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...allies. You see, there were other people who didn't like Henry James. Those People who hang around Schoenhof's in the day-time and well-lit Wigg windows at night (in this sublimating summer age), who scrawl bits of free verse on toilet paper tissue and pursue the Muse enthusiastically. Like the grimy fellow who whispered over his Haffenreffer malt liquor: "How could James know about life? You heard about the bicycle accident he had when he was young? Well...

Author: By John D. Leonard, | Title: The Cambridge Scene | 7/17/1958 | See Source »

...Highroad; Columbia) is that most unexpected and moving utterance of the commercial muse: a true myth. Set down with crude force by Jan de Hartog in Book I of his 1952 novel, The Distant Shore, the myth has been clarified and rationalized with a masterly sense of symbolic logic by Scriptwriter-Producer Carl (High Noon) Foreman and Director Carol (Trapeze) Reed. On the surface, the film seems little different from a hundred other stories of men in war and women in love-except perhaps in the finesse of the witty and suspenseful writing and editing. But just beneath the surface...

Author: /time Magazine | Title: Cinema: The New Pictures, Jul. 14, 1958 | 7/14/1958 | See Source »

...atmosphere of the sea is rather somber, a deep mystical green, like a dark cathedral. In tropical waters the colors are overwhelming, like a gaudy festival." Swanson has discovered that underwater one can work over, around and sometimes under the subject matter. "The problems,'' he likes to muse, ''may be comparable to those man will have when he begins to draw in outer space...

Author: /time Magazine | Title: Art: Underwater Colors | 6/2/1958 | See Source »

...boisterous exclamations. Nevertheless, most of the things here are not high Dada. The studies of El Lissitzky, Max Ernst, Moholy Nagy, Malewich and Hannah Hoch more often reflect a kind of experimentalism which hovers tenuously in the nether regions of design, just outside the gates of one muse or another. Every so often, of course, a Mondrian or a Klee comes along who makes something of it. Then cometh the rear guard which inevitably ends up, again, indebted to the theories and left with little else...

Author: By Paul W. Schwartz, | Title: Deutsche Kunst II | 4/30/1958 | See Source »

Prime Catch. Goya's Muse is not only one of his best, but for years was also his least-known painting. He painted the young Marquesa about 1804, when she was one of the leading lights of proud Spanish intellectual circles and a member of the group that welcomed the Duke of Wellington as a national hero when he arrived to drive out Napoleon's troops. The victorious Wellington returned to London in 1814, carrying hundreds of gifts showered upon him by the grateful Spanish. Among them was the Muse. For generations it hung almost forgotten in impressive...

Author: /time Magazine | Title: Art: Los Angeles' Goya | 4/14/1958 | See Source »

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