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...Aiken ignores neither symbols nor that interrelation of characters and events which suggests more than appears on the surface. The surgeon who bends over Arcularis as he lies on the operation table reappears as another passenger on the dream voyage. And this passenger is the owner of the chisel which Arcularis likens to a scalpel, and with which he tries in his sleep to break open the coffin in the ship's refrigeration room, the coffin which he comes to realize contains his own corpse. Other characters from the hospital scene reappear on the ship: the gentle, inefficient nurse...

Author: By John A. Pope, | Title: Conrad Aiken Revivifies "Mr. Arcularis" | 3/1/1957 | See Source »

Shahn's philosophy, if a painter need have one, emerge roughly from a collection of bright things Rodman has gathered from the artist's lips. For example on Mondrian, Shahn is quoted as saying "Mondrian spent a lifetime sharpening his chisel and then never used it." Or another comment along the same line, "design is only one of five or six things a picture must have to be good...

Author: By Lowell J. Rubin, | Title: The Modern Artist | 11/20/1956 | See Source »

...stopped the presses. He had failed to notice, in the shadowy impression on the Associated Press mat that supplied the picture, that one of the marines, Private Eugene W. Ervin of Bridgeport, Conn., was a Negro. The deskman met the crisis by ordering a pressman to take hammer and chisel to the press plate. Next morning Private Ervin's ragged ghost haunted the spot (see cut) where the Morning Star cut out the Negro and spited its front page...

Author: /time Magazine | Title: The Press: Cut & Spite | 8/13/1956 | See Source »

...slave Januario. To shut out the world's curious, derisive stare, he rigged a tent around him as he worked. Once the governor of Minas Gerais dared stick his head inside the tent and O Aleijadinho (The Little Cripple, as his townsmen called him) seized his mallet and chisel and showered His Excellency with stone chips...

Author: /time Magazine | Title: Art: STONE PROPHETS | 9/26/1955 | See Source »

...them he found a wrath. compassion and inspiration that matched his own. He sculpted their squat figures in bizarre oriental costumes, twisted and tormented in soapstone (which is soft when quarried, grows hard with age). Before the last one was finished, in 1805, Aleijadinho was working with mallet and chisel strapped to the stumps of his crippled hands. He lived on miserably until 1814. When he died, his achievement marked the high point in exuberant Brazilian rococo...

Author: /time Magazine | Title: Art: STONE PROPHETS | 9/26/1955 | See Source »

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