davidaulloa/AmericanStories huggingface dataset:
Norwich bulletin., 1920-10-16

When you catch yourself peerins ever yovt glasses to distinguish dis tant objects, it's time to get pair that you can see, through.
 This is an instance where the wear CT could use kRYPToKs with good results. They can be worn with per feet comfort all day long and will serv, both your near and far sight.
Norwich bulletin., 1920-10-16
J. F. MARCH Optometrist and Optician 10 Broadway Norwich Conn
 Phone 1312
SEVEN VOTED TO MEMBERSHIP
 IN WHITE CROSS COUNCIL.

The membership of White Cross coun- ell. No. 13. K. of C.. was increased by seven on Friday evening at the regular meeting. when seven new applicants were voted m. Six new applications were also received Dr. n A. Crowley, recently elected grand knight, presided at the meeting. Harry Powers was elected to the office of treasurer for the ensuing year.
 lt is planned to have a. class 25 re- eeive the first degree On next Friday evening at the home. On Oct 24th a large Humber of local members are plan ming to attend tie dedication of the new home Of Nina council of Stonington. November promifes to be very busy month for the local council and an enter tainIrent committee was appointed to take charge for the month The lecturer. Rev. Daniel F. Sullivan. has promised some timely talks for future meetings and these talks are anticipated with pieasure by the members of the council. Refreshments of ice cream, cake and cogars were served after the meeting.
Norwich bulletin., 1920-10-16

ST. AARY's T. A. S B. SOCIETY Members of the above society are re- Iussted 10 attend a special meeting in heir rooms at eight o'clock thS evening 10 take action on the death of our late brother member. Michael Delaney.
 WILLIAM MGUINNESS
 President
Norwich bulletin., 1920-10-16

Grows Ffne English Cactus Dshlias.
 William F. Brown. the well known East Side dahlia grower, presented The
Norwich bulletin., 1920-10-16

ference will be heard. The meeting closed with the singing of Our Alma Mater
Norwich bulletin., 1920-10-16
NOTICE

HupasbiIe Cars win net hs rsAsess la pttns fec tho Dr~pent. Any drsp befexs April I. 1888 vfli be rstanded te .futurs purehasers.
 c.v. PENDLEroN.
 tS Dn0ADWAY.
 HURM0DzLlKSxMaRMC
New-York tribune., 1920-12-05
Bv Royal Cortissoz

r.. National Academy Of Design.
,,.h has had pertorce to abandon its
~.l winter exhibition, is busy in the
80, time making preparations for the
..,,.v to open in the spring This
~ h. held al the reconstructed gal
'.,.. ~. IN the Fine Arts Building, begin
., Saturday. March 8 1t will
l'.' ''. ., Sunday. April s. An unusually
~ Nv ,rosrectus is issued. Among other
.-;rrs stated is the fact that works of
>. that have been exhibited IN this
~ ~ either in shop window or in
Is-v where admission is charged
~ no, be eligible unless specially
united" A perfect cloud OF prizes
4. .nnounced, seventeen all tod. Finally,
...,s j., printed extract from the
IN of the late Henry W Ranger. This
.;,ts TO MS bequest. the income Of
rs;,b is 10 be spent by the Academy
r.rncil in the purchase Of paintings
49, American artists. the works bought
=, - he given to art institutions in Amer
-. Altogether. contributors to the
.,-,bcoming exhibition are provided
18th stimulus enough 10 send their best
.hjngs
New-York tribune., 1920-12-05

with US and in this case we are vouch-
safed paintings wellnigh unique One
of them is the "Giulo Gilardi," by
Moroni which we reproduce One is
tempted to the use Of superlatives in
abiding to this portrait, so restrained
in its few tones, so beautiful in its
eiawing, so suavely composed, and so
subtly enveloped in that magic which
seems to have gone out with its period.
Moroni is one of the Italians who
seem to have shared in that special
genius for the unification of design,
color and character which we associate
with Nelasquez. His works are not
numerous. One goes TO the National
gallery, to Bergamo and few other
places as to his shrlnes. He was not,
perhaps, Of the topmost flight. He was
not quite Titan But he came very
near to achieving that rank and this
portrait at the knoodler gallery is one
OF his most splendid paintings. 1t
has fit though lesser companion in
Salviati's "Portrait Of a Genteman."
All along the line this discloses a touch
not quite so sure or so free. The de-
sign is more difusive, the drafts
New-York tribune., 1920-12-05
A Golden Group
Masterpieces Shown for the
Benefits of Bellevue

