Word: barre
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...first time in four years, Montgomery Ward & Co. marched back into the nation's most select business club last week, proudly took its place among the 30-odd U.S. companies with sales of $1 billion annually. In 1956, announced Chairman John A. Barr, Ward's sales totaled $1,045,767,458, up 7.8% for the year, and earnings edged forward to $35,844,479. Later in the week Barr and his management team showed one of the reasons why. In Portsmouth, Ohio, they snipped the ribbons on Ward's first new retail store in the U.S. since...
Both sales and store highlighted Ward's fast comeback under John Barr, 48, who took over the company after crusty old Chairman Sewell Avery surrendered his one-man rule two years ago (TIME, May 23, 1955). As boss. Barr's first move was to recruit a new force of officers; he gave them a stock option plan as incentive, equipped them with real, independent authority and then set to work on a new-look for the company. In quick succession, Barr formed a new department to pump life into merchandising and displays at Ward's 562 retail...
...modern art" (in Paris) and ''one of the most influential painters of the postwar period" (in Germany). In the U.S., where Hartung is having his first one-man show at Manhattan's Kleemann Galleries, the Museum of Modern Art's Director of Collections Alfred Barr Jr. calls him "perhaps the best master of calligraphic abstraction." Hartung himself is more laconic. Asked by a Parisian art critic to describe how he painted, he replied: "I draw lines...
This considered opinion came from no Soviet pressagent, but from Alfred Barr Jr., director of collections of Manhattan's Museum of Modern Art, who took advantage of last spring's cultural thaw to go to Leningrad for the Hermitage's first big display of French painting. Beyond the show, Barr was permitted to see an astonishing cache of modern art stored away out of sight...
...Abstract Impressionism." The Monet revival is one case where painters led the critics. Young artists, moving from the geometric form toward nature, suddenly found an inspiring kind of abstraction in Monet's late work. Museum of Modern Art Director Alfred Barr admits that he once thought Monet "just a bad example." today has deep admiration for the vigor of his brushwork, his near-abstract paintings of nature, and his suggestive ambiguity of object and reflection.* Putting the final stamp of approval on Monet for the avant-garde is Manhattan Critic Clement Greenberg, who in praising Monet's "free...