Word: paints
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Dates: during 1940-1949
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Benton had been wanting to paint salty, sociable old ex-Editor Hough for quite a while, he said, "but I figured I'd have to lead him up to it gradually. We were having some bourbon and cistern water at his place when I told him, 'By God, I'm going to paint your picture.' We had a good time at it. After we were finished for the day we'd have a drink and then I'd take him home and we'd have another drink...
Some museumgoers wished that Benton had done his drinking before starting to paint. To them, his portrait looked as inert and uninspired as a coil of rope. But the conservative officials of Boston's museum seemed to feel that Benton had captured a vanishing type on canvas. And for once, Tom Benton, who used to complain that an art museum was a graveyard "run by a pretty boy with delicate wrists and a swing in his gait," agreed with the officials. His friend Hough, said Benton, "is a good old New England editor...
What they saw, at the second annual exhibit of American Indian painting, were mostly bright, flat watercolors of tribal life and lore, like the prizewinning Dakota Duck Hunt by a Dakota Sioux named Oscar Howe. Jemez Indian José Rey Toledo entered a thoroughly detailed illustration of the sacred Zuñi Shalako dance, but Ma-Pe-Wi, a Zia Pueblo, forbidden by his tribe to paint ceremonials, contented himself with a cocktail-bar rendering of a buffalo hunt...
...Paint the Joint Red." Just after Repeal, Billy was hired (at $1,000 a week) by an underworld syndicate, backed by some of the more distinguished members of the Brooklyn Beer Gang, to run a big Broadway nightspot called the Casino de Paree. With the Casino, Billy revolutionized the nightclub business. His plan of action to attract the masses: 1) "Red is the most successful and exciting color, so paint the joint red"; 2) "Crowd them together-they'll communicate the excitement through their elbows"; 3) "Keep the prices reasonable, the liquor good and the food edible"; 4) "Make...
Marchand eloquently explains the change in his color and composition: "I used to paint mostly on the Mediterranean," he says,"which is a world of fire. But now I have discovered the complexity of the sun seen through the trees, the feel of moss, ferns and mush rooms, the moist wonder of a grey wood in the early morning when the cobwebs are cradling the dew, whereas at the sea you can't get away from the horizontal line. And another thing: where there are lakes and streams in the forest the skies are down in the water...