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

thetically handled By this IA meant
q proper understanding of 1t. limi-
tations, which will lead to a proper
respect for them ard so prevent the
artist from endeavoring to force past
the natural barriers these limita-
tions impose. For instance, it is
easy to observe In the work Of Albert
Durer upon wood how he accepted
the natural stroke of the quill pen
as the basis of his style; not sharp
ening it too finely, as this would have
called for constant pressure to OBJ
tain the desired thickness and calling
sideways for fine lines and the full
breadth of the tip for broad ones,
with all the varying breadths in be-
tween these extremes to be obtained
on q curve without changing the in
clination of the pen to the paper.
This natural use of the pen, without
cross Matching, being also the SIM
plest for the woodcutter to follow
with the knife, yielded the best re
suits the method was capable of and
was never improved upon for line
drawing upon wood planks for the
W-oodcutter."
From ideas Of technique, style and
the like he passes to the broad respon-
sibilities Of the artist. The illustra-
tor, he thinks, is inclined to live too
much in the studio. ut Is not meant
that he spends too much time there,
but that he does not carry the tllustra-
tor part Of himself abroad sufficiently
to see the people and the sights" It is
an axiom that commends itself TO
hordes Of contemporary illustrators on
both sides Of the Atlantic. But it is
one of those counsels Of perfection
which are accepted or rejected accord
ing TO an artists temperament, and the
value Of this book lies moro in those
chapters In which the author comes to
close quarters with the more ponder
able elements in his problem. We
would cite, for example, his pages on
scale, in which he chooses Dore as the
master to celebrate. 1t was wise
choice, as the specimens reproduced
show, though we can imagine some up
lifting Of the eyebrows over a tribute
to a draughtsman as "old-fashioned" as
the illustrator Of Balzac's "Droll
stories.p Most of Mr.. sullivan's ex.
amples are derived from men Of the
past, from Dore, Blake, Boyd Hough'
ton, Sandys, Millais, and SO on. He in.
cludcs Beardsley, Abbey and Phil May
but, as we have said, he does not pre-
tend 20 give as Q balanced historical.
New-York tribune., 1922-01-01

schools. Some OF our water colorists
remained untouched by the newer
forces. Certain of the landscapists
continued the habit Of the Hudson
River school. Such painter of grace
full fancies as F. S. Church withstood
inaexibly the march Of modern ideas
OF craftsmanship and went OF paint
ing-most effectively-in his own way.
But cart for arts sake" came in from
abroad, and the picture salesman afore-
said, We would venture to assert, had
fewer luxurious holidays
Under the pressure of the new pas
sion for workmanship picture making"
rather rapidly went out Of fashion.
There was no defensible logic in the
affair. Why or earth should not tech
nique be lavishcd as we'll upon pic
turc as upon a fragment? The truth
is that when the American artist dis
covered Paris he overlooked the cir
curls:ance, actually staring him in the
face, that he was dealing with one of
the most "literary" schools in the his
tory Of painting. A great timdity fell
upon him--a great fear lest he might
lapse into the exploitation of an idea
He wouldn't have painted "Mariana'
to save his life. He would leave it to
Geromc, or Lefebvre, or Laurens. his
masters. to cover canvas with historical
and other kindred compositions. He
-~,I iyt
Girl in Tam q Shanter, With Piano
Lamp" There were exceptions, Of
course. Did not Kenyon Cox make pic
lures for "The Blessed Damozel," 20
name only one Of several notable con-
tributions to illustration by men who
were, first and last, men Of the brush
But we are talking about the mood of
the water colorist. It was no longer
a mood for the more or less imagina-
tive design. The odd thing is that,
Just at this parting of the ways, water
color failed to make the most of its
new-found gospel. There were few
virtuosi, but the decline Of the picture
failed to usher in, In any general sense,
the era of virtuosity with which it
was, nominally, incompatible. For some
occult reason which we have never
been able TO fathon, water color. ss a
medium, simply lost It's hold upon the
men best qualified 80 triumph in it.
They painted in oils instead, using
water color only occasionally as play
thing. The exhibitions more and more
disclosed the fact One or two giants
in technique like Sargent and Homer
remained faithful. The rank and file
STAYED tho rank and file.
New-York tribune., 1922-01-01
Illustration
TIA Elements Surveyed by a
Rritish Artist

