Word: museums
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Dates: during 1940-1949
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Wallace stopped the mission, later said: "The Department [of Agriculture] has no intention of re-employing the Roerichs." In Manhattan, Roerich's chief financial backer, Louis L. Horch, a broker later turned bureaucrat, who had put more than $1,000,000 into the Riverside Drive Museum, went to court to get back control of the building. The thousand paintings were unslung from the museum walls. Later the U.S. Government sued Roerich for back taxes. Pegler devoted 25 columns to suggesting that Wallace wrote letters calling Roerich "Dear Guru" (Teacher...
What is in a name? Everything, it would appear, when TIME [Nov. 24] refers to the Boyman's Museum, Rotterdam, and other purchasers of Van Meegeren's pictures, as suckers, owing to their acquisitions having proved the work of a contemporary artist, instead of genuine Vermeers. Has their merit wilted thereby? Is the Christ at Emmaus any less beautiful, because the authorship is changed...
...green & white flag of Italy and the red hammer & sickle. "Viva Stalin. . . . Death to De Gasperi!" shouted the fur-capped Ligurian Brigade as it passed the garish white marble monument to the Unknown Soldier. Italian partisans cheered the words of their leader, Luigi Longo: "We do not consider ourselves museum pieces. ... In our hearts are intact the enthusiasm and ideals of conspiracy and of insurrection...
...Mencken, cackling, venerable Sage of Baltimore, made quick response when he read a complaint that no local museum had a painting by Thomas Hart Benton. He himself had one, said Mencken, "in my cellar at this minute, gathering dust"-and he offered it to "any gallery that wants it, entirely free of all cost or expense." The Baltimore Museum of Art got the painting (an abstraction done in Benton's "earlier and more foolish days"), and Mencken asked as his reward an exemption on his income...
...with 'Art'. But," he adds quietly, "it's an art for all that." Visitors to Evans' retrospective exhibition at Chicago's Art Institute last week were sure to see his point. Evans' own undeniably artful photographs seemed worlds apart from the museum's paintings. They were almost head-on views of junkyards, stray people, tenements, hill farms and city streets, done with an antiseptic brilliance of black, white and grey. Chill as glass, they had no more charm than a newsreel, but the quiet clarity of each print gave their commonplace subject matter...