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Besides sharing Iran's hatred of Iraq, Syrian President Assad has received something from Khomeini that is exceedingly precious to him: recognition of the religious legitimacy of the minority Alawite Muslim sect, to which the Syrian President and his loyalist adherents belong. It is altogether possible, Helms believes, that the Syrians are helping the pro-Iranian terrorists in Lebanon as a way of repaying the Ayatullah for giving the Alawites his seal of approval. Both Syria and Iran denied any role in the bombings, though newspapers in the two countries called the attack justified...

Author: /time Magazine | Title: Aftermath in Bloody Beirut | 11/7/1983 | See Source »

Living in the hatchery of cubism, the expatriates' studio in Paris' Rue Ravignan, known as the Bateau Lavoir, Gris was not in at the beginning. He started as a cartoonist and illustrator, and did not even start to paint until 1910. His first cubist pictures belong to 1912, five years (a long time in the avantgarde) after Picasso painted his seminal and outrageous Demoiselles d'Avignon, the five women bathers with bodies of planes and angles. Gris' importance to modern art rests on about ten years of productivity. His work weakened into phlegmatic...

Author: /time Magazine | Title: World of Fantasy and Analysis | 11/7/1983 | See Source »

...Federal governments and would create a segregated city in the South. And if a majority in such a city voted that way, could you then deny their claim. If those who want to end nuclear armaments seek to be effective: they should aim their efforts, where they belong, in the national Congress. Otherwise they are instituting the dangerous idea which John C. Calboan put forward 150 years ago the country being ruled (and vessel) by "concurrent majorities." Adam Kadman

Author: NO WRITER ATTRIBUTED | Title: Nuclear Free Cambridge Con: | 10/20/1983 | See Source »

After World War I, Picasso would depend wholly on himself and his feelings. The corollary was that Picasso gave feeling itself an extraordinary, self-regarding intensity, so that the most vivid images of braggadocio and rage, castration fear and sexual appetite in modern art still belong to the Spaniard. This frankness-allied with Picasso's power of metamorphosis, which linked every image together in a ravenous, animistic vitality-is without parallel among other artists...

Author: /time Magazine | Title: Art 1980: Picasso, modernism's father, comes home to MOMA | 10/5/1983 | See Source »

...climactic work of the '30s was Guernica, 1937. In its way it is a classicizing painting, not only in its friezelike effect, but also in its details. The only modern image in it is a light bulb; but for its presence, the mural would scarcely seem to belong in the world of Heinkel bombers and incendiary bombs. Yet its black, white and gray palette also suggests the documentary photo, while the texture of strokes on the horse's body is more like collaged newsprint than hair...

Author: /time Magazine | Title: Art 1980: Picasso, modernism's father, comes home to MOMA | 10/5/1983 | See Source »

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