davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09

Daniel exhibition which look as though
they had been painted by main
strength. But there are two paintings
here, The Bridges" and the In
| terror, in which design and color
values are not with difficulty wrought
TO high pitch, but artistically happen.
Mr.. Halpert has not been hitherto pre-
eS:isely painter Of charm. His de-
liberate statements OF fact have been
lures cited he comes near TO achieve
ment Of the indispensable quality.
The group Of six American painters
showing at the Reinhardt gallery mas
rs the catalogue declares, no aesthetic
philosophy to demonstrates No par
ticular tradition brings them together
Their aim, we take it, is simply 10 make
pleasant little exhibition, and in this
they succeed. One figure painter Is
represented, Mr.. Ivan Olnsky. lie
paints women and children adequately
enough, with not too sweet touch Of
sentiment, and keeps his subject
humanity interesting where the tempta
ton must be strong 10 give them
merely decorative air. Mr.. Edward Il
Potthast, another painter OF adolesccn,
types, is also a student of open air
effects. He has q light, vivacious way
with him and. in has winning sprght
illness, loses hold upon what we are
sure must Turk within his talent, q
stronger, more serious quality. There
is a cattle painter in the group, Mr.
Edward c. Nolkert. capable but not
very interesting, workman. The three
landscapists are Messrs. Eliot Clark
adroit in the handling OF color Mr.
Henry b. Smell, whose New England
coast scenes disclose some quiet, m
gratiating tones, and Mr.. Hobart
Nichols, chiefly to be commended for
his clever painting of snowbounc
brooks.
At the Ralston gallery the current
show Of recent American paintings is
assembled by twenty-five or thirty ar
fists. 1t contains one surprise-Nr.
William A Collins November Day
He has changed his familiar key, paint
ing in lighter tones than any we re-
member having noted in his work. In
cidentally he has broadened his manner
and produces capital landscape, free
in style and charming in color. The
principal colorist of this group is Mr..
Frank De Haven. who sends two land
scapes. Both are richly. loosely paint
ed studies. Mr.. j. Francis Murphy is
the leading representative OF the odd
guard" and among the younger men
Messrs. Jonas Lie, Howard Giles,
Chauncey Ryder and Paul King con-
tribute TO good purpose.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09

a word, inspiring. There is enough
OF such art In the present exhibition TO
repay the careful searcher after ar
tistic sensation. There is not enough
to make us feel that the conception Of
beauty as the aim Of art il what the
new society, as society, represents.
IN Justice, we ought not to ask too
consciously representative a purpose on
the part Of the society. Beauty isn't
captured by stragetic plan. 1t energies
almost unbidden out of habit Of
thought, out Of mood of the magma
ton. If the society is ever to achieve
It IN any great measure it will be be-
cause the society cannot, so to say, help
itself. Yet there is aid in the DELHI
crate cultivation of ideals, and If the
new society disappoints us anywhere, it
Is IN its broad suggestion that such
Ideals as its members pursue are not.
on the whole, exactly Of the enkin-
ding sort. Take the question Of their
technical average. Back in the '70s,
when the Society Of American Artists
were In the melting pot, The seces-
sionists, inoculateu w,.n Frencn lue..s
of workmanship. dedicated themselves
to art for arts sake" and in the proc
ess many of them let inn ginqtion 60
hang. Sometimes they thought they
had achieved a solid work of art. wren
they had produced what a Partisan
craftsman would have regarded only as
a clever "morceau." Nevertheless, they
mad The root Of the matter in them.
Their car" for their "lanonooo" snn~rod
them-unconsciously, perhaps,-toward
the achievement OF beau.y. sensuoua
beauty if nothing else. Their technical
preoccupations occasionally landed
them in rather meaningless precios-
ity. 1t may be that the new generation
Is fearful Of falling into the same trap.
But it needn't really be alarmed,
Beauty, though it were only the
beauty OF pigment caressingly manipu-
lated, never hurt any one. 1t NAV be
a matter of pride to the society-onc
never knows the lengths to which "in-
dependence" will go-but this exhibit
ton contains a parlous proportion OF
works painted as though the painter
had no more love for the "feel" of his
medium than if he we're house painter
shaping on printing coat. There
used to be in the jargon Of the studios
very useful term-"brushwork. Is
it obsolete? Has the artists iov in
painted surface died out? Hardly. But
IN 80 far as the American Painters
Sculptors and Gravers. as an organiza-
ton, has any communal point in view.
1T would not appear to be on the side
OF the solicitude of which We speak.
Its pronouncement on "laneuapes"
would suggest, in fact, that it is rather
Indifferent on the subject. We hope it
won't remain so. 1t begins promisingly
and it ought to have q useful career.
Surely that career would not be him
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09
An Auspicious Opening of
Their independent Campaign

l Met't IN noa These agreeable, admirably
ce s";en rooms the latest body of Sc,
under good auspices and in m v",uer
ceedngs. ""s ior ''s pro-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09
PUEBLO INDIAN
From the bronze by Maurice
Sterne at the Gimpel & Vii
denstein Gallery.

