Word: brush
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Dates: during 1970-1979
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Historians well might argue with Cooke's priorities: he dismisses the Pilgrims, for instance, with a courtly brush of his hand in this week's episode, but dwelt at length on the explorations of Coronado in the first show. Still. Cooke's tour is never bland or boring-which alone is enough to make it one of the bonuses of the current season...
SOMETIMES it was difficult to tell who the Democratic presidential candidate was, George McGovern or Edward Kennedy. Whenever Kennedy appeared with McGovern, the crowd invariably doubled. Time and again, cheering spectators would brush past the nominee to gush over an embarrassed Ted. McGovern had trouble articulating bread-and-butter issues for man-in-the-street Democrats-a task that comes easy for Kennedy. While living with impending defeat this fall, Democrats dreamed of victory next time with Ted. No wonder that before the final votes were counted, Kennedy was being touted...
Harry Callahan testifies to the photographer's involvement with the graphic arts. His "Multiple Exposure Tree" with fine-lined branches appears to be an ink sketch rather than a photograph; the circular motion, spontaneity and simplicity of coal black against white evoke the calligraphy and bold brush strokes of Japanese artists...
...recent brush with financial disaster has forced it to quickly develop fund-raising expertise. A Friends Committee, chaired by William G. Saltonstall '28, was set up in 1968-69 to vigorously solicit donations from alumni. The Committee faild to reach ots unrealistically optimistic goal of $25,000 in alumni gifts that year. The amount fell way short of that figure, totaling only $10,000. Alumni donations have remained at this disappointingly low level ever since. Last year only 350 contributions were made by 8500 alumni who had been connected with PBH while in college. This year, the Friends Committee...
...with infinitely subtle gradations of color, preparing the paper with washes of gold or silver dust or with a snowy, glistening mixture of eggshell white and flakes of mica. These hallmarks-which must in their time have seemed very "Japanese," in elaborate contrast to the austerities of Chinese brush technique-helped form the Rimpa style, and were superbly developed by Ogata Korin, born a century after Koetsu. A part of Korin's signature (see calligraph) is now used as the symbol for the Rimpa style...