Word: velasquez
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...School's Institute of Politics and the Journal of Hispanic Policy, the speakers included Mayor Xavier Suarez of Miami; Maria A. Berriozabal, a city councilwoman from San Antonio, Texas; Dr. Harry Pachon, executive director of the National Association of Latino Elected and Appointed Officials; and Willie Velasquez, executive director of the Southwest Voter Registration and Education Project...
...addition to these problems, Velasquez, who has run many voter registration campaigns in the South-west, said he had conducted studies that found Texas voting districts to be "gerrymandered" to minimize the effect of the Hispanic vote...
...spirituality" struck Pacheco as mannered and distracting. He did not mention his ex-pupil in his book. But Pacheco was a dry, insipid painter, and Zurbaran's slightly awkward fierceness must have been disturbing to a man whose chief pride lay in being the father-in-law of Velasquez. Zurbaran would not master the sense of secular decorum, the discreet and far-reaching rhetorical power of Velasquez's much greater art. He did not try to, since he was mainly painting for monks, not connoisseurs. He and Velasquez studied together and were born within a year of each other...
...Velasquez makes Zurbaran look primitive. One senses this even in Zurbaran's most ambitious work, the immense altarpiece he did in 1638-40 for the ) Monastery of Nuestra Senora de la Defension in Jerez, the majority of whose surviving parts -- scattered long ago among museums in America, Spain, France and Scotland -- have been reunited for the first time, in the Met, for this show. Its most beautiful panels, The Adoration of the Magi and The Circumcision, are crowded with relatively still figures and seem to come out of the old world of Titian and Veronese. But when it came...
...archaic, almost Gothic patterning -- inside which his genius for simplified form could produce the most ravishing episodes of detail, as in the folds and loopings of the monks' white habits in The Virgin of Mercy. It is one of the things that commends Zurbaran to modernist taste. But to Velasquez's circle it cannot have looked very sophisticated. For all his formal solidity, moreover, the perimeter of Zurbaran's space often seems as thin as tissue, ready to collapse under the pressure of revelation -- and sometimes it literally does, as when the back wall of the otherwise "normal" domestic scene...