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BETWEEN the U.S. Civil War and World War I, American painting was as vigorous and diverse as at any time in its history. Such artists as Eakins- Ryder, Inness and the young Glackens ranged across the field of art, from dreamy romanticism to meticulous realism. As Part II of its retrospective look at U.S. painting, TIME presents these four masters from the middle years of American history (see color pages). Their paintings are included in a show of American pictures from the Brooklyn Museum, on view this week at Manhattan's Knoedler Galleries...

Author: /time Magazine | Title: Art: THE MIDDLE YEARS | 5/3/1954 | See Source »

...discreetly as a combined effort of Italy's De Sica-it was his first English-language movie-and Hollywood's David O. {Gone With the Wind} Selznick, husband of Jennifer Jones. Selznick supplied the stars, script and money, De Sica the unblinking eye for "neo-realism." But the effort never moved very smoothly: De Sica, who likes to use nonprofessionals in his films and speaks poor English, frequently found his American stars hard to deal with. The original Italian script was worked over successively by American Authors Carson McCullers, Paul Gallico and Truman Capote...

Author: /time Magazine | Title: Cinema: New Picture, Apr. 26, 1954 | 4/26/1954 | See Source »

There is something so authentically unpleasant about the characters that the play might have some value if it aimed at realism. Aiming as it does at entertainment, it merely proves the shoddy road that can be traveled in the quest for laughs. Anniversary Waltz fetches a laugh, now and then, at the expense of such sitting ducks as TV and progressive schools...

Author: /time Magazine | Title: The Theater: Anniversary Waltz | 4/19/1954 | See Source »

...stranglehold which realism has on the modern theatre is leading to the deterioration of drama, acting, and imagination, John Burrell told a scant audience at New Lecture Hall yesterday...

Author: NO WRITER ATTRIBUTED | Title: Burrell Deplores Excess of Realism; Calls for Repertory Theatre Here | 4/15/1954 | See Source »

When Fresnay, the script, and the photography are at their best, some splendid scenes result. A galley episode, in which the priest rushes down to relieve a fainting oarsman, provides the film's most exciting moment. The photography by Renoir, done almost over-zealously in the French style of realism, finds most of the 17th century poor either consumptive or deformed. This grimness underscores the need for a saint, but an occasional glimpse of healthier and happier peasants might have brightened the realism of a vividly performed script...

Author: By Dennis E. Brown, | Title: Monsieur Vincent | 4/14/1954 | See Source »

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