Word: artiste
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Dates: during 1920-1929
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...florins, complacent, succulent, they swim in the glory that is grease; worshippers, gazing upon them in the Grand Central Galleries, thought of the famed eggs of history−of Humpty-Dumpty, of the egg of Columbus, even of the fabulous, the cosmic, Egg. For this is the magic of Artist Fechin. He is a superb technician. His command of brushing, of absolute color, is masterly. He deceives the eye, some- times for a minute at a time, into mistaking for a great painting a work which is in reality "no more creative than a virtuoso's playing...
...Tetrazzini's fame did not need much advertising, that she could command tall rates, but that she should not cheapen her voice by distributing its silver tones over the radio as she did recently (TIME, Mar. 23). Said Tetrazzini: "I don't agree that broadcasting ruins an artist's con cert value or affects her popularity...
School for Wives. Leonard Merrick wrote a novel called The House of Lynch. Stripped of Mr. Merrick's literary insulation, the wires of the plot seem a bit bare and shiny. Struggling artist, rich wife. He won't take her money; she goes home to papa. She is lonely; gives away her money, returns to struggling artist...
Said the late Willard L. Metcalf, famed artist (TIME, Mar. 23), in his will: "I instruct my executors to destroy any paintings which, in their judgment, they may deem for the best interests of my estate to have destroyed." Accordingly his executors, Architect Charles A. Platt, Illustrator Wallace Morgan, Art Dealer Albert Milch, last week burned 17 pictures which they regarded as below his best standard, set aside 12 others for future destruction. No adolescent attempts, experiments, unfinished work will mar the reputation of Artist Metcalf, as they do the fame of so many artists, musicians, writers...
Last week, the Paris Society of Independent Artists opened their annual exhibition. As has been the way wherever Independents are hung, there are exhibited types of the bizarre, the raffish, the grisly. Prominent in the Paris exhibit was a canvas by Gerald Murphy, Boston artist, which took first prize for the most unusual work. This, a "mechanist" depiction of a watch, appeared to the uninitiated to be a nightmare of wheels, ratchets, gagets, dials, cogs, cotters, springs. Students of modern Art, however, criticized it because it revealed too much preoccupation with the actual mechanism of a watch, instead of considering...