Word: criticizing
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...most powerful art critic in the world is Adolf Hitler. Like many of his tribe, Critic Hitler was himself once an unsuccessful painter. Like all critics, he takes his art very seriously, considers himself pretty knowledgeable. Not only does he know what he likes; he is able to banish from sight in the Third Reich everything he doesn't like. There is a lot of art he doesn't like: 1) the highly individualistic sort (spattery impressionism, cubist geometry, African-influenced neo-primitives, Freudian surrealist nightmares) that made Paris the artistic capital of the pre-war world...
Since the 16th-Century days of Albrecht Dürer, art has not been Germany's strong point. But Critic Adolf, who like Philosopher Oswald Spengler strongly believes that art is a measure of national vitality, has insisted that Germany's artists, like Germany's women, create prolifically for the Fatherland. Three weeks ago, a month after Critic Hitler had taken a tourist's view of Paris' half-empty Louvre Museum (TIME, July 8), Deputy Führer Rudolf Hess opened in Munich a huge exhibit (1,397 paintings and sculptures by 741 Germans) showing...
...final chapter, Second March, Critic Brooks forecasts a second flowering of New England. He sees its seeds in the life and works of late great Poetess Amy Lowell, Conrad Aiken, Edna St. Vincent Millay, Eugene O'Neill, and especially Robert Frost, whose function, thinks Critic Brooks, is "to mediate between New England and the mind of the rest of the nation." This chapter reads like an afterthought. Critic Brooks's task was finished before he wrote it. His task was to create an intellectual tradition that could feed the newly emerging U. S. cultural nationalism...
...Critic Brooks's problem was to put in place of this traditional culture of the soil, mortuary and ancestral, the only thing that could take its place - the legend of an outburst of native thought, fertile, intense, creative, a mythology of minds. He found it in the flowering of New England...
...decline of New England was just as essential to the completeness of this legend. The twilight of authentic gods is grand rather than gloomy. The greatness of the New England mind was authentic and the best guarantee of its later revival. Wrote Critic Brooks: "The goldenrod rises again in its season, and the folk poem recovers its meaning when the heart of a nation, grown old, returns to its youth...