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・ Francis Covers the Big Town
・ Francis Cowley
・ Francis Cowper, 7th Earl Cowper
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・ Francis Crake
・ Francis Cramer-Roberts
・ Francis Crane
・ Francis Crawford
・ Francis Crawford Burkitt
・ Francis Crawford of Lymond
・ Francis Creek (Wisconsin)
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・ Francis Crick Institute
Francis Criss
・ Francis Cromie
・ Francis Crossing
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・ Francis Crowe Society
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・ Francis Crowther
・ Francis Crozier
・ Francis Crump
・ Francis Cubbon
・ Francis Cuffe
・ Francis Cuffe (died 1694)
・ Francis Cuffe (died 1717)
・ Francis Cugat
・ Francis Cuggy


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Francis Criss : ウィキペディア英語版
Francis Criss

Francis Hyman Criss (1901 - 1973) was an American painter. Criss's style is associated with the American Precisionists like Charles Demuth and his friend Charles Sheeler.
==Biography==
Criss was born in London and immigrated with his family at age three.〔(Online biography ), accessed December 2011〕 He attended the Pennsylvania Academy of the Fine Arts from 1917 to 1921 on a scholarship, and later the Art Students League of New York and the Barnes Foundation, and he took private classes with Jan Matulka.〔Tsujimoto, Karen (1982). ''Images of America: Precisionist Painting and Modern Photography'' Seattle: University of Washington Press for the San Francisco Museum of Modern Art, p. 183.〕 In addition to doing work for the U.S. Government under the New Deal, and contributing a mural for the Williamsburg Housing Project in Brooklyn for the Federal Art Project, Criss taught at the leftist American Artists School in the 1930s. His pupils there included Ad Reinhardt. He also held teaching positions at numerous other institutions, including the Albright Museum School, Buffalo; the Art Students League; the New School for Social Research; and the School of Visual Arts.〔Tsujimoto (1982). p. 184.〕 Criss was awarded a Guggenheim Fellowship in 1934.
The work from his best-known years, the 1930s and 1940s, is characterized by imagery of the urban environment, such as elevated subway tracks, skyscrapers, streets, and bridges. Criss rendered these subjects with a streamlined, abstracted style, devoid of human figures, that led him to be associated with the Precisionism movement. With distorted perspectives and dream-like juxtapositions, as in (''Jefferson Market Courthouse'' ) (1935), these empty cityscapes also suggest the influence of Surrealism.
A turn towards more commercial work later in his career—including a November 1942 cover for Fortune Magazine—led to a decline in his reputation.

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