forcea itself with a kind 81 gusto out
OF dark background an amusing
reminder of the service which tradi-
Mon sometimes renders to the midi
vidual. beechey was no, a great
painter, but, now and then, a. in this
instance, he srasped the style Of his
Detters.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09
THE. EARL OF CHE.S-
TERRIFIED
From the portrait by Beechey at
the Enrich Gallery.

portant point Is that they are all try
ing in courageous, vitalized fashion to
do something fresh, looking at their
problems in ways of their own. Some
of their ways are familiar enough.
Every frequenter of our local eXhibi
tons knows perfectly well, and has
known for long time, just what to
expect of Mr.. Childe Hassam. Mr., AL
den Weir, Mr.. Walter Griffin, Mr.. Ell.
mar Schotield and so on. 1t is not for
anything new that the observer must
come to these galleries. Nor, as we
have limited, is it for the specially
salient picture, the striking, impress
sive performance accessible nowhere
else. There is, in fact. the strangest
lack OF really conspicuous contribu-
tions. The best thing on the walls is
perhaps Mr.. Weir's "Nocturne," the
work Of veteran, and q work, into the
bargain, which has been publicly seen
before. But if the society can claim
no virtuosi it can at least claim to
have brought together q diverting en-
sembe.
The painters we have cited are COM
petent craftsmen. Competent crafts
manship, barring limitation to which
we Will return, is the mark Of the
show. Mr.. Bellows and Mr. Luks, Mr..
Dougherty and Mr.. Lawson, among the
painters; Mr.. O'Connor, Mr.. Quinn.
Mr.. Flanagan, Mr.. Manship and Mr..
Sterne, among the sculptors; Mr.. Ster-
ner and Mr.. Boardman Robinson
among the draughtsmen, are all men
who know what they are about tech
nically. 1t is the one inspiriting fact
in the whole affair. We are spared
the dulness of fumbling medocrity
We go from one work of art to the
next interested and sometimes stimu
lated But sometimes" is not, after
all, often enough, and there we come
to what might be called in its turn
the one dispiriting fact in the whole
affair Reverting to the manifesto just
mentioned we recall a passage upon
which we have commented before. 81
passage noting that 1.-The message of a
work Of art is more important than
the language in which it is couched."
1t may be observed in passing that
message and language are of equal
importance, but the point need not be
labored What worries us at present
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09
A Standard Ininical
10 Stupid Things

curiosity as to Whist the societv
would have to say for itself natnra,1,,
mas centered on the question ~ ;ts
representative character. What wouId
:" represent? A company OF men
united BY more or less clearly de-
hned technical program? The mem
oers of school or movement? Tho
manifesto we quoted in this place a
fortnight ago and now printed as -
preface to the catalogue declares that
the society Is neither radical nor CON
servative. The fear that the show
might harbor lot of freakish, would
De 'nnovators has been comfortably
a!layed Save for single odd "Still
NE by Mr.. Henry l.. McFee, there is
ho'ning displayed to recall sthe ex-
sIemlsts. One or two other artists of
me experimental type are present. Mr..
Maurlce Sterne contributes his "Pue-
oIo indlan, a notable bronze, 1t is 2
strong piece of modelling, in which the
sculptor is effectively emulous of an
antique simplicity. 1t would pass mus
Yer at the academy any day. So would
the Two small but monumental heads
by CASTOR Lachaise. Mr. Samuel Hal
pert, another rebel against convention.
IS somehow not in the least violent
Oeclded!y, the new society is no more
hospltable than is the academy to mere
Bolshevism. Even it's most advanced"
types keep themselves on this occasion
we'll in hand
Is the exhibition representative.
then, of conservatism akin to that of
the academy? Not exactly, but very
nearly. There is no one here to whose
works We can imagine an academic
jury taking serious objection. What
we are conscious of, rather, is just the
absence of the stupid works which SC
often eiude an academic Jury. That,
IN NUTSHELL is how we would char
acterize the American Painters, Sculp-
tors and drawers thus far. They are
admirable. not so much for any tan
glble affirmation as for what they have
had the good sense to exclude The
attitude has high sanction. "The ar
tist,' says Whistler, as known by
what he omits." The virtue of this
society consists not in an ability to
bring forward masterpieces-a pretty
task for anybody-but in it's fidelity
to certain honorable standard.
1t Is standard of individualized
painting. Whether the exhibitors here
are successful or not may remain, for
the moment, question apart. The I'M
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09
The Eighteenth Century and
The Second Empire

