Word: portraits
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...wired age--the free-flow of information--it's the one thing that holds our vision of this complex character together. And if it doesn't always work out in reality as Gates the author imagines it will--if Gates the defendant doesn't much resemble the portrait he painted in those bold brush strokes--that's hardly surprising. Few of us ever...
...that, of course, is neither Jay's, nor Kureishi's, concern. Instead, Kureishi succeeds in creating a vivid portrait of one particular man's experience with one particular woman--a portrait that bears a striking resemblance to the author's own life. The reader does not have to like Jay for this to be powerful, if not exactly joyous, reading...
...most striking paintings of "Panorama" was senior Javier Mixco's portrait of a man viewed horizontally. The man is pensive, frowning; his jaw is constricted and Mixco's expert use of light and shading add even more to the somber quality of this painting. What is the man thinking about? What is troubling him? The portrait seemed almost intensely private, as if the viewer was intruding on the man's personal agonies and demons. Despite all this, the painting itself was not dismal or depressing but extremely reflective, piquing the viewer's curiosity. Mixco's piece was further enhanced...
Wols's photograph of his close friend Nicole Bouban (pictured) is the most visually compelling portrait displayed. Reclining on a pillow whose filigreed embroideries of butterflies merge with the platinum waves of her hair, Bouban's marmoreal face achieves the vacuity of expression associated with mannequins or dolls. Her smooth skin seems carved out of soap. But Wols's depiction is more than a trite objectification of a woman's face. Though she is reclining, this is not an image of repose. He effects the same response as that engendered in his self-portraits: the image is impossible to penetrate...
...Wols's photograph of his close friend Nicole Bouban (pictured) is the most visually compelling portrait displayed. Reclining on a pillow whose filigreed embroideries of butterflies merge with the platinum waves of her hair, Bouban's marmoreal face achieves the vacuity of expression associated with mannequins or dolls. Her smooth skin seems carved out of soap. But Wols's depiction is more than a trite objectification of a woman's face. Though she is reclining, this is not an image of repose. He effects the same response as that engendered in his self-portraits: the image is impossible to penetrate...