Word: greys
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Dates: during 1930-1939
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...mark to do just that since June 1938. From London headquarters Lady Reading shot twelve telegrams to her twelve regional chiefs (in Britain's twelve autonomous defense zones). They shot 2,000 telegrams to their local branches. From Lands End to John 0'Groats the grey-green overcoats began to gather their cars around station platforms. Other grey-green overcoats in London were leading little lines of towheads with lunch boxes and gas masks to Euston, Waterloo, Charing Cross, Victoria, Paddington stations, stuffing them into cars with more grey-green overcoats headed for whatever destination the clearest track...
...Viktor Schreckengost's Shadrach, Meshach, Abednego, three haloed Negroes smiling down at the flames, to Sascha Brastoff's boneless, bulbous, button-mouthed females, Emergence and Timid Maiden (see cut), who look like a pair of praying mantises. Ceramist Brastoff's figures, tastefully mounted on bases of grey velvet and satin, won a sculpture prize. Fit for the flossiest mantelpiece were such lively pieces as Annie Laurie Crawford's Dancers Martinique, Carl Walters' blue Hippopotamus...
...list of Deacons almost as long are returning, headed by Dave Grey, all-House player; Earl Foster, second all-House selection; and Roy Moore, Olly Thompson, Norm Pulansky, and Jerry Hall. The game between the two teams is the last on the schedule, coming on November...
...Millman went to Mexico, spent his time with Diego Rivera learning mural design and technique. But at St. Louis neither he nor Siporin will use Rivera's jolting colors and jampacked composition. Their frescoes are in the standard historical vein, grey and red their predominant colors. Contemporary, unlike their murals, are their canvases now on show at the New York and San Francisco World Fairs. But, says Eddie Millman: "In murals alone can art reach the large masses of people. . . . Easel paintings are too personal, too limited in appeal. . . . Painting, to be really functional, must be taken from small...
...group of shabbily-dressed workers slowly trudging toward the mines and factories where they are about to assume their tiresome and cog-like duties at the machines. The artist accentuates the depressing atmosphere which pervades the lives of these men by using as a background grim, grey chimneys and buildings, in addition to a cold, solid, winter sky. It is not difficult to see that Fiene is attempting to show the gradual degeneration of a human being into a walking piece of steel...