The first exhibition Of old masters
to be opened this season is at the
masterpiece like that Incompatible
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09
By Royal Cortissoz

In announcing the exhibition Of the
new society which has been developed
out Of 8 certain discomfort with aca-
demic conditions. the Society of Amer
;can Painters Scu'ptors and Gravers.
we took occasion to speak of the in
terests Of the public. These, it Is
pleasant to be able to state. have un-
1uestionabiy been recognized in the
making Of the show now open. at the
Gimpei and Wildenstein gallery. II
s an interesting show. About fortv
men are represented. Their paintings.
scslptures, drawings and prints form
a collection which is neither too large
nor too small. The society has no
Jury and, perhaps, no hanging commit
tee, but whoever has placed the works
of art on the walls. has done the Job
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09

At the newly established gallery OF
Weyhe, the bookseller, in upper Lex
lneton Avenue, the walls are covered
with Autographs by Daumier and ca.
varnl. These famous caricaturists NAV
also be studied in albums and port
ioiios en- conveniently placed table
me col lection as 4 whole supplies an
l'Fa uaOie commentary on sub iect of
perennial! interest. the artistic respon-
slblity OF the cart0onlst In most
modern conceptions OF pictorial satire
the making Of the draughtsman's point
is the thing. Daumier and Gavarni
enforce the immemorlal truth that the
JOKE only the better for "a thor
oughiy artistic setting Indeed. as
Their work proves. the setting Will
often outlive the joke. Some Of the
drol!erics with which they castigated
the follies Of the Second Empire are
funny to this day. Others are az dead
as julius Cesar. But OF their draw
lngs there are few which have dimtn-
ished IN aesthetic value.
Daumier IS, Of course. the greater Of
the two, an lnheritor Of the tradition
OF Michael Angelo, an artist who loved
form and drew IL with a stroke having
IN II some Of the weicht Of the grand
80 Az. nav Hi IA - i4SAlfIs number, Win
more grace. Daumier, characteristic
cally, was magnificent in his carica
lures Of men. Gagarni was never hap.
pier than when he interpreted the
femininity OF his time. As techni-
clan, too, he cultivated the more elc-
CANT standard His delicate line and
ms cleaning, yelvety tones flower In a
KIND al horhouse beauty unknown to
Daum!er. The latter was too power
iul 20 care a. much as Gavarni care,
for the nuances Of TYPOGRAPHY. Some
how, in the word Of the connoisseur
It Is impossible to imagine the one
without the other. They make glori-
GU pair. equai rulers over domain
varied, picturesque and. above all. in.
tense-y human. This exhibition might
seem Of moderate interest compared
With one crowded with painted canvas
But the lover of brilliant draughts.
manshlp and Of pure style viii hal
IL as a precious addition 20 the season
t"RANDOM IMPRESSIONS" WILL BF
FOUND On NEXT PAGE)
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09
GIRL WITH A BOOK
From the painting by Leon Knoll the Gmpel Wdensten
Gallery

Miss Farren" OF the Morgan coliec-
ton. In the Mrs. Cartwright" an un.
important, casual portrait. he escape:
superbly from his besetting foible. Ii
the face, in the ruff, in the quaint
mead -dress, lawrence's brush fairly
dlsports itself. The touch is posi-.
lively French in its swifS elegance
And there is gay color to match the
glitterinc workmanship. Not in a long
Jlma have we seen 30 captivating a
Lawrence.
There ;s crisp, somewhat too dry
portrait OF woman by Raeburn, the
Mrs. Campbell" and his Lady Gib-
SON bears about the same testimony
to his manual dexterity. Otherwise
the good canvases are portraits Of men,
portraits by Racburn, Northcote and
Beechey. The beechey-a vivid, ro-
bust Ear Of Chesterfield" IN which
the r2ddy face above II red collar
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09

dered, but would be helped, II the
ability SO widespread in the ranks Of
the society's membership were to sub
NIT to the infusion OF little more
taste
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09

exhibition at the Daniel gallery. Work
like his is Enthusiastically slow in arriv-
ing. There is nothing facile about it
From the beginning he has painted
landscape and still life in q rather
logged manner, having it's origin, we
suspect, partly in thoughtful wrestlings
with the ideas of such painters as
Cezanne. and partly in just the stub
bornness of technical problems. Blu,
steadily he has bettered his art.
HIS tone grows purer, his color
schemes altogethey more solid and
harmonious Best Of all, he paints +
picture more spontaneously. He is
still handicapped by the logged, labori
GUS habit to which We have referred
There are too many pictures in tn.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09

