Search Details

Word: brush (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
Sort By: most recent first (reverse)


Usage:

...plan like his is adopted, Gard said, "people will have to face the consequences of it. In a way, you're making the world safe for limited war." A de facto agreement on stabilization may mean more "brush-fire" warfare, and guerillas must be trained "to cope with the people who farm by day and fight by night...

Author: NO WRITER ATTRIBUTED | Title: Gard Calls for Arms Stabilization As Way of Avoiding Nuclear War | 2/27/1961 | See Source »

...tactics very like those Batista used against him. Castro gradually pulled his regular troops out of the Escambray because they can't be relied on to fight old comrades-in-arms. In place of the regulars, Castro sent in militiamen, who cautiously refrained from going into the brush, and at night retired from the hills for safety...

Author: /time Magazine | Title: Cuba: In the Escambray | 2/24/1961 | See Source »

This week a retrospective of 58 Lawrence paintings opens at Allegheny College in Meadville, Pa.-the third stop in a long, nationwide tour organized by the American Federation of Arts. From the earliest through the latest works, there have been a growing maturity and an increasing sureness of brush, but at heart Lawrence's paintings remain the same. He deals with people who have made history and those who simply endure it - human tales that are almost always a trifle sad and yet still glow with the wonder of fresh discovery (see color...

Author: /time Magazine | Title: Art: BRIGHT SORROW | 2/24/1961 | See Source »

...painters use so bright a palette or so bold a brush and still achieve so sorrowful a mood. Purplish blues lie alongside acid greens; reds and yellows vie for attention yet do not seem to clash. Nor do the ragged rhythms of the paintings ever get out of control. Tension mounts in Jacob Lawrence's paintings, but the threatened disorder never takes place...

Author: /time Magazine | Title: Art: BRIGHT SORROW | 2/24/1961 | See Source »

They were known as the Special Artists of the Civil War, and their mission was not to write of battle but to portray the terrible visage of war. Their implements, besides the pencil, were the crayon, the brush and the sketchbook. Their lot was to go wherever the winds of combat blew, to live under fire, to endure the privation, hardship and danger of the campaign for months on end, and to send to the illustrated newspapers that employed them rough and hasty sketches whose chief purpose was to cue the wood engraver back home. From Fort Sumter to Appomattox...

Author: /time Magazine | Title: The Press: Artist-Journalists of THE CIVIL WAR | 2/17/1961 | See Source »

Previous | 72 | 73 | 74 | 75 | 76 | 77 | 78 | 79 | 80 | 81 | 82 | 83 | 84 | 85 | 86 | 87 | 88 | 89 | 90 | 91 | 92 | Next