davidaulloa/AmericanStories huggingface dataset:
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1920-10-01
No Change In Price Of Mems Clothes

No Change In Price Of Mems Clothes.
Chicago-Prices for mems clothing
will not come down more quickly thar
the cost Of materials and labor. apd
therefore no violent changes may be
expected, declared Eli Strouse, presl.
dent Of the National Association Of
Clothing Manufacturers before 1900
Fetajlers attending the national asso.
citation of clothiers convention here. RI
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1920-10-01
For Sale!

Several pedigreed Hereford Bull',
nearly one year OLD. Anxiety bred
May be seen on fam known as the
Forey farm II miles northwest Of town
or enquire of GEO. H. OWENS,
32tf Cresco, Iowa
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1920-10-01
Two Bandits Slain In Canada.

Regina, Sask.-Two of the four
bandits who held up and robbed EN-.
ployes Of the Red Deer Lumber COM
pany at Barrows Junction, September
10, were shot to death in hay stack
near Prince Albert, during battle
with a posse, according to information
received here
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1920-10-01
PRICE OF W00LENs DROPS

Slash o: IS to 50 Per Cent Announced
In Cleveland.
Cleyeland-A price reduction Of IL
to 80 per cent in woods was announced
by officials of the Cleveland Wosted
Mills company. George H. Hodgson,
vice president Of the company, in an
nouncing the reduction. said the lower
cost Of raw materials was the cause.
"The price reduction is effective now"
be said. TT will not reach the people
until spring, when goods we are man!
6facturing now will be placed on the
market"
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1920-10-01
Y. N. G. A. Launches Drive.

Y. N. G. A. LAUNCHES Drive.
Atlantic City, N, 1.-The Inferno.
tional committee Of the Young AeR1
Christian association, together VIE
the secretaries, numbering about 2b6,
launched a drive at q conference here
to increase the membership of the as.
sociation to one million.
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1920-10-01

Boston Orders Coal Rations.
Boston, Mass.-Rationing Of hard
coal for domestic use was ordered %
means of relieving the scarcity
which exists In all parts OF the state.
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1920-10-01

italian King Favor Treaty.
Rome-King Victor Emmanuel gave
the royal assent to the treaty of St.
German between Italy and Austria.
Cresco plain dealer. (Cresco, Howard County, Iowa) 1913-1945, 1920-10-01
Bank Clerk Short, Not Robbed,

Bank CIeTk SNoTt,. N0I Hoppeu.
Grand Rapids, Mich,-Confession, &C.
cording to the police, that he was short
a part of $4,000 that he had said was
Stolen from a branch Of the Kent state
bank, here.
New-York tribune., 1920-12-19
BY Royal Cortissoz

Every season the Metropolitan Mu-
..nm takes some step affirming its con-
s.ruetive significance IN the art life
= the city. and, indeed. OF the country
:, large. This winter it comes forward
s;,b its fifth annual exhibition of the
;,3ustris arts Of America. 1t is a sub
;,,t TO which we shall return on an
.,hsr occasion, but we must refer now
20 lust the practical usefulness of these
,sairs. They bear upon matter in
rhicn the museum is constantly active,
me matter Of the renovation OF those
arts which touch the daily life of the
nseple. Ar; cannot live by picture max
no alons. nor l. Museum concerned
o,Iv with the traditions Of the past.
Niuistering TO our sense of beauty, it
does 50 rot only when it shows as an
aid master, but when i, supplies the
Inspiration for s good textile. q good
wall paper, good piece of furniture.
The Metropolitan has long since, in it's
collections, proved itself worthy
rival to South Kensington, and in it's
influence it is winning the same laurels.
New-York tribune., 1920-12-19

point Of view. His defense of Epstein
is a wordy performance, so fervid in
it's tone that it really defeats it's pur-
pose,
Fortunately, this volume is brought
out not only to enshrine Mr. Van Die
rep's panegyric, but to put into circula-
tion fifty handsome plates from Mr..
Epstein's sculptures. These interest
ingly tell the story of an artist gifted
enough to have dispensed with the fac
titious aids to self f-assertion out of
which his partisans make such Il
pother. There is an Egyptian grandeur
about the much discussed tomb Of Oscar
Wilde, which is undeniably impress
sive, and there is another plate here,
"Sun God,' which is similarly sugges-
tive Of a certain monumental poWer.
"Thc Christ" suggests only dull atFec-
tation, and the pieces like the Rock;
Drill" the "Nenus," the Doves" and
so on are no better. Epstein's genuine
appeal only makes itself felt when we
turn to his numerous busts, those heads
Of women and children which in their
largeness and vitality, their beautiful
workmanship, revive the tradition Of
)onatello, with an occasional strain
New-York tribune., 1920-12-19

