Word: lotto
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Dates: during 1930-1939
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Throughout The Sea Gull sounds a deeper note also, telling of human growth and decline. The shallow Trigorin and the histrionic Irina end up playing lotto. But Nina grows, as one superb device reveals: in Act I, performing in a play of Constantine's she speaks his highfalutin but charged lines mechanically; in Act IV she repeats them, makes them live. It is in delimiting his characters without disfiguring them, in acknowledging their souls but questioning their perspective that Chekhov gives to The Sea Gull a kind of ember like glow...
...dramatic values are irony, sudden reversal, and skilful but not subtle symbolism. An example of each will suffice. The mother, a middle-aged actress, but still extremely attractive; superficial and selfish, but capable of deep love, continues to play lotto after her son, sensitive, talented and aimless, has killed himself, she accepting the doctor's assurance that the sound of the shot came from an explosion in his medicine kit. The same mother and son, in traditional Russian fashion curse each other for their respective faults and then fall weeping into each other's arms. A sea gull killed...
...Chicago's two great art exhibits at the Century of Progress (TIME, May 29, 1933; June 11, 1934). Director Milliken's most resounding brag last week was that 28 of his pictures had never before been exhibited in the U. S., including those by Titian, Raphael, Bellini, Lotto, Veronese, Tintoretto, Andrea del Sarto, Holbein, Rembrandt, Terburg and Henri-Julien Rousseau's famed Night of the Carnival, "one of the greatest sensations of the modern age." All will stay in Cleveland until...
...Lippi, Piero di Cosimo, Andrea del Castagno, Fra Angelico, Andrea del Sarto, all at Cleveland and all masters of form who had graduated from the childish mysticism of the Gothic. In Venice and Genoa, however, the Gothic spirit hung on a little longer in the magical paintings of Crivelli, Lotto, Magnasco and Strozzi. Lotto's Pieta is one of Cleveland's most striking pictures: a huge, bullnecked Christ crucified whose dead skin lies in ghastly contrast against the living flesh of His friends. Crivelli adds to his Madonna and Child a huge housefly, an exactly rendered cucumber...
...blew them off again, and he hurried on. At the river he would find a plot of grass from which he might dangle his feet into the water with no one to blame him for it. Often he had sat there in the Spring and watched the sun play Lotto with the chubby red tower across the river, and later he had watched the channel lights on the bridges wink at themselves. Tonight, though, he had not been alone; a cur had laughed at his feet in the water, and whipped a tail in his eye, and besides, the green...