Word: sculptor
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...unveiling, Rev. George E. Ellis, Class of 1833, remarked that "as far as man's high gifts can supply the want of a true model, the sculptor has so far moulded the bronze figure of John Harvard. He rests his hand on the open tome between his knees, and gazes for a moment into the future, so dim, so uncertain, yet so full of promise, of promise which has been more than realized...
...confession for a rich, well-beloved man in the prime of life. But if work is his undoing, it is also his consuming interest. He prefers couture because the fine fabrics make him feel "like a wood sculptor who gets to work with the finest ebony." It is also satisfying that his seamstresses complete every alteration, every sleeve and collar by the next day. "That's not the case with Rive Gauche at all," he laments. "I have to work with factories. I give them a sketch and have to wait twelve to 15 days before...
Wines brings to his new assignment a flair that disturbs some, amuses others and fascinates nearly everyone. He never received formal architectural training but studied art and art history at Syracuse University and thereafter embarked on a successful career as an abstract sculptor. In 1968, while casting bronze sculpture at a foundry in Long Island City, N.Y., he met Alison Sky, an experimental sculptor and poet. Two years later, with Photographer-Writer Michelle Stone, they launched a design firm called SITE, an acronym for "sculpture in the environment...
Edwin Booth, who was born the year Kean died (1833), defined acting as the work of "a sculptor who carves in snow." Without sound film to record his art, an actor's performance ceased to exist on closing night. So Kingsley's Kean is a form of historical evocation, a tribute paid by one actor to another across the gulf of changing theatrical conventions. Other performers-Alfred Drake in a 1961 Broadway musical, Alan Badel in a 1971 London production of Jean-Paul Sartre's play Kean, Anthony Hopkins in a 1979 Masterpiece Theater-have played Kean...
...originally consisted of some 12,500 white marble stones hewn from Mount Pentelicus, ten miles to the north. The restorers added new iron clamps and rods to hold the marble stones in position. But in doing so, they ignored the wisdom of the Parthenon's original designers, the sculptor Phidias and Architects Ictinus and Callicrates. During the installation of the temple's original iron reinforcing rods, the ancient builders used a form of rust-proofing that has been effective for two millenniums: they wrapped the rods tightly in a sheath of pliable lead, which gave them room...