The midland journal. (Rising Sun, Md.) 1885-1947, 1938-01-28
WHO'S NEWS
THIS WEEK.
R~lammal +. pa ssnn
ACKNOWLEDGEMENTS

Rivera and Frank Brangwyn, were
the muralists.
There was an inevitable clash,
and now, after five years, compro-
mise. Lenin's head, by the hard
boiled, hard-bitten Mexican Rivera,
blocked out in 1884, has been re-
placed by conventional mural by
the Spanish Sr. Sert, with the ortho-
dox theme of Americas continuing
development along the old lines. The
compromise appears in Sr. Sert's
restrained sepia monochrome, in
stead of his usual lavish outpouring
Of gold and scarlet, verdant green
and ecstatic blue.
Sr. Sert is the most millionairish
of all living painters. Here he pipes
down. If we didn't go left with Len
in, our new era isn't going to be
as gaudy as the last one.
It will be a sober, industrious,
thrifty, monochrome age, with no
more high kicking and low think
ing. That seems to be what Sr.
Sert and the Rockefeller Center
people are saying.
When the big, booming, sixty-one-
year-old Spanish painter is going
Strong, he makes Vernonese just
a wet wash with a touch of bluing.
He was a regular standby and
emergency painter for his friend.
King Alfonso. icon mucho gusto,"
he can swing the whole spectrum,
with bold, regal effects which are
the delight of kings.
He has done many magnificent
rooms in Europe, including the Ma
drid chapel of the duke of Alba,
now Francois commercial envoy to
England, and Sir Phillip Sassoon's
respondent bathrooms. His first
exhibition in this country was in
1924, when he received prolonged
critical salvos.
He was born in Barcelona of the
ancient Spanish gentry, and studied
in Paris in his ear
Sert Swings ly youth.
Spectrum From the first,
With Gusfo he developed bold
ness and exuber-
ance, both in color and technique.
Briffault's pre-war Europe-which
was to have gone on forever, but
didn't-knew him for its very own.
His new monochrome fits an age
''sicklied Ger with the pale cast of
thought
In the current argument between
government and business, it is in
teresting to note that the temple of
business gets back to the Muses.
and the classical symbols of work
and labor, after it's brief leftward
deviation in 1888. In Washington,
such bold innovators as Henry Var
mum Poor and George Biddle still
state tortuous new themes in the
government murals. But there's not
so much splash in those Rockefeller
Center murals as there might have
been in, say, 1928.
YOUNG BURGESS MEREDITH,
L at the age of twenty-eight, is
picked to run Actors Equity associa-
ton, for a time at least. A star on
,. Broadway, a coun-
Meredith try SQUIRE. a Hol-
Was Tossed lywood success,
ON Uperade he has had more
ssin 6 around
than a roller-coaster addict, with
the upgrade all in the depression
years.
In Lakewood, suburb of Cleve-
land, his father was doctor and
his grandfather an evangelist. His
Uncle Joe, whom he greatly adj
mired, was in vaudeville.
He washed dishes and tended fur
naces during one sad and lonely
year at Amherst, ran haberdash-
cry shop with his brother in Cleve-
land, went bankrupt, was a reporter
on the Stamford Advocate, until
they caught him at it, sold roofing,
vacuum cleaners and cosmetics,
worked in Macy's department store,
sang in church choirs for 81 Sum
day, lived a week on breakfast food
samples, and was for a time one of
the migrant army of jobless youth.
The depression brought him luck.
In 1929, he got letter of introduc-
ton to Eva lie Gallienne and a pay
less job as an apprentice actor. His
climb was slow.
depression He first attained
Was Really high visibility in
Lady Luck she Loves Me
clinched his gains in his three Max
well Anderson plays, "Winterset,"
''Iigh Tor" and "Star Wagon"
His estate is near that of Mr.. An
derson in Rockland county, New
York, where he is very busy with
house-building, dogs, and books. He
has an eager, avid mind, buzzing
with new ideas.
He is a faithful intellectual under
study of the older Mr.. Anderson and
his genius chimes in perfectly with
Mr.. Anderson's exalted blank verse
dramaturgy.