Word: designate
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Dates: during 1970-1979
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...relief, practicing ballet dancers, race horses and women bathers--mostly emerging from tubs or toweling themselves off--make up the entire collection. These subjects, which Degas studied repeatedly throughout his career, gave the artist the chance to display his mastery of anatomy and apply his taste for classical design...
...they also--particularly the dancers and the bathers--gave him leeway to play fast and loose with neo-classical conservatism. He tested the capacity of elegant design to withstand challenging poses. With the dancers, Degas takes on very difficult ballet postures and flirts wtih disequilibrium. With the bathers--and some of the horses--he plays the voyeur, catching his subjects in ungainly and at times vulgar contortions. Yet throughout his eye for "arabesque" (a term borrowed from dance, meaning "overall pattern of line") prevails, and his statuettes withstand his often perverse challenges. It is as if Degas wanted to tease...
Thus his became a deductive, rather than an inductive technique; he would often work from a real-life model in one spot and then change rooms to work out his final painting or sculpture, allowing his mind free reign to reshape a pose according to his own sense of design. One can see this technique in these statuettes: he seems to have done precise copies of models and then inventively stretched and bent the forms for characteristic effects. "You need natural life, I need artificial life," he once told a group of Impressionist colleagues, and he was known to attack...
...sculpture. Profound disillusionment and contempt for much of life set in; along with his love of setting mental problems for himself through his art, this frustration suggests some personal reasons for the effect that most of these bronzes produce. The awkward, tortured poses both challenged Degas as master of design and visually expressed his opinion of what he told a friend had become the "impossible" state of the world...
Policy analysis is not urban planning and, unlike the other design disciplines, does not share "a basic reliance upon creativity and the ability of the practitioner to synthesize content from several fields and to formulate and apply physical, as well as social, economic and political principles to affect the natural and man-made environment...