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Word: surrealistes (lookup in dictionary) (lookup stats)
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Most striking set: a dream sequence designed by Surrealist Salvador Dali. Notable Hitchcock trademark: a comic bit part (Wallace Ford as a traveling salesman from Pittsburgh) whose laconic leering is almost as memorable as the two old-school cricketers of Night Train and The Lady Vanishes...

Author: /time Magazine | Title: The New Pictures, Nov. 5, 1945 | 11/5/1945 | See Source »

Salvador Dali, surrealist painter and publicist whose trademarks are droopy watches, meandering cyclists and gangrenous torsos, promised Manhattan a show this winter, and assured the world that art could do much "to promote greater understanding between nations; it is the only international language that people can understand...

Author: /time Magazine | Title: People: People, Sep. 24, 1945 | 9/24/1945 | See Source »

...abstraction of irregularly shaped pink and green rectangles, hung in a corner of the farthest gallery. Between these extremes are such items as Philip Evergood's Rubber Raft, a war footnote in which two helpless, parched men sprawl on a raft surrounded by voracious sharks; Atlantic Pastorale, a surrealist ballet-in-seaweed by Leon Kelly; Darrel Austin's spellbinding half-dream of a mountain lion, The Great Beast; William Cropper's satirical Art Patrons...

Author: /time Magazine | Title: Art: The U.S. & the United Nations | 6/4/1945 | See Source »

Martha Graham, one of the most gifted of modern choreographers, has had a limited popular appeal. Part of the'fun for confirmed Graham cultists has been wrestling with the Freudian nuances in a surrealist Graham dance-drama. Spirited little pro-&-con arguments during intermission ("No, what she really means is. . . .") have usually been a standard feature of every Graham recital...

Author: /time Magazine | Title: Music: Purely Symbolic | 5/28/1945 | See Source »

...such arty goings-on would ordinarily mean the kiss of death to a Hollywood career; but not in Minnelli's case. His semi-surrealist juxtapositions, accidental or no, help turn The Clock into a rich image of a great city. His love of mobility, of snooping and sailing and drifting and drooping his camera booms and dollies, makes The Clock, largely boom-shot, one of the most satisfactorily flexible movies since Friedrich Murnau's epoch-making The Last Laugh...

Author: /time Magazine | Title: The New Pictures, May 14, 1945 | 5/14/1945 | See Source »

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