Quite without any flourish Of trum-
n..s-in fact, almost casualiy-therc has
been placed on view at the Knoedler
gallery one OF tho most remarkable
iosu collections ever seen N New York
!; is composed Of eighteen paintings
,.D. BY private owners for the benefit
4 the Bellevue Hospital Convalescent
Relief Committee. They are all old
,ic,ures save Two. and these, as it
:appens, aoll Their own in an ex-
.rsordinary ensemble. One Of the mod
ans is Nsnet. represented by still
lie which takes It's tile from the fish
Eliminating the composition, THE
Carp" This IS a prodisious piece OF
ainting. II it makcs us think OF some
II the bodegoncs OF VelasGuez, and Of
certain passages in the virtuosity Of
Halls, it does so with no suggestion
New-York tribune., 1920-12-05
From Renaissance Italy
To he Arizona Desert

that Manet has initiated either Of those
msgicians. We feel. rather, that he has
rivaled them on their own ground and
has proved himself as consummats q
master Of technique as either the Snan-
lard or the Dutchman. The picture is
as beautiful as it is powerful.
Inc other modern master is Georcc
inness, and if there were anv relation
between art and patriotism we shonld
say that his Indian Summer" on this
particular occasion justified a peculiar
emotion of pride. Comparisons are ira
dNlonally lnvidious and tact,ess but il
Is hatly impossible to avoid NOTICING
the contrast between 1nness and Tur-
her. The latter is represented bv ono
OF his most famous canvases. the
Rockets and Blue Lights" in which
MS gifts as a colorist are exercised
upon their highest plane. This is also
one of those works in which Turner ia
most the imaginative dramatist Of
nature. But let the observer turn from
1t TO the Indian summer" and. brush
ing all conventional judgments inside
look SIMPLY to the equilibrium which is
mere established between nature and
art. If he is honest he will admit +bot
ihhess Is IN this case the master of the
more potent brush, producing Tho
hooIer and moro monumental work of
art The Turner is an affair Of brilliant
pyrotechnics. The 1nness is a elorious
landscape, and in its more HAUNTING
truth affIrms higher quality Of ere
aeiVe painting. There are several other
American works of distinction in the
show, works of earlier origin Tho
Stuart George Washington" is a fine
example of our eighteenth century mas
ter The three Copleys are also impress
Sive, especially the full length "Henrv
Laurens, IN which to the charm of this
painters Characteristic polish there is
added the interest of cxceptiona]iv
sk4lliul composition.
The British school, with which Coplc.
and Stuart are lied, is well to the fore
Neynolds, to be sure, is unaccountably
absent. One expects him almost as a
matter Of course in collection of this
kind. But Gainsborough is present. in
beautiful example, a bust portrait Of
Queen Charlotte in his closer, more
deliberate manner, solidy painted and
very handsome canvas. Romueys "Eadv
Betty Compton" is in his lghtest, most
gracious Vein, q spirited portrait, fairly
de-ectable in color. Near by hangs Rae
burns Mrs. Colin Campbell, Of Park -
richer in tone and surface, boldcr in
handling, than most Of the portraits
from his hand that we are accustomed
to see. The Scotch master was often
too facile, too satisfied with papery
effect In this work he is the true
painter, giving to his technique its
strongest sweep and body. The single
Hoppner is a charming portrait of a
ctlld. There are two examples of Rem
brandt, one early and the other late.
The former is "a Young Girl Standing
IN Room one Of the especially vel
come gems in the exhibition because it
New-York tribune., 1920-12-05

Bowl Of Roses" tiny oil, the tech
nique Of which we can only describe
as unctuous. AS study of flowers
pure and simple it is eloquent Of the
painters feeling for one of the most
perfect forms of beauty. He was him
self even when the habit of his Pari-
sian training hung about him. Witness
the large "Portrait Of Richard Grant
Whlte.' This is reduced to the SIM
pcst possible terms of tone 1t is drawn
and handled throughout with the con-
servatism of an artist taking no liber-
ties with the fundamental lessons he
has had at school. But measure of
instructive power goes with the careful
workmanship and, above all, the can
7ss reveals living grasp upon char
acter. That is always the conclusive
thing about Weir, the Interpretation
of a given painting with sincere
emotion, vivid play of thought, and
Of that personality to which We have
referred. He was forever feeling his
way toward the expression Of senticnt
truth, and forever seeking to heighten
is appeal by that of an artistic re-
finement.
In a certain sense ne accomplished
his purpose in everything that he did,
early or late. That is to say, he could
not paint without leaving fcrvid and
ngratating accent upon the canvas
Nevertheless, it took him a long time
fully to realize himself; even in the
closing period his art was variable In
so far as he absolutely stabilized it he
did so in the sivcry landscapes which
are generously represented in this ex
hibition. What is it through which
they work their spell? Partly the
truth in them, their fidelity to the Con-
necticut woods and fields, pastures and
streams he loved to paint. Partly it is
the delicate colors In them, the soft
grays and green's to which he was ever
Giving q pcarlicr and more elusive
charm. suffusing them with an incom-
parable atmosphere. But most of all
it is personality, the inimitable touch,
the haunting beauty which you ascribe
first to a manual trick in the handling
Of pigment and then identify with the
finer and deeper Implications of a char
acter and point Of view. 1t is conceive
able that some Of the landscapes in this
collection might have been carried q
little further if he had lived. But he
carried them far enough to leave his
stamp upon them. Indeed, We would
be inclined to assign a special status to
many Of the things on these walls as
vvidly characteristic souvenirs Of
Weir
New-York tribune., 1920-12-05

