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...designs by letting the pure colorless crystal* "do what the material wants to do." The designs, said Gates, fell esthetically "somewhere between the curves of the Taj Mahal and the straight lines of the Empire State Building." From time to time they called on such outside artists as Raoul Dufy, Thomas Hart Benton, Salvador Dali, Jean Hugo and Moise Kisling. Steuben never tried to figure out what the taste of customers might be. Says Houghton loftily: "We made taste." By 1935, Steuben taste had made Steuben a success...

Author: /time Magazine | Title: CARRIAGE TRADE: For Art's Sake | 10/30/1950 | See Source »

...been managing the mills, maneuvers the elder clansmen into agreeing to sell to the highest bidder, then makes the highest bid himself. The elders agree to the coup, provided he will take two cousins into the business as balance wheels. The three of them-headstrong Stuart, flamboyant Raoul, a promoter and organizer, and cautious David, a slick man with figures-proceed to gobble small powder companies by the dozens and build Baron into a giant U.S. powder trust...

Author: /time Magazine | Title: Books: Of Wealth & Power | 10/16/1950 | See Source »

...antitrust laws and split into three separate companies. The parallels go deeper. The Barons is largely the story of Stuart. His divorce, which rocked Susquehanna society, his long and tragic attempt to marry his third cousin, Philippa, his law suit and feud with his family over disposal of Raoul's 40,000 shares of Baron common that forced him out of the company, all find their counterparts in Wilmington fact or legend...

Author: /time Magazine | Title: Books: Of Wealth & Power | 10/16/1950 | See Source »

...America is derivative because it is still too young." Thus spoke France's Raoul Dufy in Boston last week. "France," he added, "has lived a long time-eight or nine centuries-and yet art in France, too, was derivative up until the 19th Century . . . American art, like America, must wait and live a while longer...

Author: /time Magazine | Title: Art: Paris in Boston | 9/4/1950 | See Source »

There are three prose pieces by Raoul Gersten, Fred Gwynne, and Jerome Rubenstein in this predominately poetry issue. Gersten's story is the smoothest. Gwynne attempts the difficult description of the relationship between a man and his wife as it finally disintegrates. Unfortunately he has worked in a couple of goldfish which weaken rather than strengthen the story: the characters are warped to fit the symbol, rather than the symbol developing naturally out of insight into their behavior...

Author: By Daniel B. Jacobs, | Title: ON THE SHELF | 5/23/1950 | See Source »

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