Word: paled
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Dates: during 1930-1939
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...lived and painted in Paris for 30 years. Last week the Findlay Galleries gave Marie Laurencin her first sola show in Manhattan in five years. A cadenced critique by Vanity Fair's onetime editor, Frank Crowninshield, defended from the charge of "boudoir art" Marie Laurencin's pale, obsessive ladies, "with those undefined pools of night which are their eyes, their magnolia-soft cheeks, their plumes of periwinkle blue and lips of fadeless rose...
...functions to Atterbury Dodd (Leslie Howard), eastern efficiency expert who has come to Colossal studios as stand-in for a bank. Atterbury thinks of picture-making in terms of arithmetic and of picturemakers in terms of cogs and units. At first he occupies a suite in orchid and pale fudge in a famed hotel, but is driven by job-seekers and backslappers to refuge in the boarding house where Miss Plum lives with various cinema people who differ from the successes only in not having jobs. Gradually it dawns on Atterbury that Colossal is being ruined...
...exotic looking. As a dancer, she has not yet advanced beyond petit sujet (ranking in ballet hierarchy above a corypheé, below a grand sujet). Irina Baronova, now 18, is a brilliant and imaginative artist, still addicted to lengthening her snub nose with putty, Tatiana Riabouchinska, usually superb in pale, willowy roles, last week turned flamboyant in a ballet the troupe is doing for the first time in the U. S.-Rimsky-Korsakov's Le Coq d'Or. As the golden cock which warned silly King Dodon whenever disaster impended (which was often), Riabouchinska leaped frantically, shook dazzling...
...There by the wall a maiden poet stands, Her gestures undulant on languid hands; Each finger nail a crimson petal, seen Through a pale garnishing of nicotine. Her draperies, like downward vapor, tremble, As one by one her courtiers assemble...
...plain. When the contractors, subcontractors and workmen heard that Henry Willet was designing a "Workmen's Window" to represent the various trades engaged in building the church, they clubbed together to pay for it. Designer Willet happily put Architect Carroll at the bottom of the window, looking pale, and the stained-glass craftsman at the top, under a benevolent angel. A vine etched in gold joins the 14 figures in between-iron worker, excavator, stone mason, carpenter, woodcarver, electrician, roofer, plumber, plasterer, painter-and lettering sets forth: "We Are Laborers Together; Let Every Man Take Heed How He Buildeth...