DGHM 110: Introduction to Digital Humanities

New York Herald_1902

Small magazine article on white paper. Written in French. Appears to have originally been printed in a Paris publication, then reprinted in the New York Herald. First paper in English is "The New York Herald," The article below in French: "Exposition./ Mlle. Meta Warrick, une jeune artiste americaine, qui expose en ce moment quel-ques-unes de ses oeuvres aux galeries de l'Art Nouveau, chez Bing, rue de Povence, semble etre hantee par une esthetique mouvementee tres moderne, dont la formule est evidemment due a cette ecole, dont le chef inconteste est le grand sculpteur Rodin Dans une vingtaine de petits platres, Mlle. Warrick aborde le mouvement humain sous ses formes les plus diverse avec une surete de main qui est presque d'un maitre, mais si la vie et la force humaines y sont completement representees, je dois constater a regret qui l'agreable beaute physique meme en son expression la plus simple en est absente. Il semble que l'artiste ait traduit toute son oeuvre en un groupe initule "Les Malheureux," qui indique chez son auteur une puissance et une originalite de premier ordre. Dans une oeuvre plus haute, "Le Mauvais Larron," l'article a aborde avec audace un grand morceau, dont l'execution est remarquable, mais ici encore leel a outrepasse, il me semble, les limites de la laideur humaine dans l'expression si violente qu'elle a donnee a son modele. Paris, Dimanche 10 Aout, 1902" In English: "Exhibition./ Miss. Meta Warrick, a young American artist, who is currently exhibiting some of her works at the Art Nouveau galleries, at Bing, rue de Povence, seems to be haunted by a very modern aesthetic. , whose formula is obviously due to this school, whose undisputed leader is the great sculptor Rodin. In about twenty small plasters, Miss. Warrick approaches human movement in its most diverse forms with a surety of hand which is almost of a master, but if human life and strength are fully represented there, I must note by regret that the pleasant physical beauty even in its simplest expression is absent. It seems that the artist has translated all his work into a group called "Les Malheureux," which indicates in its author a power and originality of the first order. In a higher work, "Le Mauvais Larron," the artist daringly tackled a great piece, the execution of which is remarkable, but here again feel has overstepped, it seems to me, the limits of human ugliness in the art. She gave to her models expression so violent. Paris, Sunday August 10, 1902"

Eph1.41.45

J. Mellet, "Exposition," New York Herald, August 10, 1902

1902