Word: epsteins
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Dates: during 1950-1959
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...that the characters, whether male or female, slave or free, vile or virtuous, slain or spared, are orators one and all. So much oratory has its touches of eloquence, so much theatricalism its flashes of theater. But the play as a whole is lumberingly lurid, and Alvin Epstein's Claudius offers some adroit stammering that is more effective than anyone else's speech...
Also, Phillip Ewald, promotion director of the New Yorker; Hardick Mosely, sales manager of Houghton Mifflin Co.; Jason Epstein, editor-in-chief of Anchor Books; and George Hunt, assistant managing editor of Life Magazine...
...Jacob knows how to make a bronze face human-and interesting. The impressive garnering of Epstein's portraits, on view this week at Manhattan's James Graham & Sons gallery, offers convincing proof of his unique talent (see color page). The 19 bronze casts (the largest Epstein show in the U.S. in more than two decades) glow with richness, powerful psychological insight and sense of deeply observed human beings...
...Epstein says that he does not start with a definite conception of his subject. Instead, he believes in allowing the sitter's character to impose itself gradually on the clay as he works. After years of portraiture, he reached the learned conclusion that "men sitters are more vain than women sitters." This may in part explain why some of Epstein's most moving pieces are portraits of women...
...describe the state of high nervous tension in which such a bust is done, Epstein tells how he first roughs in the shape with clay, moves in to observe the eyes including "the exact curve of the under-lid," defines the nostrils so that they seem to quiver with breath, moves on to the lips, cheeks and finally the shoulders and back until he feels "a trembling eagerness of life pulsate through the work...