Word: brush
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Dates: during 1960-1969
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...Velde never could afford a model. So he painted the w?omen who paraded through his mind, even as his strength ebbed away from slow starvation. During World War II, living in Paris, he felt so weak that he could not hold a brush, and did not paint at all. "I lived like a phantom." he says. "I wasn't broken, though. I went on living in the work I had done earlier." He searched for handouts and scoured the gutters for cigarette butts. After the war. with the help of new patrons ("a few people for whom...
...held up, inspected, admired, but nothing more. A subject implies something subservient, something that the artist can control but is also responsible for." Gussow's special responsibility is to show his favorite subject, nature, in action. He succeeds admirably. Though his design stays firm, his spontaneous brush strokes make his canvases seem fluid. The effect is just what Gussow is after: "The idea of something happening, the illusion of change...
Economics and Brush Fires. John Kennedy was grim as he faced the group. He talked rapidly; Army Secretary Elvis Stahr and Army Chief of Staff George Decker both started to take notes, could barely keep up. In the cold war, said Kennedy, the U.S. faces two major challenges. One is economic, but the U.S. can and will intensify its economic contest with the Soviet Union. The other threat is military-probably not on the cataclysmic scale of all-out nuclear war but rather in the form of Communistexploited brush fires throughout the world. In Communist jargon, these are known...
...largely Negro, that is fiercely dedicated to upgrading Negroes on the economic scale-first by the best possible training, second by fighting for job opportunities. Assistant Principal Victor D. Lewis recalls, for example, "a big decorating firm downtown that wouldn't hire a Negro, even to clean a brush. Now one of our people is a foreman there. We simply produced a good decorator and challenged them to hire...
Graham Greene discovered in Brighton Rock (1938) that a thriller's format and a dose of Krafft-Ebing can lure usually unreflective readers into a brush with the profound issues of guilt and redemption. To a steady procession of writers-all of them willing to be thought deep-the formula has seemed good enough to copy. The latest imitator, and one of the ablest, is Anthony Bloomfield, novelist and BBC scriptwriter. His imitation is not slavish, since his weighing-up produces rather different totals than the master's. But setting, characters, mood and action are all attentively derivative...