Word: insights
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Dates: during 1950-1959
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...Welles, frazzle-pated, barrel-bellied, hollow-eyed, creates a fetching caricature of the great trial lawyer, all fustian and a yard wide. Bradford Dillman, the Straus-Loeb, is alarmingly screw loose and frenzy free. But it is Dean Stockwell, as Steiner-Leopold, who dominates the drama. His intensity and insight do much to explain the character's homosexuality, do something to clarify his fearful crime...
SIGHT AND INSIGHT (191 pp.)-Alexander Eliot-McDowell, Obolensky...
...communion. This idea binds together a sheaf of reflections on the nature, meanings, and ends of painting by TIME's Art Editor Alexander Eliot (Three Hundred Years of American Painting). Highly personal, aphoristic, poetic, Sight and Insight shuns critical pedantries in art to speak of bigger things-life and death, God and man, the wisdom of children, the power of dreams, love, fate, and the human soul...
...kind of reverence, a still gratitude, but definitely not admiration. The moment one stops to say. 'Isn't that lovely!' one is in danger of losing the way." Beauty's shadow is significance: "Every great painting shows something seen plus something seen into . . . sight and insight." If the surface story is only half the story in a painting, the "latent content" is the other half, the question the artist answered without consciously asking...
...Philosophers. No technique-detective or brushstroke spy, Author Eliot is instead one of the sun philosophers who value the lights that men and artists live by. Light is the sensuous hero of Sight and Insight: "Velásquez' light is like transparent golden bees swarming the honeyed shadow, while Rogier van der Weyden's is like water over marble . . . even when stealing into Vermeer's darkest interior by a narrow window, light is welcomed as a lover. The far corners whisper hello to light. Instead of humping their backs like angry cats the shadows under the furniture...