Word: artfulness
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Dates: during 1930-1939
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Chiefly self-made experts who slid fortuitously into their roles, Broadway's critics wield a power shared by no like number of men in any other art...
...Society of Illustrators neared the end of a month of sober lectures by technicians including non-illustrators Yasuo Kuniyoshi and Reginald Marsh. At the swank Park Lane its members reveled until dawn in gay costume at their annual "Bal Scramboree." And at the Grand Central Fifth Avenue Art Galleries the society put on its 37th annual exhibition, prefaced by a defensive program note. "These men are first-class craftsmen in a most difficult field," it said defiantly, "but the art critics and the plush carpeted galleries know them...
Even the plushiest art critics agree: that since the time of Winslow Homer and Frederic Remington, U. S. magazines have easily led the world in the quality of their illustrations; that the financial success of illustrators has drawn much talent which in another country might have gone into non-commercial art; that all illustrators, even the most original, are inveterate swipers from every source; that magazine illustration in the U. S. has developed in about four broad styles...
Broadcloth Boys. Immediate granddaddies of one contemporary school were the American pre-Raphaelite Edwin Austin Abbey and the Romanticist Howard Pyle, both august figures around Manhattan's mellow Century Club in the 1890s. Pyle, later joined by his star pupil, N. C. (Newell Convers) Wyeth, founded an informal art school at Wilmington, Del., where young Pyles and young Wyeths still make most of the art news (TIME, Nov. 15; 1937). Abbey's Tennysonian women and Pyle's nut-brown heroes haunted subsequent illustrators in oil. So did their love of historical romance. One of their stylistic descendants...
...night last week, while she was being loaded at her dock in Le Havre with art treasures for New York's World's Fair, $15,000,000 in gold for American depositories, fire struck France's third largest ship again. Because the Sûreté Nationale had been warned by an anonymous letter writer that saboteurs were out to sink French Line ships, because fires have become too frequent on French ships to be accidental, Frenchmen felt positive that the burning of the Paris was the work of foreign agents who do not want her used...