Enrich gallery, where eleven portraits
Of the English school are shown. 1t
illustrates q great tradition in minor
but excellent form. The Reynolds.
Hon. Mrs. Barrington," Is in his more
staid. suave manner, a gracious though
not especially brilliant example.
Hoppner's group portrait, 1.-The Hughes
Hallett Children" belongs in much the
same category-an authentic specimen
Of mis- art in mildly pleasing aspect.
The high light in the exhibition flashes
forth in the Mrs. Cartwright" by Sir
Thomas Lawrence. His fame was built
Up despite an unfortunate sickness
that disfigures quantities Of his works.
lie could flourish in spite Of it because,
from time to time, he would paint @
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09
Is shat the new society Is rather want
ing in messages, In ideas.
On Messages and
Other Artistic Slogans

AT bottom the message, the idea. is
generally nothing more nor less than
matter of personality. The test OF
the artist lies in his power To so
freight his composition with himself
tnat the mere pressure OF his indi-
yloual style touches our imagination
Inere are few men In tho exhibition
VINO VINO possess this secret. When Mr.
StlrlH1 Calder models his mysterious
little group Of Tragic Figures" when
Mr. Rockwell Kent paints his "Maine
Coast" or Mr.. Walter Griffin his lus~
clous "Old Strandwater Bridge" We
are moved by the authentic influence
OF artistic personality. which uses both
art and nature as vehicles toward the
expression OF emotion. The high water
mark as regards this kind Of art is
registered in the marble "Crucifxiou"
by MIR. Andrew O'Connor, a sculpture
which drama and beauty are mas
erfully fused. We wonder whv il is
nat there is so little else d!splayed
,nich has anything like elegrence
ct TINS last work, and as we wonder
we are thrown back upon a clue which
:, indeed. impossible TO ignore. The
cement that unites the men who have
what is roughly called a "messageH is
lam enough. There is nothing pom
cradle, nothing that can be smugly
,.ormulated, in what they have to say.
mere is only the impai pable, indie
Inable' super-subtle thing which is
Named beauty.
Consider the complex charm Of Mr..
'Connor's marble. or, in q very differ
nj language, the linear appeal of Mr.
ianship's "Flight OF Night t." in bronze.
avor, the glowing color in Mr.. Crit
ms landscape, or the bewitching at
Alospherlc loneliness of Mr.. Weir's
ity scene Look CLOSELY into the anal.
ties of the various other works hcr.,
nicn compel one to pause-~the sculp-
res by Mr.. Calder. Mr.. Fraser and Mr.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09
MRS. CARTWRIGHT
From the portrait by Lawrence at the Enrich Gallery

Eslanagan; the landscapes by Mr.. Van
Deering Perrine and Mr.. Kent; the
drawings by Mr.. Sterner and Mr.. Rob
inson. They have no profound mes
sage to deliver. They advance no re-
condite ideas" But these men seem
to have the impression that a work Of
art should be an engaging, delightful
thing, thing in which either poetry or
prose is welcome, so long as it takes
US out Of ourselves with sense of
something rich and something. in
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-11-09
From the Individual
O the Group

a great advantage Of the zone man.
show Is its usefulness as an index to
painters growth. Coming before the
public regularly in this way, he re.
ports progress, 10 1t were, and to the
commentator who keeps track of the
thing exciting in the spectacle. There
is always the possibility Of that most
joyous episode in criticism, the recog-
milton of forward strides. Mr.. Samuel
Halpert gives us this sensation in mis-
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1919-05-16
MAN OF IMAGINATIVE MIND
Among Many Useful Inventions Of
" Seth Boyden Was That Of Pop
#s ular Patent Leather.

