davidaulloa/AmericanStories huggingface dataset:
New-York tribune., 1922-01-08

positively staccato accent Of r.. ,,v.
caKs and other trees The subject IA
WY. Williams paints 1t lacks body. go.
llolty. His ground forms want weight
his trees are lifted without assertive-
ness into mild, grayish penumbrA,
MS color on the whole, persists In ex.
e'o's'hg measure Of charm He could
not lose his Unborn romanticism If he
'r'ed' But his California does not carry
conviction.
'ir. L. W. Dcnling's South American
s'uules' IN the room down stairs. do 40.
enough tie hasn't much technique with
"nlch to pull them through. Esthet-
.oa'iv tnere is little that is beguiline in
MS WORK beyond the depth Of blue tone
"hlch ne gets in the treatment of some
VI MS hshlng pools. The value of these
''1ie pictures lies in their delineation of
'"u'"" types and customs. He has been
among the Matalonc fishermen and hunt.
ers and has noted their traits in a man.
'ier which may be wanting in nervous
iorce' out Is plainly painstaking and
careful of detail. His pictures are like
so many illustra lions to book of folk.
lore. The facts in them are of interest.
regardless Of the artists prosaic method.
AT the Mich gallery there is a collcc-
e'on OF more than thirty Western pic
lures by new young artist, Mr.. Doug.
lass E. Parshall, whose fathers work
IS well remembered in the East. He has
something to say of his own, in terms
of color Whether in painting trees or
s"irling waters, the eucalypti or the
mis- he manages 70 exploit with. new
and pleasing touch capital tones in
fused with light. His foble is rather
unfortunate scattering Of his effects
DUE we should say, to inexperience In
composition and to failure TO grasp
structure in landscape. The clever
facility which is momentarily telling in
his spirited sketches of COWBOYS ON
plunglne horses is not quite adequate
to the simple definition of big masses
His webs Of tone are often confused
J ct even when they cry aloud for some
haE'honiZing arrangement, some purify
ing siinplificaton which would make
them stronger, they proclaim a genuine
talent. With the discipline that chai.
New-York tribune., 1922-01-08

Your gentlemen IN the vestibule," he
wrote to Harris, "regretfully and firm
ly refused to allow my gracious host
to receive his invited guest. My re-
pulse was complete in its humiliation,
for the official guardian dismissed me
in my own name,' and iour-
neyed back into the night remembering
that you arc charmlng-that your
servants are admirable" letter
about Wilde describes that individual
as having cleft Paris precipitately-
utterly collapsed-saddened and de-
Notwithstanding that the Gaff was
blown, and that it would be hopeless
ever to try it on here again" He
adds: Besides, my Oscar, lie bour-
geois malgre lui!' nearly finished him"
The tender strain is not missing. 1t
occurs in letter written after Mrs.
Whistler's death. 81 feel only moro
and more forlorn as go on.
You can fancy what it was for me to
come back here alone" But
the pugnacious Whistler is largely in
evidence, as in letter over the
"Trilby" episode, in which he fancies
that he has "wiped up Hampstead
with Du Maurier." Very pretty
is an allusion to an unfinished por-
trait OF Mrs. Heinemann: "The hand is
stayed--and the work ceases-for the
JOY of it has gone!-and the mystery
Of it has flown forever!-and the
pitcher is broken at the well-and the
Butterfly is a burden-to himself and
to all--and there is an end to the play
and the curtain" What JOY
the Whistler letters would be if they
could but be publishedl Some faint
idea of the kind of collection they
would make is to be derived just from
the shreds and patches given in this
catalogue.
New-York tribune., 1922-01-08
Architecture and Painting

present day to envelop Themselves i,
"n'iqu''y! What of the Medci aforo
SAID and their contemporaries collect
ing Greek marbles and coinsq did
1he eighteenth century French con-
nolsseur scrap the furniture of the
Middle Ages? What of the Enp,ish.
'"'an OF the same period. wandering on
e"e continent with his bear leader"
and bringing back his trophies? These
were not confined to paintings and
drawings alone. No; if there is any,
eh'ng characteristic of our time 1t is
enjoyment of the decorative past IN
thls the designs at the Wid.nstein
gallery arc SO many documents. whol,v
representative, and, to that extent
profoundly interesting.
Aney arc engaging documents. foo
Messrs. Walker and Gillette are na
masters of their craft. They havo
taste, of that eclectic sort to which u.o
nave alluded The refinement of sncb
facade as they have produced in Rio
Tree Farm is matched by tn, restraint
with which they have enr ched thoir
interiors with the loot of Eurone. Tho
penalty they pay for their decorative
piiaolllty, if it may be so designated.
Is loss Of anything IKE original
traits. Architecture, as we have said.
IS an art, something bearing the sign
manual OF an artist. In this instance
IL declares itself as derivative, not
creative. Messrs. Walker and Gillette
are so far in harmony with their
time that their personalities are sub.
dued to the stuff in which they work.
New-York tribune., 1922-01-08