The most revealing passage IN Shs
Att of Illustration" (Cnarles Scribner's
sons). q new book by Mr.. Edmund j.
Sullivan. is one in which he glances
a. tb. foundations Of the subject ITO
look to art TO produce perfect flower
be ssvs. "like q prize dahlia, is to look
for something heartless andinhumsn-
for art would then have become more
O matter of exact mathematics than OF
the unknown. But Art consists OF
three factors in varying proportions
Intelligence, Emotion and Craftsman
ship-so to leave out lntelhgencc
amounts to going without one OF the
urinary colors in painting and limit
ing the range Of expression. FROM
this admirably liberal point OF view
MY Sullivan, himself one of the most
brilliant Of modern pen craftsmen
ha. written charmingly discurslve
book. It contains philosophical and crit
,cal observations, yet it Is not study IN
- st,,atics. 1t contains technical ad-
mon.tions, yet it is not textbook. 1t
contains studies of various artists yet
il is not history. 1t is simply g
sheaf Of reflections by an illustrator
who knows his trade-and thinks.
Deeas once looked at badly painted
picture of multitude and said; Il
see City people, but no crowd-one
New-York tribune., 1922-01-01
Velasquez
A Portrait Attributed to Him in
the Boston Museum

From the Boston Museum wo have
received i photograph Of threequar-
ter length portrait, The Infanta Maria
Theresa" by Nelasquez. given 10 this
institution by Mrs f. F. Greene in
memory Of John Howard and Charlotte
Peabody Nichols. Some data accom-
panying the photograph trace the
movements Of the canvas from The
seventeenth century down to our OWL
time and its establishment in the mu-
scum at Vienna, noting that it has ap-
peared in the catalogue for years as
No. 618-No. GIT being another portrait
from the same sitter. "On January %
1921, the authorities of the Federal
tImperiaD rt-History Museum, seeing
that they had two portraits of the
same subject, parted with this one in
Vienna for other paintings. On De-
cember the painting arrived at the
Museum of Fine Arts in Boston, having
been purchased from Che new owners
by generous donor and friend Of the
museum"
Judging from the facts assembled by
Bcruete in his book on Nelasqucz The
sitter in question was not Maria The
resa (who became Queen of France)
but Mariana of Austria, who at the age
Of fourteen, in 164e, married Philip ".
The painter was absent in Italy at the
time of the wedding. and, according tc
Beruete, the first portrait Of her was
done by the masters son-in-law, Mazo
After that came the one by Velasque2
painted on his return TO Spain IN 1861
This, No. GIT in the Vienna catalogue
is reproduced in the book before US
and is made the subject Of some sp
preciatIve passages. The author adds
The same museum contains two other
portraits Of Mariana Of Austria at
New-York tribune., 1922-01-01
American Water Co0rists

individuality, which is worth wilder
ness OF uninspircd pictures, reigns ad-
"'ifapiy in its place. An excellent TYNE
Oh 'mpressionism characterizes the
american water colorst He isn't rec
essar''y disciple of Monet. His paint
'hgs aren't necessarily luminous. Bnt
'hey arc imprcssionistic in the sense
mat they register swiftly, spontaneous
~ vivid impressions. Where Landscape
Is concerned they possess an interest
positively exhilarating as compared
with the bulk of the open air studies in
the past we have briefly surveyed. A
New-York tribune., 1922-01-01
To-day
The New Tradition ON View at
the Fine Arts Building

II the exhibition which has elected
the foregoing prologue offers any cr
terion, then the old picture making hy
pothesis has been ruthlessly scrapped
TAe subject, as subject, scarcely lifts
its head. For some hint OF It's linger-
ing vitality We must turn to a handful
of adroit designers who make excur-
sions into fairyland - Miss Katharine
Breen, whose amusing "Fantasie"
hangs In the south gallery, near the
threshold of the show; Miss Frances
Rsssett Comstock, Miss Ellen Macau-
ley and Miss Dorothy P. Lathrop, this
last contributor giving a eomewhat gro
tescue turn to her devisings. 1t is sig
nifcant that these artists, veering away
from the prevailing spirit, seek their
motives in no-man's land. The major
ity. keeping close to the solid earth
will have nothing to do with magma
ton or with ideas. They paint what
they can see, and paint it, on the whole
al it happens, with no great solicitude as
to design. They have the defect of their
quality or the quality of their defect,
whichever way one chooses to look at
it. Momentarily we are inclined to the
less sympathetic view of the situation.
Frankly, we miss the old picture-mak-
ing habit. 1t never kept anybody who
was worth his salt from using a sound
technique. 1t surely would not so oper-
ate to-day. On the other hand, there Is
nothing moro futile In an exhibition
than looking for what isn't there. To
look for what is, in this instance, Is
TO be, after all, we'll rewarded.
The king is deadl Long live the king!
Picture making is no more, but skillful
workmanship. often plus the charm OF
New-York tribune., 1922-01-01
Bv Royal Cortissoz