its plates this publication is heartily to
be commended.
One of the delightfullest of Christmas
gifts for the literary man of certain
tastes Is surely the volume Of Book
Plates by Frank Brangwyn" (Philadel-
phia; ]. B. Lippincott g. Co.., which
consists Of about seventy reproduce
tions; with a foreword by Eden Phil
potts and technical note by f. II.
Hubbard. The English artist is a
type Of abounding fertility. He paints
pictures and mural decorations. Hc
makes etchings and Autographs. He
does all these things we'll, and, as this
volume shows, he not only designs book
plates with characteristics inventive
ness, but cngraves them on wood with
irresistible spirit, and Of course, per-
feet skill. He is original and varied.
The figure, landscape, still life, flowers,
lettering, all the resources of the de-
sgner are at the tips Of his fingers.
He uses black and white or color with
equal adroitness. Always he is pic
turesque, vivid, man of an arresting
style. There is not Il trace Of convcu-
tionality in his bockplates. We envy
his friends. He has brought into their
Libraries an altogether interesting
touch.
New-York tribune., 1920-12-19

ard Of leaf; my finest strokes were
coarse and crude. The old scene pre-
sented itself one day before my eyes
framed in an opening between two
trees. 1t stood out like a paint ID
canvas-thc deep blue Of a midday
sky; a solitary tree brilliant with the
green of early summer; foundation
Of brown earth and gnarled roots.
There was no detail to vex the eye.
Three solid masses Of form and color
sky, foliage and earth~the whole
b@thed in an atm ospherc of golden
luminosity. threw my brushes aside ;
hand. squeezed out big chunks Of
pure, moist color and, taking my
pa cite knife, / laid on blue. green.
white and brown in great sweeping
strokes. As | worked / saw that It
was good and clean and strong | saw
nature sprnging into life upon my
dead canvas. 1t was better than nature,
for it wac vibrating with the thrill Of
new creation. Exultantly painted
until the sun sank below the horizon.
1t Is the kind OF experience which
could only befall, prolitably, the man OF
genius. Ryder was genius if ever
there was one. All his life long he
irHc0Atu TX Ma Wti n tNt
10 want Of technical discipline, yet
those limitations leave untouched the
central beauty Of his essentially crca-
tive art. With all his faults he re-
mains one Of the outstanding figures
of our school, d really precious pos
session for those who value magma
tion and originality. Mr.. Sherman has
published several good books, but he
is particularly welcome in this one.
1t was Voltare, we believe, who once
said OF Dante: ale f.as commentators.
which is ore reason why nobody ever
understands him" The saying recurs
10 us as we turn the pages Of Epstein
(the John Lane Company, in which Mr..
Bernard Van Dieren not only pays hig
compliments 70 the sculptor but ex-
plains ~herein The Sculptor's critics are
wrong. "Ihe world does not forgive
taleut," he bcGng, and complains that
Jacob Epstein IN to-day az much the
victim of misunderstanding as Rem
brandt was three centuries ago, penal
ized by the superiority OF his talents
The publishers of the book, on ono of
New-York tribune., 1920-12-19
Some Recent Work in Black and White =

any more than he derives from Bewick.
whose method he family suggests in one
or two of his blocks. Despite his mod
ornism, despite his cubisn, there is a
fund of originality in what he does.
There is also wholesome technical pro-
ficiency.
Taking his exhibition in its length
and breadth, we feel that it makes US
acquainted with an artist who could, if
he chose, do almost anything, and from,
whom much may reasonably be expected
Again, we reflect that he, like so many
OF his colleagues to-day is probably very
happy with his modern" ideas. And,
again, we cannot but express the hope
that he will presently shed them and
devote himself wholly to the lines of
more conservative epdeavor which have
already we'll repaid him, as is shown by
more than one piece in this collection.
New-York tribune., 1920-12-19

