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...lifted. Red Roses & Phantoms. More than that, the exhibition offers a revealing glimpse of a personal side of the poet's work. He drew guitars and mandolins, stage decors and a very plain-looking muse. He sketched the heroine of his first well-known play, Mariana Pineda, as abject as ever a young senorita could look, in a yellow gown, clutching a red rose to her breast. Many Lorca drawings are in pencil with whispering lines, others are childishly colored in bright crayons. Several, sketched in Manhattan, where in 1929-30 he wrote his most surrealistic poetry (Poet...

Author: /time Magazine | Title: Drawing: Sketches of the Banned | 8/20/1965 | See Source »

...human degradation and starvation is likewise a moral-as well as a material-obligation resting upon every enlightened government. If we now ignore the plight of those unborn generations which, because of our unreadiness to take corrective action in controlling population growth, will be denied any expectations beyond abject poverty and suffering, then history will rightly condemn...

Author: /time Magazine | Title: The Congress: If We Ignore the Plight. . . | 7/2/1965 | See Source »

There is a high concentration of low income families: 15.3 per cent of Cambridge families were living (in 1960) in abject poverty with annual incomes of less than $3000 as compared to 11 per cent for the Boston Metropolitan area. --from Economic Opportunity Information Kit, given to all members of the City Anti-Poverty committee in Decembebr...

Author: By Robert J. Samuelson, | Title: Cambridge's War On Poverty | 4/13/1965 | See Source »

Died. Elizabeth Shepley Sergeant, 83, friend and biographer of two U.S. literary pillars (Willa Gather: A Memoir; Robert Frost: The Trial by Existence), among whose reminiscences were Gather's abject chagrin at Henry James's polite refusal to read her novels and Frost's nagging suspicion that his wife was his intellectual superior; in Manhattan...

Author: /time Magazine | Title: Milestones: Feb. 5, 1965 | 2/5/1965 | See Source »

...scream of horror, a scream of fear, a scream of rage, a scream of protest--a violent screaming of the senses which could only be resolved with colors and shapes on canvas. His painting of the "Descent from the Cross" (1917), showing the removal of a hopelessly abject and skeletal Jesus by two men grimacing with revulsion, sums up his post-war mood: "Humility before God is done with....My pictures reproach God for his errors...

Author: By Rick Chapman and Paul A. Lee, S | Title: BECKMANN | 11/20/1964 | See Source »

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