The first patent" leather was the
invention of Seth Boyden. who was
born in Foxboro. Mass. one hundred
and thirty years ago. He was brought
up on 4 farm and educated In dis
trict school and in the village black
smith shop, where he spent all his
leisure time ''tinkering" and expert
menting. His first invention was
machine for making nails and hles.
Later he invented a machine for split
ting leather, and in 1915 he engaged
In the leather business In Newark, n.
J. In 1916 he invented an appliance
for cutting brads and In the following
year he perfected his "patent" leath'
er. The leather prepared by this
process gradually became popular, ana
until 1881 Boyden was principally en-.
gagged in Its manufacture. He then
turned his attention to steam engines.
and made several improvements In To-
eomotives. He took part in the Cali
fornia gold rush Of -, but soon re-
turned to New Jersey, where he en-
gagged IL. farming and produced vari-
ETY. Of Strawberries vastly superior to
any then known in both size and quail
,ity. He died in 1870, and his memory
10 perpetuated by statue at Newark
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1919-05-16
eirds That Ars Useful.

II IL in their relation to insects and
other enemies Of crops that birds are
most directly associated with the well
fare Of man. 1t is not possible to give
Q hard-and-fast rule, applicable to the
whole country, as to whether any GER
tain bird is beneficial or injurious to
farmers, but in the United States de-
partment Of agriculture's fmmers'
bulletin $50. "Soms Common Birds
Useful to the Farmer" more than fifty
species Of birds common to farming
sections are discussed. The birds treat
ed in the bulletin are: Bluebird, robin.
titmouse, wren. brown thrasher. catbird.
swallow, towhee, sparrow, house finch.
grackle, brewer blackbird, Baltimore
oriole, BulIock's oriole, meadowlark,
redwing, blackbird. bobolink. crow.
bluejay, Pacific coast jay, phoebe, king
bird, nighthawk, woodpecker. cuckoo
and bobwhite. .@$
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1919-05-16
R.dia, Tether for Animals.

To tether his COW SO as to admit
Of its having q large feeding range,
and yet SO as to be perfectly secure
and require no attention, Pennsyi
yania man adopts the following
method: He took a pole, 20 or 80 II
In length, pivoted at one end and 1T
ted with an iron ring large enough
to slip along from end to end. The
small end of the pole was supported
by light metal wheel from some
old farm implement, or a wooden one
cut from a piece Of plank. The ami
NAL was fastened with halter chain.
too short to get tangled up with
the animals legs.
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1919-05-16
EVERY MAN TO HIS TRADE
In Siberian Prison Camps Each On.
fortunate Exile Followed His
@ "E& w. ation. H H.

Far more popular than the church
were the library and the school, a
regular organized high schoOl-college.
where law, mathematics, chemistry,
ten languages and many other sub
jects were taught. Again, this part
Of our work rose out Of very humble
beginning. The first school was held,
almost secretly, in an old washroom.
and ambitious Russian guards con-
fiscate,l logarithm tables and French
dictionaries because they looked SO
suspicious. And the teacher of &c,
ometry, who made those peculiar,
drawings was arrested and taken for
q spy, who taught how to escape with
q plan Of the camp. The library was
born when the first Y. NJ. G. A. sec
rotary arrived and gave six or eight
books which he found In his trunk
to members of the head committee
to read, Johan w. Prinz writes In
Asia magazine. The sport commit
tee was in charge Of the socker field
and tennis courts and in some camps
there was even gymnasium. a
small bank was established for the
convenience Of those who wanted to
borrow few rubles on their official
announcements from banks In Pei
trograd that money had been received
from relatives in the central countries
(by way of Sweden) and was on the
way. Work shops were organised 70
that the tradesmen, the carpenter, the,
shoemaker, the barber. might turn to
his trade and work for the beneht
Of his comrades. But the pride Of
the r. NJ. @. A. was the American
kitchen. This welfare kitchen was nee;
essary because the Russians never
gave the men enough to eat. Here
they had a chance. once in 9 while:
to get hearty. meal for q few ko-
peks; here a certain number Of sick
and poor could eat every day without
cost. How many favorable comments
have I heard upon those Kitchens,
which really became q blessing tor
the prisoners!
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1919-05-16
The RIacker They Turn.

A letter received in this city from
Roy Schultz, a Danville colored man,
now in military service in France, tells
Of good joke the colored boys had
at the expense of the Huns. A colored
division had relieved white division
during the night, when the Germans
were sending over a regular shower Of
gas shells. The heavy fighting con.
tinued the next day, and German
prisoner taken by the colored boys was
heard to remark: I'VE can't whip
these Yanks, and there is no use try
ing. The more gas We send over on
them the blacker they turn and the
harder they fight."-Indianapo News.