Far thirty years the American Water
,,.- Society and the New York Water
,uo have been rivals. for no rea-
.hvious 20 the outside observer. In
-. !. has often seemed as if each more
:. l.ss duplicated the other, that there
no real excuse for the existence Of
-, organizations Of the kind in this
- They confirm this impression in
=. exhibition they give together at the
~. Arts building There is no divid-
:, line visible between separate groups
= noveraents There is no conflict of
..,,;es apnarcnt In his preface to the
....lorue Mr.. A. P. Cole alludes to the
,-,,s,v cooperation of the two boards.
~,.cb Welding 3 few points in Difference
;. the time-honorcd customs OF the
,.t.r" For our own part we cannot
marine what those points are. We are
-, scious Of no change, of nothing new.
al that we gather is that, with prac-
.;..uv all Of our water colorists upon
n. scene we are vouchsafed an un-
usually good show. Incidentally, the
ho,s develops that these societies may
,-os. bv their own example and forth
with amalgama-e Their brethren Of the
s.sver medium showed them the way
,sars ago when the Society OF Amcri-
.an Artists having had its hng, rejoined
the Academy Where there is absolutely
=, schisma,io occasion for two different
abernacles the argument fer common
action under one roof ought TO be COM
Mailing
New-York tribune., 1922-01-01
Art in Russia
What the Soviet Government
Ia Doino

A dispatch from Moscow, printed in
The Tribune the other day, announced
the appearance in the Russian market
OF large number Of old paintings,
hidden away since the collapse of tho
imperial government Investigation
here ELECTED the further information
that paintings alleged to have como
from Russia had been offered for pur-
chase at the Metropolitan Museum.
Whereupon many readers doubtless
repeated the old question: "What has
happened to the works of art in the
Hermitage and similar galleries ," "A
little thin light on the subject is avail
able.
Mr.. Paul Ettngcr, of Moscow, re
Gently published in a German periodi-
cal q remarkable statement which was
translated into English and published
in "The Burlington Magazine" 1t does
not answer quite as clearly and CON
clusively as might be wished all the
queries which every one has for some
time been making, but it gives some
shrcds and patches of information on
the conditions affecting works of art
in Russia. From them one may vague
ly infer that n mixed situation has de
veloped, one making both for the good
and the i'll of the subject. We take
from "Tho Burlington the following
extract:
Con the establishment of the Soviet
government at the end Of 1917 all the
art affairs of Russia were concentrated
in the Commissariat i. G. Ministry Of
Education, at the head OF which stood
and still stands, Anatol Lunatcharsky
and In which special departments were
created for literature, drama, music
fine art, as well as a department for
the museums and the protection OF
monuments. Ever since there has
functioned in Moscow the Chief Board
for Museum Affairs and for the Pro
New-York tribune., 1922-01-01

makes crowd with FIVE, but not with
nifty Mr.. Sullivan proceeds forthwith
to talk about composition and shows
how essential it is, whether you are
making drawing of Queen Elizabeth
or one of the moon and bucket. He
Is alert to every last phase Of his sub
Ject' and the effect of his book upon
the Young illustrator ought to be a
ostinct deepening Of that individuals
understanding Of difficult art. How
clearly he remembers the indissoluble
alliance OF technique and style IS
SHOWN in the luminous paragraph on
New-York tribune., 1922-01-01
Some History
What Our Water Colorists Did
in Earlier Years

