Word: surly
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Dates: during 1960-1969
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...desire to equate all such savagery is tempting to some. Moscow's Trud compared My Lai "to the destruction by the Hitlerites of the Czechoslovak village of Lidice, the French town of Oradour-sur-Glane, and to the Nazi atrocities on Soviet soil." A baker in Bonn was overheard telling a customer who asked about the massacre: "What else can you expect?they're just doing the same
Early Impressionism. The Manet On the Beach is also an unusual work: an important example of the artist's conversion, in midcareer, to the informal open-air painting now known as Impressionism. Painted during the summer of 1873 on the seacoast of Berck-sur-Mer, its lighter palette and sketchier treatment present a striking departure from the indoor lighting and carefully worked-up details of the earlier, sensational Le déjeuner sur I'hérbe-an outdoor scene painted in the studio. Even the Rousseau is a little offbeat, though the famous Sunday painter of imaginary...
There is considerable debate about the value of these encounter groups. Some establishments, like the famed Esalen Institute at Big Sur, are rightly praised by reputable psychiatrists. Other observers argue that it is foolish to believe in salvation through collective bloodletting. Berkeley English Professor Frederick C. Crews, for one, calls encounter "extremely naive?a kind of utopianism based on the vulgarization of psychoanalysis...
Thankfully, Joanne Hamlin's Natalia is no Mrs. Robinson. Mrs. Hamlin is quite lovely as a woman infatuated by both and individual youth and youth itself. Natalia is more than just a victim of sur-pressed menopause; as Turgenev, who shares much with James and George Eliot, envisioned her, she is complex, distraught. Mrs. Hamlin, though, never searches below the sparking surface she creates. Her second act appearance on a reclining coach is too light; it does not help create a woman who--even if she had not met Beliaev--would have ended up in much the same desperation...
...bright as the day Ernst painted them, and each of the 14 canvases carries something of that breathless, rarefied atmosphere of in sight and abandon in which they were created. More important, perhaps, notes Paintei Andre Masson, they prove that Ernst was a precursor as far as Sur realism was concerned. "While the rest of us were still formulating our ideas, he already had his foot in the door...