Word: craven
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Dates: during 1930-1939
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...were a-twist with statutory cramps. Each had fattened on the Wagner Act; neither was ready to go all the way back to Sam Gompers and confess that what ailed them was an overdose of law. Both blamed the National Labor Relations Board for their gripes, each complained that craven administrators had favored the other. But angry John Lewis and his delegates came close to admitting that they knew the cause of the Labor pangs in C. I. O.'s belly. Said they: "Since the enactment of the [Wagner] Act organized Labor has been inclined to rely...
...exception to the Simon & Schuster rule, Wallace Brockway and Herbert Weinstock's Men of Music, was deliberately modeled on a previous success,Thomas Craven's Men of Art. To write it, the publishers hired no established bigwig of professional music criticism, but a couple of relative unknowns, one a member of their own editorial staff. Result: Men of Music avoids the pious saws and muddy technical jargon of conventional musical biography, describes racily and well the flights and foibles of those posey, neurotic, childlike, hardheaded geniuses who wrote the world's great symphonies and operas...
...three years, with the collaboration of the Associated American Artists, Art Critic Thomas Craven has been sorting 2,500 U. S. lithographs and etchings into a big heap of rejections, a little heap of selections. His little heap appeared last week as a book* containing 100 (10 in. by 13 in.) black & white prints by such top-flight U. S. artists as Thomas Benton, John Steuart Curry, Boardman Robinson, John Sloan, Grant Wood, for the first time brought together the most significant black-&-whites by outstanding U. S. artists in a handy, inexpensive form. Thoughtfully, the publishers perforated the binding...
...none of the Treasury of American Prints was new, most were standard favorites: few of Critic Craven's prints were misprints. Big-shot artists such as Benton, Curry, Sloan and Wood were allotted five or six pages apiece, others from one to three. There were prints to suit everybody. People who itch and fidget when confronted with the self-conscious strainings of Thomas Benton's I Got a Girl on Sourwood Mountain could turn a page to his Lonesome Road. For people who consider John Steuart Curry's darkly violent lithograph Line Storm "theatrical," Critic Craven supplied...
...TREASURY OF AMERICAN PRINTS-edited by Thomas Craven-Simon & Schuster...