Word: madonnas
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Dates: during 1940-1949
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Maurice Dekobra, French novelist, specializing in svelte sex (Bedroom Eyes, The Madonna of the Sleeping Cars), foresaw the atomic destruction of almost everything except Tahiti, made out his will and sat down to await the end in Hollywood. He bequeathed his "17,000 books . . . paintings . . . works of art" to Tahiti, left his typewriter and Pomeranian to the Martians, signed his body over to science for the possible development of "a serum . . . against the seven capital sins...
Favorite & Rival. Lucas Cranach, an early 16th-Century German master, was a Göring favorite, and he had some beauties-about 50 in all. He had a lovely Venus by Cranach, a Madonna with Child and John the Baptist, and a haunting portrait of Prince Moritz of Saxony as a boy. "It is a curious thing," Hofer added, "but that portrait has great similarity to little Edda, Göring's daughter...
When she agreed to do a book, the publishers sent a girl ghost writer to Mrs. Caruso's Florentine drawing room in Manhattan. Caruso's grand piano, his 16th-Century Madonna and Mrs. Caruso's story were too much for the girl ghost: she kept weeping over her work for two weeks. Finally Mrs. Caruso said: "I decided to write the book myself. While I wrote I could smell the verbena just as though he were here. . . . Those failures [her two marriages since Caruso's death] were no one's fault. . . . Death had not ended...
...richest art collections in the world. Art-lover Hermann Göring, hastily moving south, was rumored to have boarded the sealed, armored train and rolled off with his treasures. Art experts had reason to believe that the Göring loot included Raphael's Madonna of Divine Love, Botticelli's Minerva and Centaur, Titian's Portrait of Lavinia, Van Eyck's altarpiece The Adoration of the Lamb...
...some Renaissance painters never tired of painting the same Madonna again & again, Velasco concentrated a lifetime of work on one stretch of landscape: the Valley of Mexico. He always saw something new in its pines and pepper trees, the pure, cold light, the ancient volcanoes, the cactus maguey and prickly pears, the insubstantial clouds and the hard rock. Velasco's love for the valley was not merely esthetic: it was founded on his knowledge of botany, geology, religion. He always read a Psalm before he tackled any major work; it added a touch of mysticism to his solid realism...