davidaulloa/AmericanStories huggingface dataset:
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

to "The Hudson" and the "Montauk."
His only really characteristic canvas
is the befagged "St. Patrick's Day."
painting in which he shows his wonted
skill in the Interpretation Of wet
weather. The four landscapes by Mr..
Bruce Crane, woodland scenes, charm
ing In color and in atmospheric quail
ity, are attractive, too, in their easy,
broad workmanship. He maintains his
excellent average. On the other hand,
he does not on this occasion display the
individual force which we were rather
inclined to anticipate from him.
Mr.. Dewing comes forward with
masterpiece. All four of his pictures
have his accustomed qualities. The
June" and the kindred slender design
called IAN Actress" are typical of his
grace in the delineation of the figure;
and in his "May," which portrays two
lovely women in lovely landscape, he
treats exquistely theme which he has
more than once made fascinating. But
THE Old-Fashioned Gown" is canvas
apart, not only distinguished in this
exhibition, but in the whole long line
of this artists beautiful pictures. His
women are often refined into frail ap-
paritions-credible images that, never
theless, are creations of his magma
ton. This woman seems somehow the
most winning human being Mr.. Dewing
iv{a
figure of flesh and blood, full of in
dividuality. And she has been painted
with solidity and richness only the
more thrilling because the key of the
whole canvas is restrained within the
tenderest, most elusive chord. Whites
and grays, with the faintest hints of
rose, are fused in the pearliest of
harmonies. The composition, like the
color, is simplifed to the last de-
gree. 1t is a picture to rejoice the
heart of connoisseur of pure paint
ing.
Mr.. Brush makes an interesting ex-
hibt. At one point in his water color
1.-The King and the Sculptor" he re-
calls us to the style and the subjects he
practiced years ago. In a couple of
portraits of children he gives us the
elevated realism, the careful drawing,
through which he has affirmed himself
as a kind Of modern old master, sug-
costing variously Holbein, the Dutch
men, and the tradition of the Italian
Renaissance. These three pictures of
his excite respectful appreciation. The
big Family Group" excites something
more. He painted the same picture
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
Several Groups of New
And Brilliant PAINTINGS

taken on something like the status Of
classic. The examples of him which
may bc seen at the REIN gallery rive
as the explanation in very simple terms.
His work has originality and beauty.
1t has, too, that golden quality of style
which acts like solvent, fixing a paint
er's level, clarifying once and for nil
the idiom through which he addresses
himself to the observer. About
Twachtman's style, about his idiom.
there Is nothing reconcile. He was a
poet, If to make truth enchanting spells
poetry. and at the same time it could
not be said of him that he imported
into his work what is ordinarily implied
IN the expression s'poetic ideas" His
ideas were merely those of the man Of
emotion who vibrates to the charm of
nature, and in interpreting her elo-
quence develops quite naturally, al
most unconsciously, an eloquence Of
his own.
You feel this extraordinary natural
magic" Of Twachtman's most intensely
perhaps in the large "Snow," one of
those paintings in which he affirmed
himself more conclusively than any of
his contemporaries the laureate of win
ter. Of formal composition there is no
trace in this canvas. Neither. in the
conventional sense, is there any state
ment of facts. The house in the pic
ture is lost in smother of snow. But
the painting is supreme evocation of
fact, the capture of winters cold white
ness in q kind of film of vision, an i'm
preston 80 delicate and so subtle that
it seems as if it would break at a
touch, like bubble, and yet preserves
so strong reality that as a work of
art it remains positively monumental.
1t is the artists style that validates
this paradox. 1t is sheer genius rails
ing craftsmanship to higher power.
There is another winter scene, the
Melting Snow" which is even more
diaphanous. 1t falls little short of
the power obvious in its companion
But as an expression of Twachtman's
quality it is also wonderfully beguil-
ing. There are pictures in the group
to remind Us of his range, two simple
figure subjects notable for the play of
light in them, and a good example of
him in his more solid vein, the CUP
land Pasture" There are also several
Of his pastels including one or two Of
those flower subjects in which he was
again emphatically a poet. But save
for the Snow" we do not cite this ex-
hibition as one to be scrutinized in de-
tail. The occasion is commended rather
for its broad significance, for its stir
ring commemoration of great spirit
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
By Royal Cortissoz

