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Word: pigmented (lookup in dictionary) (lookup stats)
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...trim, tanned suburbanite of 60, Barrie divides his holidays between golf and art. He shoots in the low 80s, paints less well. His innumerable strokes of smudgy pigment often land him in the rough. But, in welcome contrast to most contemporary art, his paintings are unpretentious and done with obvious enjoyment...

Author: /time Magazine | Title: Art: Golfscapes | 11/27/1950 | See Source »

...slight movement of the surface texture, obtained by applying the pigment in short brush strokes, was to give it a certain luminosity and lightness, besides the impression of dynamic suspension, rather than static solidity...

Author: NO WRITER ATTRIBUTED | Title: Bayer's Description of 'Verdure' | 11/15/1950 | See Source »

...announced that they had discovered something new about plants' "photoperiodism." They irradiated soybeans and other sensitive plants with narrow-wave bands of colored light from a spectroscope. Judging by the plants' responses to different colors, the experimenters decided that plants must contain invisible amounts of a blue pigment which acts as a sort of alarm clock. The scientists do not know exactly what the powerful pigment is, but when it gets the right amount of illumination, it tells the plant to wake up and start the business of flowering...

Author: /time Magazine | Title: Science: Flower Alarm Clock | 4/17/1950 | See Source »

...firms, Janine explained, "concentrate on color alone. But a painting has texture as well. To simulate that we use dozens of materials: cardboard, paper, stencils, canvas, silk screens . . . Sometimes we use as many as seven different processes to reproduce one original." Janine and Jean had built each blob of pigment up to the same thickness as that in the original paintings. They made as many as 600 facsimiles of each painting, sold them for $15 to $20 in Paris. The copies will soon be retailed in the U.S. at $40 each...

Author: /time Magazine | Title: Art: Like the Originals | 2/13/1950 | See Source »

...pictures' quality was not expressed in the way they were painted. E. Box used loud primary colors and plenty of sticky pigment to get a flat, lush, primitive effect. Compared with her, Grandma Moses was an old master. But Box's subject matter was something special...

Author: /time Magazine | Title: Art: Security, with Fangs | 1/2/1950 | See Source »

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