Word: portrait
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Dates: during 1970-1979
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...dismayed that as the basis of your cover portrait you used, without authorization, my well-known photograph of the moving face of Albert Einstein...
...most heinous offense a gentleman may commit is to divulge the name and whereabouts of that movable mecca, the small, inexpensive, discrete, family owned restaurant with a menu of rare enticements and threefork ambience. The temptation to tell can be strong. John McPhee, 48, author of the bestselling portrait of Alaska, Coming into the Country, and other books, not only is a gentleman but a gourmet and a cook; he is also a compulsive describer. He compromised. In the Feb. 19 New Yorker, McPhee devoted a 25,000-word profile to his favorite restaurant, its pseudonymous owner-chef "Otto...
...enlivened by a macabre whimsy: a man is steamed alive "like a lobster" when his car wash malfunctions; children are fed meals of worms; decent folk fall victim to robbery, infidelity and bad genes. Spyker reports it all, creating a community from the disparate characters as well as a portrait of the narrator, an "outlander... struck more by bits of detail than the total sepia haze of the picture: by odd names or locutions, specific items and photographs that have survived, the price paid for caring...
...theme has an autobiographical overtone. In many ways. George represents Simon, who has said he shared his character's turmoil when he abruptly married actress Marsha Mason some time after his first wife's death. Out of this painful period in his life. Simon has created a painfully effective portrait of human behavior at its most paradoxical: the man fears feeling happy, the woman's compassion threatens to kill her husband's affection. Chapter Two is a long way from the cute quarrels of the newlyweds in Barefoot in the Park. Simon's first success, based on the early days...
...pale wall. California's Robert Graham is represented by a group of his small, fragmentary bronze torsos, minutely finished, imbued with something of the erotic dandyism of the Belle Epoque. But the prize for obsessiveness, were it to be given, surely belongs to Gregory Gillespie, 44, whose Self-Portrait in Studio, 1976-77, is rendered with maniacal detail−everything in place, every pore on the knobby hands and taut face a deliberate homage to the Flemish quattrocento, and the palette with its squidgy mounds of pigment (paint depicting paint as well as painter) turned into...