Word: fountain
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Dates: during 1950-1959
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...late Reginald Marsh was a short, stocky, inconspicuous man, who for 34 memorable years moved quietly and almost invisibly about Manhattan with sketch pad and fountain pen. When he died last year at 56, the graphic record he left behind told what he had best loved and captured: the big city with its derelict Bowery bums, jaded burlesque queens and their wise-guy following of touts and sports, the day-to-day lives of Manhattan's anonymous masses, and everywhere-lolling on the beaches, powdering their noses in the mirror of a subway gum machine or just striding, windblown...
...comforting to know that the educators, corporation presidents, Congressmen and others who depend on Time, can draw their opinions from such a clear, pure fountain of fact. Makes the rest of us feel more at case...
...Long Island into one of the liveliest and most pleasant new sculptured ideas of the decade. Last week Nivola's growing reputation got another big boost. National Memorial Park, across the river from Washington in Falls Church, Va., which already boasts the late Carl Milles' 38-figure Fountain of Faith (TIME COLOR PAGES, June 27), unveiled its second major sculpture grouping: Nivola's $50,000 memorial fountain dedicated to the four World War II Army chaplains* who gave their life jackets to enlisted men and went down with the torpedoed troopship Dorchester in the North Atlantic...
When Nivola was approached by Washington Architect Walter Marlowe to design the Four Chaplains Fountain he jumped at the chance. "Sardinians have a great and terrifying regard for the sea," he says. "Most of them, including myself, have never learned to swim...
Above the Water. To depict the dramatic sinking of the Dorchester Nivola designed a huge 22-ft.-by-24-ft. hull of white, reinforced concrete, balanced it over a broad fountain basin which flows inward with a whirlpool motion to a small central oval. For the four 6-ft.-tall sandcast plaques, set just above the water to memorialize the four chaplains, Nivola also went back to an early inspiration, the semi-abstract holiday bread loaves made by Sardinian women. For his motifs Nivola picked four common aspirations: the clasped hands of prayer, conflict of good and evil, family unity...