y q difficult to keep track Of all the
..sc,ysoss now before the public. The
...on is at it's height, and even while
=. Galleries are apparently filled to
.-sraowing new shows are announced.
~. opening at the Fine Arts Build
10 comes just too late fer Us to dis
Ia IL to-day. This is the opening of
-. .xhibitions held together by the
s.w York Society of Painters and the
- York Water Color Club. And by
.o,ncidence the same mail that brings
card from the latter organization
ss,rcs US also the program Of the fifty
s..rth annual exhibition of the Ameri-
=, Water Color Society. This will
- At the National Arts Club on
r.hruary and will continue until
r.Aynarv "a. There is private view
:. ths Metropolitan Museum tomorrow
.t..ynoon of the paintings and por-
ut. executed by American artists in
s,mmem grafton Of the signing Of the
...es treaty, which are ultimately to
I. a.nosited In the National Portrait
Gallery ut Washington.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
which belongs to work Of art imag
natively conceived.
China
The Orient Painted So That II
Looks Like Itself

Looks Like Itself
Mr.. Frederick Clay Bartlett's paint
ings of China at the Montross gallery
make one Of the most refreshing exhi-
billions we have seen In years. Other
men Of talent have travelled in the East,
but the impressions they have brought
back have sometimes made us wonder
il they thought that the artist in the
Orient could live by tea caddies alone.
They have been bent above all things
upon being picturesque. They have
drawn China as though there were
nothing In the country save pagodas
and figures strayed from fans. Mr..
Bartlett has had the inspiration to let
China speak for itself upon his can
vases, to paint 1t as world Of human
beings, world suffused, after all, by
the light and air to which we are our
selves accustomed. In other words, he
paints China as frankly and sincerely
as though he were painting in Brit
tany or Connecticut. As he happens
to be good painter, the result is
positive boon.
| We have never been In China, but we
are convinced by Mr.. Bartlett that Hong
kong, Canton, Peking and Shanghai
look precisely as he has painted them.
Take, for example, the Canton in
Sunlight" with its boats huddled along
nondescript waterfront; or the pic
ture Of "Canton Facades." The artist
is too interested in his everyday truths
to bother about being ostentatiously Tex
otto" In fact, he is not exotic at all,
but takes us into his strange land in
the most natural and sympathetic man
ner. He does not neglect his arch@
ology, so to say. There are temples
in his exhibition, curious old buildings
of which he makes the most. But we
are most impressed by those canvases
which introduce US to ordinary Chi
nese scenes, reproducing their atmos
phere and especially their color. We
have had enough of those Chinese pic
lures in which the Western artist takes
his cue from the red of a lacquered
tea tray. Mr.. Bartlett deals in rich
blues and green's, he finds grays as well
as yellows in China, and he makes the
most engaging patterns out of them
Technically, there are one or two points
at which we wish he were little
stronger. There might be greater pic
torial felicity about his work, with nc
sacrifice of the spontaneous truth
which we admire in him an much
There might proftably be a deepening
of quality in his tone, more trans
parency. In the painting of light and
air his touch might be a shade broader
giving to his canvases warmer en-
velope. The defect of his admirable
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
Six Men
Their Achievements With Land.
scape and the Figure

Their Achievements With Land
scape and the Figure
Between the one-man show and the
big omnibus affairs such as we owe to
the Academy, there has developed the
exhibition in which a small company of
artists have the room to themselves
with certain ceremony BETTING their
individual salience. The Ten American
Painters set the fashion, which is d
good one. There are six contributors
to the show just opened at the Mich
gallery, each one Of the six capable of
making a show by himself and ali
therefore making an inspiriting ensem-
BILE. The landscapists are numerically
predominant. Around one of them, Mr.
J. Francis Murphy, there always fingers,
for US, the faint suggestion of for
mula. The horizontal lines of his trees,
the broadly generalized character of his
fairgrounds, the sentiment in his skies
all these things recur again and again in
his work in such way as to suggest the
studio rather than the open air. Yet it
is interesting to observe how that much
abused word Temperament" will sug
gest itself where he is concerned, and
how his possession of the quality tri
umphs over the nominally deadening in
fiuence of routine. Moreover, despite
his formulas, there is Enthusiastically We
racity about what he does and, what Is
more, there is beauty. Of his four pic
lures there are two, the "Autumnal
Solitude" and "The Wide Lane" which
are important full dress performances.
handsome achievements in the true ira
dition of the founders Of our school.
But we would choose as the best of all
these paintings the little Outskirts of
Village" with it's thick impasto, its
directness, its freshness, all wreaked
upon simple theme. This does not
make us think Of the pioneers. 1t makes
US think, delightedly, of Mr.. Murphy.
Each Of these exhibitors presents
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
Random Impressions
In Current Exhibitions

