Word: painting
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Dates: during 1940-1949
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...Foujita abruptly turned his back on all that and took off for Tokyo; he was afraid the Germans would bomb Paris. When the Pacific war came he was conscripted to paint combat pictures at $33.76 a month. Among the most popular was Raid on Pearl Harbor, done from an aerial photograph. He was bombed out of his Tokyo studio; his black bangs turned to silver. At war's end he shipped a show to Manhattan (TIME, Sept. 8, 1947) to raise money for a trip...
Little did Cooper know what he was in for. The need to paint nothing in a know-nothing way grew on him day by day. He began getting up at 5 a.m. to start "work" on his pictures (abstractions done in watercolor, brown ink and pasted scraps of paper). To keep his art "automatic," he read the Book of Psalms while his hands did what they pleased. He became a vegetarian ("I don't think I could have worked so long on roast beef") and, what was more important, he found a dealer. Cooper's labors, on exhibition...
Italian politics have quieted down since the critical elections last year, but the marks of the fracas are everywhere. The Communists apparently cornered the nation's white paint supply--every available wall space is still daubed with "Viva Il Partito Communisto" and the slogan "Peace, Work, and Liberty." ECA, which is financing reconstruction projects all over Italy, has cashed in on the party line. Its slogan is "Peace and Work...
...prizes, awarded by a conservative, three-man jury, went to expressionists, i.e., people who paint what they feel instead of what they see. Philip Evergood, 47, took second prize with a vaguely political parody of a mythological theme: Leda in High Places. Leda and the swan (which Evergood intended to represent "nature" and "man's ideals") were elegantly drawn and painted to shine like new snow, but the picture fell apart at the top and degenerated into cartooning at the bottom. Leda's just-hatched twins were cast as symbols of race-hatred. The prize they fought...
...background is another dramatic period of U.S. history: the fierce Indian uprisings that followed Custer's last stand. But despite hordes of hopping-mad Cheyennes in full war paint, there is not a first-class Injun fight in the whole film. For some unaccountable reason the hair-raising possibilities of authentic history have been submerged in the muddled and often maudlin story of an overaged cavalry officer (John Wayne) in a U.S. Army outpost. More unaccountably, the paste-pot yarn was put together by two veteran scripters: Frank Nugent and Laurence Stallings...