With the passing OF the holidays prac-
INV every gallery in the city presents
..,,..hine new From this time on until
-+,s the exhibitions will constitute a
liable food Interesting things are
.r.,l.ble this week. but it is no dispar-
,eement OF them to say that the most
.-.i,inc Of current episodes lies three
.s.osand miles away. 1t is the exhibi-
s.n at the National Gallery Of Gains
As7ough's Blue Boy with the varnish
Il generations removed from its surface.
The brillance Of the painting is re-
.o-ted as dazzling. For the first time
!, the experience Of living men the Pc
.ulisr significance of the masters vir-
mostly in a famous experiment is made
nantes. and the English critics unite
IN arden. appreciation. The exhibition
;r London is to be followed by one in
New York, before the portrait is taken
to Mr. Huntington's house in California
Every one must be impatient for the
.v.nt The Blue Boy" has always beer
|, rsdiantly beautiful thing. Now, we
rsther, it is more beautiful than ever
|.sere IS only one dubious element in
|.s situation. That is the possibility
|sst the successful reJuvenatlon of this
aavas may start people in public and
svate galleries at washing the faces
IL old masters better left alone. The
erman and Austrian museums have
a.hetcally shown what may flow from
och enthusiasm. Every curator of
sntings should be compelled to spend
month or two immured in the Prado,
As one gallery in the world where the
,..ina Of time has never been robbed Of
he ta;ntest nuance Of It's perfect bloom
New-York tribune., 1922-01-08
Monet
A Eoretaste of His Monumental
Work for Paris

Claude Monet is over eighty, but he
goes on working with the ardor Of a
young man In his beautiful domain
at Giverny. There arc signs Of it in
the exhibition Of his paintings at the
Durand- -Ruel gallery. Two canvases
there give hint of the scheme which
he has been developing for some years
to stand as his monument in Paris.
This is set Of immense paintings
dedicated to the water lilies and weep
ing willows which havo for some time
absorbed him at his home. Originally
they were to have gone into the Hotel
Dc Hiron, II form part Of the Rodin
Museum, but. according to NJ. Durand-
Euel this was found to be impracticable
and the set will be erected in the old
Orangelie of the Tuilerles, when, In
another year, it has been made ready.
The paintings to which we refer III the
present exhibition come from the mass
cf preliminary studies he has made.
The preliminary study, Of course,
with Monet is a picture by itself, a,
no has shown in one series after an
other, painted from & cathedral, hay
stack or a bridge. He has shown a
special devotion to his "Nympheas."
Once years ago, standing on the brink
Of the famous pond at Giverny, he
showed them with affection to the
present writer. The lilies, as we re-
member them, we're then all white.
But lie has collected other varieties
and in the two pictures now on view
dated 1870 there are some glowing
blossoms, pink and sensuous a 8 rose
The peculiar interest Of these newer
studies lies in their shape, long and
low, at once suggestive of mural pur-
nose. 1t is a novel scheme Of proper
tions and a charming one. The marvel
Of the work, too, is that it is so fine
so full of power, SO thoroughly char
acteristic. The other things on the
walls. souvenirs of Rouen, Bordighera
the Thames and other places famillal
in his art. are often OF much earlier
origin. One picture takes US back u
1884. There are paintings of the '9os
Tn~a word, Monet is here in his prlm'
as we'll as in his old age. And the laees
New-York tribune., 1922-01-08
Portraits of Places
New England, Californian and
Other Impressions

