Word: window
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Dates: during 1960-1969
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...Fantasy Window. One outstanding member of the "new grotesques" is Gregory Gillespie, 32, a native of New Jersey who now lives in Rome and shows at Manhattan's Forum Gallery. Gilles pie, who first went to Italy on a Fulbright in 1963, paints with tempera and oil on wood panels, as did Bellini and Giorgione, and loves Renaissance perspective. He limns tiny images of skinned-looking women or bloated, lecherous men as zestfully as Bosch him self, and sets them against the wall of a squalid Roman slum. Surrealistically oozing globules and pustules contrast with saints' pictures...
...seem abstract and disembodied. In running through his career as a school crusader, his theories on dissent, his theme of practicality, it is easy to forget that he is a man who sometimes wears how ties, who has a station wagon with a "Go Browns" sticker on the back window, who has little children who can be less than charming...
...upstairs bedrooms, visitors will hear an unusual tourist's guide recorded by Rose Kennedy. In it she says: "The President was born in a twin bed near the window on May 29, 1917, at 3 o'clock in the afternoon. They always used the bed near the window, so if the baby were born in the daytime the light would be better for the doctor. Years later, when Jack was elected President, I thought how fortunate I was, out of all the mothers in the United States, to have my son inaugurated President on that cold, cold...
...abstraction. Its companion piece, representing Samson pulling down the temple on his head as six Philistine heads loom above, demonstrates Auden's observation that the old masters were never wrong about suffering: "How well they understood /. . . how it takes place/ While someone else is eating or opening a window or just walking dully along." The small figure of St. Peter from the Third Abbey Church at Cluny is stylistically as spare as anything Matisse ever contrived, humanistically as moving as Rembrandt's Peter. Weighed down with the keys of the church he was charged to found, the guilt...
...characters straining to create song as if for the first time. All the film's shots of masses of men have a specific emotional direction. Lines of men coming from the mines are friendly or angry (one such scene ends in a rock thrown through the Morgan's window). Whereas in The Searchers such scenes take time off from the plot to affirm society's unity, How Green's group sequences furthers the progress of the film...