Word: background
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Dates: during 1950-1959
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...nose and mouth, and the curious (and heavily painted) medallion all contribute to this great self-portrait's emotional intensity. My next favorite is Degas' La Chanteuse au Gant, a painting in which the design of the black glove brilliantly counterpoints the rainbow of vibrant colors found in the background curtains. Another masterwork in the collection is Manet's Le Skating, in which quick brushwork, a masterful array of greys, blues and blacks, and an opaque face as focal point, are used to great effect. A magnificent Renoir Bagneuse is next, with blended brushwork, brilliant light and shimmering color creating...
...tone of the show with a giant, 54-ft. curving aluminum fin: a slice of the universe, crisscrossed with red and yellow traceries of satellites, surrounded by full-scale models of the buglike Sputnik I and the heavy cone that carried the dog Laika into orbit. In the background rise four 48-ft. triangular columns, showing heroic Russians more than twice life-size over legends such as: THERE IS NO ILLITERACY IN THE SOVIET UNION...
...presenting the highlights of Israel's Independence Day celebrations for the benefit of visiting members of B'nai B'rith. The souvenir film package sold briskly for 80 Israeli pounds ($37 at tourist rates) until a visitor from England made a startling discovery last week: the background music for much of the film was Sir Arthur Sullivan's fine old hymn, Onward, Christian Soldiers...
...faced officials at the Israel Motion Picture Studios, Ltd. tried to explain. Nobody working on the picture was familiar with Onward, Christian Soldiers, they said, and in casting about for background music for the film's climactic military parade in Tel Aviv, they had hit on an RCA Victor recording by Arthur Fiedler of T. M. Carter's Boston Commandery March. What they did not know was that Composer Carter had used Onward, Christian Soldiers as his motif. The studio quickly pointed out that there are some Christian soldiers in the Israeli army (said one film maker...
David Amram's incidental music is of uneven quality. Highly apt is the background for Romeo's Mantuan soliloquy: an unaccompanied English horn, suggested perhaps by the third act opening of Wagner's Tristan. At the opening performance the balance of the instruments in ensemble playing was awry, but this is easily remedied. George Balanchine's choreography is proper if not exceptional...