Word: eye
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Dates: during 1970-1979
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...that Rolls is a Volkswagen!" Well, almost. What the Chicagoan saw -and what more and more drivers and pedestrians across the U.S. are encountering-is a VW equipped with a fiberglass hood that bears a startling resemblance to the elegant Rolls-Royce front. It is the latest-and most eye-catching -manifestation of the doll-up-the-Bug fad that has produced a dizzying variety of conversions over the years since the Beetles first appeared...
...Granted this tenor of thought, it was inconceivable that Braque's kind of Cubism could ever have turned the corner into abstraction. Instead, his enterprise was to put flesh on the bones of Cubist structure, to give it the sensuousness of the world of objects, returning to the eye and hand a space which, though fictional, can be explored in real detail. "There is in na ture," he said later, "a tactile, I almost mean 'manual' space." The Mantel piece, 1922, is an example of this pro cess. At first one recognizes its elements - the crumpled guitar...
Later, it became Braque's habit to mix sand with his paint. The gritty paste, imbued with color and resistant to the skimming eye, served two purposes. It presented his paintings as surface; and it insisted upon a slowness of inspection, parallel to the immense deliberation which Braque himself brought to the act of painting. Such works are all about explicitness: witness a masterpiece like The Pink Tablecloth, 1938, with its assembly of waterjug, book, lemons and glass enjoying their mutual silvery transparency on a pale amoebic cloth, linked together by a shaved white line that both dictates...
Forster) is a $20-a-day Hollywood private eye who wears a vest, a trench coat and a Bogart mask of cynicism. "I hope you'll pardon the way I look. I just threw something on," a pretty suspect (Jessica Walter) tells him when he rings her doorbell. "You almost missed," retorts Banyon, in a line that dates from considerably earlier than...
...Drew and a malformed hillbilly boy by playing a wild duet between guitar and banjo pulls its meaning out of moving fingers, Drew's smiles and grimaces and the boy's seeming impassivity the growing comprehension of the onlookers faces. And when we start to go downriver. Boorman's eye guiding Vilmos Szigmond's camera picks up the release of a smooth-skimming canoe when it catches the current, the disruptive churn of a sudden patch of rapids, the collected stillness of a stoned in pond...