Word: gilt
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...handsome, gilt-edge executive on TV's new detergent commercial sits at a desk with shelves of leather-bound books behind him and a red-white-and-blue box of laundry detergent in front. As the camera dollies in, he removes his half-moon reading glasses and there is former Secretary of the Interior Stewart Udall himself, saying, "I believe that Sears' new Phosphate-Free Laundry Detergent is a real breakthrough. For our water's sake, I hope you use it." Ecology-Freak Udall says he will make other commercials, as well as speeches, pitching...
...itself. Unfortunately Christopher Fry's characters and incidents are rarely as surprising or as meticulously well-chosen as his metaphors. His wit is bright, his set pieces are ringing, his sentiment is affecting, but his drama, unhappily, is hollow. The glittering language too often seems to be gilt for a nonexistent lily...
...Smith's "Orpheus" is a light-flooded canvas reminiscent of Impressionism. Roughly textured yellow-greens make up a landscape with field and trees. David Brown uses elaborate surface treatment to an entirely different end. His "Life: Elaine" is a mannered portrait of a lady with classically abstracted features and gilt collar and background. It could be a painting of the sixteenth century. But there is a stylistically twentieth century figure off to one side, and a plastic coating makes the lady gleam-perfected, distant, and ideal...
...styles. The nineteenth century public highly valued the furniture that warmed their houses. The mixture of decorative art with painting and sculpture in the Metropolitan exhibition illustrates the ties between the two during the last century. Whole rooms have been recreated by the museum with yellow silk chairs and gilt chandeliers to look the way they once did in American mansions. The style of the rooms is more ornate than the plain style in the paintings that describe a cross section of American life...
Nicholas of Verdun, one of the few to sign his pieces, molded a large ornate gilt box with a sloping roof, as a shrine to the Virgin. Decorated columns divide the space where figures in relief act out scenes from the Virgin's life. Dressed in heavy gold drapery, resting on a jeweled background, the figures seem half involved with the action and half aware of the spectator. None of the other works in the show possess this shocking brilliance, yet most deal with thinking human beings acting in religious scenes. The artists begin to explore the feelings...