Word: kalisher
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...himself might be sold over the counter for 50?, along with little images of Buffalo Bill and George Washington. President Roosevelt took one look at the result and cried: "Wait a minute. I don't wear a waistcoat." Through it all, diminutive, agile, 53-year-old Sculptor Max Kalish preserved speed and competence. He was engaged in one of the most spectacular one-man sculpture marathons ever undertaken: the modeling of some 50 statues of U.S. war leaders in sittings of one hour per subject. Last week the exhausting work was nearly finished. Max Kalish had lost...
Vice President's Vest. Kalish and Kiplinger had problems galore. General "Hap" Arnold was approached on the eve of the invasion of France, barely found time to fling a polite refusal. Henry Wallace had vest trouble-his shirt showed above his trouser line. Once that was adjusted, the Vice President struck a satisfactory, thumb-in-belt attitude. John L. Lewis loomed rather than posed, as though facing a hostile audience...
Under Secretary of War Robert Patterson's trousers presented another difficulty. His trousers are seldom pressed. At first Kalish put creases in them. Then, in the interests of documentary accuracy, he rubbed the creases out. Kalish had two half-hour periods with President Roosevelt in the White House Oval Room. In fine fettle, the President chatted a great deal. Did Mr. Kalish want the long ivory cigaret holder? Mr. Kalish did. But, in the end, having said, "Thank you, Mr. President," Kalish went out with a clay Franklin Roosevelt without a head. The Presidential head was modeled in Manhattan...
...recipients are Myron Kalish, Brooklyn, N. Y., George R. Walter, Washington, D.C., Robert S. Ivie, Iowa City, Ia., John G. Forbes, Jackson Heights, L. I., N. Y., Albert L. Goldman, Everett, Mass., Milton Altman, New York, N. Y., Benjamin B. Ferenez, New York, N. Y., Chester I. Lappen, Des Moines, Ia., Peter K. Morse, Detroit, Mich., Frederick S. Pillsbury, Manchester, N. H., Myron Sommel, Forest Hills...
...Federal Art Project's Community Centre program (TIME, Sept. 5). Meanwhile, strict Marxists interpret the social use of art narrowly to mean that art should be an instrument of class struggle, and many Lovers of Labor subjects have appeared. One of these is able Sculptor Max Kalish, represented in the Baltimore show by The Spirit of American Labor (see cut) and seven other pieces. Contrasting such idealization with satirical but penetrating prints such as George Grosz's Workingman's Sunday (see cut) or Peggy Bacon's Help! (see cut), Baltimoreans last week put their teeth...