Word: showing
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Dates: during 1930-1939
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Cleveland's show, "Sculpture of Our Time," included 103 pieces by 60 artists, borrowed from museums, galleries, private collectors and the sculptors themselves. One of the weightiest pieces in the exhibition was Head of an Indian, done in 3,300 Ib. of Mexican onyx by Swedish Sculptor Carl Milles. Its transportation from St. Paul, Minn, indicated the ambitiousness of the Museum's show. Other monumental statues were a bronze by the late, great Gaston Lachaise, Standing Woman, and an already famed piece in marble by William Zorach, Mother and Child...
Three sculptors included in the Cleveland show, Zorach, Heinz Warneke and John Flannagan, got a more varied display of their work in Manhattan's Passedoit Gallery, sharing honors with Spaniard Jose de Creeft, whose Semitic Head was the most impressive single piece on display. Done in beaten lead, this dark maiden was also highest priced ($4,000) in the exhibit...
...great Dutch painter Rembrandt Harmens van Rijn might be considered excessively vain, for he painted 62 pictures of his own face.* Emanuele, Count Castelbarco Albani, Italian painter whose first one-man show in the U. S. opened last week in Manhattan's Marie Sterner Galleries, might be considered inordinately modest, for the only self-portrait in Count Castelbarco's exhibit portrays no part of the Count's body...
...bronzed brick building known to Manhattanites as the Metropolitan Opera House has its one big social night, the opening of the Opera Season. The occasion is a sort of public festival for those who love music and for those who like to see and be part of the show. So last week the Metropolitan filled again with bulging dowagers and stuffed shirts, music lovers, some in white ties, others in frayed collars, stridulous debutantes with glassy-eyed escorts, and a great dun horde which prides itself on loving music more than show but nonetheless selects the first night...
...Harold Arlen; lyrics by E. Y. Harburg; produced by the Shuberts). Coming after bad advance reports, last-minute cast trouble, and fears that Ed Wynn had been so bad on the radio that he would keep a theatre audience away, Hooray For What! proved to be an ingratiating show, with Comic Wynn just as funny as he used to be. Sometimes the plot shuffled dully between old-fashioned musicomedy and pretentious satire, but it ceases to matter when Ed Wynn comes on. wringing his hands as if he thought man would be better off without them. Like Chaplin...