Miss Felicic Waldo Howell has the
happy idea OF devoting herself to d
locale, painting subjects which give a
certain unity to her exhibitions. She
thus gave great charm to collection
or small paintings from cid American
doorways. Now she repeats the broad
motive, III an exhibition Of New Eng
land Streets at the Macbeth gallery.
Her touch is sympathetic. In such i'm
pressions as "The Old Alley Steps,
Marblehead," or the "Tucker Street."
painted in the same picturesque town,
she gives you not only the true state
ment of fact that sound craftsmanship
secures, but delightful quality of at
mosphere, of sentiment. All Of the
smaller paintings in the show have this
merit. and once or twice she discloses
1t when painting on a larger scale The
High Street, Ipswich is an altogether
successful performance. The compost
ton is admirable, and the more so be-
cause the old white house on the right
receives its due need Of quiet but ef-
fective emphasis. The other large can
vases which would seem to underline
new ambition are not so satisfactory.
The trouble seems to lie in the adjust
ment of color values. A big picture is
more than little one increased in size
1t calls for new dramatization, as it
were, of the component parts. When
she tackles a big canvas Miss Howell
seems uncertain as to her center of in
tercst. The most expansive OF pano-
ramas needs to develop its episodes.
Just as a well-made story or play has
its beginning, its middle and its end, q
big picture has its interdependent fac
tors in balanced design. What we
miss in Miss Howell's more elaborate
efforts is felicity of composition. Her
work is truthful, as always, and with
the reservations we have indicated,
workma Mike. In construction it needs,
as to the larger canvases, a deeper pom
dering Of the problems involved. Also,
in the generalization of foliage, a fca-
ture recently brought into the fore
ground by this artist, a broader han
ding would be more advisable. The
spotty Blakelock silhouette is q dan
gerous expedient.
In the next room at this place there
are twenty-one landscapes painted in
California by Mr. Frederick Ballard
Williams. We have had to guard
against Troublesome prepossession in
looking at these. For years Mr.. Will
liams has been known at the Academy
and in other exhibitions as painter Of
scenes in the romantic spirit of Monti~
ceili. or cf all even earlier tradition III
French art. His scenes have been filled
with lovely. women III antique costume.
Missing his usual grace and sentiment
in the present pictures, we have been
New-York tribune., 1922-01-08

himself equally upon the background.
There Is some transparent tone, well
manipulated. in this picture. Miss
Marion Boyd Alien has produced a
strikingly good portrait in her fpIl
length of Miss Hyatt st work on her
sketch model for the Jeanne dare .
The crisp drawing and the quiet to-
nality in this canvas make it interest
ing as matter Of workmanship alone.
The little clay model Is most deftly.
painted The artists in this group arc
all from Boston.
New-York tribune., 1922-01-08
Woodcut:s
An Exhibition of the Work of
Mr.. !. l. A. Mllrnhx


When the half tone elbowed the
wood-engraving out of the illustrated
magazine it worked double injury to a
beautiful craft. 1t not only killed the
reproductive block but ushered in har
times for the original woodcut In tn
last few years. however, something lik.
a revival has seemed to be at hand
Mr.. Ruszica and others have designed
and cut blocks which have little b,
little found favor. An important con-
tribution to the subject is now made
by Mr.. John J. A. Murphy, at the Kep-
pei gallery. His blocks. varying in
scale from some that are almost minia-
lures to others that permit bold Brang-
wyn-like effects, are family touched
by modernism in a few instances, but
are mostly marked by a more tradi-
tional sense of form. In one series
THE Way Of the Cross" his tiny figures
recall in themselves and in their ar
rangement the spirit of tho Sienese and
Florentine Primitives. Taken as q
whole the exhibition reveals imagina-
tion and technical skill
Mr.. Murphys realism IL successful
enough. 1t lends force to his war pic
lures and 1t comes out we'll In one OF
two designs remarkable for their de.
piction of movement He is most i'm
pressive, though, in his dealings with
religious or symboical subjects, notably
in the series just cited. Blacks pre-.
vail in his method, the white factors in
his compositions telling with kind OF
electric vividness against massy back.
New-York tribune., 1922-01-08

productions have the quality Of the
DID, Not all Of it, perhaps. The lilies
are not painted with the subtlety of
some of the early, mist-fllcd designs
But doubtless they were not meant
to be so painted. There is clue to tn @
sustained force Of the painters skill
in what NJ Durand-Ruel reports Of
his life. 1t continues rs it has been for
years, an open air. active life, full of
painting. but full also of daily ex-
ercise out of doors.
New-York tribune., 1922-01-08

leading virtue His pictures are we'll
put together and this without violence
to the sentiment Of landscape, which
he expresses in fresh. spontaneous
manner His exhibition has notable
vita)itv where the land scapes are con-
cerned The portraits are less per
suasive. There is some decorative
feeling in them. but they suffer more
than the landscapes do from the paint
er's rather cold and heavy handed
treatment of his medium There is
little quality in MIR. fuckers color
New-York tribune., 1922-01-08

