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Harvard and Radcliffe participants this summer were Polly T. Bart '65, Jonathan S. Friedlaender 2L, Nancy L. Hirschland, Mrs. Sherry M. Lattimore, Peter B. Machinist '66 and John G. Pedley...

Author: By Alan Daly, | Title: Harvard-Cornell Archaelogists Unearth Initials, Tomb of 700 B.C. King Gyges | 11/13/1964 | See Source »

...Father. Lionel Bart, composer of Oliver, is also at his best in a new musical called Maggie May. Maggie is a Liverpool strumpet, played with unbuttoned excellence by Rachel Roberts. She dreams of the day when her First will come home. He is a sailor, and when he does return, he becomes a dockside agitator and strike leader, as his father once was-a hazardous occupation that results in his violent death. Kenneth Haigh, who was the original Jimmy Porter in Look Back in Anger, is just right as the hero. Bart's music is beautifully done-"edging towards...

Author: /time Magazine | Title: Theater Abroad: The Lights of London | 10/9/1964 | See Source »

...strike bid fair to be both bitter and protracted. The pressmen who had walked out were not negotiating at all. The two papers, which have kept editorial hands busy at make-work, by week's end were proposing two-week vacations for all salaried employees. Said Bart Piscitello, president of the Detroit pressmen's local: "We're planning on a long strike...

Author: /time Magazine | Title: The Press: Battle Lines in Detroit | 7/24/1964 | See Source »

Oliver's Lionel Bart helps the pacing with a haunting musical score, and the opening titles would win an Academy award, if Oscars were given in that category. The special effects department deserves particular credit, notably for the helicopter and motorboat sequences. All in all, you can't miss by seeing this picture. It's the closest thing to academic nirvana since Dark Passage...

Author: By Charles S. Whitman, | Title: From Russia With Love | 5/14/1964 | See Source »

...Mondrian met Bart Van der Leek, whose work (see opposite page), though sometimes representational, dealt with pure colors in flat planes. They tried to remove the traditional moat between the picture and the viewer. Mondrian's late paintings can be seen as the visible imprint of an invisible pattern surrounding the viewer. Even the walls of his stark studio were hung with movable panels that he rearranged to suit his desire, in effect making the studio a spatial work of art. Van der Leek used white in his work not as background but as space that separated his flecks...

Author: /time Magazine | Title: Art: Back in Stijl | 5/8/1964 | See Source »

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