davidaulloa/AmericanStories huggingface dataset:
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13
USING all your income

OS'HU IN yVUI 0'OUH1V
year after year. always hoping To
stalt next year to save for old age is
poor policy. Make an Old Age En-.
dowment a fixed charge You viii be
safe If you live, your family provided
for otherwise. Consult us. Nation
al Life ms. Co. Of Vt. (MutualJ
Earle S. Kinsley. General Agent,
Mead Building, Rutland Vt-Adyer.
tisement.
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

II is vain Ia trust IN wrong As
much Of evil. 80 mnrh oi lnss. is the
formula Of human history Theodore
Parker.
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13
THERE is A BIG
GOOD MORNING

In Every Little >u-Hrumr Tablet for
tonsttpmtio ion. Your Druggist Sells
Them.
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

WANTED--We will mail 81 for full
sets of old false teeth any condition.
Part sets In proportion. Mail TO Eaton
Laboratory, Dorchester. Mass G2t6s
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

WANTEn---Middle aged woman TO
help about house and to care for child.
Amply # Walloomsac Inn. old BenninG-
ton. Tel s31g Gqt2
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

WANTED Women Canvasses. what
are you going to sell for Christmes
presents, YOU know you want some
thing Of merit and value and II must
give you a good profit. You also know
you want to have II TO sell by Novem-
her 18th. We have this for you. write
FOR our articles. The Ronlow Company.
{ Water Street Boston Mass. 62t3
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

---~----~-------- r-------
KERS--Something new; send
your fnvoriie film win lee and Il &c
stamp and receive sample print in nat
ural coors with your returned film.
The II. II, Barney CO., Central Bldg.
North Attleboro, Mass 62tl2'
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

LOST--On Main street Saturday even
ing, a motorcycle hackscat cushion.
WIN finder please leave at Banner
Office? Cat6s
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

To RENT Nice furnished room
very reasonable Also a mans rubber
coat, pood ~ new, and a hdy's nice
fur coat for safe. Can hay cheap Ap-
ply 2sa West Main stree, cur Wash
ington Ave. 6a,G'
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13
-------------------- - -
TOO LAIE TO CLASSIFY

FOR SALE-smail farm Of ~ acres
on Beech street Extension. Electric
lights, running water, telcphone ana
all modern improvements Also n COW,
horse. and farming tools for sale. APP
ply Joseph NORM. Reech ST. Ext, near
shoddy MIL Tel. SI3,l5. O2tl2'
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

FOR SALE--Six weeks old pigs. $500
"A pair. Il. y Hawkins, South Shafts
hurry, Vt. Tel lS5-l6 62t6'
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

! WANTEn--To rent rooms for light
housekeeping or house with modern
improvements. Private family. Would
consider rooms and board Tel i0h
, Bennington Hosiery Co. 62tf
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

WANTED.--'rwo men to learn sal s.
r,anship. Salary and comm lss' N Pay
while learning. Apply after t. NJ ,
Ernest l.. Mealcy. l29 North St CATS
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

FOR SALE-SpcGial milk fed roast
ing chickens for Thanksgiving, from
: Ia lbs also fowls. John j. storey,
colgate Road Tel. 1879 62tlS'
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

FOR SALE--An oak library table
Tel 532-M. 62t6
The Bennington evening banner. (Bennington, Vt.) 19??-1961, 1922-11-13

FOR SALE-One grade Shropshire
ram. Elmer G. Elwell. Tel 52i-W,
New-York tribune., 1922-01-29

