Word: artes
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Dates: during 1930-1939
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...noteworthy that few of these other men of the year would have been free to achieve their accomplishments in Nazi Germany. The genius of free wills has been so stifled by the oppression of dictatorship that Germany's output of poetry, prose, music, philosophy, art has been meagre indeed...
...self-made architect who got his schooling in offices, Timothy Pflueger is all for "Pacific Architecture" as a reality, believes "it's too damned bad we didn't have the Oriental influence on the coast instead of the European.'' As President of the San Francisco Art Association, he staged, from 1934 to 1937, the hugest. most exotic super-de Mille costume balls in San Francisco's history. For the Federal Building, however, he produced a fine, occidental job of economy, stateliness and rational planning...
...immortal. The bestialities of the last War were likewise excoriated by German Artist George Grosz. But not often in history has a regime officially at peace stirred an etcher to the anger and disgust shown in a portfolio to be exhibited early this month at the Baltimore Museum of Art. Entitled Ecraser l'Infàme ("Crush the Infamous"), these etchings are by a 33-year-old Austrian, Baron Rudolf Charles von Ripper, an "Aryan" and devout Roman Catholic, who, in the winter of 1933-34, spent three and a half months in a Nazi political prison...
Four weeks ago when the Boston Bruins sold Goalie Tiny (180 Ibs.) Thompson to the Detroit Red Wings, Boston hockey fans moaned into their mufflers. "We had the best goalie in the world," they grumbled, "and Manager Art Ross sells him for $15,000!" Last week the moans turned to cheers. The rookie who had been raised from the Bruins Providence farm into Goalie Thompson's post had brought the Bruins six shutouts in seven games, had made Boston the frosty focus of the hockey world...
Says Biographer Monrad-Johansen: "In following Grieg's development it becomes evident that musical feeling in Norway, though of an abundant richness and variety, lacks the technical resources . . . necessary for expression in the form of 'art' music. Grieg shows how far this unique material can be dealt with by a technique with which it has indeed some features in common but which in important respects has a restrictive rather than a liberating effect upon...