Thirty paintings by thirty artists will
be placed on view at the Macbeth gal
lery next Tuesday, to remain there until
February 7. This is the eleventh an
nual exhibition Of the kind at this place.
The Dreams" by Mary Ethel Nc
Auley, at the Hanstengl gallery are
described In a subtitle as mine painted
nightmares" They are clever things.
The painter of visions is won't to let his
imagination go. He is as fantastic as
he knows how to be when he gives us
such stuff as dreams are made of. Miss
McAuley has had the wit to paint night
mares for what they are, the night
mares that we all know, in which we
toll up endless ladders or are embar-
raised by finding ourselves in the street
without our customary garments. These
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

esting in the portrayal Of nature in
bulk. Mr.. Metcalf is interesting, by
virtue of the fine color scheme which
he EFFORTS from water, earth and
sky, and by virtue, also, Of his pictorial
judgment. The thing is finely COM
posed. 1t has true largeness of feel
ing and at the same time the intimate
truth which is plain in the tree tops
filling the foreground and lies more
subtly all over the canvas. His "Oc-
tober Festival" is a joyous picture,
genuinely festal in its sparkling color,
but in quieter way the "May After
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

four pictures. In his quartet Mr.. Met
calf discloses rich variety, and in
the landscape which he would place at
the head Of the group he illustrates a
vein which he has not hitherto made
familiar. His Hudson River in Feb
ruary: Bear Mountain" marks a return
to the world of which our earlier
landscape men we're so fonda world
in which the flowing lines of the river
define the bases of great and noble
ground forms. 1t is hard to be inter-
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

wonder that Mr.. Brush has thus labored
with his problem, for it is one involv-
ing grave difficulties and these are rem
dered only the more battling by his
emulation of the early Italians in mat
as of design. The test is altogether
heartbreaking. Mr.. Brush's aim is
monumental, the hardest aim of all
But merely to aim high is to awake
certain sympathy in the heholder.
One misses in the drapery the perfect
folds of the veritahle old master. One
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

noon" and the "First Blossoms" are,
If anything, more persuasive. In their
pastoral key they seem more the faith
full transcript from nature, though
they may not be so effective in the
sensuous play Of color.
MT. Hassam does not strike twelve
There are some good passages In his
biggest picture, "Shingling the First
Baptist Church, Gloucester" but the
picture, as a whole, seems heavy
handed. and the same remark applies
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

two or three years ago in oval form,
but this version reveals number of
variations. The costume of the CEN
trail figure is modified in the upper
Part of the dress and about the throat
and the arrangement Of the hair is also
little different. The infant is now
partially clothed and in the background
there are openings giving upon land
scape. There are changes in the furni-
ture and In the foreground and the
canvas il now rectangular. We do not
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

realistic quality is not to be over
looked; he is little prosaic. But
one could forgive him that and good
deal more for the sake of the new and
exhilarating truth which he has en-
bodied in his work.
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

tain grim humor. From a strictly ar
tistic point Of view she has not an alto
gether adequate technique, but she tells
her stories so we'll that we ignore her
limitations. The pictures have been put
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

impossible situations are treated by this
artist as though they were quite possible
things; that is to say, in terms of
straightforward realism. She has a GER
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16
Twachtnan
The Last Phase of a Remark
able Painter

The special note in the exhibitions
.,.e-.nt this week is struck by living
MN but there presses into the fore
,,6uud little collection Of pictures by
:, artist who died nearly twenty years
,,a In the period since he passed
f,om the scene John H. Twachtman has
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

misses in the simple scheme Of color
the spontaneity and the beauty char
acteristic of the men of the past. Nor
is the design perfectly unified. On the
things and it has especially the spirit
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

on view for only brief period. They
ought to be shown longer.
We hsve received from the Anderson
Galleries an illustrated catalogue Of
fCeatfHued On e9x4 esse1 :,
New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1921-01-16

Little by little the world will come to
know that in Twachtman American art
produced q master.
New Iberia enterprise and independent observer. (New Iberia, La.) 1902-1944, 1921-07-02
YOUTH MEETS ACCIDENTAL
DEATH.

