Word: riche
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Dates: during 1980-1989
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...Someone said to me that if you could attend all they symposia, it would be the equivalent to a Harvard education," Thomas W. Stephenson '37, the 350th coordinator, said earlier this summer. "[The symposia program] "will be a rich smorgasbord with an all-star class...
...portrait will bring at least $11 million, an auction record for a single painting. Among the main competitors in the battle for the naked marchesa are two archrival museums, Washington's National Gallery and New York City's Metropolitan. The National is represented by its director, Andrew Foster -- young, rich, dashing and secretly a CIA agent. The Met's champion is Olivia Cartwright, whose mentor is the omniscient and fabulously wealthy Neapolitan dwarf Count Nerone (a good Velasquezian touch, since the artist painted a fair number of valuable dwarfs). Rivalry soon leads to attraction, which soon turns into love. Before...
...natural successor to Bill Blass and John Weitz, the first generation of U.S. celebrity designers. Lauren's chief rival, as coincidence would have it, comes from the same Bronx neighborhood. He is Calvin Klein, who has crafted an image of sizzling sexiness as singular as Lauren's aura of rich romance. But Lauren has kept ahead of his onetime neighbor in both popular and negotiable currency: Lauren's total sales are estimated to be one-quarter larger than Klein's. Overall, the U.S. champion money spinner appears to be Designer Liz Claiborne (estimated 1986 sales: $1.8 billion), whose company sells...
...crisis in the journalese-speaking community. How should reporters and pundits, all fluent in journalese as well as English, refer to the suddenly woozy singer? Naturally enough, conventions of the language demanded a hyphenated modifier. "Much-troubled" might have been acceptable, but that adjective is reserved, as are "oil-rich" and "war-torn," for stories about the Middle East. One tabloid, apparently eager to dismiss the celebrity as a wanton hussy, called him "gender-confused pop star Boy George." This was a clear violation of journalese's "most-cherished tenet": while doing in the rich and famous, never appear...
...never of "modern statues"? Because one of the criteria of modernity itself was the degree to which sculptors angled their work away from the accepted forms of social communication via the human figure. Not because they lost interest in the figure -- on the contrary, the years 1900-1950 were rich in figure sculpture and body-haunted objects by Matisse, Picasso, Archipenko, Brancusi, Miro, Calder, Giacometti and others -- but because they did not want to serve the social consensus in the way that statuary did. Consequently, few public commemorative sculptures made in the past 75 years have any real importance...