methods and certain more or less an
settling influences, Modernism has af-
fectcd him in unmistakable ways.
Cubism has touched his sculpture,
which also discloses the pressure Of
so-ealIed "archac" ideas, and in his
woodcrts both spirit and method arc
often new" 70 the extent Of conveying
the impression OF pure pose. But,
again, Ike Mr. Davies. he has at bottom
the resources Of Il trained workman.
If some Of his little sculptures, with
their acute planes and their affected
simplicity, are only repellent, as forced
and hammered things, there are others
In which he is not simply the pupil Of
Rodin, but something better, the skill
full modeler, who 10 content to give
nature it's chance and not be begdied
into the exploitation of modelling for
its own sake. Witness the bewitching
little Head" In terra Gotta, reinforced
by patches of black. The simple sin
eerity of this accomnlished bit of work
manship makes 1t far superior to t,e
nominaly more ambitious "Wingcd
Horse" Whenever Mr.. Storrs adhercs
TO the authentic language of plastic ant
he speaks viyidly and 20 the point.
The same distinction il TO be noted
In his wood engravings. In every one
Of thege he il brilliant craftsman.
knowing exactly what he wants TO do
and dong II with remarkable certainty
Of touch. Bat there HIS IDEAS sometrnee
smother HIS technique. He will draw Il
good portrait or he will make beautl-
fui iIus ration, aa in his "Lot's Wife. ="
and then, in some vein Of incomprehen ~
nIble symbolism, his sense Of compost
ton viii 20 by the board and he leaves
us Win nothing To admire beyond the
br;lliaucy with which he opposes hie
whites and blacks. In this decorative
direction, by tne ~&y, he le one III lho
poSs accomplished artists whom we nave
Meg s1nes Aobruy keardeiey, wbose IN
fueIce, we may add, Is vaguely felt IN
one of The desgns he has dedicated TO
Walt Whitman. We would not, how
ever. convey lh@ impression that he de-
riyes from the Engllsh draftsman.
New-York tribune., 1920-12-19
Arthur b. Davies
Autographs and Aquatints in
His Latest Manner

The artistic atmosphere of the world
has been tainted in recent years
tainted by strange isms which have af-
tested some men as though with posi-
tive Illnesses. They have been happy
in the clutch of this or that distemper,
70 be sure We do not doubt that Mr..
Arthur B. Davis, for example, has en-
ul:ed in the cubism into which he
ticism so long characteristic Of him.
|. is possible, too, for all we know to
the contrary, that he still looks with
an affectionate eye upon those new
principles" on which much of his later
work has been based. Nevertheless. we
have always felt there was something
in the nature of alteration about his
cubistic work and we rejoice to infer,
IS We think we are justified IN infer
ring, from his exhibition at the Weyhe
gallery, that he has shaken off an un-
healthy influence and got back his
artistic health.
He WAS always a brilliant drafts
man. That, indeed, has made US won
der the more over the results of some
Of his excursions into modernism. 1t
has seemed incredible that man with
such gift as ais for living, eloquent
line should allow some eccentric theory
to dislocate his accustomed style. Now
he draws once more with a masterly
touch. Fe shows us his draftsman-
ship in collection OF new Autographs
and aouatints. considerable in number
and sufficiently varied in design, but
dedicated throughout to one theme
beauty Of form. His present mood
IS not a new one, but it has been OBJ
scured and hampered by his cubistic
obsession. He is still, we suppose, in
more or less modernistic frame of
mind, but this time he robs modernism
Of dts' grotesque tcrrors. What has
worked the happy change? We sus-
New-York tribune., 1920-12-19
Art Books
Publications ON A. p. RYDER,
Epstein and Frank Branoxyvr

My. Frederic Fairchild Sherman has
written and has himself published in
albert Pinkham Ryder monograph
OF the highest interest to students Of
american art. Such book as this has
been needed. 1t assemblies brief but
interesting biographical data, it gives
us IN slender but sympathetically sue-
gestivc outline portrait of the man,
and 1t characterizaS the artist cnthu-
slastlcally and at the same time Justly.
Mr.. Sherman adds to his illuminating
text an invaluable catalogue, following
this he gives us a useful bibliogra ply,
and then lists the paintings shown at
the Academy, at the Society of Amer
lean Aratsts and at the memorial ex
hlbltion which was held at the Metro
politan Museum in 1918. Finally there
are more than thirty Illustrations, all
of them admirable save the frontis-
piece, which is from rather disap-
pointing color plate
One of the best of the services rem
dered by Mr.. Sherman to the admirers
OF Ryder hes IN the light which he
throws on the subject by citation of the
painters own words. The curious ma
ture of his technique has often been
traversed in these columns. A good
clew to its origin and development is
supplied in this passage, left by Ryder
himself:
When my father placed box of
colors and brushes in my hands and I
stood before my easel with its square
of stretched canvas, l realized that
had in my possession the whcrewith
to create a masterpiece that would live
throughout the coming ages. The great
masters had no more. at once pro
ceeded to study the works of the great
to discover how best to achieve i'm.
mortality with a square Of canvas and
a box Of colors.
Nature is teacher who never de-
ceives. When | grew weary with the
futile struggle to initiate the canvases
of the past, | went out into the fields
determined to serve nature as faith
fully as | had served art. In my de-
1esire to be accurate became lost IN
a maze of detail. Try as l would, my
colors were not those of nature My
leaves were infinitely below the stand
New-York tribune., 1920-12-19
Two Persuasive Types of
The Modernist Movement

