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What has changed to make the Brattle less popular among Harvard students? Maybe they haven't seen the inside of the Brattle. It's as different from the shoebox theaters of Copley Square as you can imagine. The screen is huge, covered by a velvety curtain, and encircled by a balcony for those who want...

Author: By Sarah J. Schaffer, | Title: Discover The Brattle | 11/3/1995 | See Source »

Potential applicants got a chance to cross-examine officials from 113 law schools this weekend at the Boston Law School Forum held at the Marriott at Copley Place...

Author: By Justin D. Lerer, | Title: Students Flock to Law Forum | 10/23/1995 | See Source »

...Copley also painted the populist stirrer Samuel Adams, whose writings were pointing the way to the Declaration of Independence. Adams was as poor as a church mouse and had to pose in borrowed clothes; the portrait was paid for by his friend John Hancock (he of the signature). It is the only Copley painting to show a political figure engaged in conflict. Tight-lipped, all Calvinist fervor and republican anger, Adams points with one rigid finger at the royal charter of the Massachusetts colony, while gripping in the other hand a screed of protest from Boston citizens. In its sharp...

Author: /time Magazine | Title: ART: JOHN SINGLETON COPLEY: RISING STAR | 10/9/1995 | See Source »

Perhaps the finest of Copley's family portraits is that of Mr. and Mrs. Thomas Mifflin, done in 1773. Mifflin was a rich young radical Whig of Quaker origins, who would become George Washington's aide-de-camp and, after the Revolution, Governor of Virginia. The portrait is very sober in color--browns, grays and silver, the only bright note being a red flower pinned to Sarah Mifflin's bodice. What is especially striking about it is the way it preserves Quaker ideas of matrimonial equality. Conventional 18th century portraits have the wife looking adoringly at the husband, who looks...

Author: /time Magazine | Title: ART: JOHN SINGLETON COPLEY: RISING STAR | 10/9/1995 | See Source »

...poverty of means then available to an American painter, Copley had created a counterpart to the plain, didactic neoclassical style that Jacques-Louis David used in his portrait of the Lavoisiers: earnestness, probity, equality, set forth within the frame of marriage, an Ideal Republic of two. In England he would paint more elaborate images than this--but none more close knit and concentrated...

Author: /time Magazine | Title: ART: JOHN SINGLETON COPLEY: RISING STAR | 10/9/1995 | See Source »

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