Word: marc
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...cosmopolitan crowd of Manhattan art-lovers trampled each other's elegant toes last week to see an exhibit of paintings by Marc Chagall, one of the least known (in the U.S.) of important modernist painters, the man for whom the word surrealist was first coined...
...most gallerygoers the art of Marc Chagall has always been a good deal of a riddle. The puzzle began when Painter Chagall rushed from St. Petersburg to Paris with a canvas showing a decapitated milkmaid floating in an emetic sky while a pink cow was suckled by a pair of pea-green apes on a Russian rooftop. Paris was baffled. Even the Left Bank was slow to understand that Painter Chagall's graphic defiance of the laws of physics and biology was the work of a deeply religious, idealistic young Jew who was merely recreating from his imagination...
...Today Marc Chagall says of surrealism "Not for me." A hater of realism as well, he refuses to be joined by any artistic school. He will not even discuss his own work. "Monsieur," he says in his dense Vitebsk French (he speaks no English), "l'art est comme l'amour. If your wife is ugly, you do not talk about her looks. If she is beautiful, they speak for both...
...this the war wasn't entirely to blame) not a single new show deserved to be a hit. Comedies, farces, fantasies—the theater of entertainment and escape—showed as little merit as the theater of ideas. Big names—John Steinbeck, Maxwell Anderson, George Kaufman, Clifford Odets, Ben Hecht, Marc Connelly, Paul Vincent Carroll, Emlyn Williams—revealed all the ineptitude of nonentities. During the entire season, not one U.S. playwright produced a good original full-length play of any kind. No playwright of whatever nationality came out with a good drama. There was too much luckless trying to read...
...acts are taken from the files of the U.S. Senate Civil Liberties Committee. Producers Leo Hurwitz and Paul Strand have dramatized them in sequences bound together by straight documentary interludes, highlighted them with perhaps the finest spoken commentary (Paul Robeson) ever recorded on celluloid and an effective musical score (Marc Blitzstein) accompanying the Robeson songs. The result, better as episodes than as a whole movie, is a shocking, stinging picture whose realism could never have been achieved in soft-stepping Hollywood...