Word: coloring
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Dates: during 1920-1929
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...donated by Albert Carl Lehman, Pittsburgh steel man, for the best purchasable painting. Painter Carena also won this prize, and his picture was bought by Donor Lehman. William J. Glackens, U. S. painter and illustrator, won the second prize ($1,000). His Bathers, Ile Adam, hot in color and thin in texture, is composed in a lively, anecdotal manner. Georges Dufrenoy. French conservative, won third prize ($500) for a richly colored, rather thickly painted still life of brocade, a vase, a fiddle. Paris painters, recalling Carnegie's previous recognition of more salient French painters (first prize, 1927, to Henri...
...Maoris desperately fight with sticks and spears, standing face to face in the Japanese manner, all because one chief's son has killed his rival for the hand of another's daughter. The story is simple enough to keep moving under its weight of rather dull local color-Maoris feasting and testing their strength, hurled down hillsides by battle, or sticking out their tongues and making faces while they dance. Best shot: reflection in water of the great pattern of trees in which the tribe clings, swinging as they "sing a good-bye song for tribesmen going away...
...timing and interference of the University team was also off-color. The runner was stopped time and again when his interferers failed to clear out in front of him and piled up when they hit the Indian defenses...
...strikingly effective. Of a mean-looking poster inviting new students to the hospitality of a reception, he said, 'It has a very bleak appearance.' Of the magenta handkerchiefs bought for the crew in which he rowed, he said that, though they were the origin of Harvard crimson, the color was purely accidental; 'it might just as well have been blue.' Of a proposal to dispense with all grades for records of students' work, reporting nothing but 'passed' or 'failed' he said. 'I fear that it would subject our students to too great a strain on their higher motives...
...result "Disraeli" merits exceptional praise. It is a close photographic version of the stage play in which Mr. Arliss has long given the title role; so the scenes end abruptly, and concentrate entirely on straight dialogue, rather than presenting any attempt at original photography. What is lost in color is, however, well balanced by the gain in directness and clearness; and, more important, adherence to the stage version keeps Mr. Arliss on the scene most of the time...