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Word: chiricos (lookup in dictionary) (lookup stats)
Dates: during 1980-1989
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Usage:

...Chirico went up the middle on a well-exucuted trap for a quick 22-yard gain. Two plays later, Santos scrambled from the 14 to within inches of the Harvard goal line, and Chirico took it in from there. The extra point put the hosts...

Author: By Bob Cunha and Nick Wurf, SPECIAL TO THE CRIMSONS | Title: Gridders Earn Come-From-Behind Victory | 9/21/1985 | See Source »

...Lions just missed their third touchdown of the afternoon when a wide-open John Pennywell let a Santos flare pass slip away, but Chirico came back on the next play to bull the ball to the Harvard 1-yd. line...

Author: By Bob Cunha and Nick Wurf, SPECIAL TO THE CRIMSONS | Title: Gridders Earn Come-From-Behind Victory | 9/21/1985 | See Source »

Rushing Att. Yds. TD Long Mitchell 18 77 1 16 Henderson 1 8 0 8 Murphy 5 2 0 11 Chirico 2 4 0 3 Santos 6 14 0 6 Gonzalez 5 2 0 2 Totals 37 79 1 16 Receiving No. Yds. TD Long Francesconi 2 21 0 18 Mitchell 5 43 1 13 Upperco 6 126 1 65 Milam 1 2 0 2 Henderson 1 13 0 13 Garrett 1 12 0 12 Totals 16 217 2 65 Passing Att. Comp. Int. Yds. TD Santos 19 12 1 161 2 Murphy 6 4 1 56 0 Totals...

Author: NO WRITER ATTRIBUTED | Title: Harvard-Columbia At-A-Glance | 9/24/1984 | See Source »

Thus La Pittura Colta: the revenge of late De Chirico on modernism. A decade ago, nobody wanted the historicist kitsch that Giorgio de Chirico, the master of metaphysical painting who became the laureate of Fascist taste, produced after 1925. Today his work goes for big prices and is assiduously promoted. It is therefore not surprising that the Biennale should devote several rooms to him. However, the qualities of La Pittura Colta go far beyond, or below, De Chirico's fussy homages to Rubens, Titian or Fragonard. Its exponents, such as Carlo Maria Mariani, Stefano di Stasio or Omar Galliani...

Author: /time Magazine | Title: Art: Gliding over a Dying Reef | 7/2/1984 | See Source »

Twentieth century art has always liked the random. Chance meetings of images, the weird threat an unfocused eye hooks from the normal texture of life: these have fueled the reverie and invention of innumerable artists. From De Chirico's piazzas to Steven Spielberg's suburbs, our culture is intermittently fascinated by the noonday goblin-the sense that something is askew within the well lit, the ordinary, and that the closer you peer the odder it gets. Jennifer Bartlett, whose recent paintings are currently on view at the Paula Cooper Gallery in Manhattan, is a connoisseur of this kind...

Author: /time Magazine | Title: Art: Revelations in a Dank Garden | 10/31/1983 | See Source »

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