In the prel-S t0 "h1ch we have a.
ready referred M Cole makes sug-
sestive appeal to the recollections Of
those who knew the water color exhi-
bltions Aeid IN tne ola Gays OF the
5en'or organization "Ihey Will re-
member, ne says, the eager enthusi-
ssm Of the puoiie, who waited IN crowds
outside anxious TO be the hrst TO enter
when the doors opened and fearful
lest when they did get IN there might
be no unsold pictures left for them to
purchase Gait Gait' they would cry
on ca'chlng glimpse OF the familiar
fguFe OF 'ae famous picture salesman
be sure ana give me hfst pick In
those days the salesman made enough
out Of his commissions to take a trip
to Europe wa we're the shows thus
popuar Nnat vas the secret OF
American water color at that time?
our own memories 60 back FAR
enough ana are VIVID enough Tor Us to
ESk attempting an answer, and, hap
ply bit OF evidence comes TO hand
which simplltes the task. The reader
viii nnd It IN the recently published
Lie OF Edwin Abbey where Mr..
Lucas gives some account Of the man
a'E IN which Mariana of the Moated
Ufa'ge was deYeioped. i don't know
row many Maranas nave done the
Hus' writes IN letter OF lsS9-"l
mean pesun-0ut az yet she don't get
s'gn' nave begun pen ones and
''syon ones and water colors and sew
efal oil ones, and now I have begun
another IN brown and white The hoy
is lalElsh' but cannot get Mariana
straight I'm getting sick Of her, but
sHe must come They are IN two lights
the light coming over the hanging
and hight from front. She Is very
aafS' away back in the corner There,
0y implication IS the history IN nut
'as,' Oh American water color painting
.. we 'Op oil us vogue IL IS history
VI picture ih~S'ng' ol S-02ee's con
s..,'0 a. ei''.1 a''S'il anu "res'iS9
'''D 's O' w 's''s - ''0ugA 'ne AT1lsF
,e'' t-o- ''0,..s H'o''OA'7'''"' mural
=. "A@ VIC 'e''e's' was At
ss1'- '''"' 0''. -e'''i among
80 ..as S0''e~ 'u'y NAeo
+h.,. save - ~
n.~. "a9 vac w. o0i0'i'' a'-
4hh.u 'r''A' - ...u > " . '0i, Ike
'''''0 i.Sio" iAo'lief'
,r...,.,-- "~' '-'0 .''0 teoui''s
.rd 10Y .
- . ~ was TIE l@s' man IN 'ne "0rio
-o.,u. 80 e''' '''.0''' ~ VIC ..'e- @''
New-York tribune., 1922-01-01

from Boston identifies the psintia~
there "a this mo. sls" 1t would be
interesting TO know if anything has
been done to traverse Beruete's juae
menf in ahe matter. A comparison o.
the reproductions shows that there ca
be no question about the personality of
the sitter. who vas Mariana. not MARI
Theresa, and a committee might loos
INTO the origin Of the painting ~ :.
looked into that Of the Boston NJ
seums "PhilipD
New-York tribune., 1922-01-01

the formation of the latter, which he
regards as of the highest importance
"Style will be largely the outcome
Of the instrument employed, and
good style will almost inevitably be
dictated by the instrument itself in
so far as appropria teness is CON
ccrned if the instrument is sympa-
New-York tribune., 1922-01-01
Two Societies Unite
In a Good Exhibition

had sat' metaphorically, at the feet of
f0rtuny, which is to say that he was
an exemplar of virtuosity usino wa+or
color for all the gittsring brilliance 70
be got out of it. In his work and in
inst OF men like Weir you felt the
growing influence Of the Euronsa,
New-York tribune., 1922-01-01

creation of series Of new museum (,
which here only enumerate. as. for
instance, the museum 'Ars Asiatica'-
still only in its beginning Toll
stoy Museum, the Furniture Museum
IN the ex-imperial chateau 'Nyeskutch-
ny Sad the Toy Museum etc
New-York tribune., 1922-01-01

lection OF Monuments Of Art, Antiquity
and Nature - for short called CLAW
musei-which was reconstructed partly
from the analogous commission already
existing in Kerensky's time and under
whose competence come all museums,
public collections and artistic monu-
New-York tribune., 1922-01-01

compendium. lie gives us what is bet.
ter-a book Of ideas. 1t is cnlivened
with anecdote and is altogether read
able volume.
New-York tribune., 1922-01-01

trbuted to Velasquez. Ono of them
No. 61s) is an almost identical copy
though cold and weak in tone, of the
portrait just described. 1t cannot be
included among his genuine works.
The second (No. .so5) is q mediocre
imitation" The document sent us
New-York tribune., 1922-01-01

I This collection has now received addi-
tions from various sources and has also
been completed In welcome manner
through small selection of Western
examples.
FINALLY, the various sections of the
Glavmusei are also responsible for the
New-York tribune., 1922-01-01

ments, both In the cities and in the
provinces. The official head Of this
complex institution with its many sub
sections is Nine. Natalie Trotzky, the
wife OF Lev Trotzky, who has the help
of long series of we'll known Russian
art critics and scholars, e. e., J. Gra-
The New York herald., 1922-02-02

under the foregoing provisions implies
that no new fortifications or naval
bases shal, be established in the terri
tories and possessions specified; that
no measures shall be taken to increase
the existing naval facilities for the re-
pair and maintenance of naval forces
and that no increase shall be made In
the coast defences Of the territories
and possessions above specified. This
restriction, however. does not preclude
such repair and replacement OF worn
out weapons and equipment as is Gus
tomary In naval and military estab-
lshments in time of peace.
ARTICLE Xxx.
The rules for determining tonnage dis
placement prescribed IN Chapter H..
Fart 4, shall apply to the ships of each
Of the contracting Powers.
CHAPTER IL.
Rules relating to the execution of the
treaty--definition Of terms.
PART I.
Capital ships which may be retained
by the contracting Powers. In ac-
cordance with Article H., ships may be
retained by each Of the contracting
Powers. as specified in this part
Ships which may be retained by the
limited Stat fes. f'
The New York herald., 1922-02-02