aspect. They look down from beside
clump of rather bleak trees upon
broad plain with mountains beyond
and starlt sky above. 1t is a strange
panorama. somewhat mixed. But the
tl,ing has the concentrated lovcliness
Of :: brief poem. lovelincss and mys-
telJ.
From the Imaginative pieces in the
exhibition it is decidedly abrupt
transition to the decorative compost
;ions by Mcssrs. Miller. Fricsekc, Olin-
sky and Williams These dwell in a
less rarehcd atmosphere. But they are
clever things. we'll painted. There is a
tour dc force Of technique, by the way,
in Emil Carlscn's arrangement in
Greys.' II contains some exquisite
tones. In the lower room at this gal
lcrv there is a collection of new paint
ings By Mr.. Elliot Torrcy, landscapes,
marines and pictures OF children. He
is a capable craftsman. The children
are we'll drawn. The landscapes are
we'll put together. His work in both
fields, and even moro, perhaps. in the
painting of the sea. suffers from his
addiction TO too pronounced a manner.
Beginning Il foreword to his catalogue,
Mr.. Torrcy says "Painters and poets
cannot create TO order nor work by set
formulr.' Precisely. But then he
proceeds 70 attract attention to some
thing like a formula IN his surfaces
An rritatingly insistcnt mode Of brush
work gives his pigment an unfortunate
effect, as Of having been mechanically
combed. and this manuerism is so
matched by his handling Of color that
the result is disconcertirgly like that
of mosaic. Il makes itself thus felt
in all the paintings and eliminates, as
we have said. in the marines. 1t
leaves the artist an unqucstionahle
richness Of color, but robs him Of
spontancity and true breadth. Hc
seems unconsciously to have stumbled
into tho very pit which. according to
his profession of faith painter should
avoid.
The current exhibition at the Mich
gallery is composed OF works by four
painters. Mr. Y. Ballard Williams,
whose no. altogether we'll advised cx-
ours on into landscape VIC discussed d
short time ago, here returns to the
sylvan scenes enlivcncd By figures in
romantic dress, which have been for
years identified with his name. lie has
won substantial rcputc as a sort OF
American Monticello, less mysterious
but possessing alwaGs & captivating
picturesGucncss lie proves anew that
it is sometimes we'll for an artist to
stick to the thing which he has come
New-York tribune., 1922-01-29

to do best. He has his most sympA~
thctic colleague in Mr. Elliott DANGER
field, who Carries on in his way tho
sumptuous landscape motive of Jnness
and adds to it an element Of poetic
fancy. In contrast to his fcrvid color
schemes Mr.. Bruce Crane exhibits
landscapes notable for thcir cool grays.
Mr.. Granville Smith coltivates II Ger
tnin p!easius and rather supcrhc
saycty of tone. Each OF the four has
four paintings on the walls. The OK
hhit;on IS small and agreeable.
alr. Eric Hudson, at the t'crargil gal
lery. makes there his first "one man"
exhibition in New Yor'. His uo,k has
been new to us in the last two or three
years, and whenever we havc seen it
we have been conscious Of a certain en-.
gag:ng simplicity ard forcc The he-
teen paintings n row presents OF
American waters and fishing boats cor
firm and heighten carl:er Impressions
Hc has composition without avtifcc
He defines his forms Droadl, and at
tho same time With precision. His
paintings Of The sea are rich and deep
IN color. studies in handsome, trans
parent blues. Well composed. his can
vases escape any tam OF artifciaiit.-
Altogether a wholesome, sincere trpc
of craftsman. If he isn't quite as
New-York tribune., 1922-01-29
American Painters
From lnncss and WANT 10 the
Latest Experimcntalist

One Of the best things about the
annual SHOW Of thirty American pic
lures at the Macbeth gallery is the
organization Of the group without
reference to date. Deceased as we'll as
living artists are included. The result
this winter is kind Of "history in
little an exhibition which recalls US
TO the very fundamentals in American
painting. George Jnncss's Summer
Foliage" is beautiful thing to be
brought out OF the past. It shows how
dccp-rootcd is our landscape school,
how long ago We were started in
the right direction. Wyant's Rocky
Ledge" seems a little cold beside it,
but is otherwise clearly OF the samo
noble tradition. A lot of water has
gone under the bridges since then.
The principles Of impressioniSm have
New-York tribune., 1922-01-29
By Royal Cortissoz

