Word: goghs
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
...that—Chicago students like the streamlined deminudes of U.S. Magazine Artist George Petty. After Esquire's Petty, students coolly chose (in order of preference): Michelangelo, Leonardo da Vinci, George Innes, Claude Monet, Doris Lee, Winslow Homer' Jules Breton, Caravaggio, Renoir, Manet,' John Singer Sargent, Vincent van Gogh. Art Institute Director Daniel Catton Rich blanched not a whit. Said he: "It was perfectly natural. The students like pretty girls and they like slick technique. I look at Petty myself whenever I get the chance...
...announce a highly satisfactory result: the Post's 208,000 circulation jumped. 30% within a week as a tabloid, passed the 235;625 circulation it had when the Backers bought it from J. David Stern. Publisher Stern pushed his circulation with premiums-from records to reprints of Van Gogh. The Backers, who have poured more than $1,000,000 into the long-ailing Post, have tried no circulation stunts, have sought to build their circulation on editorial appeal alone. "The Post is a better investment than Dead End, which I helped finance,." says Mrs. Backer, "and you know what...
...confused with Irving Stone's Lust For Life (TIME, Oct. 28, 1935), nor is it likely to be. Both are bio-novels about painters. But about living, Life-Lover Pieter Paul Rubens was measurably less hot under the ruff than Life-Luster Vincent van Gogh, and so is the tone of his story. Comfortably pneumatic as a Rubens model (678 pages), it provides an intricate semiprivate history of its period (1577-1640), a smooth survey course in Renaissance art, and a career which refreshingly breaks most of the rules set down about The Great Artist...
Artist Gross found his favorite subjects in the deserted streets and ramshackle houses of Virginia City, Nev. Says he: "I think Van Gogh must have felt the same way when he first saw Arles as I did when I first saw Virginia City...
...Like many another Souchon, No. 500 depicted a tropically lush imaginary scene, in which flat, doll-like figures galloped and swayed through a high-pitched bedlam of clangorous color. When the last brush strokes had dried, he carefully stored it away in his files of similarly exuberant Souchons: Van Gogh-like pictures of hot, shadowless Louisiana cornfields, quaint, warm-colored, old-worldly interiors, and fanciful, childlike coloristic riots like The Farm (see cut), in which two bright blue mules sit grotesquely under a clump of bone-bare trees while lambs and pigs gam, bol in the distance...