Word: artfulness
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Dates: during 1930-1939
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...Pictures are too ephemeral in time and material to create an art. The test of an art is endurance. . . . The films have as much chance against the Theatre as a celluloid cat chasing an asbestos rat through Hell...
...citadel of priceless antiquities and such Old Masters as only millionaires can buy, Manhattan's Metropolitan Museum of Art was long regarded as a costly tomb in which no contemporary art could live. A fund of $150,000 was established by the late George Arnold Hearn, who subsequently added another $100,000 in memory of his son Arthur Hoppock, to change all this. In the past ten years 85 paintings by living U. S. artists have been bought by the Metropolitan. Last week a significant addition to this catalog was announced: an oil by William Gropper, oldtime cartoonist...
Because the paintings of Pierre Auguste Renoir are not only great but pretty, as he once said paintings should be, few years go by without a new Renoir exhibition in Paris or the U. S. In 1933 the Chicago Art Institute included a fine roomful of Renoirs in its Century of Progress loan exhibition, and two years ago the Durand-Ruel Galleries showed 30 choice canvases in Manhattan (TIME, March 25, 1935). Last week the most comprehensive U. S. exhibition of Renoir since the painter's death in 1919 drew hundreds of Manhattanites to the Metropolitan Museum of Art...
While the Cinema has been growing up as industry and art, the movie press has signally failed to keep pace with it. That the Cinema deserved, and the literate portion of its U. S. public would welcome, something more than tradepapers, highbrow snippets and vulgar fan magazines, has long seemed obvious. This week on U. S. newsstands appeared 52,000 copies of the first substantial effort to supply this demand. It was Cinema Arts, a FORTUNE-sized, 50?, slick-paper magazine, published by Albert Griffith-Grey, younger brother of the oldtime cinema director, David Wark Griffith...
...Cinema, Arts will "attempt to do for the Cinema what FORTUNE has done for Industry." Its credo is "That . . . more than any other form of art expression, the Cinema reflects and interprets the changing moods, fashions and philosophies of the times." Its hope is "to 'freeze' on paper something of the fleeting beauty of the films. . . ." That Cinema Arts' hope was completely realized by its first issue last week was debatable. Much of what it had frozen on its 90 pages, well-cushioned with advertising at both ends, was routine pressagent photography. But the textual interpretations...