Word: pigment
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DIED. John Howard Griffin, 60, novelist who in 1959 used chemicals and ultraviolet light to change the pigment of his skin temporarily from white to black, then walked, bused and hitchhiked through the South and wrote about his experiences in Black Like Me; of complications arising from diabetes; in Fort Worth. His book, published in 1961, stirred consciences throughout the U.S., sold more than 1 million copies and was made into a movie...
...pigment and chromosome, the 1980 Democratic Convention was nearly perfect. Television directors were ecstatic as they ordered their crews to zoom in on the U.S. profile spread across Madison Square Garden, from pink cheeks with a hint of baby fat to wrinkles and wattles, from deepest ebony to lily white, female and male...
...supports, over the whole area. The galleries are part of the new southern wing, designed by Kevin Roche/John Dinkeloo, and the huge ceiling provides something almost unique in recent museum constructionnatural light. Special glass on the roof above filters out the ultraviolet light that can damage pigment, while stainless-steel baffles scatter the sun's beams, which are further diffused by pebble-grained glass panels set in the ceiling's grid. The arrangement imparts a subtle variety to many a familiar painting as the sky changes. The impressionists, in particular, take on a new animation, since...
...meaning with these miniatures. They are the condensed products of an immense appetite for the world and its fruits, compressed into a few square inches of surface. They are also fresher than most European Renaissance paintings because they have been protected between the covers of books, so that the pigment has not faded through exposure to light. The one exception to this is the silver leaf that Safavid artists customarily used to represent water: it has tarnished, turning the garden fountains, the rivers and waterfalls to soot...
Nothing, one would think, could be addressed more purely to the eye than Seurat's divisionism, his way of analytically representing color and light by means of dots of pure pigment, stippled closely together. In front of a painting like The Gravelines Channel, Grand Fort-Philippe, 1890, one.is conscious of nothing but the field of infinite nuances, the chalky light of the marine estuary, the artist's utter absorption in vision itself: this is one of the most exquisite paeans to the discriminatory power of the human eye ever to be set on canvas, far away, one would suppose, from...