The American Academy in Rome Al
rouuoes its annual competition in ar
ehitccture. sculpture. painting. musical
composition and classic studies The
stipend OF each fellowship in the fine
arts is 81, 900 a year for three years. In
classical studies there is fellowship
fer one year with stipend Of $1,000
snd fellowship paying 81 900 a YEAR
for two years. All fellows have opror-
tuaity for travel. and the fellows in
music. who arc required 10 visit the
various European musical centers. re
esisc a. additional allowance TO cover
the expense involved. II the case of
oil fol'owships residence and studio arc
provided at the Academy free of charge.
WITH board at actual cost The awards
Of the prizes arc made after competi-
tions which. IN tisc fine arts. are omen
to. unmarried mcn who are citizcps Of
t4 United States. Entries will<he re-
Owed until March / ard application
Vanks with all information as to con-
ditiors may be. obtained from Roscoe
Guernsey, executive secretary. at 1Of
Park Averur. New York. These condi-
tions prcsu0posc certain measure Of
technica' proficiency on the part Of the
sppleant. lie is rot supposed to 90 to
Ron" tc 'oarr the rudiments Of paint
:'s. SCULPTURE or architecture. The
rr'zos arc rather for picked men who
n@y, through contact with thc monu-
r'en's of Rome and the atmosphere of
the CITY. receive = new stimulus. dcvclop
Their imaginative powers :nd scfue
fhc'r taste. II is as a source of insnjra-
loN in the trucst sense of the term
rat tho Roman Academy makes its an
fea' 10 the ambition Of the Young ar
New-York tribune., 1922-01-29

Clodion until YOU began TO ponder it
more closely and saw that the sorhisti-
Gated balance of the cightccnth century
vas not there. There is. in its place,
She artless vitality os the thing seen.
tho passage from life arrested and re-
stated with the touch of the pitilcss
rcalist
We have noted before how Degas
carried over into these plastic studies
Of his something of tho dry psychology
os his pictorial work Jc is the in
quisitive analyst, pursuing some rec
onditc movement of form and record
ing it for its own sake, not the in
vcntivc devotce Of beauty, weaving a
plastic pattern OF lovclncss. Because
there is both grace and rhythm in
many Of the brorzcs one may be mo-
mcntarily inclined to see in them the
disciple or lngrcs. But fhc impression
is superficial and passes. What remains
is the point Of view OF man for whom
a gesture, q contour. was by itself ex-
citing, a truth interesting because it
was the truth, rooted in life. not be-
cause it had any subjective cnvelop-
mcnt. Looking At the photographs
mentioned above, we recalled the fig
urincs Of Tanagra. wondering if any
thing Of their mood had ever visited
Degas. Looking at the bronzes, We feel
New-York tribune., 1922-01-29

stirring as painter with his talent
ought 70 be it is because he hasn't ye.
bcate, out any thing like style. He
belongs. as it we're. to the race o.
"lnslow Homer, out 10 think Of tina
muster is 10 feel mo1c kecnly The
want OF distinction in Mr. Hudson
work. 1e has everything but that
va; OF painting not only competent bat
distinguished
With MIR. Jonn Marin. wnosc wAtc:'
coiors. oil paintings and ctchings o.
tnc last fourteen years are on eyhibi-
ton at the Montross gallery. the per-
sona' way Of painting runs Wild. Hc Is
de-otcd 70 What orc of the ndmircrc
quoted i. icafet sccornpa nying shc
catalogue calls abstract expire ssion.
We once asked another Of his partisan
TO cxpia:n The source cf his delight N
4 gircn example Of Mr.. Marin's wora.
and the reply was, "N eli. there's =
spottincss.' In the present mass o.
pictures there IS az abundance o.
"spottiacss.' fielding occasionally 2
passage of beautiful color. That is al
for which &c feel indebted to Mr.
Marin. ar occasional passage. For the
New-York tribune., 1922-01-29
De@as in the Role of SCULPTOR

