Word: portraited
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Dates: during 1960-1969
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Afterward, Marge told everybody, the Coppolinos were a tower of strength. The trio started attending church together. An amateur artist, Marge began painting Carl's portrait. Neighbors began joking about "Dr. Strangelove" and friend, but the widow assured a neighbor that she thought of Carl "like my son." Early last year Marge decided to move to Florida, bought land adjacent to the Gulf Coast resort of Sarasota-and told acquaintances that she had induced her friends to head South with her. In April 1965, the Coppolinos settled in a white stucco home on fashion able Longboat Key off Sarasota...
JAMES BOSWELL: THE EARLIER YEARS, by Frederick A. Pottle. Johnson's Boswell comes stunningly to life in this warm portrait of a rakish genius...
...empty lectures at home. In the devastating symbolism of Joseph Kilián, by 30-year-old Director Pavel Juráček, the protagonist borrows a cat from a pet shop and is entangled in a bleak, Kafkaesque nightmare while trying to return it. Painting a surprisingly harsh portrait of Communism's common man, Evald Schorm, 34, debunks bureaucracy with unmuffled freedom in his Courage for Every Day. Chosen by a magazine as the exemplar of the socialist ideal, a factory worker stumbles over every slogan, ends by trying to numb his senses with sex and alcohol...
...disguised for a time as a charwoman, Audrey plays the daughter of a fine old French family with a congenital weakness for forging old masters. Papa is Hugh Griffith, a shaggy rogue whose wickedly rolling orbs make him look like a cross between a pinball machine and a Rembrandt portrait. Griffith has turned Sunday painting into a world-famous collection of Cezannes, Van Goghs, Renoirs-all part of $100,000 worth of phony masterworks, especially commissioned to help Director William Wyler (The Collector) fashion this meticulous high comedy about ars graftia artis. Among the other experts at hand...
...instances where Poussin painted a living person, for portraiture was then considered a lowly form, was his self-portrait of 1650. With an intimation of the coming romantic age, he cloaks himself in an academic gown, accouters himself with a book, and poses against pictures whose gilt edges focus attention especially on his eyes. It is clearly the portrait of the artist as rational philosopher, saying with Cartesian clarity: I perceive, therefore I paint...