Word: crusts
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Dates: during 1950-1959
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Breaking the Crust. The essential aim of the Mendès-France revolution is to break the crust which weighs upon the French economy and hinders its free development. This crust is made up of layers of protections, subsidies and financial subterfuges. Today, the French economic machine is geared to the production rhythm of its weakest components. The state has nearly become an agency to stifle competition...
None of this means, Dr. Creer points out, that the earth's axis of revolution has changed its direction in space. More likely, it has stayed put while the thin crust of the earth has slipped around the core, carrying different parts of the surface to the cold polar regions. Dr. Creer is not sure that the crust as a whole has moved. The continents may have drifted independently. By measuring the magnetism of more ancient rocks, he hopes to answer this question...
Beneath this artistic upper crust, there is a varied commercial stew. Among the most popular types: 1) The Parisienne, a snub-nosed, black-eyed girl in a flowery hat. derived from Renoir, but produced with the most success by a commercial artist named Huldah; 2) The Dancer, in a ballet skirt and a misty setting, inspired by Degas and churned out commercially by one Fried Pal, among others; 3) The Paris Street, in cool colors with sharp edges, originated by Utrillo, but perpetuated by a more sober and less talented host of hacks; 4) the dashing watercolor of a horse...
...quick look at the rebel army - 2,000-odd Indian-faced peasants, no two dressed alike but most of them wearing blue armbands with the white dagger and cross of the "Liberation Movement." They fingered black burp guns and seemed to have plenty of ammunition. The officers were upper-crust Guatemalan exiles-lawyers, engineers, coffee planters driven out for their politics or stripped of some of their land under Arbenz' Communist-administered agrarian reform program. Castillo Armas himself turned out to be a slender, sallow, diffident man in a checked shirt and leather jacket, with a .45 automatic jammed...
What the four had in common was honesty and joy in life. Otherwise, they were as different as artists can be. Albert Pinkham Ryder best expressed their common joy when he remarked that "the artist needs but a roof, a crust of bread and his easel, and all the rest God gives him in abundance." Thomas Eakins expressed their straightforwardness while teaching at the Pennsylvania Academy of the Fine Arts. For insisting on using nude models in class, he was forced to resign. (Later, in one of his most famed paintings of a nude-overleaf-Eakins soberly included the chaperone...