which We reproduced in The Tribune.
we nave had to wait two years and
moro for view Of the sculptures thcm-
selves. but 1t has come Mt last. set.
the first one to reach this country. has
been placed on exhibition at the G,olicr
Club, where tho public may sec jt FREQ
OF charge. There arc other thincs NV
Ucgas II the show There is fasci-
mating collection Of his prints. There
arc pastcls and drawings. among the
latter some remarkable studies from
thc old masters. eloquent of the clas-
slcal temper i'll which he lsborcd in
that carly period marked hy his first
intatu2tcn With the lofty spirit and
the hawless draughtsmanship Of lngres.
But 1T is the group of hronzcs which
makes the unique opportunity upon this
occasion, group Of seventy two pieces.
magniiicently illustrating the masters
hitherto unseen work in the round.
In everything that he did he was An
unsuitable interrogation of form and
movement. Modelling these statue+tcs.
he drew, if anything. closer to
thc expression Of his ideas on these
subjects than he could with the brush.
What were his ideas? Were thev those
OF creative artist or those OF a crafts
man for whom, in Gautier's phrase. the
visible world existed? Just after his
death. when the novelty OF the ligurines
was IN the air. so to say, NJ. Paul Gsell
rose up in LA Renaissance" to pro-
nounce Dcgas are statuGire de oc1ai.
The phrase seems Just, If its implics-
tons are not carried too far. That
pcgas had genius it would be idle to
deny. but thinking Of genius in sculp-
turc ono assumes an element that
would seem to be inseparablc from it.
the element Of design The pc.,~s
bronzes, on the other hand. are the
fruits not OF invention bat Of patient
observation When they possess the
quality OF composition. which is not in
! frequent, it would appear to be acci-
dental rather than intention al. You
would say that ono of his poised dane
crs had the charm Of fCurrc by
New-York tribune., 1922-01-29
Form
Painters Mastery of 1t i'm
Plastic Art

IN the autumn of 1919 VIC translated
ar these columns some os the memories
)of Dcgas which had been communicated
Py model Of his to writer FOR the
(Mcrcurc dc France" Pauline. the
FounG woman cited. posed for him in
|his old age, when. semi blind, he had to
(Tenouncc painting and drawing. con
Renting himself with sculpture. The
Frominiscenccs drew touching picture
Epf him g. he laborcd over his tigurines.
Pc was worried over failing sight. lf
Fh;ngs went on so badly he would have
20 give up even modelling. What would
|hc do with his days He would die OF
|ernui and disgust. What had he done
TO be thus tortured! All his life had
Neen consecrated to his work He had
sought neither honor nor riches
listening to his appeals to high heaven
70 spare him the misery OF blindness.
his model would try to comfort him.
New-York tribune., 1922-01-29

have referred. It is so, too, with the
studies Of horses. In them the vivid,
tangible note Of the racecourse seems
fused with q large dignity that could
only have been added to the bronze
by an artist with the gift Of style. That
is the final touch. cnrich;ag the whole
varied group Of nudes, dancers and
snimals. You SAVIOR the artists truth,
his energy, his skill, but above al! you
SAVIOR his style, his distinction Of line,
his personal touch in the modulation Of
surface. The new page that is unfolded
in the history of his art is absolutely
"of piece With the rest: 1t raises the
New-York tribune., 1922-01-29

that the spirit of 'ranagra is beside the
point We arc not sorry
Drgas is twice as compelling because
'herc is nothing of tradition in HIS
sculpture. but just the actuslity to
which his whole genius was dedicated
And being 4 genius ne reached a h.autv
OF his own. The little torso which Is
placed on the mantelshcl1 in this ex-
hibition is Il good illustration. There
hangs about it tho scnsuous Elumour
OF the anticno. Only it remains. like
All the other pieces in the show, III
tcnscly modern. intensely expressive
OF thSt analytic passion TO which we
New-York tribune., 1922-01-29
His BrOnzes Exhibited
At the Crolier Club

