Word: shorthand
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Dates: during 1930-1939
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Juicy & Nocturnal. At the gallery of tall Bostonian Hudson D. Walker, watercolors by quiet Harry Glassgold pleased visitors with their dexterity and light-filled colors. In several of them 30-year-old Artist Glassgold got away with a few Marin tricks of shorthand with unusual impunity. Most critics accounted his work more lively if not more accomplished than the watercolors which Dealer Walker hung up this week by 28-year-old, waggish Stuyvesant Van Veen. Typical of his dry, ingenious work were half-a-dozen "nocturnes"' of New England small towns, among them Peterborough Backstreet...
...content with the protection of his cryptic shorthand when he confided his amours to his diary, Pepys added further screens by making up a pidgin language of French, Spanish and Latin, with toy words and a freakish kind of lustful baby talk. "She would not suffer that je should poner my mano above ses jupes which je endeavoured," he wrote of one modest soul. But although Librarian Turner transcribed such passages, Pepys's secrets are still reasonably safe 270 years after the night Mrs. Pepys caught him with the charming Deb Willet. Talking things over with publishers and college...
...whose creature it is, that shorthand name means a great deal more. As Donald Douglas waits with the rest of the crowd to see this embodiment of his 46-year career take off for its crucial test, he may well be turning over in his mind some of the things that name does mean. Blueprinted in his mind are such facts and specifications as these...
...spectator. One water color in last week's show, Bird, Ph Feeds Ur with the Snake, at first sight only a delicately smoky paper with a tangle of lines in the centre, suggested a cosmic twilight and the chaotic, prehistoric figures of monsters. In another kind of shorthand, a gouache called Winter Flowers showed a pattern of slim stems and frosty white blooms against grey darkness. Here all the spectator had to contribute was a simple association of darkness with winter...
Artist Marin's total disbelief in copying nature, on the ground that anyone would rather have a real ear of corn than a painted one, led him ten years ago to a kind of shorthand in which a triangle represented a sail, a jigging line the sea. In his recent work, extremes of this kind have given place to more effective economies: strokes of color and ragged whites which sometimes fail but more often succeed in bringing to life the "fighting" forces of wind, weight, water and light which he feels in landscape. Marin works over each picture with...