Word: symbolized
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Dates: during 1950-1959
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Pissarro's claim to recognition lies in such paintings as Peasant Digging (see opposite). A realist at heart, he followed Corot's advice always to paint out of doors. Pissarro made no effort to turn the young peasant woman into a monumental symbol, but accepted her as part of the landscape. His real joy, as his broad brush strokes show, was in catching on the spot the midday heat and glitter...
...Bill Martin again became a national symbol-this time at $21 a month. In one of the first New York groups to be drafted, Martin, then a bachelor, went good-humoredly off to Fort Dix, helping, as Selective Service Boss General Lewis B. Hershey said, "to convince people that we were dealing off the top of the deck it helped to have some aces and kings come off as well as deuces." Martin was a full colonel when discharged...
...home, the Vice President watched his renomination on television. Massachusetts' Governor Christian A. Herter, proposed by Stassen as the man to stop Nixon, himself made the nominating speech. Stassen was one of the seconders. An ex-Democrat from Nebraska, one Terry Carpenter, backed down after nominating a fictitious "symbol of an open convention" named Joe Smith (thereby setting off a spate of "Yes, Virginia, There Is a Joe Smith" editorials in the U.S. press). Governor "Goodie" Knight choked down his gorge and made the California announcement of 70 votes for Nixon. The nomination, like Ike's, was unanimous...
...ripple out to include what he calls "the transitoriness lite. Now we're here, now we're not." Says he: "I suppose that I would have been a good transcendentalist 100 years ago." He often paints water, finding in its unresting ebb and flow an almost obsessive symbol for the tides of time. On occasion, as in his stormy Clock (see cut) time, tide and the implied threat of shipwreck build together into a powerful unity. At other times he uses a huge winter-stripped, decaying tree to suggest the fact that even the giants of the forest...
...secret of its beauty lies in a perfect balancing and interpenetration of naturalism and formalism, serenity and tension. At first glance, Nefertete seems rigidly posed staring straight ahead, a symbol of dedicated otherworldliness. But a closer look shows her to be lively and natural in expression. Again, she seems at first to carry far too heavy a burden on her thin, soaring neck, but the strain induced by the weight of the crown is resolved in peace by the upward lift of the quiet mouth, wide eyes and winged brow...