Search Details

Word: murillos (lookup in dictionary) (lookup stats)
Dates: all
Sort By: most recent first (reverse)


Usage:

...vanguard, on trucks and makeshift ambulances, came the wounded who fell in overthrowing the Bolivian tyranny (TIME, July 29). Then followed rifle-toting men & women, exultant students, ordinary citizens. Fifty thousand strong, they paraded last week through La Paz's treeless Plaza Murillo to celebrate the first month of the revolution...

Author: /time Magazine | Title: BOLIVIA: Interim | 9/2/1946 | See Source »

Today the citizenry thronged the Plaza Murillo, not to gape at the bullet-shattered facade of the Presidential Palace-nor even to stare at the Junta members working inside the smashed windows of the second floor-but to attend High Mass at the Cathedral next door. La Paz is bewildered and aghast at the violence of the last weekend. There has been an immense religious revival. At last Friday's Mass for the dead of both sides, the Plaza was absolutely packed. Even the men knelt to the Host, a rare phenomenon in Spanish America...

Author: /time Magazine | Title: BOLIVIA: Aftermath of a Coup | 8/5/1946 | See Source »

Tyranny was repaid with death. At the end of 96 hours of bloody fighting, the body of President Gualberto Villarroel last week hung from a "lamp post in La Paz's handsome Plaza Murillo. His bemedaled official photograph decorated the sheet that draped his naked body, and one of his military boots hung from under...

Author: /time Magazine | Title: BOLIVIA: Death at the Palace | 7/29/1946 | See Source »

...twins born to Adam Emory Albright in 1897. Adam painted pictures as cheerful and innocent as Ivan's are gruesome. Adam named Ivan after the great landscape painter, Claude Lorraine, twin Malvin Marr after Carl Marr. Brother Lisle Murillo went into business, but Ivan and Malvin, used as models for the senior Albright's sentimental pictures of childhood, reacted by staying with art in a grim...

Author: /time Magazine | Title: Art: U. S. ART: ALBRIGHT | 7/6/1942 | See Source »

Perforce Director Rouben Mamoulian substitutes spectacle and color for the story in Blood and Sand II. His film artfully goes from low to high key as it takes its color tone from the palettes of the Spanish masters: the somber browns of Murillo for the opening sequence; the shade and shine of Sorolla for the market scenes; El Greco's eerie greens in the chapel; Velasquez' black & white for the banquet; and the rich red & gold of Goya for the arena...

Author: /time Magazine | Title: The New Pictures, Jun. 9, 1941 | 6/9/1941 | See Source »

Previous | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19 | 20 | 21 | Next