Word: artist
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Dates: during 1920-1929
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...talent. A black man with talent might find a patron, but only because he was black. Palmer Hayden, Negro, found no patron. He washed windows for a living, painted scenes that he rememberednished pictures and two sketches, they depicted the Holy Land he is held, pretending to be an artist? The critics may have been right. Mr. Cornwall's work has a facility that keeps it from being important. He gets huge prices for his commercial work. His career is significant because it is a career typical of this country, and of the demands of business upon...
...Eisenstein, striving religiously to make his film the drama of a group, almost permits one character to emerge as hero. Such an effect would have ruined the general scheme, yet so keenly does the need for individual enterprise make itself felt, in even a glorified crowd, that the proletarian artist must give it at least grudging recognition...
...survive. He predicts a "cataclysm." He cries in the night, with the language of Thomas Carlyle and the tone of Ecclesiastes, for a "master man," a hero to worship and to lead. "Religion lacks its Pentecostal tongue; art lacks the Pentecostal flames of divine inspiration." Woe to the artist-one can see Mr. Cram as a boy, looking into his devout father's big illustrated family Bible-woe to the artist that fails to "serve God through the serving of them that He made in His image and redeemed in the darkness and the thunderings of Calvary." The ministry...
Married. Ralph Barton, 35, artist, caricaturist; to Germaine Taillefere, 34, French composer; in "a small Connecticut town," following three weeks' acquaintance. This was his fourth marriage. He met his wife at an Alfred Knopf soiree; courted her in French. Anita Loos, whose Gentlemen Prefer Blondes Mr. Barton illustrated, was a witness at the marriage...
...ideal in the lace of all handicaps. As a soldier in Africa for the first part of his life, and then for many years when he struggled to sell his paintings as best he could he was face to face with that great problem of many an artist, the problem of the empty pocket...