He was not going blind, she would tell
him. Hc was fatisued and the day was
cold. ilner days would find him bet
ter. The thought chcercd him and
fauilne would rciteratc it, The doc
tors, she would say. wcrc bound to tell
him the same thing. He was doing
very we'll for man Of sevcnty-siy. He
worked every DAY. even OF Sundays and
holidays. Younger artists did not
work so hard lie had 4 good appe-
tite and a good digestion. lie slept
we'll and lad no rhoumatism like his
old friend, the collector. Rouart. Dcgas
would laugh and 60 to work. the old
fingers flying as he sang fragment
from "Don Giovanni" The fgurincs
were at once an evaporation and a
JOY. Despite long practice. he was
not an expert in management OF the
sculptors material, and sometimes his
clay would crumble and go awry II
did not matter. Always he returned
with gusto to working in the round.
We had been on the track of those
sculptures Of his for long time. and
seeking information from the person
best qualified to illuminatc the mat
ter. had made inquiry of NJ. Dursnd-
Ruc. His letter may appositcly be re-
produced again:
June :. 1919
"My Dear Mr. Cortissoz:
"It is quite exact that DcCas has
spent a good deal Of time. not only
in tho later years of his lifc, but for
the past fifty years, in modelling
in clay. Thus, as far as ! can re-
member that is TO say. perhaps
forty ycars-whencvcr | called on
Dcgas | was almost as sure to find
him modelling in clay as painting.
He must have made an enormous
number of clay or wax figures. But
as he never took care OF thcm--he
never put them in bronzc-thcy al
ways fell TO pieces after a few years.
and for that reason it IS only the
later ones that now exist.
"Whcn | made the inventory c.
Dcsass possessions found about
ono hundred ard fifty pieces scat.
tered over his three floors in every
poss bic place. Most of them were
IN pieces. some almost reduced TO
dust. We put apart all those that
wo thought might be seen. which
was about one hundred, and We made
an inventory Of them. Out of these
thirty are about valuclcss; thirty
badly broken I'd and very sketchy;
the remaining thirty are quite fine.
They can be cast in bronze. They
have all been intrustcd TO the care
of the sculptor Bartholome. who
was an intimate friend Of Degas,
and III the near future the work
Will be started by the founder,
Hobrard, who viii reproduce them
n circ perduc.
1T is understood that twenty-five
sets OF each statucttc Will be made.
The first set viii be given to the
Louvre. The other sets will be sold.
"Yours sincerely.
o. DURAND- RUEL."
II was possible for us to get some
idea of what the fgurinos were like at
the time this letter was written, study
ing sheaf Of photographs, few OF
New-York tribune., 1922-01-29

stuff Of liic to higher power. through
the play OF that magic which lies
simply III great, individuslized tech
niquc.
New-York tribune., 1922-01-29

due to the high level Of technical
ability that is illustrated, as we'll as
to the senstivcncss of all our land
scape painters. The personal quality
is always fresh and clearly marked
Mr.. Mctcalf's clarity and his fine draw
ing have their place apart; so has the
suave tone Of Mr.. Charles II. Davis;
90 has the pastoral sentiment of Mr.
D. ". Tryon. this time in fresher
key than we have observed in any
thing OF his for long time. These
and other exhibitors have original
things TO say for themselves And
together they make an impressive
New-York tribune., 1922-01-29

Continued on next page,
New-York tribune., 1922-01-29

been add.d unto us. Light has come
in. Witness the subtly vibrating
foliage in Weir's "Return from the
Fishing PATTY Il thing which for
sheer elegance stands alone amongst
his works. Witness tho difuscd lumi-
mostly in Twacht,nan'; "Old House ia
Wintcr' and the sparkle in Mr. ". l..
Mctcslf's "October Afternoons" These
accents were unknown to lnnoss. But
he had the truth which has bccn cur
cornerstone over since hc cane upon
the scene.
There is az oxhilaratiue unity about
The landscrDc group in .his c.hihtion.
New-York tribune., 1922-01-29

harmony The figure painters are like
"isc in perfect form. Their leader.
in respect to design. is Mr. T. ".
Dewing, who is represented hy La
Pcche," the picture TO which we re-
fcrrcd at some length when it ap-
pcarcd at the Corcoran Gallery in
Washington not long ago. 1t is one
New-York tribune., 1922-01-29

