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...evidently took pleasure in watching his image develop. He modestly acknowledged the description that handwriting experts had built up from his messages: "I do come from a well-educated background (my father was a high civil servant), and I do not lack intelligence." To Paris-Presse he sent a sketch of the murder scene that showed the killer ("me") and the boy ("him") in the exact positions Inspector Samson had calculated. An accompanying note said: "Expect another dramatic development." It came when a grey-haired man in his 40s, dressed as a worker, handed Jean-Luc's Bugs Bunny comic...

Author: /time Magazine | Title: World: Un Bonjour de L'Etrangleur | 6/19/1964 | See Source »

Until the mid-19th century, nobody looked at a landscape while painting it. An artist could sketch out of doors, but he repaired to his studio to finish his work. Nature, the neoclassicists held, needed ennoblement by man: the faithful reproduction of it was imitation rather than creativity...

Author: /time Magazine | Title: Art: Father of Impressionism | 5/15/1964 | See Source »

...debt of this kind existed, he would have acknowledged it. He does not, and is at some pains to make clear that her experiments in written speech-simple rhythms, using repetition and echo for subtle psychological effects ran parallel with his own. Hemingway's sketch of her is a masterpiece of controlled malice in which she appears as a monster of obtuse egotism presiding over her manless menage as over a shrine dedicated to herself, served by Miss Alice B. Toklas and dominated by Pablo Picasso's portrait of herself...

Author: /time Magazine | Title: Books: When Papa Was Tatie | 5/8/1964 | See Source »

...undoubtedly aware, the Coop has recently sent members a letter describing the need for its proposed addition, along with a sketch of the anticipated appearance of Palmer Street with the new building. The same rendering appeared on the CRIMSON front page recently...

Author: NO WRITER ATTRIBUTED | Title: COOP DRAWING | 5/6/1964 | See Source »

Alan E. Heimert's "Appreciation" of Miller is the longest and easily the most important article in the Review. It divides into three parts: an outline of the contents of Miller's work, a sketch of Miller's approach to intellectual history, and a personal reminisence. He tells the history of The New England Mind, Jonathan Edwards, the anthologies, and The Life of the Mind in America, Miller's projected study of national character in the years between 1775 and 1865. Miller would use the "artist" as an "entrance to the understanding of American society," Heimert explains...

Author: By Max Byrd, | Title: The Harvard Review | 4/11/1964 | See Source »

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