strikes an unfamiliar note. There is
nothing here Of the grand style as we
know it in so many Of Rembrandt's
great paintings. We have, instead.
something like a bit Of genre, motive
such as might have appealed to Yer
Nicer, handled with impulses toward the
breadth Of style which tho artist was to
achieve IN after years. The "Portrait
Of Titus" dated 1863, shows him in fun
possession Of the large authority of his
prime But this little portrait has, Gu
riously, something Of the Same intimate
quality that belongs to the panel just
cited. Like that panel, it lifts the cur
tain from mood Of Rembrandt's none
too richly illustrated in American gall
leries
From the French school thcre are
three paintings which are all merely en-
chanting Tho "Contesse de Noaillcs,"
by Natter, Is a glttcring souvenir Of
the old court tradition, an instance Of
portraiture conventionalizcd yet enducd
with 70 much vitality that one forgets
the formula and thinks only Of tho
paintcr's technical triumph. Next to
this in spirit comes Lancrcts "L'Escar-
poiettc." work in which decorative IN
genuity and blithc elegance are exactly
balanced. These two pictures have en-
during inertia yet they fall into "A kind
II subordinaton 10 Chnrdin's "Boy
blowing Soap Bubbles" Nattler, az we
have SAID, posscsscs marvellous technique
and Lnncret IL Binilarly endowed, but
Chnrdln il more Of the pure painter than
either Of them. IN his magterfnl sim
pl.ci'y he is linked TO Vclasquez and
Rembrandt. What dignity, Whit serene
beauty, there is In Chardin! He IL one
of the great paradoxcs In the history Of
painting. He was wont 10 depict tho
humble figure Of the kitchen, but IL thcro
IN snas.er who In tho very grain OF his
New-York tribune., 1920-12-05
Weir
Some Unfamiliar Souvenirs of
His Genius

The long looked for posthumous ex-
hibition Of Weir's paintings has at last
come into view. It has just been opened
at the Ferargil gallery where it dis
closes moro than a score OF early and
late canvases, most Of them hitherto
unknown. Presiding over tho colec-
ton Is the bust of Weir made by Olin
Warner, a bronze always welcome for
its own sake and doubly welcome on
this occasion, recalling rs it does a
man in whose work personality played
the most important part. Over and over
again we have pointed out the sig
rihcance Of "quality" in Wcir's paint
ings, the inevitable way in which it
crcpt into everything that he did. even
before he had arrived at the style
through which he most truly expressed
himself. A good illustration is pro
vided by the water color called "The
Letter." which dates from 1890 We
do not remember having come across
this picture since we first saw it about
the time 1t was painted; but We nad
never forgotten it, and, seeing it ngnin
now, We rcnize why. The n1cthod is,
for Weir. conventional. The picture
fell wcll enough into the tycsc.l etm ps-
pncrc Of almost any Of tho ed cxhibi-
New-York tribune., 1920-12-05

draug craftsmanship and the beauty OF his
color, though the latter did not run
through a very extensive scale. Now
we find in his paintings all the old
qualities and some that are new, in
tensifying appreciation of his art. One
thing especially he does for which it
would be hard to be too grateful. In
his Interpretation of the desert he has
nothing whatever to do with the for
mulae which in the works OF TOO manv
OF his contemporaries have threatened
to make that theme q bore. The Taos
group has especially sinned in this
regard. 1t paints the primitive archi-
lecture of the Indians in hard, flat,
bright tints, suggestive of a chld's
building blocks. Mr.. McComas unmis-
tGkably knows all about the powerful
color Of the desert, but he finds trans
parency in it, despite the glare, and
save In one large painting he success
fully avoids the crude opacities on
which wa have SO often had to make
adverse comment.
Moreover, starting with no precon-
ccived notion Of picture making, his i'm
pressions have true spontaneity When
he draws his "Village of Walpi' he per-
suades US that we are looking at an
authentic village, not at piece of
scene painting. In the same way his
skies and mountains enter naturally
into the picture. There is nothing fac
ttous about them. They belong to the
desert, to Il desert that is part of this
New-York tribune., 1920-12-05

