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

Double Nightmare. The generals got very little information from agents in Britain. (Hitler may have gotten more and kept it from them.) Hitler himself made only one trip to the Channel coast. He went to Cap Gris Nez one day in 1940, looked over the Channel toward Britain, and went home. The "Atlantic Wall" was never a system of continuous fortifications; Rundstedt called its defenses "absurdly overrated." There was no real cooperation between the Luftwaffe and the ground forces, the generals told Liddell Hart. And the Battle of the Bulge, which seemed so powerful an assault to the Allies...

Author: /time Magazine | Title: Books: The Defeated | 10/25/1948 | See Source »

Last week 100 pasted pictures went on exhibition in Manhattan's wide-windowed Museum of Modern Art. The museum had fancy frames and a fancy French name for them, collages (rhymes with garage), which was the word Picasso, Braque and Juan Gris had used when they first tried the trick back...

Author: /time Magazine | Title: Art: Scissors & Paste | 10/4/1948 | See Source »

...Chilean named Jorge Berroeta set out to swim the English Channel. He gulped some of his secret-formula soup, a recipe he hides from his trainer, Georges Michel, who set the Channel record in 1926. Then he plunged into the icy water at Cap Gris Nez, bound for Dover...

Author: /time Magazine | Title: Sport: Toiler in the Moat | 8/19/1946 | See Source »

...Juan Gris, least-known artist of the four, was, with Picasso and Braque, a founder of Cubism, and remained, far more than they, a constant adherent of Cubistic methods until his death in 1927. Cold and monotonous at first glance, Gris' ascetically detached still-lifes reveal, upon longer acquaintance, an almost architectural formal structure, an ingenious flattening and simplification of natural forms, and a sure if quiet color sense...

Author: By David T. Hersey, | Title: Collections and Critiques | 2/5/1946 | See Source »

...Gris' appeal is more obvious when he uses brilliant colors, as in the vibrant "Violin et Guitare," or more imaginative, as in the melancholy "L'Arlequin," while his mastery of line work is demonstrated by a pair of fine lithographs, "Marcelle la Brune" and "Marcelle la Blonde...

Author: By David T. Hersey, | Title: Collections and Critiques | 2/5/1946 | See Source »

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