ON THE TRAIL OF THE LONESOME PINE LICENSE

These lazy lunches in the country always make me sleepy. What about the time it takes to proof-read it? The time that takes place in War and Peaceand the time it takes to read it. It’s about the time that passes in plays and stories.

One for the man and his shadow and another for those who wait for him to sit and eat.”Īlice lowers her sandwich, waiting for the inevitable explanation. “But while one waits two kinds of time pass by. Some wait for someone else to sit and eat.” “Not everyone who waits and watches is waiting for a meal. Then he sat and ate his lunch.”Īlice looks at her with a “what-in-the-world-are-you-talking-about” look. It grew shorter still as he stood and watched until he saw it almost disappear. GERTRUDE: ( trying out the text on Alice) “A man stood on the sand. Gertrude looks up from her book at Alice. Alice, for the most part, watches Helene and the baby walking in the distance. Occasionally she takes up a pencil and makes a note in the book. Gertrude is glancing through her notebook as they eat. Gertrude and Alice are sitting in their chairs eating their lunch. She is feeding the baby from a bottle as she walks him. Helene is walking back and forth in the background. They have moved their chairs into the sun and cleared off the work on the table to make room for lunch.

Gertrude and Alice are sitting in the Bilignin garden. “But she doesn’t look anything like that,” he said. The friend looked at the painting for a while and then turned to the artist. After completing the painting, Picasso showed it to a friend of Stein. In 1907 Pablo Picasso painted what is now a very well known portrait of Gertrude Stein. Morning Painting Exercisesby Michael Tetherow John and Anna, Essay: Marathon Hotel, July 1982by Alexandra Avakian On the Trail of the Lonesome Pineby Mark Magill & Jill Godmilow A Ghost Eye View of an American Myth: John Hustonby Tina L'HotskyĮpilogue (for David Salle)by Dennis Cooper If you would like to publish text from MoMA’s archival materials, please fill out this permission form and send to.

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ON THE TRAIL OF THE LONESOME PINE LICENSE

All requests to license archival audio or out of copyright film clips should be addressed to Scala Archives at. At this time, MoMA produced video cannot be licensed by MoMA/Scala. MoMA licenses archival audio and select out of copyright film clips from our film collection. If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). “Technicolor is not restricted to a studio's stages, but can record quite handsomely the rich, natural coloring of the outside world and whatever dramatic action may be encountered in it.” 35mm print from The Museum of Modern Art courtesy NBC Universal. “Color has traveled far since first it exploded on the screen last June in Becky Sharp,” The New York Times critic Frank Nugent wrote. Howard Greene’s cinematography is truly a marvel, capturing the browns, greens, and deep sky blues of the Northern California forest, and proving to Hollywood studios and audiences that Technicolor had achieved a major breakthrough with its new three-strip process. This underappreciated Western melodrama-the first three-strip Technicolor feature to be filmed outdoors-centers on the blossoming romance between Henry Fonda and Sylvia Sidney during a violent family feud. With Sylvia Sidney, Fred MacMurray, Henry Fonda, Beulah Bondi.

Screenplay by Grover Jones, based on the novel by John Fox, Jr.

On the trail of the lonesome pine