Word: comical
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Dates: during 1930-1939
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Fantastic Art has always existed, always will as long as men have illogical minds and unruly imaginations. The Museum's walls historically carried fantastic art from the horror pictures of medieval Hieronymus Bosch and Pieter Bruegel, through the engravings of Hogarth, to the comic cartoons of Rube Goldberg and the frustrated drawings of James Thurber. Prominently displayed as examples of fantastic art were copies of Edward Lear's Nonsense Rhymes, Lewis Carroll's Jabber-wacky. This week's exhibition did not disdain the art of the frankly insane. There was a panel of wild designs...
...Mitzi, but their new-found romance is nipped in the bud by a hapless misunderstanding. Mitzi then showers all of her warm affection upon a gay young blade, one Baron Schober, and Shubert, unable to finish his symphony for which she was the inspiration, pines away in heroic devotion. Comic honors go without a doubt to Mitzi's father, old man Krantz, who makes an art of slapstick comedy. His performance as a drunk and a hard-boiled father saves the dialogue time and again from sinking into monotonous sentimentalism...
...referring to him as a Jew. Actually George Grosz is as "Aryan" as Hitler. In the U. S. he has continued his biting attack against war and fascism, is proud of his suburban house, his two sons, Peter, 10, and six-year-old Martin who expects to be a comic-strip artist (see cut), his little coupe, his U. S. clothes, proudest of all of his electric icebox...
Like its rival, Sketch, the Toiler combined fiction and fun in its Christmas annual. Both magazines had colored centre spreads, Tatter's by Comic Artist Henry Mayo Bateman, who contributed "The Gigolo Who Refused to Dance"; Sketch's by the late Sporting Artist Cecil Aldin who drew a Dickensian "Christmas Coach Crossing Marlborough Downs." With art lovers, Sketch went one up by giving away a colored insert of "Ballet" by Dame Laura Knight, A. R. A. The London Sphere's Christmas annual featured the Victoria & Albert Museum's wax "Nativity," while the Illustrated London News...
...dead ringer for other Wodehouse fantasies with its collection of imbecilic gentlemen, appallingly mistaken identities, mouth-filling English slang and story that sizzles and fusses as senselessly as water spilled into hot grease. Not a humorist in an ironic or satirical sense of the term, Wodehouse gets away with comic murder by a species of inspired silliness that is funny only because it is so uninhibited and because it goes on so tirelessly. In Laughing Gas, his plot involves a transfer of personality between the child star and the amiable, gorilla-faced Earl, with the result that the Earl romps...