Word: colorful
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Dates: during 1970-1979
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None of the black leaders seem prepared to play Smith's game. "Don't make me laugh," snapped Nkomo. "We mean to push that man out of power and we shall do it." Mugabe said that his guerrillas would fight anybody involved with Smith-regardless of the color of his skin and whether or not he wore a clerical collar. But even the "internal" and moderate black leaders resisted the Smith ploy. Muzorewa said ie was prepared to talk with Smith-but only if the negotiations were based on an immediate transition to black rule Muzorewa added that...
...thing artists had been doing for 70 years. But Rubens did it in an entirely new way. Michelangelo had invented a tragic structure for the human body; Rubens invented a tragic surface. Nothing in earlier European art prepares one for that white, drained skin with its subtle undercasts of color. Rubens quoted anyone he wanted to, without the slightest embarrassment, in a spirit of reasoned homage: the great Entombment of Christ, 1613-15, for instance, is taken almost directly from Caravaggio. The modern cult of originality would have meant nothing to Rubens; he would have regarded it as a form...
...ground that its boys' choir, by existing, encouraged sexist discrimination-and never mind the unique musical reasons why boys have always been assembled into singing groups. Government bureaucrats looked ridiculous in that instance because of their failure to admit a common-sense truth: some exclusivity-by race, sex, color and creed as well as by calling-arises not for bad but for good reasons. White Democratic Congressman Fortney H. Stark of California suffered a similar failure a couple of years ago when he applied for membership in the congressional Black Caucus. Questions: Does the congressional...
There, literature and painting-the word and the image, deadly enemies in America-had merged. This fusion had been started a century before by Baudelaire, Mallarme and the symbolists. Their belief in direct equivalences between color, sound, sensation and memory struck Motherwell as one of the supreme achievements of culture: the key to modernist experience. It enabled the homely Protestant to hold his feelings tight in a cultural matrix...
Motherwell's work, as he never tires of repeating, is an art of subjects. His paintings come out of life and feed back into it; in no sense are they pure abstractions. He has always had a liking for "natural" colors, ones that look as though they have been extracted directly from the world's surface: ocher, black, white and the exquisite range of blues, "Motherwell blue," as promptly identifiable as Braque brown or Matisse pink. "If there is a blue that I might call mine," says Motherwell, "it is simply a blue that feels warm, something that...