Word: charcoaling
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...troubles with Harvard. Once, he arrived in the middle of a Square riot. Realizing that this was a good chance for publicity, he had his eyes blackened with charcoal by a student. Then he called over photographers from the press wire services and showed them his "eyes which were blackend by a Harvard student." The following day newspapers throughout the nation picked up the picture of Mickey Sullivan with "the blackeyes which rioting Harvard students inflicted...
...easy," Alfieri confidently began, "to describe a [Pollock]. Think of a canvas surface on which the following ingredients have been poured: the contents of several tubes of paint of the best quality; sand, glass, various powders, pastels, gouache, charcoal ... It is important to state immediately that these 'colors' have not been distributed according to a logical plan (whether naturalistic, abstract or otherwise). This is essential. Jackson Pollock's paintings represent absolutely nothing: no facts, no ideas, no geometrical forms. Do not, therefore, be deceived by such suggestive titles as 'Eyes in Heat' or 'Circumcision...
...sunny-and therefore cheap-side of the bull ring at Zitácuaro overflowed with boisterous aficionados. Noisiest of all was a group of hard-bitten charcoal makers from the Michoacán hills who had stoked up well with charanda (cane alcohol) and come to see the toreros kill six bulls. "Long live Michoacán and her sons of Pancho Villa!" they bellowed...
...fans hurled a stocking filled with flour toward the arena, hit a Mexican army lieutenant squarely in the face. A soldier who tried to arrest the culprit quickly became a target for a volley of empty bottles and oranges. "It's all in fun," screamed the charcoal makers, "don't arrest our brother." At the height of the uproar another soldier, who had just put down a marijuana cigarette, calmly unslung his Mauser, fired point-blank at the yelling fans. An aficionado dropped with a bullet behind...
...Henri Matisse's charcoal Seated Nude in a chair was a smudgy, uncertain study with none of Rouault's power. The viewer could barely tell the flesh from the upholstery, and the girl looked as impersonal as a pillow. But all that had been part of the artist's intention. By smudging out instead of neatly erasing his first hesitant strokes, he gave the picture a hot-off-the-easel look that it would otherwise have lacked. By sticking to foggy greys and muffling the girl's personality in the armchair's embrace, he reduced...