Word: portraits
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...Uncle Sam's defining portrait - the finger-pointing, bewhiskered gent of the "I Want You" World War I recruitment posters - were painted by James Montgomery Flagg, a LIFE Magazine illustrator. Flagg's drawing first appeared on the July 6, 1916 cover of Leslie's Weekly, with the title "What are You Doing for Preparedness?" It became a national ad campaign a year later...
...first stage success, centers on Joe Keller, a manufacturer who knowingly shipped defective airplane parts during World War II. (It's quintessential Miller, which means quintessential Ibsen: there's no real action, just reaction to the revelation of long-hidden secrets.) Miller's indictment of business ethics and portrait of a family in crisis can seem overwrought, but McBurney's solution is to go the playwright one better; his expressionistic devices imbue the play with tragic universality. The capable cast includes John Lithgow as Joe, Dianne Wiest as his wife, and Patrick Wilson as his adoring, deluded...
...display at the Boston Museum of Fine Arts through Jan. 19, is largely an exploration of Karsh’s strikingly beautiful and expressive black and white portraiture, though it also delves in bits and pieces into both his early work and images outside the portrait milieu. Though these digressions from Karsh’s most famous pieces help elucidate the character of the artist, they cannot compare to the power, intensity, and soulfulness of his signature portraits, which form the bulk of the exhibit.All four walls of the vast room that houses the collection are lined by photograph upon...
...Comedy is one of the most arid, painful, wounded movies I've ever seen. It's hard to believe Scorsese made it; instead of the big-city life, the violence and sexuality of his movies like Taxi Driver and Mean Streets, what we have here is an agonizing portrait of lonely, angry people with their emotions all tightly bottled up. This is a movie that seems ready to explode - but somehow it never does...
...presented with a sinister portrait of a family dissolving before our very eyes, and what we see is a world turning in on itself and collapsing into the vacuum of oblivion. What remains is the proof that the very notion of self-identity is a sham. The only thing missing from this ambitious interpretation of Mac Wellman’s play “The Hyacinth Macaw”—is subtitles. Yes, they would have been much appreciated.Director Marcus Stern, an Associate Director at the American Repertory Theatre, oversaw the play’s original 1994 production...