psct that it Aas been nothing more or
less than the subordination Of theory
70 the instructive impulse Of the genu-
inc artist.
He belongs among those artists who
have had passion for form as form,
using 1t as their idiom, through which
they have developed countless var,.-
ons on one organic strain of artist,
charm. The master of them all. of
course, is Michael Angelo, who drew
'he nude sometimes with dramatic pur-
pose, but as often with the sole aim of
trlnging out the beauty that lies in
Rowing contours. 1t is rare gift. and
when it appears it always has de-
cided personal accent. In Michael An
gelo the accent is one of power an /
grandeur. In Ingres it is one IF
austere grace. In Mr.. Davies it is es
sehtially tender and lyrical, and with
that romantic SAVIOR through which. in
his earlier work, he so often recalled
certain imaginative types of the Ital-
ian Renaissance. There are designs IN
this exhibition which have, perhaps
Scmc svmbolical meaning. There is,
Tor instA--o, a curiously conceived
Venus" One of the most admirable
u tho Autographs is the "Sleeping
Mother and Child" bit of simple do
mestic sentiment. But the bulk of the
work is concerned exclusively with the
rhythm of form. Mr.. Davies studies
his nudes in movement. and even when
ne studies them in repose he contrives
through the animation of his line. to
convey an impression of life that is
not inert. We need not particularize
and, in fact, we should hardly be
tempted to this, even if the DESIGNS
pore titles, conveniently catalogued
Descriptive enume ration of such pro
euctions as are here displayed would
be bes de the point. All that counts is
the artists broad spirit, his interpre
tation Of form, poetized by his tenn
permanent and rendered fascinating ov
his lightly touched yet always suffi-
ciently firm craftsmanship We hope
he will stick to this latest manner Of
his. 1t is worth Il Wilderness of
cubistic experiments.
New-York tribune., 1920-12-19
Random Impressions
I'm Current Exhibitions

The fifth annual exhibition of th'
Society of Independent Artists viii b'
pened at the Wa dorf-Astoria on Feb
uary %, to last for month This Is
he society in which membership may
DC obtained OH the payment Of So, The
member then being permitted to exhibit
.wo paintings or graphic work. There
5 no jury and no prizes arc awarded.
The exhibition Of portraits and land
'aapes by Ernest L. Ipsen at the Ar
IMgton gallery has been extended unit
0ecember 81. Al the Ainslio gallery
here are pencil portraits by A. Garliela
Learned. The Enrich gallery announces
an exhibition Of paintings of the Ma
donna which will continue over the hoii.
days.
Students Of American painting who
have been observing the work Of tranh
Duveneck as it has been shown IN the
exhibition at the Ralston gallery, lately
discussed IN these pages, VIII be inter
estcd to know that friends of that
painter have projected Duveneck en-
dowment fund for the purpose OF Ell
couraging art III Cincinnati. The sum
Of $4,000 is wanted, and already S20,-
900 has been subscribed. The money is
sought with the idea of retaining the
teachers OF the Cincinnati Art Academy
and encouraging those Of their pupils
who show signs Of genius. a number
OF Uuveneck's pupils have engaged in
the promotion Of this admirable scheme
In the little upper room at the Knoed-
ler gallery, which is the scene OF SO
many interest exhibitions arranged
by Mrs. Sterner every winter, there may
New-York tribune., 1920-12-19

Hill Platt, Susan Nj ketcham, Jane
Peterson and others. The show aus
plciously begins series to be held at
TINS gallery during the winter.
Mrs. Ruth Clements Farrell brings
INTO the Touchstonc gallery charming
atmosphere of vivacty and bright
agreeable color in her collection of
wood blocks and monotypes. She finds
Fer subjects III Central Park, in and
about Washington Square, at the cir
Gus and at other sources of sprightlv
effects. There is winning sponta-
nelty about her work There is a good
deal of artticc in it but nature creeps
IN. She makes altogether a most ac-
ceptable contributor to the season. In
he same gallery there are shown some
modernist paintings and pastels by Mr..
Bernard Gussow, who gets a little truth
here and there into his work, but con-
veys no impIossi"A of beauty
collection of architectural draw
lngs IS on view at the Harlow gallery.
lhere are over hundred pieces in the
New-York tribune., 1920-12-19
John Storrs
A New American Sculptor aud
Wood Enyrayer

