Word: artfulness
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Dates: during 1930-1939
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...World's Fair tripper, taking art on the run, could hardly ask for anything more panoramic. Ranging from tame portraits of young girls to woozy, crawling abstractions, from genteel sculptures in baby-blue plaster to great blocks of stone, from Christmas-cardy woodcuts to elusive black-and-whites, the show represents all trends, tastes, techniques. A few exhibits, with their wavering lines, naïve perspectives, jumbled colors, may invite perplexed comparison with little Hilda's fourth-grade drawings. But there is not enough surrealism to bite beholders. Many things in the exhibition treat in some...
Years ago plump, round-faced Josephine Hancock Logan and her husband set up annual awards for Chicago's famed Art Institute. Grieved by the "modernist" paintings which walked away with the prizes, Mrs. Logan four years ago declared war on her own awards, founded the Society for Sanity in Art, Inc. Last week, at Chicago's Stevens Hotel, the Society came of age with its first national exhibition. Mrs. Logan turned up early, dressed in pink lace, pink gloves, diamond and emerald bracelets, a hat of feathers and flowers. While an eight-piece orchestra played her favorite tunes...
...hotelman in Europe, had given his name to 19 farflung hotels. In Manhattan last week arrived his widow, Madame Cesar Ritz, 72, who still helps run the Ritz in Paris. Mme Ritz had come to see the World's Fair, survey the latest American hotel methods, master the art of preparing ice cream sodas, which "we do so badly in Paris." She stayed a few days at the Waldorf, then moved on to the Ritz-Carlton...
...petition contends that the Art projects ought to be continued despite the charge that they involve very few people; the signers of the petition believe that the reason Congress might abolish the Art projects is because a relatively small number of people are interested in the actual work and because the work itself is not a pressing necessity...
Contemporary German art on exhibit in the Germanic Museum comprises one of the most startling and diverse collections that has been presented in Cambridge this year. The group as a whole will provide ample food for thought in a surprisingly forceful manner for anyone interested in deciphering the hieroglyphics of contemporary European trends in art. Obvious lack of feeling is the essential characteristic of most of the pictures. But in place of deep and reverberating content, harshness and vigor often bordering on sensationalism is found. Head of a Woman, by Nolde, a blatant example of art at its lowest point...