Word: facings
(lookup in dictionary)
(lookup stats)
Dates: during 1920-1929
Sort By: most recent first
(reverse)
...Louis and there painted a most moving picture of the Hoover services in feeding post-War Germany. The picture included "little girls . . . white, emaciated, unsmiling . . . with great awful eyes," and "a woman dressed in black" in Berlin at "that dreadful Christmas season of 1922 . . . the tears streaming down her face, carrying in her hand a little piece of hemlock." At the outset it appeared that Mr. Houghton had been sent to St. Louis to counteract a political canard that Mr. Hoover had been unkind to Germans. But at the end he said, "This is not politics...
...Italian public debt securities to the value of 140,000.000 lire ($7,300,000) were symbolically burned upon two Pagan altars by Il Duce. The securities had been contributed by patriotic citizens, and their destruction of course reduced the public debt by the amount of their face value and interest. The Pagan altars employed were originally used to offer up sacrifices to Goddess Minerva and Goddess Lucina...
Animal Crackers. Zeppo Marx has good stage manners though he is otherwise without importance; Chico Marx plays the piano well and can, to some extent, imitate an Italian; Groucho Marx is garrulous and mad; but Harpo Marx has a wild and silent face, his desires are mysterious and he can play the harp. The four Marx brothers cavort together in Animal Crackers...
...leader came into the stadium, the crowd roared and then became quickly silent; Dorando was swaying in his stride and his face was that of a man charging against some invisible monster who held his shoulders and would not let him move. His legs were red with running; they twisted under him suddenly like sticks of cinnamon and he lay crumpled in the dirt just beyond the bicycle track. A man named McAndrews ran out and helped him to his feet; Dorando staggered three steps and fell again; two men helped him up this time; the track was full...
Composed entirely of accepted modernist leaders, the exhibition proved that the freakishness of cubism, vorticism, other truculent cults, is quite defunct. There was little that was crude, nothing that was incoherent. Gaugin's bizarre self-portrait seemed to link his face with his own favorite Tahitian fruits; the sardonic humor of the piece was queer but clear. He displayed also a serene Breton landscape, a lovely canvas which could cause no retching among the most conservative. Forain's aphrodisiac The Charleston showed two vibrant white dancers, several paunchy satyr-spectators, was a triumph of contemporary comment. Picasso's The Mother...