Word: portraited
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...television spot shows a dimly lit office at night, its occupant working hard at his desk. A ghostly voice reverberates in the room, but where is it coming from? Why, from a portrait of William Randolph Hearst, founder of the media empire that bears his name. Hearst gazes down on his grandson William Randolph Hearst III, publisher of the San Francisco Examiner, and quizzes him on his recent staff additions. "Who is this Hunter S. Thompson?" asks Grandfather Hearst in a tone half haughty, half perplexed. Will Hearst, who helped hire the duke of "gonzo" journalism as a columnist, replies...
...house that Michael draws is a series of connected ladders and squares. Stick figures occupy the upper squares; they represent tenants on the upper floors. The lowest square is filled in with green. As he continues to work, the other children are asked to talk about their self-portraits. Elena is too shy. Carmen says she is pretty in her drawing. Betsy asks Michael where his self- portrait is. Michael picks up one of his discarded sheets, announces, "This is a bad guy. I'm going to make a jet." He folds the paper into a plane and lets...
...others continue drawing. Ralphy has returned and produces an excellent self-portrait. Michael has stopped drawing. He sits at a desk, lays his head on his arm and stares dreamily at the window and the dark blue afternoon. He takes a swig of apple juice and is reprimanded by Lori for not asking first. "Let's play outside, Lori," he asks. Lori explains that today is meant for drawing. Michael takes more apple juice without permission. Lori says that she will tell Sister Geraldine...
...Michael, you'd better be back in this room by the count of five." Michael re-enters at four, crushes a plastic cup under his heel, crumples his picture and throws it into the trash can. Lori stares at him. He runs toward Ralphy and slaps Ralphy's self-portrait out of his hand. He laughs, slams the door to the room from the inside. As the other children slip on their jackets, Michael stands at the wall, looks everyone over and turns out the lights...
Many people have experienced the portrait's strange spell. "This contrast between the splendor of the helmet and the subdued tonality of the face makes one deeply conscious of both the tangible and intangible forces in Rembrandt's world, and of their inseparable inner relationship," Jakob Rosenberg of Harvard wrote in Rembrandt, Life and Work. "As in all his greatest works, one feels here a fusion of the real with the visionary, and this painting, through its inner glow and its deep harmonies, comes closer to the effect of music than to that of the plastic arts...