Word: paint
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Dates: during 2000-2009
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...involve defining him as unacceptable and unqualified to be Commander in Chief. Clearly, the Republicans have not done enough on that score to influence public opinion and slow Obama down, and McCain will need to use the vast audience tuning in to the final two debates to effectively paint Obama in those negative terms...
...Conservation of Nature (IUCN) and published Oct. 6 in Science, an estimated one out of four mammals is threatened with extinction. The populations of about half the 5,487 known species of mammals in the world, on land and in the water, are dwindling each year. "Our results paint a bleak picture of the global status of mammals worldwide," the study's authors wrote in Science. "Within our lifetime, hundreds of species could be lost as a result of our own actions," said Julie Marton-Lefevre, the IUCN's director-general, at the organization's annual congress in Barcelona...
...have no doubt that we would look at [hiking property taxes], I don’t know if we would do it or not,” said Seidel. “The credit freeze on Wall Street along with Question 1 don’t paint a very pretty picture going into the future.” —Staff writer Peter F. Zhu can be reached at pzhu@fas.harvard.edu...
Mark Rothko is the great thundercloud of 20th century American painting, a man who struggled to find a way for mere pigment to summon immense reservoirs of feeling, and who took his own life when the struggle proved too much. This is why one of the most baffling episodes in Rothko's story has to do with the Seagram murals, a suite of vast, brooding canvases he produced for Manhattan's sparkling Four Seasons restaurant. Rothko was an artist who could say, and mean it: "The sense of the tragic is always with me when I paint." And the Four...
Maybe not. He once snarled: "I hope to paint something that will ruin the appetite of every son of a bitch who ever eats in that room." But in the end it was Rothko whose endurance gave out. By then, he had completed more than 30 canvases: dark, foreboding panels in which his characteristic horizontal bars of color were replaced by explosive verticals or squares that seem like gateways to something ineffable. Unwilling finally to imagine this work on the walls of a society hangout, Rothko withdrew from the project...