Franklin, La. June OH.
J. Robichaux, II years old. was
killed accidentally on Alice C..
Plantation late yesterday even
ing by being struck on the head
with the handle of a windDass.
Young Robichaux was work.
ing on barge for Foster and
Foster, which was being
launched. The barge became
stuck on the way, and while be-
ing priced off, took a plunge,
causing the windlass, by Which
it was being lowered into the
water, to fly around striking
Robichaux, who was standing
near. His death was almost
instantaneous.
The funeral was held from
the family residence this after
noon, interment being made in
the cemetery at CharentOn.
New Iberia enterprise and independent observer. (New Iberia, La.) 1902-1944, 1921-07-02
CHARITY FOR THE FALLEN.

One of the saddest things in
this old world is the lack of
charity for the erring or fallen.
Indeed, observation-disclosures does
not stop here; it often smirches
the struggling, the noble, the
unfallen. Women, who usual
ly are regarded as more noble
than men, certainly fail in the
matter of charity for others.
They are more ready to Judge
unjustly and less ready to for
give. True, they generally cx-
crcise their harsh judgments on
women. This is only the more
remarkable unless the practice
can be associated with jealousy.
BE the cause what it may, the
fact remains that women too
rarely speak well of each other.
Men notice this, and no matter
how well deserved the condem-
nation may be it displeases them.
A caviling woman is likely 10
become common scO1d or n
common tattler or still worse
than all, that disgusting crca-
ture-a scandal mOnger.-Ex.
New Iberia enterprise and independent observer. (New Iberia, La.) 1902-1944, 1921-07-02
BUGS TO ORDER.

People living i'm country
towns and rural districts are
amazed at the facility with
which city murderers escape |;
just punishment for their
crimes.
When perjured testimony
and fake alibis fail to free them
and the hempen moose draws
near the method i'm vogue now
is to resort to the insanity
dodge. -
They becomes bugs the
bnggiest of bugs-over night.
Complaisant and obIiging
lnedical experts" are rounded
mp. hauled into court and in
diced to testify to the high quail
ity of their bugginess.
Then the poor "unfortunates"
are tearfully committed to an
asylum, where they speedily re-
sumo their rational habits and
begin negotions for their re-
New Iberia enterprise and independent observer. (New Iberia, La.) 1902-1944, 1921-07-02

ter you will like it. Then talk
it over at lunch with your fell
lows. Bandy it about on the
street corners, i'm the mill, at the
bank, in the churcyard, at your
club. Give it a fair show and
it will win, and the right man
will be on hand to take the
helm.
He must be some man, too.
The very biggest-minded, big
gest souled rice man of them
all. A man who has proved his
organizing ability; an uutstand-
ing business executive. A man
who knows rice from seed to
table; q man who knows human
nature from top to toe. A man
INFUSED with the modern spirit
of cooperation in business and
acquainted with its workings
and methods. A man with con-
fidence in his own powers, faith
in his fellOwmen, a vision of the
great future of rice, and an over
towering belief in this import
ant undertaking.
We have in the rice industry
the elements of this consumma-
ton devoutly to be wished. We
have the nucleus in the organi-
cations already existing. We
have the spirit of cooperation
aroused as never before. God
knows. we have the need for
whole-hearted cooperation
Obstacles beset us on every
hand. A great leader arises for
every righteous cause. He will
as surely respond in this case.
Then, let's act.-Bulls Eye.
New Iberia enterprise and independent observer. (New Iberia, La.) 1902-1944, 1921-07-02
666 cures Bilious Fever.
HARDING NAMES FIRST WO-
MAN TO BE COLLECTOR
OF CUSTOMS.

Washington, June 22.-Prcsi-
dent Harding's first omination
Of a woman to be collector of
customs was sent to the Senate
today when he named Jennie
p. Mausser to be collector at
Salt Lake City, Utah.
The nomination of Cyrus E.
Woods of Pennsylvania to be
ambassador to Spain was also
sent to the Senate by the presi-
dent.
New Iberia enterprise and independent observer. (New Iberia, La.) 1902-1944, 1921-07-02
TWICE PROVEN.

