Word: works
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Dates: during 1940-1949
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...show were among the youngest. Twenty-five-year-old Renzo Vespignani's melancholy pen & ink drawings of the debris of Fascist Rome, and 23-year-old Marcello Muccini's Bull, as sharp and simple as a pair of murderous horns, held their own beside the work of their elders. Italian art had survived Fascism, the exhibition proved beyond a doubt. It was at least as lively as that of the U.S., Britain and France; and, on the evidence of the younger painters, there was more to come...
Last week, in the courtyard of Des Moines' handsome new Art Center, lowans gaped at a bronze stallion the likes of which had never been seen before. Mounted in the center of a spacious reflecting pool was the latest work of Swedish Sculptor Carl Milles, a magnificent, larger-than-life Pegasus. Broad-beamed, with hefty wings spread, it zoomed through space at the angle of a sloop in a summer squall. Soaring precariously above was the horse's 1,000-lb. bronze rider, Greek adventurer Bellerophon (see cut), with arms outstretched and nine stout bolts through one foot...
...most resounding byline on the Anglophobe Chicago Tribune belongs to British-born John Lucius Astley-Cock. Now 74, bushy-browed, patrician Astley-Cock has been, among many things, a Cambridge University athlete, linguist, Shakespearean scholar, psychologist and church organist. At the Trib, where he has worked since 1932, his nominal title is assistant education and religion editor. But he has done his most enduring work as the paper's doctor of philology, in charge of amputating letters from words. One day last week, Astley-Cock's byline heralded the latest additions to the Trib's simplified spelling...
...reporter, Kansas-born Forrest Warren had done his share of picture-chasing and interviewing on stories of sudden death. Then, in 1913, his wife was killed by a train, and another reporter came to interview him. Warren decided that he wanted nothing more to do with that sort of work, promised himself to try instead to write things to make people happy...
Hurriedly, the Press asked Sculptor Fredericks for his interpretation of the controversial work. Explained he: "It is essentially religious . . . The statue of the youth, reaching upward toward his God, is a symbol of the souls of the men who fought and died. It represents their hope for a world free from war, pestilence and fear." Last week, all further work on the statue was temporarily stopped. If public opinion insisted, Editor Seltzer was prepared to edit the statue. Said he: "We don't want to impose anything on the people they don't want...