tables in Section III. of this part, be re-
placed by new construction, but within
the limits prescribed In Article w. and
Article VII. The keels of such new
construction may. except as otherwise
provided in Article VIII. and In the ta
bles In Section ii. of this part, be lai6
down not earlier than seventeen years
from the date of completion of the ton
mage to be replaced. provided, however
that no capital ship tonnage. with thu
exception OF the ships referred to In ths
third paragraph of Article III. and the
replacement tonnage specifically men
toned in Section ii. Of this part. shal
be laid down until ten years from Nov
IL, 1921.
tB) Each of the contracting Power,
shall communicate promptly to each O
the other contracting Powers the follow
Ing information:
ID The names of the capital ships
new construction.
CD The date of governmental au-
thorization of replacement tonnage.
CD The date Of laying the keels Of
replacement tonnage.
90 The standard displacement In
tons and metric tons of each new ship
TO be laid down, and the principal
dimensions, namely, length at water
line. extreme beam at or below water
line, mean draught at standard dis
placement.
CD The date of completion Of each
new ship and its standard displace-
ment in tons and metric tons. and the
principal dimensions, namely, length
at water line. extreme beam at or be-
low waterline, mean draught at stand
ard displacement at time Of compile
tion.
(c) In case of loss or accidental de.
struction Of capital ships or aircraft
carriers, they may Immediately be re.
placed by new construction subject t.
the tonnage limits prescribed in article,
Nv. and VII, and in conformity with the
other provisions of the present treaty
the regular replacement program being
deemed to be advanced to that extent.
(d) No retained capital ship or air
craft carriers shall be reconstructed ex
cept for the purpose of providing mean.
of defense against air and submarin.
attack, and subject to the following
rules: The contracting Powers may, TO,
that purpose, equip existing tonnag,
with bulge or blister or anti-air attack
deck protection, providing the increas<
VI uiopidCciuent tHuS eHeCLe0 OOeS no
exceed 5000 tons (3.048 metric tons
displacement for each ship. No altera.
tions in side armor, in caliber, number
or general type of mounting of MAR
armament shall be permitted except:
G) In the case Of France and Italy
which countries within the limits al
lowed for bulge. may increase their ar.
NOR protection and the caliber of thu
guns now carried on their existing capt.
tai ships so as not to exceed 16 inches
(406 'millimeters) and
(2) The British Empire shall be per
mitted to complete, In the case Of the
Renown, the alterations to armor thai
have already been commenced but tenn
porarily suspended
Lsection ia Detailed Replacement
Chart follows here.l
The New York herald., 1922-02-02

methods and shall take effect on the
date OF the deposit of all the ratifica-
tions. which shall take place at Wash
ington as soon as possible. The Govern
ment of the United States will transmit
to the other contracting Powers certi-
fled copy of the process verbdI of the
deposit of Publications.
The present treaty. of which the Eng
The New York herald., 1922-02-02

merchant ships. further declare that
any person In the service of any
Power who shall violate any of these
rules. whether or not such person Is
under orders of Governmental SUI
persor, shall be deemed to have
violated the laws Of war and shall be
liable to trial and punishment as IL
for an act of piracy and may be
brought to trial before the civil or
military authorities of any Power
within the Jurisdiction of which he
may be found.
The signatory powers recognize the
practical impossibility Of using sub
marines as commerce destroyers
without violating as they were vio-
lated In the recent war of 1914-1918
the requirements universally accepted
by civilized nations for the protection
of the lives of neutrals and non-com-
batants, and to the effe that the pro-
hibition of the use of submarines as
commerce destroyers shall be univer-
sally accepted as q part of the law
of nations they now accept that pro-
hibition as henceforth binding as be-
tween themselves and they invite all
other nations to adhere.
POISON GAS.
The use in war of asphyxiating,
poisonous or other gasses and all
analogous liquids. materials and de-
vices having been justly condemned
by the general opinion of the civilized
world and e. prohibition of such use
having been declared In treaties to
which a majority of the civilized
Powers are parties:
Now to the end that this prohibi-
tion shall be universally accepted as a
part of international law binding
alike the conscience and practice of
nations. the signatory Powers de-
clare their assent to such prohibition.
agree to be bound thereby between
themselves and invite all other civil
lied nations to adhere thereto.