2lories of Old World interiors, an
t;oue mantel pieces, antique furni-
ture and miscellaneous appointments,
all the richness, dignity sand color OF
an exotic past. The superficial oo~
server might be moved to complain
that all this is subversive Of a who!e-
some An1ericanism. He would be IN
error. This is Americanism, and We
may remark in passing that, in
double sense, there is nothing new
about it. Does anybody imagine that
it was left to the M@cenasss OF the
New-York tribune., 1922-01-08

They arc grouped according to sub
)ect, tho painters exhibitions. Oscar
Wilde. Mallarme and other individuals,
Inc Gentle Art" THE Baronet and
the butterfly" and so on. There are
"'ore 1hah two hundred Of them. all
Told The mass must contain much
tnat Is amusing. to judge from the cx-
tracts IN the catalogue Sir Augustus
Harris invited Whistler to Drury Lane.
eno the artist, turning up without his
ticket which he had thoughtlessly le\
al nome, was refused admlttance.
New-York tribune., 1922-01-08
The American interior
domestic Architecture, bv
Nsssrs. Walker and Gillette

The thing which we have hoped for
through long period Of years has
Asupened at last. firm Of architects
sss had the courage to fill gallery
With its works, apart from the huge af-
fair organized by the League, appealing
to the public after the manner OF the
painter or sculptor Messrs. Walker
and Gillette are the men who thus af-
New-York tribune., 1922-01-08

fearful of attaching too much lmpor-
tance to the omission. But on sober
second thought we perceive that the ab-
sence of figures has nothing to do with
our disappointment. The sad truth re-
mains that when Mr.. Williams paints
landscape for its own sake he never
theless continues to paint 1t as BACK
ground and leaves it rather thln'
scenic affair. If there is one thing
more than another that we remember
shout Californian landscape it is the
decisive nature Of its forms and the
New-York tribune., 1922-01-08

There is picture in Mr.. Allen Tuck
er's exhibition at the Montross gal
lery which typihes the best that is in
his art. 1t is the November Second"
a study Of trees. Not only is the char
acter Of the subject sensitively inter
preted, but the trees are so placed
upon the canvas as to form a charming
pattern. Composition is Mr.. fuckers
New-York tribune., 1922-01-08

His services are harsh and panty, de-
tracing from the force Of his truth
and his pictorial Judgment
Mr.. D. Putnam Brinley is also ex
hibiting at this gallery collection of
drawings made among the wrecked cities
and cathedrals of France. They are
shown as historical records" and as
such they have high value. Obvious
ly Mr.. Brinley has drawn the thing
seen, drawn it faithfully. He has
true architectural feeling for masonry.
His buildings are eloQuently presented
With the same sure touch he cele-
brates horrible aggregations Of sheer
debris. "The artist is known by what
he omits." In this case he was too In
tent upon registering facts to pay much
attention to composition. The draw
ing Of German Battery Position,
Montdidier," seems on the way to rival
ing drawing by Lepere Then the
pressure of details interferes. But we
imagine that if Mr.. Brinlev had set
out to make drawing for it's own sake
he would have achieved his end; he is
craftsman enough. And in the process
the historical weight of his record
would have been diminished.
Mr.. r. Sloan Bredin has more than
one string to his bow but thcv are not
all of equal usefulness to him. He
can paint the figure on small scale.
then he can turn to a larger canvas, or
he can paint landscape. In the first
field he is evenly successful. The small
portraits in his show at the Ferargil
gallery, bright open air studies, are as
clever as they are spontaneous. His
landscapes are almost all excellent.
Only one Of them, the big "On the Tow
Path" seems empty and i'll composed.
The uncatalogued picture. Edwards the
Jersey Shore" is first rate, worthy
very nearly to stand beside a Weir.
The large portraits are quite marked
by a dullness strange to observe beside
the gayety and adroitness of the little
sketches to which we have referred
The "Mothers and Children" exhi-
bition at the Arden gallery is Of de-
cdedly uneven character 1t con-
tains some good things--a handsome
full-length portrait by MIR. Fred Dana
Marsh, good portrait of q boy by
Mr.. George Bellows, some graceful
drawings by Mrs De Glehn, and some
charming sculptures by Mr.. Herbert
Adams, Miss Frances Grimes and Mr..
E. Angela. Otherwise the show con-
tains too much conventional stuff.
There are g. few capital things in
the little group exhibition at the
Enrich gallery. Mr.. W B. Closson,
who paints "Moonl ght at Dawn
without arousing flicker of interest
turns to light treatment Of the fig
ure, in "The Villa Garden" for ex-
ample, and is positively captivating
Mr.. Frederick K. Bosley is admirable
in "a Dark Interior" The figure is for
him, as for so many painters nowadays
80 much still life, but he gains by keep
: ing it small in scale and wreakine
New-York tribune., 1922-01-08
Three Artists
Allen Tucker, Putnam Brinlcy
and Louis Chariot

