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...this vast canvas (over 8 ft. high) in his garden and even had a trench dug to rest it in so that he could paint the top without having to teeter on a stool. Its tonal contrasts between the green gloom of the trees and the crisp white of the girls' dresses in the bleaching sun are a manifesto of early impressionism...

Author: /time Magazine | Title: Art: Fields of Energy | 3/31/1975 | See Source »

...Wall Street bond trader for the firm of Salomon Bros., Simon entered Government in December 1972 as Treasury's No. 2 man. At the height of the Arab oil embargo in December 1973, President Nixon named him to create the Federal Energy Office. Simon snapped out quick and crisp decisions on allocations, conservation measures and prices. There were some foulups, but Simon by sheer force of personality convinced Washington that someone had taken charge of what had been a confused energy policy...

Author: /time Magazine | Title: POLICYMAKERS: Simon: Lonely Voice, Less Influence | 3/31/1975 | See Source »

...Eric Blair" suits him. The crisp syllables suggest a Briton of spare style and countenance. But he despised his real name; it smacked, somehow, of Aryanism and privilege. So he cloaked his origins in a common-sounding nom de plume. His disguise became him, and at last he became his disguise. Today the world remembers him only as George Orwell, seer of the future imperfect. Neither name nor reputation is quite correct...

Author: /time Magazine | Title: Time Essay: Orwell 25 Years Later: Future Imperfect | 3/24/1975 | See Source »

...peace of empty days after a lifetime full of crowded ones. Indeed, the most touching sequence in the film is Clara's first night in the hospital. She wonderingly explores her spacious, airy room, sits down to savor a simple attractive meal in solitude, tucks herself between crisp sheets with nothing but a book for company. The contrast between this thought-provoking silence and the numbing intrusions on her spirit that we have witnessed in the film's opening sections could not be more vividly evoked. In a directorial career devoted largely to exploring the ways poverty assaults...

Author: /time Magazine | Title: Cinema: A Quiet Ending | 3/10/1975 | See Source »

...animal existence." Updike wouldn't be, and doesn't. The dust jacket photo for A Month of Sundays shows him in a pin-stripe suit and shiny black shoes, flashing a tolerant half-smile at his walking companion, who has been cut from the picture. He holds two crisp autographed copies of his latest book under his left elbow, while his left hand absently attends to an itch on his right pinky...

Author: By James Gleick, | Title: A Keyboard Confessional | 3/6/1975 | See Source »

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