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...woman of dreams, the woman of lust and woman the nun," Edvard Munch once confided. The Norwegian fin de siècle painter was explaining one of his favorite compositions, which showed three women standing together-one in black, one in white, one nude. He used this trio in several different canvases, known collectively as "the Sphinx" cycle. They epitomized, as no other subject could, the shy, alcoholic bachelor's agonized obsession with that half of the human race which he never was able to understand...
Unforgettable Memories. The Catholic understanding of infallibility has been largely based on the several Scriptural passages in which Jesus enjoins the Apostles to teach all mankind. Si mons, who accepts the common opinion of Protestant scholars on the question, argues that "these texts do not prove or imply infallibility. What they say is only that Christ wanted the Apostles to teach his gospel, and that they had certain knowledge of what to teach. They had such unforgettable memories of all the main events and teaching of Jesus that they could not err in communicating to their audiences. Their infallibility...
Last week the old culturist and the old commercialist got together. Norton Simon Inc. announced that it had agreed to acquire Susskind's Manhat tan-based Talent Associates Ltd. as a wholly owned subsidiary. Although Si mon remains his conglomerate's biggest stockholder, he has left its active man agement largely to Chairman William E. McKenna, who engineered the Tal ent Associates acquisition as a way of expanding his firm's activities in the communications field. Through McCall Corp., Norton Simon Inc. already pub lishes McC all's magazine (circ. 8,500,000). McKenna looks...
Under the terms of the get-together, Susskind and his partners will receive an undisclosed amount of Norton Si mon Inc. stock, run Talent Associates for at least five years...
...constantly alive with seamstresses and customers exchanging confidences about fittings, and cluttered with bolts of satins and silks, ribbons and pattern snippings. In this homely setting, Vuillard, who derisively referred to himself as "the in-timist," fashioned vignettes of quiet domesticity that suggest a less radiant, fin de siècle Vermeer...