M. Louis Chariot at the Wildenstein
gallery, Is notable example of the
contemporary French tendency to grope
after something newer than impress
sionism, the last Of the historic move
ments. At the same time he avoids
the extremes Of modernism. One
senses vaguely In his work the infu
ence Of Cezanne. It has touched but
not controlled him. We wonder also
if he has not been interested in the
old Spanish school. In some of his
paintings Of peasants we are dimly
aware Of the style Of zurburan.
Whatever his Indebtedness to the past
may be, M. Chariot remains true to
himself-and to a certain ideal of
workmanship. His deep green lea age
is pure and resonant. He models the
figure with fulluess and energy. He
draws with the seriousness of the true
French tradition. He drifts occasion
ally into a somewhat leaden kind Of
tone, and it is clearly the light of the
studio, not that of the sun, which most
appeals to him. But If he is not a
master he. is, at all events, person
ality, with abilities and qualities that
are not to be denied.
New-York tribune., 1922-01-08

lcnges every meaningless passage in
picture his natural gift should go far.
Norwich bulletin. [volume] (Norwich, Conn.) 1895-2011, 1922-07-15
Norwich. saturday, suiy 10, 1912.
CIRCULATION
WEEK ENDING JULY 9Th, 1922
1860
coNNECTmUT PRODUCTS.

When it coIHes to Agricultural produce
ton all states are not on the same ba-
SIS There are those which are favored
n many ways. but it is to be noted
that there are states which come much
nearer taking full advantage of their
conditions than others They appreciate
their ability to produce the goods. They
lay emphasis uEon the fact, they adver-
tise their goods and they do a big bust
ness heyond the borders of the common
wealth.
Such states sat an admirable example
u others, and it is one 10 which Connec-
tiout might wen give more attention In
many lines there is an opportunity for
this state to come much nearer to meet
in= the requirements of its people than
il does. 1t doesn't begin to make use
Of its land for agricultural purposes and
with the exception Of tobacco not much
is heard outside about its farm pro-
ducts It is familiar to look at the diff
ferent periods throughout the saason
for vegetables and fruits from Georgia
Delaware, Maryland and New Jersey
Those articles are pretty we'll known
but there isn't much of fuss made ove1
the foodsul:s and fruits which ConnEe-
tlcut can produea does produce and
ought to produce more, except 1t be that
it is going to waste on the trees or the
srouRd because there is little or nc
market fer them.
Try 10 set a Connecticut apple at any
fruit stand in the state during the fall
and winter and see what you encounter
Most Of the apples obtainable are from
distant points and native fruit is ig-
Hored. InalIhty to obtain such is fire,
quently given as the reason for this sit
uation. all of which would Indicate that
the putting forth of Connecticut pro
ducts is not IIeing carried on as effec
lively as the PRODUCTS Of other states.
The automobiles and the many user,
Of the highways have resulted in tn.
disposition of more farm produce RICH
the door than ever before, but the I'M
portance of putting forth state pro
ducts on a larger, scale and being readl
10 meet the call for Connecticut pro
ducts In the agricultural and hertieul
tural line should not be overlooked.
Norwich bulletin. [volume] (Norwich, Conn.) 1895-2011, 1922-07-15
THE HAGUE RESULT.

The development at The Hague gives
many the opportunity to say ct tod
you So" The conference there has ac-
,ompiished no more than that at Genoa.
It has served to spread out the effect Of
the Genoa gathering over a greater
period Of time, but it has been shown
hat It was Impossible for the European
nations to get to basis of understand
.ng with soviet Russia.
Secretary Hughes declared that this
lountry could not enter a conference
with the representatives of the unrec-
osnized bolshevii government Other
nations considered they could but they
nave found out that they could get no
where. The Russians made It evident
rom the opening Of the Genoa gather
ing that they we're going to dominate.
They displayed the same spirit that
they have in regard to their policies
being forced upon the world. They went
there with the idea that there was moth
ing the matter with the government pol
ieies Of their country, that there was
no reason why they should agree to have
Russia respond to its duty or that they
should give protection to property and
subjects Of other nations. They were
DOT willing to comply with requirements
Ehiah would have been necessary 4