earth, not the mirage Of some No Mans
Land. In short, his conceptions are
humanity sympathetic What gives them
finally life and beauty in the artistic
sense Of those terms is an original and
distinguished technique. Mr.. McComas
is sparing of line. He defines his
masses-and his pictures are full Of
masses-in broad washes of pure color,
and this color is modulated into re-
markable delicacies of tone, whether he
is treating great stretches Of stone or
is dealing with vast cloud forms. He
runs through a gamut Of quiet tawny
reds and yellows, of greens, blues and
grays that are lovely in themselves and
that are somehow irresistible in their
assertion that these are the veritable
hues of the desert. He handles his medium
with great ease, yet there is no hint
here of the dangerous facility which
overtakes some water colorists. A Civ
en- harmony Of his is pure, homo
geneous. and has into the bargain that
virtue which is summed up in the
word texture" He is, in a word,
finished craftsman. But we seldom see
technique placed moro Loyalty at the
service Of an idea. He has gone into
the desert to portray its true character,
and he has brought out with him rec
ords which we feel we can trust; rec
ords, too, which are altogether beauti-
full. 1t is to be hoped that New York
will not have 10 wait another five years
for another exhibition of his pictures
New-York tribune., 1920-12-05

tions OF the American Water Color
Society But it asserted itself long
ago, and II does SO Today, by virtue
Yf quality" the indefnable element
which separates what is conventional
rom what IS also commonplace.
There are some other early water
o'ors here, one Of sheep and another
Ii horss in It's stall, which prehgure
their breadth the work Of Weirs
richer years 50 likewise does the
New-York tribune., 1920-12-05

manship is less flexible, the color is
wanting in Moroni's coolness, harmony
we'll what he wants to do nor is he so
accomplished in doing 1t. And yet, we
repeat, he is q not unworthy compan-
ion. In spite Of all reservations one
leaves this really imposing painting
with a note Of admiration. SO one
leaves the whole exhibition. 1t Is q
source Of unmeasured pleasure and
plofit~
New-York tribune., 1920-12-05
The Desert
Convincing Impressions of 1t by
Francis McComas

Criticism owes special tribute Co
the artist who gives it a sensation not
only new but delightful. Such sem
sation is provided by Mr.. Francis Nc
Comas at the Gimpel and Wildenstein
gallery, where he shows n collection of
water colors painted in the Arizona
desert. Five years ago, when we en-
countered his work in the big exhibit
ton at San Francisco, we remarked in
these columns that it ought to be made
better known in the East. We were
arrested then by the excellence of his
New-York tribune., 1920-12-05

work proclaims an exquisite aesthetic
breeding it is Chardin.
We have left to the last two por-
traits Of the Renaissance which are.
as matter of fact, the sal ent pieces
in the exhibition. Though everything
here is fine and rare the schools Illus
trated are schools which in one way
OF another are brought from time to
time before the public. The Italian
masters arc comparatively infrequent
New-York tribune., 1920-12-05

There will be placed on view next
Tuesday, at the American Art Galleries
a collection Of prints to be sold on the
evening of December 10 1t consists OF
etchngs and engravings by urAngwyn.
Haden, Haig and Others belonging to
New-York tribune., 1920-12-05

Mr.. Glen Cooper Henshaw. who has Il
collection Of paintings and pastcls at the
Touchstonc gallery, possesses an un-
usual gift for tho delneation of night
scenes. These do not alone satisfy his
ambition. In both the mediums he en-
ploys he exhibits portraits which show
sincere effort in the study of character.
But these portraits might have been
produced by almost any moderately skill
full craftsman. The nocturnes in pastel
reflect an original point Of view, orig
inal for all that it wakes dim memories
of Whistler, and with his individual out
look upon New York scenes there goes
considerable adrotness and taste. MIR.
Henshaw knows how to envelop d New
York street and tho buildings on its
borders in mystery that we would call
romantic If it were not that the leaves
intact the realistic spirit Of the scene.
These studies of his have charming
atmosphere. There is rich color in them
and there IS an engaging freshness Of
attack, the mark of new temperament
envisaging familiar bjects in a way OF
New-York tribune., 1920-12-05
Random Impressions
In Current Exhibitions

