Word: foregrounds
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Dates: during 1950-1959
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...Toulouse-Lautrec, finally, is amazing. Its title, Messaline, suggests its romantic aspect, and a far cry indeed from the realism of the Moulin Rouge is its rather Redonesque treatment of lighting, color and brush-work. Its monumental figures (note the left foreground personage or Messaline herself) and themes are straight out of the Golden Age, giving Lautrec a new dignity as a creator of significant content which I, for one, would never have thought possible...
...Brien and Donleavy were squares and that James Joyce was well within his rights when he borrowed the English language and returned it in a condition unfit for use by the original owners. Cadenza is a maddeningly clever and occasionally poetic tale which concerns the identity -in a shifting foreground of misplaced time and mistimed space-of a wantonly Irish character called Desmond...
...that Pete will survive with his features unscrambled. While the mayhem builds up though, the show offers a fine sound track. Jazzman Henry Mancini, who boasts some 50 movie credits, composes scores for each show, leads leman band through a whining, insinuating background good enough to become foreground fairly often in the series whenever Pete drops by the club where the apple of his private eye is singing. The music is a lot cooler than even Peter himself...
...wives' tales but part of everyday life -along with Christian miracles, Saracen tales of derring-do, and glittering fantasies of the U.S. way of life. The background against which these visions take shape is composed of blasted heaths and stark, sun-baked mountains; in the foreground are a rich aristocracy and poor peasantry whose lot is still hard despite the great strides toward prosperity made by Sicily in the past decade. Between the two extremes roam the brigands and the men of the Mafia, who from time immemorial have existed by making the "protection" indispensable to prince and peasant...
...Borgognone" (circa 1450-1523). Butinone tried to combine the perspective of Florence with the mastery of light developed by the artists of Bruges. His The Last Judgment almost overcrowds the canvas with drama: the archangel is dividing the damned from the saved (including a Pope) in the foreground, while Christ sits on high in judgment, flanked by the Apostles and the Virgin Mary on one side and John the Baptist on the other. Il Borgognone, in St. Benedict's Miracle of the Sieve, shows his central figure moving through the pious story then popular: at prayer (left), displaying...