Word: artiste
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Dates: during 1920-1929
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...drawings may be for the world of art in general and for the Tate Gallery in particular, this destruction must come in a certain sense as a bore for all who may possess specimens of the master's work in their collections. The destruction of the work of an artist must multiply the value of those works which remain. Philatelists have been known to destroy one of two specimens of a given stamp in order to double the value of the remaining one. Possessors of Turner's drawings are spared this...
...prone to believe, however, that those who own remaining drawings by Turner would feel a very real regret at the loss of the bulk of the artist's work, in spite of the pecuniary advantage to themselves. They will undoubtedly cling with anxiety to the straw of hope held out by experts that perhaps the major part of the Tate collection was not destroyed...
...recent issue of the Lampoon there was a cartoon--intentionally ridiculous of course--which depicted the Main Reading Room of Widener Library as it would appear on January 3, 1928. Every seat was vacant and cobwebs adorned the walls. Just how humorous he really was, the artist doubtless had no idea--assuming that humor is an exaggerated perversion of the truth. January 3, 1928, came and Widener's halls were comfortably filled. There appeared to be on difference in routine from post-holiday attendance in other years. And yet a remarkable change had been and still is being effected...
...latest number of the Burton Roscoe-ized Bookman the eminent Mr. Benchley, critic of "plays, skating rinks, and the more refined night clubs", dwells at length on what he deems the "best theatrical performance of the month"--the month being November last, and the artist being the young gentleman from New Haven who entertained some fifty thousand people with his convivial antics. This feat avows the self-confessed humorist, was tremendous; and only the captious will counter with...
...worked with brush and palette at Port-au-Prince, painting in the streets, his models picked from among passersby, Artist Perfielieff became conscious that his work aroused not merely interest but indignation. What Metropolitan critics Would see as dazzling, grotesque or smartly degenerate the Haitians saw as libels on themselves. Finally the editor of Le Novelliste (Port-au-Prince) thundered: "If there existed a leper settlement, or sanitarium for paralytics, it is certain that this painter would probably go there in search of Haitian specimens. We suspect him of being one of those floating timber revolutionists that Russia has scattered...