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

...private collections of greater Germany, are believed ready to dump looted pictures from occupied nations. Billy Rose has heard that agents are on the way with booty from the Louvre. But, added he, "I won't buy loot. I wouldn't pay $50 for the Mona Lisa under those conditions...

Author: /time Magazine | Title: Art: Mr. Rose Collects | 9/9/1940 | See Source »

...After Napoleon's downfall, France was forced to return much Italian swag-notably the Horses of St. Mark's-but Italy was never satisfied that it had recovered all its rightful treasures. Last week Fascista, the University's official publication, listed demands for more: the Mona Lisa, other Da Vinci works, masterpieces by Titian, which include a portrait of the French King, Francis...

Author: /time Magazine | Title: ITALY: Spoils | 7/29/1940 | See Source »

...isolated examples of still-unreturned Napoleonic plunder, such as Fra Angelico's Coronation of the Virgin, the Italian title is clear-cut. But some of the Italian claims are unverifiable or downright shady. It is true that the Mona Lisa once hung in Bonaparte's bedroom at the Tuileries, but that was three centuries after its purchase by Francis I, onetime patron of its painter. Records indicate that the picture remained in France until its theft from the Louvre in 1911 by an Italian. But Fascista was longer on acquisitive patriotism than on logic. Said Fascista...

Author: /time Magazine | Title: ITALY: Spoils | 7/29/1940 | See Source »

...Other Decker "portraits": Harpo Marx as the Blue Boy, Fanny Brice as Mono, Lisa, Mickey Rooney as a Van Dyck sissy...

Author: /time Magazine | Title: People, May 27, 1940 | 5/27/1940 | See Source »

...colors themselves are intended to contain a certain emotional content, and the total effect of each of his paintings depends primarily on the manner in which the colors he uses are combined and applied. What da Vinci, by using a real woman's face, expresses in his "Mona Lisa," Klee would express by varying the hues, intensities, and values of certain color combinations. Thus, it is easy to see how the transition from a literal form of expression to an abstract one might involve a brief process of receptive adjustment on the part of the spectator...

Author: By Jack Wliner, | Title: Collections & Critiques | 3/21/1940 | See Source »

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