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...march was scheduled to move to Copley Square. The column yipped and whooped down Tremont Street, then down Boylston past riot police spaced more and more closely together. Lord and Taylors and the offices of New England Life Insurance were spray painted...

Author: By David R. Ignatius, | Title: Protests Erupt Over Invasion of Laos | 2/11/1971 | See Source »

Boston officials last night granted a permit for today's antiwar march. Demonstration organizers agreed to end the march at Copley Square instead of at Post Office Square to avoid lengthy traffic snarls...

Author: By Arthur H. Lubow, | Title: City Hall Grants Permit For Antiwar March Today | 2/10/1971 | See Source »

...speaker at the Common will discuss the Laos invasion and the Indochina situation. In front of the Copley Square Induction Center another speaker will describe plans for spring demonstrations in the Boston area, including the Mayday demonstrations supported at the Ann Arbor conference last weekend. A Media Center spokesman said last night that the speakers would probably be representatives of local radical women's groups...

Author: By Arthur H. Lubow, | Title: City Hall Grants Permit For Antiwar March Today | 2/10/1971 | See Source »

...should the viewer think only in terms of the Met's great collection: Boston's own collection is not inferior to the Met's loan. In fact, probably the greatest early American paintings belong to the MFA: John Singleton Copley's portraits and Gilbert Stuart's Martha and George Washington have few equals (not to mention Boston's John Singer Sargent canvasses). If Van Der Weyden's Christ Appearing to His Mother makes the viewer sigh, he should take a look at home- Van Der Weyden's Saint Luke Painting the Virgin, in Boston's permanent collection...

Author: By Meredith A. Palmer, | Title: Masterpieces from the Metropolitan Museum | 10/15/1970 | See Source »

...Copley's pictures are not intended to be seen as mere gags, of course. His adaptation of the bold black line and super-simple draftsmanship of the early comics predates Pop. Of late, he has developed bright geometric patterns as an effective foil for his figures. Neither as disturbing as the Surrealists nor as incisive as some Pop artists, he yet fills a niche in which form and humor are as indispensable to each other as wit and word in a limerick. "I see painting as poetry," he says. "Humor, after all is the reminder that we are mortal...

Author: /time Magazine | Title: Art: Hang-Up on Humor | 6/29/1970 | See Source »

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