Word: ever
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Dates: during 1980-1989
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...theater, a handful of Hollywood film studios shrewdly bought cinema chains to showcase their latest hits. Last week Japan's Sony put a new twist on this Hollywood strategy by plunging into the movie business as a way of selling its expanding video technology. In the largest-ever Japanese takeover of a U.S. company, the electronics giant (fiscal 1989 sales: $16 billion) snapped up Columbia Pictures Entertainment, agreeing to pay $3.4 billion and assume $1.2 billion in debts. Coming less than two years after Sony's $2 billion purchase of CBS Records, the acquisition completes the transformation of the maker...
...eyes disappearing into puffy cheeks, a cervical collar ever at his neck, Marcos insisted he was too sick to travel to New York City for arraignment on charges of racketeering and real estate fraud. Still, he argued he was up to a trip to the Philippines, ready to win back his kingdom in MacArthurian style. Hawaii, Marcos proclaimed, was only his Elba. Everyone else knew it was St. Helena...
...Velazquez, about half lent by the Prado, which opens at the Metropolitan Museum of Art in New York City this week. Nor should they be, since such things cannot be exposed to the risk of travel. We can be abundantly grateful for what we have: the first Velazquez exhibition ever held in the U.S., comprising more than a third of his total known output, including such great works of his maturity as the Prado's portraits of the Count-Duke of Olivares on horseback and Queen Mariana and early ones like The Waterseller of Seville, painted when he was around...
Still, it is the objectivity that seizes you. Was there ever a painter less interested in thrusting his "personality" at the viewer? He is the absolute antitype of the hot, expressive artist. His cool gaze settles on everything with equal curiosity: he is as interested in the way a formidable old nun grips her crucifix -- like a weapon -- as in the way the left hand of his monarch Philip IV rests, lightly but not quite negligently, on the hilt of his sword. There is nothing he cannot draw, though no drawings by Velazquez survive. That, however, is part...
...Velazquez, you do not look at an illusion of reality. You are inducted into a relationship with the painter's civil candor about what he does. You are invited to think about how paintings come to mean what they say. Brought to the fore, embodied on the surface ever more boldly, this is the great conceptual theme of Velazquez's work, its binding ethic. It precludes all sentimentality and rhetoric. It is -- as one of his contemporaries exclaimed, on seeing Las Meninas -- "the theology of painting...