Word: foregrounds
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Dates: during 1950-1959
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...succession of adept nature painters named Rauff, Gsis, Loeftz and Lindenschmidt. They taught him to make a detailed charcoal sketch on canvas and paint over it, starting with the sky ("If there are no clouds, the sky may take no more than a day") and working toward the foreground, finishing each part separately. Such grandiose subjects as sunsets and stampedes, he learned, may take up to six months to finish. But for Leigh, the finished result, an almost photographic naturalism, is well worth the effort...
...hallucinations of children and the hearsay of grownups swell to an epidemic of accusations and arrests, confessions and hangings. In that unhappy time, any human doubt or protest was called the work of the devil, and the one way to avoid punishment lay in confession of guilt. In the foreground of this Bay Colony drama stands a young wife accused of witchcraft by a slut with whom her husband has sinned, with the husband, at the end, going forth...
...that erupted in the hysterical visions of young girls, and exploded in the hysterical reactions of their elders, is badly slighted in The Crucible; through blurring what is the real point of Salem, Miller makes mere wraiths and mouthpieces of his characters. The play is curiously unmoving; while its foreground story is even without sociological relevancy. Turning on a slut's purely malicious lie, it is a kind of primitive Children's Hour inlaid into the larger picture...
...would not be visible at that season, so he lowered the car window to get a better look. The stars turned into fuzzy disks with about one-quarter of the moon's diameter, and they kept up with the moon in its apparent motion past objects in the foreground. After five miles, Menzel told the driver to stop the car. At once the disks vanished...
...snowy street toward a white steepled church or Sugaring, a farmer and his sledge in late-winter maple woods. "Maybe I do it a little different than other people," says Santo. "When I do a landscape, I start with the sky and the mountains and I leave the foreground for the last. I like to get the far objects into it just as much as the near." The results are often closer to the slick naturalism of Luigi Lucioni than to the guileless sincerity of primitives like Grandma Moses...