Word: raphaels
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Dates: during 1930-1939
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...worth noting that proportion has been made among the many masters and schools. And some outline should be given of what awaits a visitor, whether he is a connoisseur who knows the field, or a layman who would go far to see a drawing made by the hand of Raphael or Durer or Rubens...
...honor, are ten drawings from the Italian masters of the Cinquecento. Studies of heads or hands, figures or groups they are small and delicately executed in the exacting mediums of the pen or the silverpoint. But all represent the beginnings of monumental works, religious paintings by such masters as Raphael and Perugino, Mantegna and Filippano Lippi. Of the sixteenth century there are included only two. They are a crayon and much larger in scale; a study by Veronese and a finished portrait by Luini of a young woman...
Student members of the orchestra are: Eric T. Clarke '38, John T. Clarke '41, N. James Dain '39, Paul Franken '40, Richard S. Fogelman '40, Roger W. Loewi '39, James L. Morrisson '38, Rupert W. Pole '40, Raphael N. Silverman 2G, concertmaster, Elkan Turk, Jr. '39. The remaining ten members are from Radcliffe or outside. David H. Kimball '38, director of the entire group, conducts the orchestra...
...bathtubs for nearly half of these bathtubless dwellings.''* Meanwhile, tubbed and untubbed Philadelphians flocked to see the Cézanne. Mellowing Mr. Widener extended an invitation to all members of the Museum to come out to Lynnewood Hall for a look at his renowned Van Dycks, his Raphael Room, his magnificent Rembrandts. Upon these scenes of public congratulation and goodwill there dropped last week a large and sputtering bomb. It was tossed from nearby Merion, Pa., by one of the master bomb-throwers of the art world, none other than the terrible-tem-pered Dr. Albert Coombs Barnes...
...cave dwellers, the Sumerians, Hittites, Assyrians, Egyptians. These Author Cheney illuminates at length, scrupulously giving facts, interpretation and speculation for what they are worth. In this perspective, European art and artists assume new proportions and come under new categories. Reasons appear for praising El Greco more than Botticelli and Raphael. But though Author Cheney thus revaluates Western art by a universal standard of "formal values," he recognizes the greatness of illustrative, objective art. By the time a reader arrives after 900 pages at Matisse and Derain, Braque and Picasso, he neither needs nor is given any disproportionate talk on these...