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That being the case, says Brown, the third panel may really depict Bosch's version of the here and now, while the center scene illustrates the joyful, uninhibited sensuality that the Adamites wanted mankind to practice...

Author: /time Magazine | Title: Books: Freud's Disciple | 7/15/1966 | See Source »

...Confessions, Northwestern Law Professor Fred E. Inbau and Polygrapher John E. Reid depict the modern interrogator as "a hunter stalking his game." They prescribe absolute privacy in a small, bare, windowless room. "Display an air of confidence in the subject's guilt," they urge. Appear to have "all the time in the world." The interrogator strips the suspect's status away by using his first name-"Joe" rather than "Mister"-and slowly moves his chair "closer, so that, ultimately, one of the subject's knees is just in between the interrogator's two knees." Says...

Author: /time Magazine | Title: Criminal Justice: Concern About Confessions | 4/29/1966 | See Source »

When a 19th century artist set out to depict the Stations of the Cross, he could fall back on a ready-made iconography. The fifth painting, he knew, must represent Simon helping Christ shoulder the cross. Not so for an abstract painter, who must face the problem of portraying the progression toward Calvary without the props of episodic, cartoon-strip clarity, and at the same time strive to render its essential agony. Barnett Newman, 61, the most abstract of the U.S. abstract expressionists, made the problem even harder: he resolved to limit himself to his own astringent style, depict Christ...

Author: /time Magazine | Title: Painting: Of a Different Stripe | 4/29/1966 | See Source »

Third, Pasolini has used the "zoom" lens both ostentatiously and successfully--an unprecedented combination. Somehow a "zoom" shot always seems a portent of Revelation--which is what Pasolini uses it to depict...

Author: By Jeremy W. Heist, | Title: The Gospel According to St. Matthew | 4/16/1966 | See Source »

...contemporaries, such works were full of unrecognizable "blots." Constable, also experimenting in colored light, labeled Turner's work "tinted steam." It was a shrewd perception for, in the days of the burgeoning Industrial Revolution, Turner eventually abandoned trite old themes to depict railway trains and steamships roiling, almost defiantly and often indistinctly, through mist and fog. When he titled a painting Sunrise with a Boat Between Headlands, the subject was neither topography nor the boat, which is a barely visible blob, but light refracted by mist...

Author: /time Magazine | Title: Painting: Landscapist of Light | 4/1/1966 | See Source »

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