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Word: grecos (lookup in dictionary) (lookup stats)
Dates: during 1940-1949
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Usage:

...carefully chosen 2% of the museum's remaining 500,000 treasures have been trucked to the country hideaway. Gone are the Altman and most of the Morgan collections, the Van Eycks and other Flemish Primitives, Rubens' bulky Venus and Adonis, the museum's most famous El Greco, View of Toledo...

Author: /time Magazine | Title: Art: War Among Masterpieces | 5/25/1942 | See Source »

...experienced creative paralysis. He got nearly everything he went after in his life: fame, social standing, money. A faithful husband and a good father, he poured on to canvas what he took care to moderate in his living; his paintings, which lack the deep grandeur of Velasquez and El Greco, are perhaps the most vigorously fleshly ever hung...

Author: /time Magazine | Title: Books: Prudent Lover | 4/13/1942 | See Source »

...Morgan lent three Holbeins. The Metropolitan Museum sent down El Greco's View of Toledo and John Singer Sargent's portrait of Padre Sebastiano. Mrs. George Bellows lent her husband's famous picture of Edith Cavell. The Whitney Museum, the Phillips Memorial in Washington, the Fine Arts Gallery of San Diego, all removed priceless works from their walls to send to Knoedler's in Manhattan, because an art critic liked them...

Author: /time Magazine | Title: Art: Critic's Choice | 12/15/1941 | See Source »

Moral Vacuum. One advantage of a diary is its informal catching of passing moods, backgrounds, people. Sandwiched among the great disasters in this book are many casual entries about the European civilization which Shirer loved. They are revealing. There is the usual chitchat about El Greco's greens, The Decline of the West and The Magic Mountain, "a tremendous novel." There is a murmuring of the evocative names of storied cities. There is gnashing of teeth, impotent anger, weeping, physical illness at each new Nazi success...

Author: /time Magazine | Title: Books: Inside Germany | 6/23/1941 | See Source »

...story in Blood and Sand II. His film artfully goes from low to high key as it takes its color tone from the palettes of the Spanish masters: the somber browns of Murillo for the opening sequence; the shade and shine of Sorolla for the market scenes; El Greco's eerie greens in the chapel; Velasquez' black & white for the banquet; and the rich red & gold of Goya for the arena...

Author: /time Magazine | Title: The New Pictures, Jun. 9, 1941 | 6/9/1941 | See Source »

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