Word: somberly
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
First prize at Chicago ($750) went to New York's Russian-born, patriarchal Max Weber, who is regarded with almost religious veneration by his fellow painters. He was doing somber Cézanne-like landscapes and gloomy Picassoish nudes and rabbis before most U.S. modern artists had abstracted their first cube. Painter Weber's prize-winning entry, a ruggedly outlined, moody landscape called Winter Twilight, showed a pair of gaunt tree trunks grimly clutching an overcast sky before a background of cliffs and buildings...
...weeks' supply on hand. A Wheeling Steel Co. plant in Portsmouth, Ohio cut production 1,300 tons a week because of the shortage. Cleveland mills were able to buy only 65% of their requirements, were rapidly exhausting their reserves. At week's end Iron Age made a somber prediction: steel production would drop to 90% of capacity by fall unless more scrap was found...
...have to tell you . . . of a rich man trying to make his last and greatest sale, that of his own country. It is a somber story of self-respect, of honor and decency being pawned to the Nazis for the price of a soft bed in a luxury hotel. It is a tale of laughter growing old and of the Judas whine of treachery taking its place. It is the record of P. G. Wodehouse, ending forty years of money-making fun with the worst joke he ever made in his life...
...Churchill had been able to keep most Britons' devotion in the face of Narvik, Dunkirk, the Luftwaffe, Libya, Greece-and to quell general fears that Britain's wartime productivity was far short of what it should and might be. But last week, with Crete added to the somber list of defeats, a tide of opinion arose in Britain to the effect that one more major defeat-such as the loss of the Suez Canal-would call for a radical change, if not the exit of the Churchill Government. Few doubted that Prime Minister Churchill, due to face Parliament...
Perforce Director Rouben Mamoulian substitutes spectacle and color for the story in Blood and Sand II. His film artfully goes from low to high key as it takes its color tone from the palettes of the Spanish masters: the somber browns of Murillo for the opening sequence; the shade and shine of Sorolla for the market scenes; El Greco's eerie greens in the chapel; Velasquez' black & white for the banquet; and the rich red & gold of Goya for the arena...