Word: joans
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Dates: during 1930-1939
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...Kaplan also went to Hollywood, was persuaded by Durenceau she would be a more successful manager than artist. Her first job as manager was to get commissions to decorate Hollywood homes. He painted murals of horses and gazelles for William Haines, a mural for Leila Hyams, decorated pianos for Joan Crawford, Lionel Barrymore, Lilyan Tashman. He illustrated Oscar Wilde's Selfish Giant and an Anthology of Immoral Poems for the Walpole Press. One Sunday, he decided to sculpt. Lacking materials, he fashioned a statue from coat hangers, the hinges of an ironing board, some mud. His ambition...
...that many of these charmers have not been long on the boards. Some kick this way, some wave feebly in that, and others seem present in body only -- they simply stand there. Of the artists who disrobed at intervals in the program, perhaps the most alluring was Miss Joan Dare, but other members of the audience loudly held that Miss Nora (Hotcha) Ford outstripped them all. As for their vocal efforts at popular songs, one must confess that while those heard were sweet, those unheard were sweeter...
...critics considered the peak of the season's shows-a loan exhibit of Goya paintings. The pictures came from the discreet walls of Andrew William Mellon, Harrison Williams, Oscar B. Cintas (American Car & Foundry), Eugene G. Grace, Edward S. Harkness, J. Watson Webb. Mr. & Mrs. Charles Shipman Payson (Joan Whitney) sent their Don Vincente Osorio, Count of Trastamara as a Child from their huge living room in Manhasset. Jules Bache lent his often exhibited Don Manuel Osorio, an engaging infant half-surrounded by three cats, a bird cage, a tame magpie. Chicago's Art Institute was represented...
...companion picture has Joan Blondrell acting with the Gable like Pat O'Brien in "I've got your Number." Renors go rather to Mr. O'Brien in "I've got your Number." Renors go rather to Mr. O'Brien than to Miss Blondell. The picture is fast-moving, amusing, and has its romantic moments...
Surréalisme is a complicated Freudian school of art which numbers among its aims an attempt to express the subconscious by portraying distortions of familiar objects. Its leaders are Joan Miro and Salvador Dali who this week in Manhattan's Julien Levy Gallery exhibited his latest works. He had drawn people with roses for eyes, lamb chops for lips, an aged man with a lobster on his head, a melting grand piano. Claiming to be "obsessed" with Millet's Angelus, he showed variants of the motif with wheel-headed gleaners picking up forks and a poached...