Of the most beautifully balanced Of his
compositions and orc Of the richest as
regards color. By Abbott II. Thayer
there is Characteristic portrait,
"Young Woman in White" fine as
piece Of painting and finer az a
pcetiacd Interpretation OF a type A
notable companion for these cunvaseS
is provided in the "Uunter Ct The
Starlands,' by Arthur b., Davies lie
has all astonishing way Of transcend
ins his material. The nude young
huntsman carries modern rife. Itself
inrrins episode. and is accompanied
b. dog o. the most Conversational
Omaha daily bee., 1922-05-28

liatt, Anna Marie MaidmaR. AaRiR
Wright, HaFtsHss AseluRg, Robert
MecluRs. Mary Catherine RsnfaHi
Richard Peterson, lsuellle Cannon,
Grace Reman, Mary Alice REnmssli,
Dorothy Johnson, Rose Cannon,
The North Side Christian church
choir of 40 voices. under the diEser
lloh af Mrs. J, stanley Hiil, will
present the eansata Esther" by
Bradbury. in costume. and with ap=
pEopFlate dramatic action, at the
church, fwsHtysseeond and LalhFap
streets, on Thursday evening. June
90, Airs. Hlll will sing the role Of
Esther, the queen, Af. William A,
fofrey, the king, Mr., John ID, Higr
gins, Mefieeaii AR. John Stewart,
Hamani Mrs, Hersehei Brown,
zefesh. and Miss Emma Jayne Hllr
ton. Mafdieai's sister, The proceeds
10 be used for new music,
Mae Weihefili will present pupils
OF the Eta Ellis teaching system
in piano recital on Monday evening,
May 80, az 4 o'eiack, at Schneider a
Mueiier's auditorium, Those appear"
ing on the program are: Dorothy
Smith. clifton Smith. Mary Hya-
einth. Edward Gilbert Edwards.
Evelyn Wethefill. Fay Walters. Ar
den Bergauist. Jeanette Hoensheil,
John Hauser. Frances Simson Thy
courtesy Of Effle Steen kettlesonl,
Eileen odell. Marjorie Eyens. Lena
Biteon. Fern Smith. Nellie Jensen.
Evelyn Simpson. Ralph Knudsen.
Frances Adams. Dorothy Cooley and
Genevieye Hoensheii.
The Girls Glee club Of the Uni
this week OF their concert |
and pastorale opera, Loves saefi- |
flee" iibretto by David Stevens and |
evening they will sing in Council |
Bluffs at the Thomas Jefferson Hirh |
school. Wednesday evening nj the |
The program which will |
precede the operetta Is:
!. ta1 Little Cotton Doiiy.,.,.,, .dsrbsi /
to- Good Night. Good Night. Beloved
uniysrsiiy Glss Club Mai. ouar,sti
Robert Jenkins. Robert saekst,. David
,Robsl. Harold peissn.
" ,s, % Love IL My Heafi..... Hisii.... .wosdrnsn
lei Where blossoms Grow.
Florence Long Arnold.
!. Minuet .........s........... Mozart
Danced by Helen Cert Kruger. Evelyn
Langhorst. Albertlna Bollm~r Louise
Reese. Directed by Miss II
Else Drews. II
!. ta) June. II
tb) by the Waters OF Minnetonka....
,. ';,;;.;;.''''.''''' Lieu,sncs
te) In IsaY...,.. .boEe
Gertrude Goldman. ii
You and your friends are cordially
invited to attend piano recital
given by pupils OF Alta B. Gillette
It s:l5 o'clock at South Side Library
,all, June |. 1922. She will be as
listed by Helen Knollenbery (read-
Omaha daily bee., 1922-05-28
No More MOries
for Mary Garden

Mary Garden never expects 10
make any more motion pictures,
The late director OF the Chicago
Grand Opera company. who once
took a fling Al motion picture acting.
In the title role in Goldwyn's pic.
turiza,ion OF "fhais," said so when
she visited the Goldwyn studio and
watched her old friend. Rupert
Hughes. direct Colleen Moore and
Antonio Moreno in The Bitterness
OF Sweets"
Miss Garden declares. however.
,ha, she regards the screen as vaiu-
able medium OF expression and well
comes the rapid strides !, is making.