will be sold in seven afternoon
sessions, beginning January 27. The
other collections are all of pictures.
There Is one formed by the late Frank
\. Lawrence, whose associations with
the Grolier Club are we'll remembered.
Then there are the paintings belonging
to the estate Of the late Alexander
Morton, body of works whose char
acter was foreshadowed in his collec-
ton sold some time ago. Finally, the
family Of the late James Inglis is dis
posing OF its works Of art, works show
ing the influence of his remarkable
taste. Altogether this triple array
ought to prove of exceptional interest.
The Anderson Galleries will place on
view tomorrow a collection Of OBJ
jocts Of art which are to be sold for
the account Of A. Mitchell Palmer,
Alien Property Custodian. 1t will pre-
sent at the same time books from the
library OF Herschel Y. Jones, and on
the 22d will display books from the
library of the Architectural League. 1t
begins on Wednesday the sale of the
late Frederic r. Halsey's household
furnishings, his paintings and minia-
lures. with additional items sold for
the account Of the Alien Property Gus
todian.
Carlton Fowler. whose exhibition of
water colors is row on view in the Art
Salon of the Majestic Hotel, has
travelled in many lands to obtain his
delightful Impressions Of odd corners
and iewel-like landscapes In Holland
New-York tribune., 1919-01-19
BY Royal Cortissoz

When Degas died one Of the stories
told about him was to the effect that
he kept polished mahogany table in
his apartment solely for the reception
Of his friend Forain's designs. As these
came out in Figaro the old painter
hailed them with loving enthusiasm.
On his walls there hung some Of
Forain's original drawings, held in no
less honor than the souvenirs hanging
beside them OF Ingres, who was the idol
Of Degas. Just what was it that so
stirred the great modern exemplar Of
pure craftsmanship? The question
may be answered by visit TO the
Arden gallery, where works by Forain
and steinlen are on exhibition, loaned
from the private collection of Mr. A. Z.
Gallatin. There are drawings, Htho-
graphs Including posters) and etch
ings. The material shown is slight
compared with the mass produced by
the two artists, but it is insufficient
one may see here clearly enough why
Deras admired Forain.
New-York tribune., 1919-01-19
Satire and Sentiment

1t was. in a'nutsheN. because line in
the hands OF the famous satirist be-
came so much more than an instrument
of satire. because il was expressive Of
Forain's personality and had in it the
magic OF style Mr. Gallatin, in his
preface TO the catalogue. speaks of the
living lines. the amazing simplicity Of
the drawing entitled 'Au Cafe, which
has already become classic in the an
mails OF black and white The truth is
here in no wise overstated. There is,
indeed. nothing better in the whole
range Of modern black and white. But
we would stress the point that what
makes Forain a classic is not alone the
vitality and the simplicity OF his line,
but It's powerful originality. That, we
imagine. is what appealed to Degas.
To be simple in style is not necessarily
10 be unique. Caran d'Ache had sim
plicity, so had Phil May. so had that
genius amongst English craftsmen.
Charles Keene To express great
deal with few deft strokes OF the pen
has never been rare gift. nor is it
one in itself implying high artistic in
spiraton. That only appears when the
craftsman is. al the core, a great
artist, when into his swift, stenographic
touches he pours q natural eloquence
and distinction. Forain has done this.
Like every master, h has had, Of course
his good and bad moments 1t would
be mistake TO regard everything in
me present exhibition. for example, as
confirming the judgment Of Degas. But
a MS best, as in the cafe sketch al
eady cited or in The Fisherman, "
New-York tribune., 1919-01-19

An exhibition of paintings by IN
loaga and George Luks is attracting
much attention at the kraushaar Gal
leries. The four full-length life size
figures by Zuloaga with their brilliant
color and bold design are somewhat
overpowering IN the small space in
which they are shown. but one cannot
but admire The force behied this ar
fists powerful portrayal Of Spanish
life. A striking canvas shows famous
bullfghter clad in a gorgeous emerald
green cloak. standing on a balcony
which overlooks Spanish city charac-
teristic only OF Zuloaga's own beloved
Granada. The three canvases by
George Luks do not suffer in compari-
son; they also are strong pieces OF
work. His "Wrestlers' bend and strain
in a mighty struggle and the odd
Woman with Macaws' looks out of tho
canvas with a Franz Hals-hke irasci-
bility. The exhibition viii close Jan
uary 81.
New-York tribune., 1919-01-19

BY invitation Of the French gov
crnmcnt an exhibition of paintings and
sculptures by American artists viii be
held in Paris next spring, probably in
May and June, mt the height Of the