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This is probably the last serious biography of Picasso that will be written by anyone who knew him well. Richardson, now 67, first met the artist when he was living in France in the early 1950s; their rapport lasted 10 years, and the young English art critic kept ample notes. With the assistance of art historian Marilyn McCully (whose speciality is turn-of-the-century Barcelona, where Picasso's talent was incubated), Richardson has mined a large seam of material. He was, for instance, the first biographer allowed to consult Picasso's own archives. He knows the work intimately...

Author: /time Magazine | Title: Portrait of The Young Artist: A LIFE OF PICASSO, VOL. I by John Richardson | 2/18/1991 | See Source »

Flaherty has also said that he has an effective rapport with his counterpart across the hall, Senate President William M. Bulger (D-Boston), who was reportedly on less than friendly terms with Keverian last year in the toughest days of the state's budget crisis...

Author: By Chip Cummins, | Title: The Rise to Power of a Cambridge Lawmaker | 12/4/1990 | See Source »

Billy's old love Irene (Unity Star Johnson) enjoys an immediate rapport with him, but their relationship ultimately proves to be a source of anxiety for Billy. And the seemingly innocuous charm of his mother (Emily Drugge) turns to callousness and ignorance in the spotlight of Billy's interrogation...

Author: By Carey Monserrate, | Title: Loeb `Poker Session' Demands Full House | 11/30/1990 | See Source »

Ginna Carter as Ariel delivers her lines with the expressive energy of a telephone operator. She wears an indeterminate grin on her face throughout the entire play; the grace of the surrounding spirits her outshines her own. There is none of the master-servant rapport between prospero and Ariel that the text blatantly demands, and this failing undermines the power of Ariel's eventual liberation by Prospero...

Author: By Carey Monserrate, | Title: At the Loeb, An Ill Wind Blows No Good | 11/16/1990 | See Source »

Steve Petersen and Jeff Branion as the drunken cohorts Trinculo and Stephano are the delightful exceptions in The Tempest, their comic rapport is as convincing as it is entertaining. And John Ducey as Caliban frequently conveys the pathos and grotesqueness of his character effectively. But their performances are not enough to redeem a production rendered in a dramatic monochrome...

Author: By Carey Monserrate, | Title: At the Loeb, An Ill Wind Blows No Good | 11/16/1990 | See Source »

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