Word: criticism
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Dates: during 1930-1939
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...three years, with the collaboration of the Associated American Artists, Art Critic Thomas Craven has been sorting 2,500 U. S. lithographs and etchings into a big heap of rejections, a little heap of selections. His little heap appeared last week as a book* containing 100 (10 in. by 13 in.) black & white prints by such top-flight U. S. artists as Thomas Benton, John Steuart Curry, Boardman Robinson, John Sloan, Grant Wood, for the first time brought together the most significant black-&-whites by outstanding U. S. artists in a handy, inexpensive form. Thoughtfully, the publishers perforated the binding...
Most effective critic of the peace ship's travels was a young Philadelphia Public Ledger reporter on board who brilliantly lampooned the pacifists' daily quarreling. He was William Christian Bullitt, now U. S. Ambassador to France...
...people except that they allowed themselves to be ruled by a Nazi Government" (see "White Papers" p. 38). But Prime Minister Chamberlain did not say what the House had nerved itself to hear, that Britain had declared war. Before Mr. Chamberlain left he spoke to Winston Churchill, usually his critic, always his rival, occasionally his enemy. Said Mr. Chamberlain to Mr. Churchill: "I would be most grateful if you'll help...
...librarian of Windsor Castle in 1930 dropped in the hands of 27-year-old Kenneth Clark the job of cataloguing the King's collection of Leonardo da Vinci drawings, a rich artistic province was bestowed on an obscure subaltern. Clark's qualifications consisted mainly in the esteem of Critic Bernard Berenson (TIME, April 10) and two years of work with him in Florence. But with the job went a sure succession of official honors for tall, personable, athletic Kenneth Clark, and publication of the catalogue made him in due time the foremost modern authority on Leonardo da Vinci. Fortnight...
...friend, Critic Edmund Gosse, Baring sent a telegram: "Maurice Baring passed away peacefully this afternoon." At Gosse's Marsh heard Artist-Writer Max Beerbohm explain the diminutive figures in William Orpen's pictures: because Orpen was so short. "He sits down to paint, and says, 'Now I'll do a tremendously big fellow, I should think about five foot...