Word: artful
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
...field below, a good Harvard team, still badly shorthanded because of injuries, was putting up a game fight against a superb Cornell squad. But the grandstand quarterback didn't see it that way. First he started working over the coaches, as if he expected Art Valpey to rush off the bench and single-handedly half the Big Red tide. But when the Crimson made a good gain on a tricky play, the coach never got credit for devising the play and teaching the team how to execute...
Dangerous Company. Gallerygoers inspecting the 81 paintings could plot Alfred Maurer's uneasy and significant course through the first stormy years of this century. Starting as a cigar and soap-label designer in the '90s, Alfy decided by the age of 30 that art was more important than a good living; he lit out for Paris. Soon he was painting competent, easy-to-take hybrids of Sargent and Whistler, and with them winning prizes and acclaim. With An Arrangement, a low-keyed study of a girl in shirtwaist and skirt kneeling on an oriental carpet, he pulled down...
...revolutionary company. At Gertrude and Leo Stein's famous Saturday evenings, he met some of the pioneers of modern French painting. Around Paris he caught glimpses of the work of les fauves, the "wild beasts"-Matisse, Rouault, Dufy, Derain -whose daring compositions and brilliant colors were setting French art on its ear. His own academic interiors and portraits looked drab and uninspired by comparison. In 1904, renouncing his old formal ways, he flirted with impressionism and became the first U.S. artist to follow up the experiments of les fauves...
...abstractions had brought him general recognition as a pioneer in modern U.S. art. But for Alfred Maurer himself, the recognition came too late. In 1932, after he was past 100, Louis Maurer died and Alfred moved down from his crowded back room to his father's large, airy quarters. In two weeks, apparently overwhelmed by a sense of failure and loneliness, he went back to his hall bedroom and hanged himself...
Because of Fascist art censorship, 43-year-old Viani had never dared show his radical variations on the human form before 1945, although for 16 years he plugged away at them in the privacy of his Venice studio, smoothing their voluptuous plaster curves with wire brushes. At the end of World War II, he brought his work out into the open for the first time, won recognition at the big Venice Biennial show last year...