Often depicting recurring figures of various social titles — The Economist (2012), The Improviser (2012), The Beatnik (2013), The Luddite (2012)-- Brewer employs careful lines and colour to redevelop characters
whose public personas are already acutely defined.
Audiences will struggle to empathise with someone
whose public persona was so cold and powerful, so anchoring everything in her weakest moment seems the most sensible option.
Not exact matches
The address was an opportunity — as Fortune «s Tory Newmyer points out — to humanize her husband,
whose boisterous
public persona sheds little light on the man he is away from cameras and microphones.
This prescient sequence fragments and triples Bill Murray's image separating the «
public» Bob who exploits his fading star to sell whisky for three million American dollars, the «private» Bob who aspires to «good roles» and Bill Murray
whose ironic, subversive screen
persona threatens to destabilise the illusion.
Shakespeare in Love Year: 1998 Director: John Madden Another film
whose reputation has suffered somewhat since its initial reception, largely in this case as a result of an ill - considered Oscar and Gweneth Paltrow's ill - considered management of her
public persona since then.
In a lively and engaging narrative, Ellis recounts the sometimes collaborative, sometimes archly antagonistic interactions between these men, and shows us the private characters behind the
public personas: Adams, the ever - combative iconoclast,
whose closest political collaborator was his wife, Abigail; Burr, crafty, smooth, and one of the most despised
public figures of his time; Hamilton,
whose audacious manner and deep economic savvy masked his humble origins; Jefferson, renowned for his eloquence, but so reclusive and taciturn that he rarely spoke more than a few sentences in
public; Madison, small, sickly, and paralyzingly shy, yet one of the most effective debaters of his generation; and the stiffly formal Washington, the ultimate realist, larger - than - life, and America's only truly indispensable figure.
The words are Agata Pyzik's,
whose 2015 essay for n +1, «In Praise of Vulgar Feminism», negatively contrasts the precision and reserve of Kim Gordon's
public persona with the brashness of Courtney Love.