Word: joans
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Dates: during 1930-1939
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...wrath and majesty are so great that her stature suddenly seems to increase and dominate the men. Elizabeth Bergner appeared first on the stage as a homely, skinny child of eleven. She was pelted with flowers and kisses when she later played in Berlin in Shaw's Saint Joan. To learn English, Actress Bergner rehearsed in London in a play especially written for her, abandoned it to act successively in The Last of Mrs. Cheyney, Strange Interlude, The Constant Nymph. Currently she is in Escape Me Never, a companion piece to The Constant Nymph which will bring...
...dances for her suppers on the concert stage she once did a more dangerous pas seul. Readers of Cossack Girl may find it easier to read than believe, but Publisher Macaulay insists Authoress Yurlova's hairbreadth narrative is "authenticated by documents.'' No less credible than Joan Lowell's notorious Cradle of the Deep, Cossack Girl is a thriller of the same order, but better written...
...Joan Miro, 40, was born in Barcelona, studied painting in his native city. That Artist Miro should get a better sense of shape and volume in his painting, his instructor made him draw from objects that he could only touch, blindfolded. About 15 years ago Joan Miro first appeared in the Paris art world, and in 1925 headed the most obscure group of modernists, the Surrealists. His early canvases were obscure enough, strange blobs of color against neutral backgrounds cut across by careening black lines...
...Joan Miro is a sincere and gifted artist. . . . Miro's way with color is first class, in fact he is about the most thrilling colorist in the world today. ... In the new compositions facts are almost dispensed with completely. There remains however a color so lovely that the pure in heart must yearn to employ...
Speicher. Poles apart are Joan Miro and Eugene Speicher who last week gave his first exhibition in five years at Manhattan's Rehn Galleries. With his feet firmly on the ancient tradition of graphic arts, Artist Speicher has grown firmer in his draughtsmanship, more sure of what he wants to say with each passing year. In 1929 he seemed an able, uninspired follower of the late great George Wesley Bellows, without the latter's vivid interest in living problems. In 1934, as in 1929, Eugene Speicher remains wrapped in the penciled brows of his statuesque beauties, though technically...