The artist whose works occupy the
Folsom gallery just now, Mr.. John
Storrs, is introduced as native of Chi
cago, who has been a pupil of Robins
and IN seven years of French experience
has developed modern st le. His ex-
hlbltlon comes appropriately enough in
the same period with the one by Mr..
Davies which we have just traversed
he, too, has apparently oscillated be-
tween what we may call the canonical
New-York tribune., 1920-12-19

subjects. Mr. ". Fl. Bichnell and MIR
Saars Gallagher are workmanlike but
IN no wise distinguished. The honors
when all is said, are carried off by two
etchers whose work we have seen more
than once before. Mr.. Lester G. Horn
by contributes some Of his spirited
scenes drawn at the front in France.
and from Mr.. Frank W. Benson comes
rich collection Of his etchngs and
dry points Of dry fowl. These open
air subjects arc superbly done. Mr..
Benson IS g veritablc master in his
I field. He shows few new plates, They
are IN his accustomed vein, decorative
but full Of the charm of untamed, un-
arranged nature. His beautiful plates
would have made an exhibition by
themselves.
In place Of intimate paintings" there
are at the Babcock gallery quantity
OF cabinet paintings" This is to say
that this is another of those groups
Of American pictures which arc partic.
ularly opposite IN this month Of the
season. Among the exhibitors arc j.
Francis Murphy, G. Glenn Newell,
Charles r. Grippe, Elliott Dalngerfeld,
George NJ. Bruestle, Bruce Crane, r. H.
Nisbet, Charles Vein and f. H. Pott-
hast.
The Brooklyn Museum has opened to
the public the rooms on the third floor
III which it has been installing the var-
Gus collections made by the late Robert
W. Paterson and loaned by Mrs. Pater-
SON. There are eighteenth century and
modern paintings, Chinese porcelains,
Persian potteries, Italian and Hispano-
Moresque majolica, antique glass, Tana-
gra hgurines and various Egyptian OBJ
jects. The paintings include examples
Of Reynolds. Romney. Gainsborough,
Raeburn, Millet, Corot, Diaz and others.
The print department at the Public
Library announces a series of small
exhibitions, illustrating old and mod
ern schools. The French engravers
make the December show. In January
modern landscape etching will be cX-
hibited. February will be given to por-
traits in modern etching and ithog-
raphy. Later on the works of Mer-
yon Buhot. Legros and Manet are prom
lsed, with prints by men OF our own
/ time.
/ For a long time Mr. Thomas B. Clarke
has exercised fine influence upon
American collecting through the high
standard which he has maintained in
the porcelains and other objects con-
tained> in his Cart House" an estab-
lishment which, as the American Art
Association we'll says, has been known
for generation under that simple title
Now the entire contents of the Art
House are soon TO be dispersed. The
collection will be placed on view at the
American Art Galleries during Christ
mas week and will be sold through a.
number OF afternoon sessions in the
following month. The sale takes place
at the direction OF the Art House In
corporated, Clarence j. Dearden being
New-York tribune., 1920-12-19
6NN
|ND

or Max Weber represent both the best
and the worst in the exhibition. WON
an Reading" is futurist work, done
with distinct geometrieaI plan and
finish. On the other hand, Mr.. Weber's
out-of-door subjects are simply colorfu
and rather dauby. David B. Milne has
four paintings in the exhibition which
he calls simply Drawings" They ave
something after the manner Of wood
cuts. Carl Melcher's "The Piano" IS
IN his usual manner, which is happily
not modernistic. A group of decorative
flower paintings by Walter Kuhn rep
resents another phase of modern"
handling. Arthur B. Davies has twe
paintings of the nude, Resolved Pearl"
New-York tribune., 1920-12-19

carrying US back to Egypt or to Greece.
These things are the works of a master
who needs no dithyrambs by Mr.. Van
Dieren' They do not stamp Epstein as
the greatest living sculptor They un-
questionabiy illustrate the art of man
of prodigious talent. For the bulk of
New-York tribune., 1920-12-19

ber,' rnoonlit study of sheep which
Is beautiful in its vaporous luminosity
There is good example Of the late
Colin Campbell Cooper. Mr.. Herbert r.
Knitfin exhibits an excellent canvas in
The Dories," and there are meritor-
Gus pictures by +. Luis Mora, Althea
New-York tribune., 1920-12-19

those Jackets" which so obligingly
lend first aid to the critic, quantity
observe that there seems to be a gen.
eral consensus of opinion that MIR. Ep-
stein is the greatest living sculptor
IN the world" Mr.. Van Dieren, we
fear, holds the same overwrought