Word: coloring
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Chertoff inherited a two-year-old agency that was already dysfunctional-- lampooned for its color-coded terrorism warning system and maligned for its profligate spending on office parties and management bonuses. But he also inherited the National Response Plan, a 426-page report published last December that DHS heralded as "a bold step forward in bringing unity in our response to disasters and terrorist threats and attacks." Outlining detailed lines of authority in the event of calamity, the plan "ensures the seamless integration of the Federal Government when an incident exceeds local and state capability." The plan failed miserably...
...three of the nine Old Testament scenes on the ceiling are finished, freed of 478 years of accumulated grime, crude repaints and successive coats of darkened glue size applied as a varnish by 17th and 18th century restorers. A quite different Michelangelo, one whose intensity and beauty of color matches his long-acknowledged grandeur as draftsman and iconographer, emerges. The vault of the Sistine is now the domain of light...
...between the ceiling's darkness and the profundity of Michelangelo's mind is old and runs very deep. To find such a father figure decking himself, as it were, in azure, malachite green, rose, yellow, lavender and pink, in the silky and atmospheric sheen of colori cangianti, or shifting colors, is disorienting; one is still apt to think of color as a feminine rather than a patriarchal attribute. One may recoil, feeling that it is somehow better to embrace the frescoes we know than the ones Michelangelo painted. And given the torment inflicted on great paintings by restorers over...
Fresco is the most durable kind of painting known. It is done in water- soluble pigments on freshly laid sections of damp plaster -- the intonaco. When the plaster dries, the color is literally bonded in. Further touches may be put on a secco, on the dry plaster. The antis believe that some of the darkness of the Sistine ceiling and lunettes was put there by Michelangelo himself, in a dark wash of black pigment in glue size, brushed on after the fresco was dry to give more density to the figures and atmosphere to the space. They think this wash...
Does this mean that Michelangelo did not retouch at all? Of course not. Nobody thinks that even Michelangelo could have got every passage of color and shade in the thousands of complex forms that make up the scheme of the Sistine right with the first layer of color on each. The Serpent coiled around the tree in the Temptation of Adam and Eve, for instance, far from being the more or less monochrome reptile of old, reveals the most delicate complexities of feathered stroking in green and yellow over reddish tones of shadow. The slow drying of the intonaco gave...