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The unwary gallerygoer whose eye lights on an abstract painting immediately suspects that someone is trying to pull his leg. He is baffled or indignant when such an expert as the New York Times's Edward Alden Jewell proclaims some of it "great art." Last week in Manhattan, three...

Author: /time Magazine | Title: Art: Driven to Abstraction | 4/2/1945 | See Source »

¶ New York Timesman Edward Alden Jewell, an imperceptibly left-of-center critic, chose William Thon's sweeping, salty view Under the Brooklyn Bridge. Critic Jewell, 57, has the same rambling sort of authority his paper has; his gentle, liberal, usually safe-&-sane voice is heard all over the...

Author: /time Magazine | Title: Art: Judgment Day for Judges | 3/19/1945 | See Source »

Painter Rattner's prizewinner was Kiosk, a near-abstraction in greens, yellows and a touch of purple. A Philadelphia reporter, struggling to find the metropolitan newsdealer peering from his booth window, framed by magazines and newspapers, called Kiosk a "what-is-it." Sniffed the New York Times's...

Author: /time Magazine | Title: Art: Philadelphia Goes Modern | 2/5/1945 | See Source »

Proper Nouns. In Muskogee, Okla., the state university awarded an M.D. to Safety R. First. In Science magazine, the light thrown on optical crystallography was clearly defined by Book Reviewer Jewell J. Glass.

Author: /time Magazine | Title: Miscellany, Jan. 31, 1944 | 1/31/1944 | See Source »

Once Critic Jewell let go, he found it hard to control himself. Said he: "Since the 'victory arch' is now before us on this page, I am spared the anguish of having to describe it. . . . The locale selected is wrong for a victory arch . . . unless . . . we let the...

Author: /time Magazine | Title: Art: Carefree Yet Rhythmic | 7/19/1943 | See Source »

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