Word: sketched
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Dates: during 1960-1969
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When the sitter for this week's cover by Italian Painter Pietro Annigoni saw the finished sketch at No. 10 Downing Street one morning last week, he wondered at first if there wasn't something a little wrong about the eyes. British Prime Minister Harold Wilson showed the drawing to an aide and asked if his eyes really closed that much. Assured that they did when he was thinking or talking, the Prime Minister warmed up to the work and smiled his approval. He had but one suggestion. He asked that there be sufficient space...
...G.O.P. party worker so peculiarly out of line with his leaders? The answer is suggested in Rovere's sketch of Goldwater's career. In 1952 Goldwater was only a few years removed from the party worker level (big contributor variety); he was a conservative Eisenhower Republican. But somewhere between 1952 and 1956, as Rovere puts it, the conservative and his conscience met. Goldwater got ideology. He repudiated the Eisenhower Administration, the essence (and justification) of expediential Republicanism...
...turn the most level-headed curator into a creature half Hawkshaw, half Walter Mitty. Such was the spine-tingling predicament of Harvard's Fine Arts Chairman Seymour Slive. On a busman's holiday to Los Angeles, he had been casually shown an unsigned 17th century oil sketch, The Head of Christ, at the Paul Kantor Gallery. The glimpse proved unforgettable. Recalls Slive: "The left side of the face looks almost like a death's head. Yet the right side is tender. The eyes looked out and yet inward...
Returning across the country on a camping trip with his wife and three children, Slive was haunted by the picture: "I know it "sounds corny, but I honestly had visions of that painting in the campfires." Back in Cambridge, he had the oil sketch shipped to him for closer inspection. Fogg Art Museum colleagues, including Jakob Rosenberg, scrutinized it and agreed on its authenticity. Experts evaluated it as high as $400,000. To make finally certain, Slive strung the painting around his neck in a bag and flew off to Holland. "I felt just like James Bond," confesses Slive...
...artists prefer to call their unlikely likenesses "interpretations" rather than portraits. Abstractionist Hugo Weber became friends with Mies van der Rohe while they both were teaching at the Illinois Institute of Technology. Not until 15 years later did Mies permit a portrait, and then Weber had to sketch while the architect worked at his desk. The blue of Mies's habitual business suit pervades a shoulder-swaying pose as slashing as icy spindrift. Weber still does not know if his subject was pleased, but Mies did buy one of his oils and three drawings...