Word: portraits
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Dates: during 1950-1959
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...Gerald Kelly, 78, painter and past president of Britain's Royal Academy, is a salty soul who once sat before the microphones of the BBC and described a Rembrandt self-portrait as "a bloody work of genius" and abstract art as "a kind of measles." Last week Sir Gerald pulled off a bloody triumph of his own. Up on the walls of the Royal Academy's galleries were 291 of his works in a special one-man exhibition, the fourth in the academy's history to be given a living artist. Included was a large...
...several ages. The 18th century, which gave birth to the nation, was Protestant, pragmatic, rationalistic. Once when a customer complained that Portraitist Gilbert Stuart had failed to capture his wife's elusive beauty, the artist flushed and grated: "What damned business is this of a portrait painter? You bring him a potato and expect he will paint a peach!" Then the romantic spirit of the 19th century added its profound effect. Toward the end of that century, Albert Pinkham Ryder remarked that an artist "should strive to express his thought and not the surface of it. What avails...
Sinatra acts as niftily as he sings. He is the picture of the springiest heel that ever walked himself over and fell flat on his face, and the portrait was not an easy one to draw. The objection can always be made that Frankie is only playing Sinatra, a well-known Broadway character, but then he plays the part with complete conviction and a transcendent vulgarity. Outstanding example: When a woman turns him down, he gives her a long, level look that would boil ice, and says: "If you knew what you was throwin' away...
...than to be an acrobat." After 28 years behind cloister walls, she was almost equally unfitted not to be a nun. Her bestselling first book. I Leap Over the Wall (TIME, Jan. 30, 1950), had a certain Rip van Winkle-ish appeal: it drew the portrait of a woman trained in the leisurely graces of pre-World War I society trying to cope with the rough-and-tumble era of World War II, after nearly three decades of being out of the world. In The Called and the Chosen, continuing her literary role as a kind of Thomas Merton...
...role of the father, James Daly presents a convincing portrait of a man who is too busy being successful ever to know his own son. While this is something of a stock part, Daly lends it brashness and polish. The sequences when the idea finally penetrates into the producer's mind that he is largely to blame for his son's predicament are genuinely touching. Finally, Kim Hunter manages to show the mother's love for her son without once becoming mawkish...