Word: critics
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Dates: during 1940-1949
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Though London's critics unanimously and openly sneered, Howard Hughes's sexsational The Outlaw was playing to record crowds at the London Pavilion. Last week 23-year-old Pressagent Suzanne Warner hit a headline jackpot. She lured a psychologist with a psycho-galvanometer (a gadget that measures emotional reactions) into the Pavilion. Her report: ¶ Critic Walter Wilcox of the Sunday Dispatch, who had penned a cool review, had a warm, 24-centimeter reaction to a close-up of Jane Russell's parted lips. ¶Hostile Critic Dick Richards of the Sunday Pictorial registered a more-than...
...around the table, punctuating his protests with bars from Tosca and Carmen. Said he: "After Caruso's death they said I was the one. Tagliavini (see below') is a good tenor but light. I am disgusted. I want to sing." The Chicago Tribune's captious Critic Claudia Cassidy interviewed Basso Nicola Rossi Lemeni by telephone, had him sing a few bars of Lamentation of a Siberian Prisoner, wrote a piece comparing him with Pinza and Chaliapin...
From a flying trip to Paris, Kootz had brought back nine oils. Priced at $3,500 to $20,000, seven were sold in the show's first week. The New York Times's good, grey art critic, Edward Alden Jewell, dazedly noted the waving checkbooks and concluded that Picasso was "the supreme hero of the hour. I don't know about the bobby-soxers, but were Picasso suddenly, himself, to appear in New York, he would be pursued with all the ardor to which Frank Sinatra has long been accustomed...
...Critic Jewell was far beyond the swooning stage. "A few of us," he warned, "incline to rate the new Picassos as little better than disastrous. . . . Picasso, in his recent oil work, may be said to paint vigorously-which isn't being really very explicit, I know. In my opinion his sense of color has grown steadily worse. . . . There remains the matter of distortion, and in that department he moves with the utmost freedom...
...Tribune survived its first days, as a militant "workingman's weekly," by changing its garish typography for quieter dress, increasing its literary and art criticism, tripling its price and courting the "out-at-elbow middle class." The phrase came from its prize, unpredictable Critic-Columnist George Orwell...