The December exhibition at the Gro
lier Club is devoted to examples Of fine
printing They range from the work of
Didot the Elder to that of the Ashendene
Press.
New-York tribune., 1920-12-05

We had occasion to note not long ago
the promising venture in international
ism made at tho Dudenslng gallery.
where tho works Of French and Amel-
can artists are shown together A kin
dred affair has been arranged at the
Levy gallery, the American artist, Aston
Knight, occupying one ruom and twenty
two members Of the jury Of the Socirte
des Artistes Francais tho other Onr
foreign friends here make lttle Salon
Of their own, reviving In Fifth Avenue
something Of tho atmosphere Of Parls
1t Is in this instance an atmosphere Of
gracious sophistication These are all
accomplished craftsmen who know the
business Of picture making Take. for
example, the landscape "Toward Night
fall" by Albert Gosselin. Nothing could
be more self-possessed, more agreeable.
than this composition. 1t has. by the
way, n capital neighbor in the interior
with n figure Going to Mass by NJ
Lapnrra. This and NJ. Lerouxs "Young
Girl Of Tarantnise,' and the pretty
"Young Girl with She'll" by Paul
Chabas, may be taken as registering the
New-York tribune., 1920-12-05

At the Montrose gallery, IN conjunc-
ton with tho Van Gogh exhibition al
ready traversed in these columns, there
may now be seen a special collection OF
water colors by American artists. The
Daniel gallery announces a show of
Arrangements Of American Landscape
Forms" by Charles Demuth.
New-York tribune., 1920-12-05

It's own, and endowing them with pictur-
esqueness. This is the vein which we
hope Mr.. Henshaw will cultivate, more
than that of his portraituro or that of
tho big Turneresquo oil which be calls
"The City" 1t is tho light decorati
vein, too, for which we should imagine
there ought to be tho surer public ap-
probation.
New-York tribune., 1920-12-05

The Macbeth gallery announces m
exhibition of eliminate" paintings 1t
is to last until the first of the year. This
is the fourth annual display of this
character made at this place.
New-York tribune., 1920-12-05

better, proclsiming a true etcher's mas
terry Of line.
New-York tribune., 1920-12-05

An exhibition Of paintings Of Eng
lish gardens and flowers by Mr.. Frank
Galsworthy is on view at the Anderson
galleries. 1t is sponsored by the Gar
den Club of America. Mr. Galsworthy
IS member OF the Royal horticultural
New-York tribune., 1920-12-05

Mrs. Eben Sutton. OF Baltimore, and
two or three other collectors.
New-York tribune., 1920-12-05

bnnketed his taste, There is no doubt
about his talent, but there Is no doubt,
either, that it requires Co be tempered
by further discipline and particularly by
a refining of the realism which he now
practices so cleverly.
New-York tribune., 1920-12-05

Mr.. William L'Engle is showing
number of portraits and landscapes at
the Kingore gallery. lie is a robust, In
vigoratng type, decisive in his color,
setting his forms boldly upon the can
vas and showing skill in the definition
of traits Of character. He is a curcusly
uneven painter. Sometimes, especially
in his portraits Of women, he has some
thing like elegance and shows a sensi
tive touch in the manipulation of color.
Then, in other canvases. there is an al
most rude directness about his work, as
though kind of dogged energy had
New-York tribune., 1920-12-05

high water mark Of the figure work in
the show There are SONS names Of
repute in the catalogue, but they are not
all adequately represented on the walls.
Rochcgrossc, to name only ono Of them,
is sadly disappointing.
MIR. Knights landscapes are in har-
mony with the pictures Of his French
colleagues He was trained, if we are
not mistaken, in Paris, and his can
vases adhere to the familiar tradition
of the Salon They are well put to-
gether Picturesque rustic houses are
drawn beside still streams, and trees are
introduced with pictorial aptitude. Mr.
Knights special merit IS q certain sweet
placidity of sentiment.
New-York tribune., 1920-12-05

The exhibition at the KranshAar gal
lery Of paintings by Miss Julia E. Peck
and Miss Edith Haworth can only be
characterized as premature Both shese
artists nave in a measure, feeding lor
color, and Miss Haworth in ono 81 two
beach scenes handles it with prvrnlee.
But their work on the Who'll. Is deficient
IN anything like the authority when
comes from experienced workmanship.
New-York tribune., 1920-12-05

The Enrich gallery shows portraits of
children in three crayons by Frederick
Theodore Weber At the Anderson gal
leries there are portraits and landscapes
by Richard Ederheimer, among them
New-York tribune., 1920-12-05

Continued on next page,