If you suffer backache, sleep
less nights, tired, dull days and
distressing urinary disorders,
don't experiment. Read this
twice-old testimony. It's New
Iberia ENTHUSIASTICALLY prov
en-.
Jacob f. Martin, retired
painter 119 Frere ST., says:
For several days l couldn't
strengthen up on account of
the sharp pains that would
catch me in the small of my
back. l could get no relief no
matter what | did not lost con-
siderable sleep at night. Morn
ings | would feel SO lame and
tired, | could hardly get out of
bed. / heard of the good
Doan's Kidney Pills were do
ing for others and got a supply
at Taylor's Drug Store. After
taking a few boxes, the pain
eased up and continued use en-
tirely rid me of this trouble"
(State ment given May A, 1914.)
Steadfast Confidence.
On February II. 1918, Mr..
Martin said: II am glad to con-
firm the statement made for
Doan's Kidney Pills in 1914 and
have told other people suffer-
ing from kidney trouble of
their merits, since. l am now
free from kidney trouble and
considering my advanced age,
| think this sure is good for
Doan's Kidney Pills."
Coo, at all dealers. Foster
Milburn Co., Mfrs, Buafflo, N.
Y.--Adv.
New Iberia enterprise and independent observer. (New Iberia, La.) 1902-1944, 1921-07-02
Is JUST PEEvED.

Ex-Governor r. G. Pleasant
declares that he will not sign
the new constitution because
the severance tax on oil was re-
duced from three to two and
6ne-half per cent. We hope
that the governor will think bet
ter of this matter, for tie vote
of the convention was decisively
against him on the question,
and il would be foolish for him
to make himself ridiculous in
this matter. He should glance
backward and view the fate Of
the only two members who re-
fused to sign our present con-
stitution. for they simply made
Themselves the laughing stock
ct the state ever afterwards.
We feel that Mr.. Pleasant Is too
good and useful q man to thus
deliberately destroy his useful
ness With reference to this mat
ter. If he will look hack he
will sne that two men tried this
trick in 1893. and they were the
laughing stock Of the state for
years. One Of them was 4 DR..
Burns Of New Orleans, q good
and l0vable old crank, and the
other was q soap-box populist
from Winn. Probably some
wild ass colts must play this
game, bat for goodness sake
don't let II b. our splendid ex-
governor Of whom better
things are expected. Mansfield
Enterprise.
New Iberia enterprise and independent observer. (New Iberia, La.) 1902-1944, 1921-07-02

oSIuust uiise Ouyc - 10 - N1oL
idea to think of ever getting Il
rice miller 10 work in tn inter
est of the poor down-irohden
farmer. Miller Sharp slalrs
Miller Fair on the back and
boots at the far-fetched notion
of ever making a business mali
out of a broker. Broker Brouch
calls on Broker Bright to ease
his mind on grower, miller and
banker alike. And Rice Ro.,
chews its cud with charactcris-
tic clluckles over such a "visio.
nary" suggestion. .
All right. The only differ
ence between us is that we want
oil to get together and express
themselves and then act when
any matter concerning the good
of all is to be settled, instead of
being content with soap-box
oratory and one-Ndcd decisions
10 the ruin of all freedom.
There is no value in gossip run
riot. II must be organized and
the gold separated from the
dross and purified in the fire of
elaboration.
The proposition is purely a
democratic one in keeping with
the time in which we live and
work and in which generations
to come are going to live and
work. The World War could
not be won until its leadership
was unified and all the Allies
made concessions. ''Give and
take" is the motto Of the bust
ness world today, and it is the
only motto any industry will
thrive under. Give up your
own selfish or half baked ideas,
which may bring temporary
gain to you but will injure 9TH
ers permanently and yourself
ond oof 4rcoal,ar ,,,;et,
others, ,.,nrt;ss ~ - ,o X .a,,,a ~ aad
-, .,i.r. .i.n. - LIZ t: .a.'o ia. J
sna.p - s,,cce No. - ~" III rnsr.. u AZ,
nstsv 1 ,,,.s;,,s,;c - ara s,,.ss;c;o ,s
rrd r, r rrs.i o,.; a S'pl 20
ra;rna.. o,,g ,, u,o .hn',,, =, u,,
.hnnide, , fay ,ho ' cc, D,,u1 &C.,,